JANUARY/FEBRUARY 1987

Crafts Council of Ireland Thomas Prior House Merrion Road Dublin 4 Telephone 680764 / 603070

The Minister of State, Mr RichardBruton TD, speaking at the openingof the 11th National Crafts TradeFair in the RDS on 19 January1987. The Chairman of the CraftsCouncil, Mr William D Finlay, is tothe Minister's left.

11th NATIONAL CRAFTTRADE FAIRThe 11th Craft Trade Fair wasopened by the Minister of State atthe Department of Industry &Commerce, Mr. Richard Bruton T.D.

The number of exhibitors showedan increase on the previous yearsand the general comment was thatin terms of layout and presentation,the show had greatly improved.The sales figure at IR£7.1 millionwas down on last year and this, infact, reflected the present difficulteconomic climate at home andabroad.

The experience at the Trade Fairsuggests that for this year, thehome market will need a lot ofhard selling as there appears to bea lack of confidence among buyersregarding the coming season. Theunreliability of the tourist-basedhome market and the limit of theethnic market in America pointsout the need for positive efforts toestablish a second outlet for topquality crafts.

In the light of changing buyingpatterns and the current tradingdifficulties being experienced bycraftworkers it is both appropriateand necessary that the futureformat of the Trade Fair be revised.This will be done.

On a lighter note, the CraftsCouncil awards for the best standswere won by Helena Ruuth andRay Cornu, while the IDA Trophyfor the outstanding product waspresented to Wooden Wonders.

"CORK & SANFRANCISCO POTTERS"COME TO DUBLIN"Cork and San Francisco Potters"opened at the Bank of Ireland,Baggot St., Dublin on 1 9 January.

The Exhibition was well attended:approximately 750 visitors duringthe nine days of the Exhibition, andsales totalled more than £1,000.

Thanks are due to the members ofthe Craft Potters Society of Irelandwho manned the Exhibition.

The Crafts Council of Ireland alsowishes to thank members of theSociety of Cork Potters for makingthis Exhibition possible, and tocongratulate them on the successof their ambitious plans. It is hopedthat the Council can becomeinvolved in and initiate manyexhibitions of similar value in thefuture.

PRIMING THE PUMPThe second of two articles by SeanMcCrum. The first looked at theproblems of isolation in the craftsin Ireland, particularly ceramics.This one looks at how to movefrom the problem.

Even isolation has a knock-oneffect. It makes people inward-looking and that affects how theirwork develops. Particularly in thecrafts, where the maker is directlyresponsible for what is made, theresults are very obvious. So too arethe changes when isolation startsto break down.

Focusing on ceramics, because thatis the area at which this and theprevious article are looking, thebreak down of isolation is a littlemore complex than leapingjoyously into creativity. Particularlywith utilitarian ware, the objectsmust be useable and attractivewith a balance between their visualappearance and the expectations offeel, weight, body, surface andmaterial which that appearancesuggests. Beyond that, it is aquestion of the individualsensitivities of the potter or theuser. Some means need to befound to develop these sensitivities.

There are two elements involved.One is an individual's responses toceramics and the second howthose responses can coalesce intoa body of expectations which will2

The Minister for Foreign Affairs, MrPeter Barry TD, speaking at theopening of the "Cork and SanFrancisco Potters" exhibition.

develop into aesthetic andproduction standards. Incontemporary ceramics productionstandards are less difficult to applyand maintain than in currentpainting. However, becauseceramics and current painting areboth in transition, it is as difficultto evolve a coherent pattern ofstandards. In the case of ceramics,they are emerging here fromisolation.

Selling AestheticsThe situation is complicatedbecause people in Ireland havebeen able to make a financialsuccess of their craft. They havedeveloped the manual skills to dothat. However, skills are only themeans to making aestheticallysatisfying objects. They are not inthemselves the end. Because theyare also the means to a succesfulbusiness, they have been too oftenused as the sole standard becausetheir effect can be validated on itsown by the volume of sales.

Volume of sales is by no means tobe abused. Aesthetic satisfactionand sales are far from beingincompatible. Unfortunately, it is alltoo easy for skill, as the vehicle forbusiness success, to become thestandard. Skill and finance combine

to simply cater for a market. Ideasand product development fail tooccur, and there is no expansion ofthe buying public's expectations.

In Ireland so far, the emphasis hasbeen on hand-made ceramics asbasically made in a factoryproduction which happens to usehand, not machine, manufacturing.Standards emphasise profit results,although not always.

In the UK, this approach tended todecline after the 1960s. It gaveway to making unique or very smallproduction runs, whichconcentrated on aestheticstandards. Takashi Yasamura,Walter Keeler or RichardBatterham are good examples.They can make a reasonable living.However, they also brought backinto the foreground the concept ofa jug or plate as being as valid apersonal statement as ceramicsculpture or easel painting.

This situation is different from theIrish because there is animmensely powerful tradition ofceramics mass production in theUK. There was little point incompeting with it. In Ireland, thereis no such strong factory traditionto which to respond. It may be thatmanufacturing hand-craftedceramics here has a validity notpossible in the UK. If this is so,then the need for adequateaesthetic standards is all the moreimportant.

Developing Standards Whether the focus is on once-offs or production runs, the problem is how to combine hand-made standards and individual aesthetics. These objects are all made by individuals. They are brought at least partially because people want to buy into the aura of something "hand-made", not "machine-made". They wi l l not accept that a well-made machine object is better than a crudely hand-made one. Too many potters are happy to be part of this syndrome. Where anything hand-made is considered as valid just because it is hand-made, standards do not exist.

The buying public is wil l ing to accept this. It is largely uninformed and cannot generally evolve standards on its own. It is up to the manufacturer to develop standards and new approaches. Failure to do this kills both the development of an informed public and the product itself. By failing to evolve new ideas and standards, and lead the market in what it can expect, the manufacturers isolate themselves and exploit their purchasers.

Countering this involves rethinking personal creativity in terms of market research and that research in terms of creativity. It involves carrying professionalism beyond production levels and sales and incorporating creativity and aesthetic standards as integral parts of ceramics hand manufacturing.

The market clearly exists. Whatever complaints there may be about standards, that has been proven by the tenacity and hard work of people who worked in ceramics when little was done to assist them by government bodies and public and retail ignorance.

Obviously, there is a clear need to educate and inform the public. This cannot be done until the practitioners are certain about what they are doing themselves. Someone working for six months making utilitarian ware to raise money to spend another six making sculpture wi l l do neither wel l . There is insufficient skill developed for either and a total lack of certainty about which is the more valid. The product at either end is as inadequate as incompetently painted pictures. When the problem extends to inadequate and ill-defined standards, the practitioners and the public are in

as serious difficulties as each other.

Motives and Standards The circle turns again to people examining their own motives and work and treating that as a vital part of the evolution and rigorous maintenance of standards. Doing this involves another problem. Ideas in ceramics have not originated in Ireland. They bring in concepts which are important, but which need to be adjusted to the practice of ceramics here. However, hand-made ceramics have only existed as an observable movement for twenty-five or so years in Ireland and need these influences. They are important to avoid provincialism, but should be reworkedto become valid individual and group values. They must be constantly scrutinised redefined and raised in the process.

Where work is hand made, each maker develops personal standards, beyond which work is unacceptable. As the body of individual experience expands, it wi l l combine wi th the increasing numbers of individual practitioners, all of whom should be expanding their standards. As that develops, it becomes a reservoir of attitudes which coalesce into a tradition. In that situation, the tradition should also avoid becoming moribund because it is constantly being raised.

All of this requires the opening up of discussion, which has been happening over the last four years. It must focus on a critical examination of aesthetic standards in hand-craft ceramics production. There is currently not much centre point for this, because hand-craft ceramics are only just beginning to explore a dimension which has never been a matter of contention for non-uti l i tarian ceramicists. Their work is clearly sculptural, and has benefitted from the critical discussion of it which any visual " a r t " form wi l l receive.

Hand-crafted uti l i tarian wares are just as sculptural, although their context may be a different one. The same critical confrontation of ideas, aesthetics and widening thinking is just as vital for them. The sooner that it takes its rightful place in

production the better. Without it, twenty-five years of hard effort wi l l move into a slow but inevitable decline.

Sean McCrum is a writer and exhibition organiser on the fine arts.

LETTER TO THE EDITOR Sir, The November/December issue of your Newsletter contains an article by Mr Sean McCrum in which he makes the bald statement in regard to the studio pottery movement, 'financial success, for example has been accepted as the measure of aesthetic standards'. This is grossly unfair to Irish potters and to the Crafts Council. Few potters of my acquaintance confuse the value in exchange of an article and its aesthetic value and I believe that the generality of work which is shown supports this view.

Many of Mr McCrum's other comments are questionable. The absence of a living tradition is arguably one of the great strengths of Irish ceramics. Young potters do not have to drag around the bag and baggage of the past and can work out their own ideas and relate these to other acts and technologies. Mr McCrum is also concerned about isolation; I would have thought that Irish potters are the least isolated in Europe. A very high proportion of them have worked in other countries, including Japan. Their work may be criticised for eclecticism but not parochialism. For people like myself, who recall the very first studio pottery exhibition at Victor Waddington's gallery and visits to the three potteries which were operating in 1960, the development has been miraculous.

By all means let us have criticism, but let it be informed.

Yours etc. Paul P Hogan FSIAD, FRSA, MSDI 44 Claremont Road, Sandymount, Dublin 4.

Hand-built coil pots by GeraldineMangan of Kilworth CraftWorkshops on display at theKilworth 5 exhibition in theWexford Arts Centre.

KILWORTH 5 EXHIBITIONThe Kilworth 5 Exhibition at theWexford Arts Centre was openedby Ms. Avril Doyle TD, Minister ofState for Finance and Environmentand once again showed thatKilworth graduates are amongstthe best young designer/craftsmenin the country. A splendid array ofwork, ranging from ceramics towallhangings, to woodensculptures and a violin, to paper-making, all beautifully hand-craftedwith dedication and superb skill.The exhibition shows work of thirtyof the past five years' participantsof Kilworth Craft Workshops.

The current Kilworth 5 exhibition,which has toured the country, willnow go to promote Irishcraftsmanship in London, Brusselsand Brittany - a possible showingat San Francisco, Cork's twin town,is also under discussion.

THE BARNSLEYTRADITIONAt the Edward BarnsleyEducational Trust (EBET)Workshops in Froxfield, furniture-making continues in the Gimson-Barnsley tradition. Born in 1900,Edward Barnsley's philosophy oflife and dedication to excellence indesign and craftsmanship wereshaped largely by his father SidneyBarnsley, his uncle Ernst Barnsley,and their friend Ernst Gimson.

Edward Barnsley made his firstpiece, a small table, with the helpof his father in 1905. When in histeens, he asked his father whydovetails were being sawn off thetop of a tall solid ebony writingdesk, he was told that a mistakehad been made and that it wasimportant that everything be 'topquality' and that nothing be 'let by'.The effect of this lesson isapparent in the Froxfieldworkshops where nothing but thebest craftsmanship is allowed.

Edward Barnsley was trained infurniture-making later by GeoffreyLupton, who had himself been apupil at Gimson's Workshops.Edward occupied Lupton'sWorkshop as a tenant from 1923until 1925 when Sidney Barnsleybought the property and Edwardtook it over. In 1923 he acceptedhis first apprentice, Herbert Upton,who became foreman in 1938.Upton spent his whole working lifein the Workshop, making furnitureto the highest standard andtraining pupils and apprenticesuntil his retirement in 1979.

In the early days Design at theGimson Barnsley Workshops meantmaking furniture to fulfil a need.Edward Barnsley now sums up hisown feelings about design in thephrase, 'fitness for purpose andpleasure in use', and quotes fromOwen Jones' "The Grammar ofOrnament". 'All works of thedecorative arts must possessfitness, proportion and harmony,the result of all of which isrepose....True beauty results fromthe repose which the mind feelswhen the eye, the intellect and theaffections are satisfied by theabsence of want.'

Edward Barnsley's workshopscontinue to thrive after sixty yearsduring which our living conditionshave changed out of allrecognition. Approximately 7,000pieces of furniture have beenproduced since 1923 of which at

least 1,500 were individualdesigns. His work is ininnumerable private houses,cathedrals and churches,embassies and ministries, colleges,city companies and largeboardrooms.

However, the present day sees aperiod of flux and change in theBarnsley Workshop. The intensepressure brought to bear byEdward Barnsley's personalinterest in efficient production isnow gone. The Workshop nowlooks in the greater measure to theEBET for its inspiration. Thetendency now with as manystudents as full-time craftsmen inthe Workshop is towards a moreacademic approach to furnituremaking. This costs 'efficientproduction' dear, but is acceptedreluctantly as a fact of life. Morefunding for the promoting of ahealthy balance between thetheoretical and practical elementsin the training programme is theorder of the day. The commercialside of the business is still,however, regarded as a vitallyimportant ingredient of the studentexperience in the Workshop andwill remain the core of the training.

The predominating theme in theWorkshop is a commitment to thehighest quality workmanshop, andthis will continue to motivate thecraftsman in the Workshop, theEBET and those who buy theWorkshop's products.

Richard Elderton is now theForeman/Instructor at the EBETand Workshop in Froxfield. Anengineer (he designed and madehis own unique lathe), awoodworker and furniture maker,he is known as an absoluteperfectionist.

Richard studied engineering andmetal work while in the Army, andthe knowledge gathered then isnow used in his tool making. As awoodworker and furniture makerhe is self-taught which heconsiders enables him to learn newthings and add to the perfection ofhis skills continuously. Since hejoined the Barnsley Workshop in1983, Richard's favouritecommission was the making ofbook boards for the DoomsdayBook. This commission was givento the Workshop by Roger Powell,who had previously renovated theBook of Kells, for which theBarnsley Workshop had built thebook box.

Glazed display cabinet in rosewood.Made by George Taylor in 230hours in 1982, at the BarnsleyWorkshop.

Richard Elderton has also designeda computer programme for theidentification of timbers, his specialinterest, and is at the momentworking on a timber stressanalyser which will tell thebreaking stress of glued points.

At his nearby home in Hawkley,where he has his own smallworkshops, Richard intends to runcourses in woodturning and smallscale metal-working jobs.

1. Basic jobbing woodturnery;making furniture and joineryparts, trophy bases, etc.

2. Domestic articles; bowls, plates,

lamp bases and standards,candlesticks, etc.

3. Miniature work: game pieces,pens, etc.

4. Design and the production ofworking drawings.

5. Toolmaking: simple black-smithing, welding and handmetal-working techniques.

6. Cabinet making and joinery; theworkshop is equipped with handtools for small scale work inthese categories.

He will give private lessons of oneweek or two-day duration to one ortwo people per course.

Those interested should write to:Richard Elderton,Lr. Green Cottage,Hawkley,Nr. Liss,Hampshire,GU33 6NW.

FIRED WITH CULTURENorth and South Wales PottersAssociation present their firstInternational Potters Camp onFriday, Saturday and Sunday, 10,11 and 12 July 1987.

The weekend's emphasis will be todiscover the contrastingapproaches to ceramics engineeredby different cultural, geographicaland political backgrounds. Therewill be demonstrations, lectures,film and slide shows and aprogramme of kiln building andfiring.

At the same time there will beexhibitions of internationalceramics and a major exhibition ofwork by North and South WalesPotters.

Guests are:Arne Ase (Norway); CormacBoydell (Ireland); John Chalke(Canada); Greg Daly (Australia);Siddig El'Nigoumi (Sudan/UK);Ollie Kent (UK); Steen Kepp(Denmark); Anne Lightwood(Scotland); Jim Robison (USA/UK);Barbara Tipton (USA); Ulla Viotti(Sweden); Rimas T. Visgiroa(Lithuania/USA).

Details can be obtained from theCrafts Council of Ireland.

EXCHANGE PROGRAMMEThe EEC-sponsored Young WorkerExchange Programme has thefollowing vacancies available in thecoming months:

SPAIN: 10 places available, threemonths duration, starting in May,one month's Spanish languagetraining, two months workexperience.

DENMARK: 10 places available, 1months duration, starting in July.One week induction programme,three weeks work experience.

Places are available for qualifiedpersons in the following areas:CRAFTSPOTTERYCERAMIC DESIGNTEXTILES

Applicants must have:* Completed their professional

training* Have at least one year's work

experience subsequent tocompletion of professionaltraning

* Be aged 18-28 years

For the Spanish programme, abasic knowledge of the Spanishlanguage would be an advantage.Accommodation and pocket moneywill be provided during theprogramme. Seventy-five per centof travel costs to and from the hostcountry will also be provided.

As interviews will begin in Marchplease make application to:EEC Affairs Departments, AnCO,P.O. Box 456, 27-33 Upper BaggotSt., Dublin 4. Tel: 685777

Mortar and pestle in elm, made byRichard Elderton. See story "TheBarnsley Tradition" previous pages.

FOR S A L E Glimakra loom 1.5m wide double back beam, bench

and all accessories also

Haldane spinning wheel

Contact Angela Fewes Telephone (021) 821689

FOR S A L E Glimakra Floor loom 120cms

4 shaft, counter balance, warping mil l , shuttles, electric bobbin winder

and good quality mixed wool

Contact Mary MacNeill Telephone 868331

C R A F T C O U R S E S The AnCo Training Centre

Shannon Industrial Estate, Co. Clare is offering a range of Craft

Courses and Craft Project Development Courses.

For further information send for an application form or telephone 061-61133

FOR S A L E Lover spinning wheel and

accessories. Natural dye stuffs and wool fleeces.

Supplied by Mary O'Rourke

Glenasmole Dublin 24

IRISH S P I N N E R S LIMITED Kiltimagh, Co. Mayo

Pure new wool bainin and coloured hand knitting yarns

Telephone (094) 81156

WEAVING EQUIPMENT Looms and accessories, books,

dyes, yarns for weaving and knitting, spinning wheels

Available from Ann O'Kelly

4 Eglington Park, Donnybrook, Dublin 4. Telephone 693565

At this instant somewhere overseas there may be an individual who seeks to import the very product you manufacture. What is his name? Where is he from? Is he a reliable trading partner? More importantly how do you contact him?

Obviously, travel overseas is one sure way of securing new con­tracts. However, many Irish Exporters are now too busy keeping their operation ticking over on the home front to engage themselves in such frequent globe-trotting ventures to locate potential markets.

Fortunately, Bank of Ireland International Banking Division have a unique means of further assisting you with your export promo­tion. The Trade Services section of this division is operated by highly skilled and efficient professionals who are in a position to locate new markets for those contemplating entering the export field. They can also expand existing markets for those already actively involved in trading overseas.

Bank of Ireland International Banking Division has many agents in many countries. Taking their branch networks into account, this gives us vast outlets through which the Trade Services section can seek out untapped markets to promote an Irish product. It is through the medium of these correspondent banks that we endeavour to locate your new prospective trading partners.

This service is devised to boost Irish Exports and is provided at absolutely no cost to you. If interested, please complete and return the coupon below. We shall then be in a position to initiate a TRADE ENQUIRY on your behalf.

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International Banking Division

Your Company Name:

Address: Tel./Telex No

Export Manager: Full Details of Product: Please indicate desired outlet: Agent Q Retailer Q Wholesaler

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Bank cflreiantt INTERNATIONAL BANKING DIVISION r n r r OVERSEAS TRADE r K f c t PROMOTION SERVICE

When trading internationally it is of paramount importance to assess the creditworthiness of the foreign parties. When we locate a prospective trading partner for one of our clients, we always ensure that an accompanying favourable status report on the foreign concern is provided.

Confidential status reports on companies or individuals at home and abroad are provided by us regardless of whether you have availed of our TRADE ENQUIRY service already mentioned. Any request for a status report of this nature must be directed through your bankers.

Trade Services also assist by providing advice, guidance and information on many regulations which influence international bus­iness. For example, what are the exchange control regulations that effect the speed and ease of payments? What are the import regula­tions, customs tariffs, correct shipping documentation etc. required?

An exporter knows that a superior product, excellent marketing skills and advanced technology are not the only factors which ensure him of a high success rate in a competitive world. Even iden­tification of the right trading partner is not sufficient. A basic know­ledge of the economic intricacies and business climate prevailing in each national market to which he intends exporting to is also a vital factor in assuring his overall success.

The Trade Services team take pride in being able to help expor­ters identify possible new outlets for their products, checking out the creditworthiness of potential foreign clients and supplying gen­eral, financial and economic information on the countries where the market is located.

ARTS COUNCILBURSARIES, SCHOLAR-SHIPS & AWARDS 1987The Arts Council makes variousbursaries available in visual artswhich may very well apply to you.These awards are intendedprimarily to assist development andgrowth in the work of artists.Priority is given to proposals whichwill have significant effect on thework of the applicant, whetherthrough the provision of equipmentor the undertaking of new artisticprojects.

Some of these are: Apprenticeshipsfor Young Artists, a bursary offeredto artists of not more than thirtyyears of age to enable them towork as apprentices to establishedartists for a period of six months;

Co-Operative Studies providingfacilities for a number of artistsand applications for theirassistance are also processedthrough the Arts Council, as is theDublin Corporation ArtsScholarship;

Travel awards which include:The Tyrone Guthrie Centre, theDuais Bhonn De hide, and theGeorge Campbell Memorial TravelAward.

Many of these awards have aclosing date for application of 15April so do request details andapplications forms immediatelyfrom:The Arts Council,70 Merrion Square,Dublin 2.Telephone 611840

CLARE CRAFTWORKERSASSOCIATIONEXHIBITION CALENDARFebruary 28 — End of MarchNew DirectionsMarch 27-28New Directions Seminar led byJune Tiley LandscapeApril 4-29LandscapeMay 2-27Black & White MagicMay 30-June 24June Jubilee

INFORMATION1. These exhibitions are open to all

craftspeople2. Submissions are juried by a

representative of the CraftsCouncil of Ireland

3. Entry fee is 50p per exhibitor4. Commission on sales is 10%5. The gallery insurance does not

cover the exhibits6. The gallery is open Monday to

Saturday, 10 am — 5 pm7. Work is due at the gallery

during the week prior to theexhibition or at Crafts Council ofIreland, Dublin, allowing at leastseven days for transit toBallycasey to be arranged.

Some of the teapots on display inHelena and Peter Br en nan's"Teapot" exhibition in DunLaoghaire.

Kilkenny Design

OVERSEASCONSULTANCY

Kilkenny Design is expanding itsindex of designer craftsmenwilling to work in third-worldprojects for up to three months.Applicants should have at leasteight years of practicalexperience; sound technicalknowledge; ability to assess thepotential of producers;knowledge of European and/orNorth American markets;sympathy for different localskills, habits and work practices;report writing skills, andresidence in Europe or NorthAmerica.They should have both designand craft skills in either furniture,woodware, ceramics, ceramicsmodelling, woven textiles,printed textiles, clothing,leatherwork, basketry, jewelleryor metalwork.Further information fromGerald Tyler, Kilkenny Design,Kilkenny, Ireland.

TEAPOT EXHIBITIONPeter and Helena Brennan openedtheir exhibition of teapots, veryappropriately with afternoon tea, attheir Glenageary Lodge Gallery,Upper Glenageary Road, DunLaoghaire, on 25 January.

For this exhibition Helena madeteapots to suit any occasion fromcollector's miniatures to largethirty-two cup family teapots, witha variety of shapes and surface andglaze decoration. This exhibition isstill open from 2.00 to 5.00 pmexcept Sundays.

The exhibition is the first of aseries to establish their permanentgallery at Glenageary Lodge.Helena and Peter hope to showwork ranging from domesticstoneware and porcelain todecorative sculptural work. It istheir hope that their talentedchildren will help to fill the galleryin the future.

Helena and Peter also run classesin ceramics for adults and children.