Family Connections
Curated by Danae Kindness, Silver Connections celebrates the work of acclaimed silversmiths and applied artists Michael McCrory, Deirdre McCrory and their daughter Cara Murphy. What is unique about this work is not only the fact that it was created by one family, but the cutting-edge design and mastery of materials it displays. Silversmith Michael’s designs are founded on balance of line, form and proportion. He has recently been using innovative digital technology and this new work is based on his current research into deep drawing and pressing of silver plate. Deirdre is renowned for her mastery of fine line and control over the etching and enamelling processes, and her work reflects her inherent visual empathy with detail and natural form. Cara’s organic, tactile work epitomises her skill, refinement and creativity as a leading silversmith, and this body of work moves away from highly functional objects to focus on form. Silver provides the thread of continuity, binding the work of the three artists. Silver Connection can be seen at the Flowerfield Arts Centre, Portstewart from 3–26 August. It moves to the National Craft Gallery, Kilkenny, from 13 October–26 November.
 
Jewelled Shield
The Crafts Council of Ireland’s Jewellery Skills Course 2005 has produced one of the largest pieces of its kind ever to be hallmarked in the Republic of Ireland. The Apprentice Shield is twenty-four inches in diameter, set in a specially commissioned base designed and made of Irish elm by wood turner Emmet Kane. The shield shows the skills acquired during the students’ time on the course: design, layout, piercing, engraving, enamelling, chasing, casting, and mould-making, gemstone setting, photo-etching, texturing, and gold plating. The piece is rich in symbolism, using the circle as a symbol of life and eternity, and the colours green and blue to symbolise earth and water. The gem stones are all quartz – amethyst, rock crystal, smoky quartz, chalcedony, and citrine – some set in bezel settings around the edge, while others are pave set in trees, which are made by chasing and repoussé work. An engraved Celtic interlacing design representing roots is shown over a swirling textured underground covered in gold leaf and surrounded by fired enamel work, edged with different shapes of blocks and chenier. The centre piece, a rough amethyst, is surrounded by a cast silver crystals. The piece takes much of its inspiration from literature and is engraved with quotes from Amergin, the oldest poetry known in Ireland and an old Irish saying which roughly translated means ‘You won’t appreciate it until it is gone’. Literary input came also from Seamus Heaney, W B Yeats, Eavan Boland, theologian Herbert O’Driscoll, and Bob Geldof, all of whom gave permission for the use of their work. Trainees that worked on The Apprentice Shield, along with the course trainer Jane Huston, include: Jessica Poole, Helena Malone, Jerome McCann, Eimear Looney, Christopher Heltzel, Sara Hunter, Noel Smart, James Cullen, Steven Geldof, Colette Ederry, and Isobel Devitt. The names of all of the students who worked on the piece, along with the names of all of the graduates and trainers who have been through the course, are embedded in the piece as a lasting memory of their contribution. Currently the piece resides in the Crafts Council of Ireland’s offices in Kilkenny, but a more permanent venue in Dublin is being discussed. The hope is that The Apprentice Shield can be placed on permanent display in a prominent collection to inspire and encourage the silversmiths and goldsmiths of the future.
 
Architectural Award
The European Heritage Awards were jointly launched in 2002 by Europa Nostra and the European Commission to recognise best practice in heritage conservation on a European level. Europa Nostra is the representative platform of over 200 heritage NGOs active throughout Europe and is dedicated to promoting heritage, both within the public consciousness and at policy level. This year the Honourable Desmond Guinness became the first Irish individual to win a European Heritage Award within the category of Dedicated Service to Heritage Conservation. Guinness was given this award for his service to the conservation of Ireland’s classical architectural heritage. In 1958 he founded the Irish Georgian Society which has contributed to the restoration of numerous Georgian buildings over the years. He has campaigned relentlessly in favour of heritage, raised funds, organised guided tours, lectured on classical architecture, and published widely on the subject, raising awareness and appreciation of a crucial aspect of Ireland’s built heritage.
The Palm House Complex (1884) located in the National Botanic Gardens and owned by the Office of Public Works, will also be awarded a medal in the Architectural Heritage category for the faithful restoration of a unique prefabricated 19th-century glasshouse and for the development of new techniques for the conservation of wrought iron, cast iron, and timber. The last known surviving prefabricated glasshouse of its period, the original structure was affected by instability, as well as extreme rot and corrosion due to high humidity levels over 120 years of tropical climate. The faithful and painstaking restoration was born of extensive research and development of cast iron and wrought iron restoration techniques; new glazing technology was developed, with glass laminated and strengthened to meet modern day health and safety requirements, yet treated to achieve the refractive quality of the original glass. The significant plant collection was saved, and subsequently reinstated in the restored glasshouse. The project architects were Ciaran O’Connor and Gerard Harvey of the OPW.
 
New Work from Ayelet Lalor
Ceramic artist Ayelet Lalor has released her latest collection of sculptural pieces in porcelain, available from DESIGNyard in Dublin. While she’s still working with the female form as inspired by the catwalk mannequins of fashion history, this series is more minimal than her previous work, with each monochrome piece subtly enhanced by a flush of copper or gilding. ‘The moment I started to work with porcelain, it immediately dawned on me that I should have been working with this medium years ago. I’ve fallen in love with it. It has an amazing fragility and it offers the artist a lot of freedom to experiment through texture,’ says Lalor. ‘My ceramic divas interact with each other and work well in groups. With this new porcelain collection, I have tried to create a more singular piece. These porcelain divas are more suggestive and abstract, with texture being their dominant feature. Their own poignancy and strength of presence are what lends them the power to stand alone.’
 
To Hold at Farmleigh
Peter Ting, homeware designer for Asprey, London, has brought together at Farmleigh Gallery an international cast of highly respected and collected ceramic makers in a previously unseen exhibition. The works represented are a wide range of vessels associated with containing, carrying and holding. The containers in question range from the monumental hand-thrown sarcophagi of Julian Stair (UK), to the delicate porcelain lights of Margaret O’Rorke (UK) and the imposingly simple luminous cylindrical forms of Bodil Manz (Denmark), so thin that one cannot tell if the decoration is on the inside or outside of the vessel. The freely constructed earthenware tin-glazed plates of Hylton Nel (South Africa) pay homage to the tradition of 18th-century Staffordshire figurines, which also inspire the meticulously turned tableware of Morgen Hall (UK). The other makers are: Felicity Aylieff (UK), Gordon Baldwin (UK), Alison Briton (UK), Natasha Daintry (UK), Ken Eastman (UK), He Jian (China), Walter Keeler (UK), Martin Smith (UK), Rupert Spira (UK), Peter Ting (UK), and Takeshi Yasuda (UK). To Hold will run at Farmleigh Gallery until 10 June.
 
Sculptural ceramics
Etain Hickey and Jim Turner have been based near Clonakilty for over twenty years. Their Rossmore Country Pottery tablewear, a jolly little breadwinner, is essence-of-West-Cork in its cheery practicality. Their individual work is in a different league altogether. Hickey’s is strongly decorative, her use of gold reflects a love of icons and influences that come from both the Orthodox Church, and the non-figurative patterning of Islamic art. A recent series of flat pieces in paper clay, mounted and framed like paintings, is particularly successful. Turner’s work, in contrast, is the antithesis of glossy. His ceramic pods, bowls, and sculptural pieces are pitted and textured in a way that combines the random beauty of volcanic rock with the directness of cave painting. The only glint of lustre is inside the pieces, sometimes glimpsed through an opening so small that one can only fit a finger through.
 
Dublin photographer wins European Award
The Master Qualified European Photographer (MQEP) award is probably the most highly regarded award for professional photography in Europe. It evolved from the Qualified European Photographer (QEP) award, devised in 1999 by the Federation of European Photographers in a move to raise standards in the profession. Just over three years ago, the standards were raised once again, but until recently the new MQEP award has remained elusive, despite a high number of applicants. This year, the Dublin-based photographer Vincent O’Byrne was unanimously given the thumbs up by all seven judges at the recent judging in Brussels and was duly awarded his MQEP certificate. O’Byrne’s submission, titled ‘Post Photography’ comprised a body of personal work on a series of satirical and narrative images in the form of postage stamps, and included twenty-one images and a thesis.
 
‘Crafted’ launches in Cork
The larger trade shows, while of mutual value to makers and buyers, have assumed a rather nightmarish quality. Long hours spent in over-heated and under-ventilated stalls, crowds, and the expense of travelling to the capital have begged the question – isn't there a more pleasant way to link the maker with the marketplace? Crafted, a new trade show for the makers of West Cork was launched in April, and it may have some of the answers. For a start it was a pleasantly small affair, with only twenty exhibitors, and it was located in the relaxing and beautiful surroundings of the Inchydoney Island Lodge. West Cork has been a honey-pot of craft for decades, so make the trade show sufficiently inviting, and the buyers will come. Crafted marked the introduction of ‘Hands-On’, a network of artists and craftspeople in West Cork who offer classes and courses, mostly in their own studios. The courses vary from workshops for children and teens through one-day taster classes, weekend courses, and master classes. Disciplines range from chair making with Alison Ospina, glass fusing with Adrian Wistreich, ceramics with Robert Lee or with Jim Turner, woodcarving with Ben Russell, printmaking and papier maché with Ken Parker and Rosita Kingston, and life drawing and bronze casting with Helle Helsner. Many of the makers who offer courses have been doing so for years, but Hands-On represents an effort to co-ordinate their individual initiatives and to work in conjunction with accommodation providers. Anke Herman of Delisa Handcrafted Jewellery, a talented newcomer, introduced a glinting and translucent medley of fresh water pearls, citron, silver, and jade. Her pieces give a nod to the charm bracelet but are more wearable, designed to sit rather than dangle. Ceramicist Sara Roberts presented a range of wall-mounted landscapes particularly evocative of the area, while Patricia McCoy, who moved to West Cork in 1994 to found Desert-Serges Pottery, presented a selection of her distinctive lamps, clocks, and vases, but her most innovative products are miniature gardens, complete with mosses and ferns. The ceramic landscapes, mostly in blues with cosy Chinoiserie influences, are like Willow Pattern come to life. Hilary Nunan, a decorative artist who creates striking paintings, traditionally framed, with a combination of acrylic and natural fibre, showed some vibrant textured pieces, while cutler Rory Connor presented a new range of cheese knives that show his characteristically graceful forms. Mary Neeson exhibited a series of porcelain lights which combine simple organic shapes with rhythmically textured surfaces that illuminate well.
 
Mapping Craft
Craftmark, a Cross-Border Economic Development Initiative, is a partnership between County Down Crafts and Louth Craftmark funded by the EU Programme for Peace & Reconciliation. The partnership was formed in 2003 with the objective of strengthening local craft enterprises through a network of cross-border structures and projects. As well as a training programme, Craftmark has recently published a craft map of the area that aims to make craft more visible by directing the traveller to the studios of Craftmark makers along with clear information about opening hours and price ranges. Makers include Cathy Prendergast of Inti Leathers whose meticulously finished handbag designs are inspired by a passion for leather, and the innovative printed textiles of Jude Young, who has just finished a collection 'Buttons & Stripes’ that combines velvet and satin trimmings with giant vintage buttons, bows, and other interesting discoveries.
 
Interiors Show 2006
The Interior Design Show 2006 ran in the RDS 19–21 May, with an impressive list of exhibitors including Charles O’Toole, Minima, Habitat, Haus, Kate Fines, Gallery 29, Nostalgia Design, 20th Century Design, John Doolin, Leo Scarff, 2 Cool Design, Anthony Antiques, Wink, Milo Fitzgerald, Ensemble, Mimosa, and Room Space. ‘All over the country there are people producing exciting pieces and the public want them, which is very encouraging for the future,’ says Clodagh Duff of Duff Tisdall. At this year’s show Duff Tisdall exhibited a living-dining room setting, as well as an accessory and home furnishing stand with an eclectic mixture of pieces that Greg Tisdall and Arthur Duff selected from around the world. ‘Irish Design is bursting with possibility’ says Clodagh. 6 X Tables, a group of six designer/makers who specialise in contemporary tabletop products, launched their new range at the Interior Design Show 2006. The new collection featured dynamic mouth blown glass pieces, glass platters and bowls, colourful and animated table ceramics, textile table art pieces and porcelain and stoneware vessels. The designers – glass artists Eva Kelly and Edmond Byrne, ceramicists Joanne McKenna, Michele Hannan and Patrick Hall, and textile artist Liz Nilsson – are known for their success in producing individual ranges that work together as a full collection, complementing each other in colour and style. ‘As designer/makers we normally work in isolation,’ says Eva Kelly. ‘A group like this is a plateau for the development of new work where we can support each other and share inspiration. It also opens up opportunities and saves costs.’
 
Festival of Clay
Feile Clai (Festival of Clay) is a joint initiative between Ireland and Wales, that brings together ceramicists from both countries to develop events, exchanges and exhibitions to promote ceramic art. This August, Feile Clai will introduce sixteen emerging Irish and Welsh ceramic artists in Emerging Ceramics at the National Craft Gallery in Kilkenny. This specially selected exhibition runs alongside the Ceramics Ireland International Festival, which features major artists from home and overseas. Visitors wandering between both galleries will be able to view a snapshot of contemporary ceramic practice. Emerging Ceramics runs from 11 August – 1 October.
 
Function and Decoration
Robert Lee has just established his gallery and studio on the edge of Ballydehob in West Cork. His porcelain ceramics, minimal both in form and decoration, are unusual in that they happily straddle the barrier between function and decoration. As vessels, they meet the usual functional requirements – flower, fruit, salads – but they would also hold their own on display, and work particularly well in groups. ‘I’m creating ceramic work that is designed primarily to enhance the food and flowers that are placed into it. A pot must have a sense of excitement and freshness. It must be challenging and tactile, and invite social and creative engagement,’ says Lee, who uses responsive celadon and tenmoku glazes. Many of the aspects of his work that look most modern – the irregularity and asymmetry – are strongly influenced by his studies in medieval Japanese ceramics.
 
Making it’ in Newry
In response to the range of talent across the province, Craft Northern Ireland has launched a series of initiatives aimed at raising the profile of craft in Northern Ireland and, specifically, with nurturing new craft businesses. Making It: Craft Northern Ireland’s two-year business-start up programme, is a scheme offering professional business mentoring, equipment, finance, and marketing opportunities to emerging designers/makers who are keen to establish their business in Northern Ireland. The first wave of Making It was launched in January 2006 with a second programme due to commence this October. The package includes a two-year residency within a host organisation and is open to graduates and emerging makers who are willing to set up a business in Northern Ireland. The makers, during the residency, are expected to make an active contribution to the cultural activities of their host institution. Rachel McKnight, who won an RDS Crafts Competition Award last year, is currently a resident on Making It at the Greenshoots Business Incubation Centre, Newry Institute. The residency allows her access to the centre’s specialist equipment and technology, including a rapid prototyper for the production of plastic forms. ‘Plastics interest me because of their many manufacturing possibilities and multitude of colours,’ says McKnight. ‘This gives me endless options for my work. I like the idea of transparency and opaque colour, and plastics allow me to explore this.’ Also resident at Greenshoots, Lydia Smyth works primarily with tapestries of glass, but also experiments with resins, plastics, and mixed media and explores the properties of newspaper print. Smyth’s current work reconstructs childhood memories, celebrating heroes from her past and exploring what the word ‘home’ has come to mean to her. John McKeag is resident at Making It at Clotworthy, an Arts Centre in Antrim Castle Gardens, which facilitates the development of his business, Firebox Ceramics. Inspired by the work of Lisa Hammond, McKeag has an interest in the techniques of soda glazing and produces a varied body of work including functional pots, tableware, and exhibition pieces. Genevieve Murphy’s collection of sculptural bags is inspired by theatrical interiors as well as the Neo-classical architecture of Castlecoole House, a historic National Trust park in County Fermanagh where she has taken up residency on the programme. Elizabeth Ruddock’s contemporary textiles include wall hangings, blinds, screens, and panels, merging optical illusions with fabric through the manipulation of Irish linen. Her residency is at Interface, University of Ulster, as is that of Eddie Doherty. Doherty’s jewellery comprises tiaras, silver veils, and neck pieces for wedding designs as well as commissions, his work incorporating contemporary jewellery methods and practices with the solid blacksmithing techniques of the past.
 
RDS National Crafts Competition
Dating from the 18th century, the RDS National Crafts Competition is Ireland’s oldest and certainly one of the most important crafts competitions. Professional and amateur craft designers compete for prestigious awards and a prize fund of e26,250. Last year, Magdalen Rubalcava’s ‘Daisy Basket’ won the first prize in the Rod, Rush and Straw – Contemporary category, as well as the Coillte Award. The exhibition of the 2006 winners will be launched as part of the annual Fáilte Ireland Dublin Horse Show at the RDS, 9–13 August. From there the exhibition will move to Farmleigh Gallery, opening to the public from 24 August – 24 September. Also at the Horse Show, the RDS Student Art Awards will be judged by nominees from the Royal Dublin Society, the National Gallery of Ireland and the Royal Hibernian Academy. For the first time this year both exhibitions will be extended after the Horse Show and will run free of charge until 18 August. n