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Heritage Crafts – an inspired future

The annual conference of the Heritage Crafts Association was held in London this week and I was one of the privileged guests for a day of fascinating insights into the world of heritage crafts and their future.

Coming from a family driven by artisanal making, I have long been interested in the future of traditional crafts and the risk of their disappearance. The Heritage Crafts Association (HCA) is the leading light in the battle for protecting, promoting and expanding knowledge of traditional craft skills in the UK. The HCA/Radcliffe “Red List” of Endangered Crafts was published in 2017 highlighting the need for safeguarding crafts such as bell founding and clock making in the UK. We have already lost the craft of Gold Beating and cricket ball making. Other crafts such as clay pipe making, parchment and Vellum making, fan making and metal thread making are listed as “critically Endangered”, meaning that there may only be one remaining practitioner or that there is no mechanism for these skills to be passed on to new generations of makers.

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The painstaking process of scraping a skin to make Vellum.

The HCA was instrumental in the House of Commons unanimous vote to retain the use of Vellum for the recording of Acts of Parliament. Devastatingly for the craft, three votes in the House of Lords (bastion of ancient traditions!) overturned the decision in the mistaken belief that archival paper would do the job equally well and more cost effectively. Ironically Wim Visscher, one of the last descendants of the only Vellum and Parchment making company in the UK, William Cowley, was awarded an MBE in the New Years Honours List this year in recognition of his commitment to the ancient craft. Wim has valiantly carried on his family business, founded in 1870 by his great-great grandfather. The business has six staff, all specialists in their field and invaluable to the craft’s continuation. Wim explained that despite recent dips in business they would continue to employ these craftspeople as to do otherwise would lead to the death of the craft. 75% of the skins offered at market are rejected for parchment and vellum making. Every tiny blemish will show in a finished piece of vellum and the lengthy process of liming, hair removal, tensioning, scraping, cleaning and drying leaves no room for imperfections in a highly valuable end product destined to last for over a thousand years!

“Crafts for the future” was the theme for invited speakers. Emma Bridgewater, gave a fascinating insight into the development and production process of her ceramics.

 

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Emma Bridgewater – “The future is better if we are reconciled to our past”

 

She was very clear that she does not regard herself as a craftsperson, but more a facilitator with an immense appreciation of the traditional skills of The Potteries and Stoke on Trent’s indigenous skilled workforce. Her initial concept of re-creating the lost craft of spongeware decoration inspired by collected shards of pottery, led Emma on a journey of discovery and experimentation.

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sponge decoration on Emma Bridgewater ceramics.

Although she has based her successful business in the heartland of traditional ceramics production, Emma found it difficult to engage local young people to take on apprenticeships. She says that there is still a sense of bitterness in families that were affected by the decline of the industry and production being transferred overseas. The success of the Emma Bridgewater brand is largely due to the intrinsic traditional craft of her products. She says “it is the ‘craftness’ and the ‘hand-madeness’ that people want to buy” and left us with her opinion that “being analogue in a digital world is tremendously appealing”.

 

One of the critically endangered crafts on the “Red List” is fan making. Jacob Moss curator at The fan Museum in Greenwich explained a little about the heritage and craft of fan making which dates back to the 16th century. The wardrobe inventory of Queen Elizabeth I at one point listed no fewer than 27 fans. Intricately decorated and carved sticks combined with painted or textile fan materials became an art form in the 17th and 18th centuries, but again production moved overseas and the artisan fan makers have gradually died out. In an effort to re-vitalise the craft, the Fan museum staged the Street fans extravaganza in 2017, working with street artists and renowned fan makers to create a series of artists fans.

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Pull of gravity  Fan by  Philippe Herard/ Sylvain Le Guen. from the Street Fans project

Workshops were held in Greenwich market for the public to try  their hand at creating their own fans. The museum used crowd funding to finance the project as an important educational outreach to highlight this very nearly lost craft. One of the few exponents of the craft is based in France, Sylvain le Guen creates incredible structures and worked closely with the fan museum on the Street Fan project to help the artists create their fans. Unfortunately my online search for a fan maker in the UK only came up with one site, that of John and Pippa Brooker , who have now retired, but thanks to a search on the HCA site I discovered that Caroline Allington at the Fan Museum, is teaching Victoria Adjoku the craft after she joined the museum especially to learn fan making.

The little known, Red-listed craft of Fore-Edge painting was explained by the UK’s only remaining artist in the field. The gasps of admiration and surprise in the auditorium were audible as many of us suddenly understood what Fore-Edge painting actually is. Martin Frost showed images of his work and explained how he paints along the finest edges of book pages in a manner that the image only becomes visible when the pages are carefully fanned open.

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Fore-edge painting by Martin Frost.

The outer edges of the pages are gilded so that when the book is closed the picture is invisible. It is like something out of a Dan Green novel; antique Bibles and historic books with hidden works of art only visible to those in the know. But it is not only antique books that are being treated to this art form. Collectors of limited edition books commission paintings to be added to their prized books, sometimes the images are related to the books contents, more often a stunning watercolour landscape, and occasionally a little titillating piece of erotica! Martin spoke eloquently about his art and is teaching the craft in an attempt to avoid it’s demise. and was awarded the HCA Maker of the Year Award.

 

One of the most ardent topics of conversation during the day was the concern about the lack of hands-on craft teaching in today’s education system. People explained that they have encountered sixteen year olds that want to take up an apprenticeship in a craft based industry, they have never before had the opportunity to use hand tools, or physically make things at school. This is putting the UK at a disadvantage in terms of innovation in craft and other areas. For example, the Royal College of Surgeons has expressed concern that because students do not have the opportunity to learn traditional craft techniques or how to handle tools, the manual dexterity of aspiring surgeons is of a much lower level than in the past and dedicated courses are needed in how to physically manipulate needles, thread and scalpels. The focus on academia and STEM subjects has, in the opinion of many craftspeople, caused potentially successful makers to be discouraged in the education system and therefore not been inspired to follow an artisanal career. Emma Bridgewater suggested that the link from art schools to industry should be supported by business mentorship, putting craftspeople in touch with schools and art colleges to explain how to effectively create a viable business. Paul Martin of BBC TV’s “Flog it!” also pointed out that although all too often the BBC programmes that he works with would like to involve children in hands-on experiences of crafts, they are unable to do so because of the prohibitive Health and safety restrictions involved. but he says “I do see a renaissance of 10 year olds wanting to have a go”.

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Paul Martin “My job is to get more of you onto TV”

The HCA Chair, calligrapher Patricia Lovett took this opportunity to announce that the organisation has set up a Parliamentary all-party group for Craft which is a fantastic piece of news.

 

I could probably write another six pieces from all the fantastic makers that were featured during the day, from the bespoke artisan saws of Skelton Saws  to the stunning rush weaving of HCA Award winner Felicity Irons of Rushmatters where in addition to creating natural rush products courses are also available to learn these traditional skills.

The Heritage Crafts association is run entirely by volunteers and exemplifies all that is best in the world of Heritage Crafts. Membership gives an on-line newsletter, listing for craftspeople on the Makers Directory and the vital knowledge that you are playing an important part in the protection of Craft Heritage. But for just £20 what more could you ask for!

 

 

 

 

 

 

 

Textiles in the Archives

I was recently invited to attend a lovely evening hosted by Poppy Szaybo, a textile artist and archivist at the London Metropolitan Archives near Mount Pleasant.

In all the many years I have lived in London, I am ashamed to admit having never visited the Archives before, and was delighted to find such a fantastic resource for historians, researchers and genaeologists, not to mention artists, who often neglect their intellectual stimulus in favour of practicalities of producing new artwork!

The theme of the evening was ‘Fancy costume – the art of dressing up” and the talk was given by Charlotte Hopkins who works for the archive. We were a small group of creative people all with a common interest in textiles and history.

The lecture took a long and sometimes sideways look at the fascinating subject of ‘dressing up’ and it’s traditions in European and English society, from the Pleasure Gardens of Vauxhall to photographs taken by students at the London College of Fashion in the 1970’s.

One of our primeval instincts, completely acceptable in childhood, but modified and subverted in adult life is the need to ‘dress-up’ or take on another transient identity for the pleasure of ‘pretend play’. The escapism and anonymity of dressing up burgeoned in the 17th and 18th centuries, becoming part of upper class social life, and often viewed at the time as a pathway to depraved behaviour. Aristocracy and high society families spent large sums on having beautiful costumes created, and there was a large industry of costume and mask makers in London. The lower and working classes were more inventive in their creations for dressing up opportunities,

The Lord Mayor of London hosted masquerade balls for the children of the professional classes, and no expense was spared in the creation of their children’s costumes.

The London Metropolitan picture archive’s online resource ‘Collage’ allows free access to thousands of the documents and images in the collection, and is a fascinating resource for historians and artists alike. Tiny snippets from historic documents are available to view on request, old newspapers, photographs and illustrations are a rich resource of inspiration and a little window into lives led in another era. 


I loved the tiny catalogues of prices and business cards that had been taken out for us to handle, listing prices for ‘ladies undergarments’ and necessities !

We were lucky enough to be shown into the strong rooms of the archive, deep in the building. 

Long corridors filled with shelves and files, all housed in custom made archival boxes, with one member of staff purely responsible for creating these custom made boxes! The wonderful aroma of ancient documents and slightly musty books pervades the space. What look like really old bound books are stacked on some shelves, but on closer inspection date back only to the 1950’s, maybe the mere fact of them being in this environment has given us a preconception of their antiquity!

London coroner’s court records are stored here, with files containing both the mundane and the macabre details of lives prematurely reaching their end. A sobering view as we peer into the corridors of files. Illustrations of dress design and fashions were displayed for us to see, and I was delighted to find plates of Leon Baskt illustrations amongst the pages of the London Illustrated News from 1913. Radical costumes for the time, unstructured and body hugging in comparison with contemporary fashions.

I could happily return (and probably will!) To explore more of this fantastic free resource, but leave you to explore either through the virtual portal of  ‘Collage‘ or in person, do let me know if you find a treasure!

‘English Work’ at the V&A.

The current ‘Opus Anglicanum’ exhibition of Medieval ecclesiastical embroidery at London’s Victoria and Albert Museum took me way back to my student days when I was lucky enough to be of the generation when it was still possible to study Embroidery A’level. My lovely embroidery teacher allowed us to take off on flights of fancy with creative embroidery whilst instilling a respect for the timeless techniques of the past. It is hard nowadays to imagine a state school sixth form running an A’level course with only three students, but at the time we never even questioned it! Alongside our study of artistic and contemporary stitch techniques the history of embroidery was an integral part of the course and I was thoroughly absorbed for a while in the world of ecclesiastical embroidery and it’s techniques. The no photography protocol of the V&A meant me taking out my note book and sketching some of my favourite  fragments, and even this was time consuming, leaving me to speculate on the unnumerable hours that were spent actually stitching these pieces!

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The language of this exhibition was not unfamiliar to me as a past student of ecclesiastical embroidery, although I did hear several people wondering “What is a ‘chasuble for?” or “Which is the ‘split stitch’ and which is ‘couching’? ” ( A chasuble is the highly decorated tabard that a priest wears over his normal robes whilst celebrating Mass) Split stitch and Couching are shown  here:embroidery-stitches

In the 13th Century, English embroiderers were at the pinnacle of embroidery workmanship. Church and high society aspired to commission their garments from the English embroiderers in London.   bologna-cope

Large embroideries like the  Butler Bowden and Syon Copes were made by highly trained professionals, both men and women. They were employed in workshops which were funded by merchants and noble patrons. The merchants took the profits, not the embroiderers who received only modest payments for their work. Most workshops were in London where the necessary capital was available and which was the principal port through which the imported materials arrived. The phrase ‘opus anglicanum’ was first coined to  describe the highly-prized and luxurious embroideries made in England of silk and gold and silver thread, full of elaborate biblical imagery.’English Work’ or Opus Anglicanum remained the most sought after work until well into the 15th century.

I was looking forward to the rare opportunity to see ‘up close and personal’ the incredible detail in the embroidered vestements worn in the Medieval Church. I found it sad to think that the hours of work that were put into the embroideries were lost on the congregation, as they would not have had time or opportunity to ‘read’ the pictorial stories depicted on the garments, nor would they have been able to see the minutiae of the stitches that created these incredible works of art. There are exquisite examples of intricate stitching and beautiful fragments of embroidery in this exhibition, but I did feel that it was a missed opportunity on the part of the V&A. In comparison with the recent exhibitions of the past year , this one fits the norm of a dry, old fashioned, ‘museum’ exhibition. I had the impression of wandering amongst embroidery and theological aficionados, who, albeit enthusiastic, certainly did nothing to enliven the atmosphere.

The staging of this exhibition is in a dry, traditional style, some of the beautiful work is presented so far back in the glass cabinets, that it is impossible to make out the details. There are fantastic stories depicted in many of the Church garments, none of which were adequately told in the labelling. The minute stitches really needed to be magnified, but there was no way of doing so. A short film demonstrated the technique of one style of stitching, but was small and nestled between two glass cases, so difficult to see if there were more than two or three people looking. All in all I left, even after my second visit, feeling frustrated at the lack of interactive or engaging display.

However, if you have any interest at all in the world of textiles or history, then this may be the only opportunity  for a long while to see such a comprehensive collection of some of the worlds greatest embroidered treasures, so essential viewing !

 The source of art is in the life of a people.

Walter Crane Marquetry floor. South London Gallery.

I do love to pop in to my local galleries on a completely random basis, (often to grab a coffee in addition to cultural input, it must be admitted!) The South London Gallery is a haven of the Camberwell/Peckham culture scene, and in addition to having a great cafe next door, shows pioneering contemporary British and international artists as part of its mission to “bring art to the people of south London”.

The current exhibition of  Slovakian artist Roman Ondak in the main gallery has uncovered the original Walter Crane marquetry panel inset into the gallery floor, and he uses the quote in the panel as his exhibition title; “The source of art is in the life of a people”. The exhibition lasts for one hundred days and a significant element of the work is an oak tree trunk sawn into one hundred disks, the disks have each been marked around one of its rings to represent a key historical event that happened in that year of the tree’s life. each day a new slice is mounted on the gallery wall and tracks the passage of time, demarcated by Ondak’s selection of significant events. it is fascinating to ‘read’ this timeline as it evolves through the show period, and realise that each of us has a different perspective of what we consider to be ‘significant’ historical events.

Roman Ondak has invited local young people to get involved in the creation of his work ‘Awesome Rules of Language’ where he has taken illustrations from a 1960’s textbook and recreated them on the walls of the gallery. The illustrations have been drawn over by the adolescent collaborators and these doodles and comments have given  a quirky contemporary twist as a commentary on social and educational norms.

Still in the theme of education, Ondak has salvaged four large school blackboards from his native Slovenia, entitled ‘Four Moon Phases’ a bowl of a ladle is inserted into each of the boards,  symbolising the four phases of the moon, referring again to the passage of time and the transition between past and present that informs our existence.

I will certainly be popping back periodically to check what has happenned next in Ondak’s ‘tree of history’.

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