London Design Fair & Shoreditch Design Triangle

Posted on September 28, 2019 by Toothpicker

Please Be Seated is a large-scale installation designed by Paul Cocksedge, and it is made from more than 1,000 scaffolding planks. Cocksedge collaborated with Essex-based high-end interiors company White & White to re-imagine and re-use the building wood. The curvy seating encouraged passerby to sit and relax with their books or lap tops, which subsequently turned the square into an interactive and social space.

At the annual London Design Fair in the Old Truman Brewery, the main focus was on craftsmanship and sustainability (a big trend at the festival this year).

One of the surprises was to see United Arab Emirates showing for the first time at the fair. Curated by the Irthi Contemporary Arts Council and the NAMA Woman Advancement Establishment, the pavilion featured 12 works made by UAE women using a range of traditional crafting techniques and local resources. Designed to reflect the nature and landscape of the UAE, elements such as wood and camel leather are featured in the works.

Contemporary craft work by UAE women curated by Irthi Contemporary Crafts Council

This year’s Material of the Year was all about biomaterials – another hot topic in the design world today. Developed from the by-products of the agricultural industries, biomaterials are innovative materials that are created mostly from food and industrial waste. One of the most intriguing materials is Totomoxtle, a new veneer material made with husks of heirloom Mexican corn designed by Mexican designer Fernando Laposse. Meanwhile, Italian design firm High Society has created plant-based lighting from the post-industrial waste including hemp, tobacco and residue leftover from wine production.

Top: Fernando Laposse’s Totomoxtle; bottom left: High Society’s Highlight; Bottom right: Studio Tjeerd Veenhoven‘s leather-like material and products made from palm leaves.

In the nearby Shoreditch, I stumbled upon a pop-up shop showcasing a new brand that also uses industrial non hazardous waste as the main elements of design. Cancelled plans is created by Indian designer Mallika Reddy, who has been collecting rejected materials from local factories and combined them with conventional materials to create a range of fashion accessories. The range will be available for purchase on the website at the end of the year.

Cancelled plans’ pop up shop

London design festival & Kengo Kuma at the V & A museum

Posted on September 24, 2019 by Toothpicker

Over the past few years, I have been quite disappointed with design industry’s ‘slow response’ in tackling the sustainability issues, and felt the same way when I visited trade shows and exhibitions at the London design festival. Finally, things have changed this year. Sustainability and handmade crafts became the main focus of this year’s festival, and it was conspicuous at the V & A museum, the official hub of the festival.

At the entrance of the festival, visitors had to walk under a massive cube suspended from the ceiling. The ‘Sea Things’ installation, created by Sam Jacob studio, addressed the ocean plastic waste issue that we face today. An animated motion graphic created by Rory Cahill was projected within the cube, which showed the growing numbers of plastic waste alongside with sea creatures. It reflected an infinity that seemec both as wide as the ocean and as large as the challenges we face.

Sea things by Sam Jacob studio

At the John Madejski Garden, Japanese architect Kengo Kuma worked with Ejiri Structural Engineers and the Kengo Kuma Laboratory at The University of Tokyo, to create a nest or cocoon by weaving rings of bamboo and carbon fibre together. The 2m-diameter ring was made from strips of the bamboo Phyllostachys edulis, and was combined with carbon fibre to achieve a certain rigidity while maintaining the unique material properties and beauty of bamboo. The installation was intended to be a catalyst for weaving people and place together.

Bamboo ring by Kengo Kuma

At the Global Design Forum, Kengo Kuma was invited to give a talk on material explorations. Kengo, who recently designed the £80m V&A Dundee, his first building in the UK, as well as the New National Stadium for the Tokyo 2020 Olympics, revealed that nature has always been his main source of inspiration. Located on the edge of the River Tay, the V&A Dundee was inspired by the eastern cliff edges of Scotland, and it is partly built on the water to emphasis the connection with nature.

It was interesting to hear him talk about his past projects and the materials he used for them. The world will certainly be focusing on him next year when the Tokyo 2020 Olympics opens. After so much controversy over his timber stadium, I wonder if it will prove the critics wrong.

Kengo Kuma at the Global Design forum

Non-Pavilion by Studio MICAT, There Project and Proud Studio. The Non-Pavilion is a digital pavilion and it used AR technology to invite visitors to engage with the idea of ‘less’ as enrichment rather than loss.

The demolition of Robin Hood Gardens –the Brutalist housing estate in Poplar, East London, completed in 1972 by British architects Alison and Peter Smithson– was recorded by London-based Korean artist Do Ho Suh in 2017. His panoramic film used time-lapse photography, drone footage, 3D-scanning and photogrammetry to create a fascinating visual journey.

Rony Plesl’s unique glass installation draws inspiration from fire and wood – key components of glass making – and from the idea of Sacred Geometry, a universal language organising all visible and invisible reality according to basic geometrical principles.

Supported by Sony Design, Affinity in Autonomy is an A.I. installation featuring a pendulus moving in random directions inside a round cage. However, human presence would be detected and the pendulus would respond to visitors’ physical movements outside of the cage.

One of my favourite exhibits at the V & A was the Black Masking Culture inside the Tapestries Gallery – the huge Mardi Gras Indian suits are composed of intricately hand-sewn beadwork created by New Orleans artist, Demond Melancon. The beaded suits illustrate actual and imagined events of the indigenous people in America and enslaved Africans, with imagery rich with symbolism and meaning. The suits blended surprisingly well with the tapastries in the background despite being made centuries apart.

Black Masking Culture

Blanc de Chine, a Continuous Conversation (ongoing until 2020) showcases historic pieces from the V&A’s Asian and European ceramics collections, as well as a selection of new works by contemporary makers including: Babs Haenen, Lucille Lewin, Liang Wanying, Jeffry Mitchell, Su Xianzhong, and Peter Ting. Retelling the story of porcelain-making in Dehua, the display builds a bridge between the past and the current, tradition and innovation, and breaking the boundary of Chinese and non-Chinese ceramic practices.

Sea things by Sam Jacob studio showcased eight historic water vessels remade in new sustainable materials such as recycled plastic, sea shells and bioresin etc.

Repair-Making and the Museum – V & A resident maker Bridget Harvey examined repaired and broken objects in the collections, and conservation practices.

Bamboo Futures – Bali-based designer Elora Hardy and her team at IBUKU construct sustainable bamboo buildings across the world, with every IBUKU building being devised using a bamboo model. This installation of miniature buildings demonstrates how IBUKU’s model-making is both integral to their creative process and an invaluable tool throughout construction.

Leaders of London’s cultural institutions were invited to collaborate with some of the world’s most prolific designers to create a ‘Legacy’ piece of design – an object of personal or professional relevance to them. The 10 pieces were beautifully crafted in American red oak, a sustainable hardwood species that grows abundantly in American forests, and were fabricated at Benchmark Furniture in Berkshire.

Top left: Kwame Kwei-Arwah, Artistic Director of Young Vic, with Tomoko Azumi; Top right: Hans Ulrich-Obrist, Artistic Director of Serpentine Galleries, with Studiomama; 2nd row: Sir Ian Blatchford, Director and Chief Executive of Science Museum Group, with Marlene Huissoud; 3rd row: Dr Maria Balshaw CBE, Director of Tate, with Max Lamb; Last row: Alex Beard, Chief Executive of Royal Opera House, with Terence Woodgate

The Ingenious Mr Leman: Designing Spitalfields Silks (on display until October) showcases James Leman’s silk textiles from the early 18th century.

Staging Places: UK Design for Performance (ongoing until 2020)

Pioneered by the V&A Research Institute (VARI) and Design Thinker in Residence, Ella Britton, this experimental school inside the V&A will collectively create a design curriculum for the 21st century. The School is about exploring what a design education could be. And who it should be for.

London Craft Week 19: Contemporary Japanese craft

Posted on June 15, 2019 by Toothpicker

Indigo Hands installation at Coal Drops Yard

At the London Craft week this year, many Japanese craftsmen and artisans were invited to take part and showcase their exquisite craftsmanship. Although Japanese craft is highly regarded worldwide, the future of many traditional Japanese crafts is still uncertain due to the lack of younger people entering these fields. In the past, traditional craftsmanship is passed down from generation to generation within artisan families. However, due to dwindling demand, urbanisation, change of lifestyle and taste in Japan, few young people would want to dedicate their lives learning and perfecting an ‘old-fashioned’ craft. In order to preserve these crafts, artisans have to constantly evolve, collaborate, and innovate.

In recent years, the revival of natural and indigo dyeing proves that there is no such thing as an ‘old fashioned’ craft. After computer and mobile technology took over our lives for the past two decades, many people are now finding comfort and joy in making tactile craft again.

Eastablished in 2015, BUAISOU is a young team of Japanese indigo farmers and artisans responsible for the revival of sukumo – dried and fermented indigo leaves – in Tokushima, the hometown of Ai Zome (natural indigo dye). Tokushima was the top producer of Ai Zome garments in Japan in the 19th century with around 4,000 aishi (sukumo farmers), but due to the introduction of synthetic indigo and other various factors, now only six are left.

At LCW, Coal Drops Yard commissioned BUAISOU to produce a series of handmade and hand dyed flags, and the team conducted several onsite dyeing workshops in KIOSK N1C. Unfortunately, I missed the workshops, but I do hope to visit their studio in Tokushima in the future.

At Heal’s, the Japanese Craft Market showcased ceramics, Mino washi, blades, and wood craft produced by thirteen exhibitors from the Gifu prefecture. I visited Mino and Takayama in the Gifu prefecture last year, so seeing the crafts brough back memories for me.

There are several towns in the Gifu prefecture that are famous for ceramics, including Mino, Toki, and Tajimi. In Tajima, there is Ceramics Park Mino, a ceramic museum and park that showcases Japanese ceramics. The town also holds an annual ceramic festival during the second weekend of April which attracts thousands of visitors to this area. The region has a lot of small and large scale producers making tiles and ceramic wares including household items, crockery, sculptures etc. as well as huge furnaces and other equipments for industrial purposes.

The ancient town of Mino is famous for Washi (Japanese paper), which is used for shoji doors, umbrella, fans, lanterns and stationery. The high quality and durable handmade paper uses pristine water from the Nagara river and is considered as natioanl treasure in Japan. You can learn more from my previous entry on Mino here.

As soon as I arrived at Hida Takayama in the Gifu Prefecture, a glass showcase of wood crafted furniture at the railway station caught my eye. The wood-abundant Hida has maintained a woodworking tradition for over 1,300 years. This region is famous for its skilled woodworkers and beautiful handcrafted furniture, and its minimalist aesthetic is similar to Scandinavian design.

I think the exhibition was a good introduction to those who are unfamiliar with Japan’s regional craft and design. I hope the Toyama prefecture will be next on the list.

At the Spanish luxury fashion house Loewe in Mayfair, California-based mother and daughter team Shizu Designs demonstrated traditional Japanese basketry weaving techniques that transform rocks into art. Rattan or cane is used to wrap and tie the rocks with ornamental knots used in Japanese ikebana basketry. Shizu Okino and Karen Okino also contributed to the LOEWE Baskets accessories collection which features their signature style.

It was mesmerising to watch the two artisans working side by side. Basketry is another traditional craft that is being revived today, and I believe these collaborations are likely to make people appreciate traditional craftsmanship and see it in a different light.

To be continued…

Scottish Highlands: Ullapool

Posted on October 4, 2018 by Toothpicker

This summer, I spent two weeks staying in Ullapool, a small picturesque port on the shores of Loch Broom with around 1,500 inhabitants up in the Scottish Highlands. Before this trip, I have never travelled anywhere beyond Inverness in the Highlands. Since Ullapool cannot be reached by rail, I had to take a bus from Inverness, which took about 1 hour and 30 minutes.

Although it is only a village, it draws many tourists as it serves as the gateway to the Western Isles. Large ferries and cruise ships can be seen at the port, and tourists can be seen embarking and disembarking all through summer. The village is also known as the centre for the arts and music, with several music festivals taking place here throughout the year.

Due to the peak season, I initially struggled to find accommodation for longer stay. After spending one week in a rental house, I went to the Isle of Lewis via ferry for a few days, then returned and stayed at a B & B up on the hill away from the centre. Luckily, the host told me that he has another rental studio by the loch in the centre, and that I could move over there after their guest had moved out. Somehow it all worked out, and I was more than happy to be staying in a studio facing the loch.

Ullapool is convenient as a base to explore the N.W. Highlands. I, too, used it as a base for my paper-making course in Elphin, and Geo Park tour. Hence, although I stayed in the village for 2 weeks, I did not get to visit the Ullapool museum, which was a pity.

Officially founded in 1788 as a herring port by the British Fisheries Society, Ullapool was designed by Scottish civil engineer and architect Thomas Telford. Although evidence of human settlements can be found along the coast and on the road side dating back over two thousand years. Some of the original 18th century buildings can still be seen facing the harbour.

However, the village is also associated with Scotland’s darker past as the harbour was the emigration point during the Clearances, where many crofting communities were evicted from their land by their landowners to make way for large-scale sheep farming from 1750 to 1860. During this period, many families in the Highlands left for the New World from Ullapool and never returned again.

Since Ullapool is a port, seafood is a ‘must’ when you visit this village, and the best seafood place here is not a restaurant, but a shack. The multiple award-winning Seafood shack (9 W Argyle St) offers fresh local seafood at affordable prices, and the menu changes daily according to what is being delivered on the day. I went there a few times for dinner, and the food was always delicious with a contemporary twist. I also had fish and chips from Deli-Ca-Sea (West Shore Street), a small fish and chips takeaway near the Ferry terminal, where they serve traditional fish and chips.

There is also a pleasant bistro facing the loch called The Frigate (6 Shore Street) that serves a variety of dishes made form locally sourced produce. And on the last night, I had drinks and dinner with a new friend at the friendly and bustling The Ferry Boat Inn (26-27 Shore Street). The Blue Kazoo Seafood Cafe not only serves fresh and tasty seafood, you can also enjoy live music there in the weekends. We had a brilliant last night there and loved the vivacious atmosphere.

The inspiring landscape of the Highlands is alluring to many musicians, artists and artisans. Hence it is no surprise that many of them have moved up to the Highlands to live and work.

At the paper-making workshop, I met Jan, a geologist/botanist/bookbinder who co-runs a beautiful art and craft shop in Ullapool. Ceàrd (21 West Argyle Street) focuses on locally made products by Scottish makers. You can find paintings, prints, jewellery, ceramics, textiles, crochet, carved wood and many wonderful items in their shop.

On the opposite side of the street is An Talla Solais Gallery, where they showcase practising artists across the North West coast of Scotland through their regular art exhibitions. I stumbled upon the opening night of local artist Peter White‘s exhibition and was intrigued by his nature-inspired work.

Peter collects stones from the hills he walks in, paints on them and eventually returns them to the summit of the hill they came from in memory of people who have died. Interestingly, I did encounter one of Peter‘s work when I was hiking up the hill one day (see below).

Further away from the centre, there is Highland Stoneware Pottery (North Road) where visitors can visit the pottery workshop and purchase unique pottery handmade by craftspeople in Lochinver and Ullapool. They have a vast collection of tableware, and an online shop where people who live outside of Scotland can order and get the items shipped to them directly.

What I enjoyed most about Ullapool is that I could easily go for walks or strolls by the river and beach without leaving the village. Nature and wildlife is abundance.

If you enjoy hill walking, then a short ascent up the Ullapool hill and the Braes would enable you to enjoy the panoramic view of Loch Broom and Ullapool. The highest point is the outcrop of Meall Mor with views inland of Loch Achall and surrounding countryside.

As I walked up to the highest point, the rain cloud started to move towards the village and it was engrossing to watch from the top. Luckily, I didn’t get too wet when I descended.

Last but not least, a trip to The Ullapool Smokehouse (6 Morefield Indstrial Estate) is a MUST before you leave the village. Located in an industrail estate, this family run business sells smoke fish, cheese, meat and eggs, using traditional wood-smoking methods. I bought some smoked salmon and smoked cheese and the quality is much higher than what you would find in the supermarkets. You can also order online via their webshop.

Kusakabe Folk Museum in Takayama

Posted on October 1, 2018 by Toothpicker

The view of the city from my room in the morning

I am not sure if it was due to the weather or flocks of tourists, but I was slightly disappointed with Takayama city centre after spending an afternoon walking around. Luckily, I woke up the next day and the clouds have cleared; the sun and blue sky completely changed my mood (and the cityscape), and I felt ready to explore the city more before leaving.

My first stop was one of Takayama’s famous morning markets, Miyagawa market, by the Miyagawa River.

Miyagawa market

The Miyagawa market is a popular tourist attraction because there are over 60 stalls as well as shops selling souvenir, local sweets, and handicrafts (esp. wood-carved items) made by local artisans. Meanwhile, there are also vegetable stalls selling local produce, and street food vendours where visitors could try out the street snacks.

Miyagawa river

After a pleasant stroll along the river and market, I spent the next hour or so at the beautiful Kusakabe Folk Museum which is located near the river. Constructed in Meiji period (1879), this house is the first merchant’s house to be designated as a National Important Cultural Treasure, along with the adjoining Yoshijima House. And in recent years, this private residence was turned into a folk museum that allow visitors to learn more about local crafts and folk art.

Kusakabe folk museum

Hida Takayama was ruled directly under Shogun Tokugawa in 1692 and for the next 176 years, the city was ruled by The Tokugawa shogunate, the last feudal Japanese military government (Edo period). Visitors to Takayama can learn more about the city’s history at the Takayama Jinya, the last surviving government house of The Tokugawa shogunate. Due to limited time, I wasn’t able to visit this house, but the Kusakabe folk museum offers an interesting insight because the Kusakabe were a family of merchants that worked for the shogunate and prospered during that period.

In 1879, after the original building was burnt down in a fire four years ago, a master builder called Jisuke Kawajiri rebuilt the house in its traditional Edo period style showcasing his exceptional craftsmanship. The house was built entirely in Japanese cypress, and the most spectacular feature of the building is the interlocking roof beams which reveal the beauy of the locally sourced Japanese red pine.

Another impressive feature is the stunning Butsudan (family Buddhist altar) which cost three hundred taels (around 10 billion yen in today’s money) to construct. The altar, along with the Kago ( the carriage of the Kusukabe bride) and the bride’s costume, were saved from the fire that destroyed the building.

Aside from the main building, there is a library at the back of the courtyard where visitors can view a variety of folkcraft from the area, including furniture, basketry and a vast collection of Hida ceramics. The small craft shop also sells many beautiful everyday objects made by local artisans.

I think this folk museum is really worth visiting for its stunning architecture and craft display. If I return to the city again, I would certainly pay a visit to the Yoshijima House nearby.

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Collect art fair 2017

Posted on February 10, 2017 by Toothpicker

Top: Improving The Everyday (In Support Of Grand Dad Vistor Center) by Laure Prouvost; Bottom left: Primal pottery project by Ole Jensen; Bottom right: Hanna Järlehed Hyving

The annual Collect art fair (2-6th February) organised by the Craft Council did not take place last year (according to their website, they had to take the time off to regroup and revamp), and so I was eager to see the new changes at the Saatchi Gallery.

This reputable craft fair showcased works by established and emerging contemporary artists and craftsmen who are represented by 35 leading art and craft galleries from around the world. Works included ceramics, glass, jewellery, wood, metal and textiles; and as usual, there were many stunning and intricately crafted pieces at the fair.

This year, aside from the exhibitions, there was an interesting programme of daily talks and activities; and a fund-raising Benefit Auction featuring works by top artists and makers.

Top left: Vessels on stilts by Adi Toch; Top right: Malcolm Appleby; 2nd row right: Tulipere 1 by Coilin O Dubhghaill; Bottom left: Gouttes de lune by Hitomi Uchikura; Bamboo series by Chien Wei Chang

On the ground floor, I was particularly drawn to an unconventional piece of work: “Improving The Everyday (In Support Of Grand Dad Vistor Center)” by Turner Prize winner Laure Prouvost (see above) at Cass Sculpture Foundation. Prouvost’s dining table is drawn from her project Wantee, which she won the Turner Prize for in 2013. Based on two fictional grandparents, she has created a tale out of ceramic tiles by turning symbols like eyeballs and lips into domestic functional objects. The ceramic eyeballs are in fact salt and pepper shakers and the ceramic mounds suggestive of breasts can be used as butter dishes (these may satisfy many men’s secret fantasies!). I like the playful concept and the organic style and forms, which are distinctively different from the more polished and refined works at the fair.

Top left: Broke by Sue Paraskeva; Top right: Lime tress by Marc Ricourt; 2nd row: Construct by Irina Razumovskaya 3rd row left: Halima Cassell; 3rd row right: Jun matsumura; 4th row left: Katie Spragg; 4th row right: Moonlight by Fuku Fukumoto

Top: Valeria Nascimento; 2nd row left: Swell by Sara Dodd; 2nd row right: Zemer Peled; 3rd row: Glass sculptures by Simone Crestani; Delusion by Aya Mori

Top: Cabinets for Small Curiosities by David Gates and Helen Carnac; 2nd row left: Enignum Shelf XXVII by Joseph Walsh; 2nd row right: Jongjin Park; 3rd row left: Michel Gouèry; 3rd row right: Misnad by Aljoud Lootah; Bottom left: Constructed feast by Tinkah; Bottom right: Sarood by Sheikha Hind Majid

At the Gendras Reginer Gallery, I was captivated by the quirky and fantastic terracotta alien-like sculptures by French sculptor, Michel Gouèry. The works stood out because they evoked our imaginations, and they are also beautifully made.

It was also interesting to see The Irthi Contemporary Craft Council from the UAE exhibiting at the fair for the first time. The Irthi Contemporary Crafts Council is an initiative established as part of the NAMA Women Advancement Establishment, under the patronage of the wife of the Ruler of Sharjah and Chairperson of NAMA. The three pieces shown at the fair (see above) showcased the merge of traditional Arabic crafts with new technologies by female designer makers from the UAE today.

Top: Lines by Lauren Nauman; Bottom left: Breathing Wings by Yoichi Takada; Bottom middle: Tomomi Tanaka; Bottom right: Nostalgia 1016-TWt01 by Osamu kojima

Top: Diamond dots IV by Marian Bijlenga; 2nd row left: Queen’s chair by Isabel Berglund; 2nd row middle: Rikke Ruhwald; 2nd row right & 3rd row: Shibori textiles by Shihoko Fukumoto; Bottom left: Mika Kenmoku; Bottom right: Mikiko Minewaki

Grayson Perry’s Essex House tapestries: Julie Cope’s Grand Tour

One of the hightlights of the fair was a room dedicated to Craft Council’s latest acquisitions: two of Grayson Perry‘s Essex House tapestries. They depict the story of a fictional Essex woman, Julie Cope, accompanied by a long, tongue-in-cheek poem, which provides a social history of Essex since the Second World War.

Top: Collect Open exhibition – 2nd & 3rd row left: Paper craft by Domitilla Biondi; 2nd row right: White by Soojin Kang; 3rd row right: Tending the fires by Claire Curneen; 4th row: Vessels by Tanya Gomez; 5th row left: Ruth Glasheen; 5th row right: Wooseon Cheon; Bottom: Crystalline Constellation by Shelley James

On the top floor, Collect Open showcased 14 up-and-coming designer makers from around the world selected by a panel headed by Faye Toogood. And there was Showtime, an exhibit celebrating the history of the Craft Council, which included many wonderful posters from its archive and objects from its previous exhibitions.

Showtime exhibition – Ring change spectrum by Ann sutton; Poster for Eric Ravilious’ exhibition; Poster designed by David King

The popularity of the fair demonstrates that craft is being more recognised than before, however, it is still nowhere near as prominent as other art forms such as paintings, sculptures and photography – which is a real shame. I hope that we will see more positive changes in the future because craft is an important art form that needs to be celebrated and appreciated by the masses and not just an elite group of buyers/insiders.

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Iceland’s Museum of Design and Applied Art

Posted on February 23, 2016 by Toothpicker

There are many museums in the centre of Reykjavik, so I am not sure how many tourists would venture out of the city to The Museum of Design and Applied Art located 6 km away from the centre. I managed to board onto the correct bus (number 1 from the City Hall bus stop), but it took me a while to find my way to the museum from the suburban bus stop because of lack of signage.

Despite its odd location, the museum is worth a visit for all design enthusiasts. As the only design museum in Iceland, its objective is to collect, study and Icelandic design and craft from 1900 to the present day. The Museum holds 4-6 exhibitions of Icelandic and international design per year. The museum’s collection comprises around 1500 objects such as furniture, product design, lighting, pottery, glass and fashion design. It is a fantastic venue to learn more about Icelandic design and its progress in the last several decades.

As expected, the style and aesthetics of Icelandic design is akin to Scandinavian design due to the Danish influence. The forms and aesthetics are simple, nature-driven, and undisputedly functional.

Although the museum is not huge, it is easy to spend over an hour here especially if you are keen to read about the stories behind the designs. Yet the highlight for me was the ‘Iceland is so ceramic’ exhibition – a retrospective of Icelandic ceramicist Steinunn Marteinsdóttir‘s works.

Steinunn Marteinsdóttir’s ceramic arts exhibition

Steinunn Marteinsdóttir‘s impressive works are inspired by the beautiful Icelandic landscape, and these elements are palpable in her vases, wall plaques, tea cups and saucers set etc. Her vast body of work bears witness to her indefatigable exploration of techniques and limits, in both material as well as formal language and decoration. It is remarkable how her styles and techniques have evolved over the years, yet the theme of nature has been consistent throughout.

The museum’s shop

Last but not least, the museum also has a shop that sells contemporary Icelandic designs and crafts. Prices are quite steep (it is Iceland after all), but if you are looking for high quality and one of a kind design objects, you will not be disappointed.

Address: Garðatorg 1, Garðabær, Iceland. (Tip: remember to print out a map before you go, otherwise, you are likely to be lost in the suburbs if you don’t have internet connection on your smartphone).

Maze Hill Pottery’s open studio

Posted on December 12, 2015 by Toothpicker

Top left: The disused ticket office-turned pottery studio; Top right: Lisa Hammond’s beautiful Soda & Shino glaze pottery

London is full of hidden gems, not only they are off tourists’ radar, but many are also unknown to Londoners. Since I live north of the river, I am quite oblivious to events that take place beyond Bermondsey or the Design Museum. We Londoners rarely venture out of our comfort zones (i.e. the zones we live or work in), thus we are like tourists when we step into the unknown!

It was an invitation that brought me to Maze Hill Pottery‘s open studio in Greenwich. The 2-day annual open studio event provided a rare opportunity for visitors to purchase beautiful handmade pottery by renowned pottery artist Lisa Hammond and her apprentices at significantly reduced prices.

Top: Darren Ellis‘ pottery; Bottom left: Lisa Hammond’s Shino chawan tea bowl and sake bottles; Bottom right: The outdoor workshop area

The studio is situated in the former ticket office of Maze Hill Station, which opened in 1873. Lisa turned the disused office into a pottery studio in the mid 1990s and built the first soda glaze trolley kiln in the UK at the back of the studio.

The studio also offers pottery workshops and evening courses, where students can learn the techniques of studio pottery in a professional working studio environment.

I wonder if BBC’s “The Great Pottery Throw Down“ (the pottery version of the hugely popular TV show “The Great British Bake off”) has triggered the public’s interests in pottery?

Regardless of the TV show, the studio’s reputation and exquisite pottery pieces have gained support from locals over the years, and so all the best bargains were snapped up as soon as the kiln was opened in the morning! Luckily, I did manage to pick up noodle bowls and mug reduced to prices cheaper than the mass manufactured pieces from Habitat!

After some mulled wine and snacks, I left the studio feeling satisfied with my purchase, and the fact that I have supported a local pottery studio. London doesn’t need more chained stores run by big corporations, we need more independent stores and studios run by passionate artisans, craftsmen, designers, bakers, booksellers and even corner shop owners who truly want to make a difference in this city.

Middleport – The last working Victorian pottery factory

Posted on November 2, 2015 by Toothpicker

Trent & Mersey canal

I had pre-booked a guided factory tour at the last working Victorian pottery factory – Middleport pottery factory the morning after my visit to the British Ceramics Biennial. I decided to take a scenic route (also recommended by the B & B owner) along the Trent & Mersey canal as the factory is located next to it.

The one-hour walk offered a glimpse into the past of the city. Engineered by James Brindley and completed in 1777, the canal played a crucial role in the thriving pottery industry at the time. The pottery manufacturer Josiah Wedgewood was one of the major backers of the canal, as he saw the canal as an economic option for transporting huge amounts of china clay and other raw materials such as coal between the ports and his factories.

Unfortunately, with the demise of the potteries industry, now there are only derelict factories and kilns along the canal. In 2011, Middleport was at serious risk of closure, and the Victorian factory was in a state of disrepair until Prince Charles and The Prince’s Regeneration Trust stepped in and rescued it from being turned into a car park by the pottery giant Steelite interational next door (informed by our guide at the tour)!

The facade of the Victorian factory

The Grade II* listed site was constructed in 1888 for a well-known local ceramics company, Burgess & Leigh Limited. The company was founded by Frederick Rathbone Burgess and William Leigh in 1862, and it was Leigh who had the idea of constructing a new pottery factory next to the canal. An architect was hired to design the factory (which was unheard of at the time), and it became widely recognised as the “Model Pottery” in the Staffordshire pottery industry. With its 3 biscuit and 4 glost bottle ovens, the factory was known locally as the “Seven Oven Works”.

Sadly, only one biscuit oven is left standing today; all the glost ovens were demolished in 1949, whilst the other 2 biscuit ovens were removed in 1965. The last biscuit oven survived solely because it is attached to the building, hence it escaped the fate of demolition.

Top left: Original factory signage; Top right: The Victorian steam engine; 2nd row right: The entrance to the last kiln at the factory; Bottom row left: Old factory machinery; Bottom row right: A vintage poster of the factory

After a three-year, £9 million regeneration of the site, the restored Pottery opened to the public in July 2014. It has resulted in the safeguarding of 50 local jobs and the creation of 66 more. Aside from a visitor centre – featuring the original Victorian offices – the site also has an open kiln with a small museum, an art gallery, a room with a Victorian steam engine, Prince of Wales Studios for young designers and craftsmen, a factory shop and a cozy cafe serving wholesome local specialities.

Before the factory visit, I had no idea that this is the last of its kind in Britain, and I was glad that had pre-booked the guided factory tour. The tour was not only informative, it also enabled us to understand the processes of the pottery manufacturing. We were led into different parts of the working factory and chatted to workers who are not only locals, but the 2nd or 3rd generation workers of the same factory!

The underglaze tissue printing room (except for the lady working on the Fortnum & Mason pottery in 2nd row right)

Burleigh is renowned for its traditional printing technique – the underglaze tissue ceramic transfer printing which first developed circa 1850. I was surprised to learn that Burleigh is now the only company in Britain (or the world) to employ this time-consuming but skillful technique. Other companies now use either screen printing or digital printing to save time and costs. Although Burleigh also employs these printing techniques, the underglaze tissue printing is what makes the company special.

Seeing the workers happily applying their skills and enjoying their tasks really made my day. I wish that more British companies would continue to support local manufacturing as it is part of their heritage. These skills and craftsmanship would be lost forever if these companies continue to set up factories overseas to cut costs.

Top left: The art gallery; Top right: The studios for young local designers/artists; 4th & bottom rows: The factory shop

After the tour, I spent some time browsing in the factory shop and I ended up buying an English ceramic tea set for my brother as part of his wedding present. Having just met the workers at the factory, it felt good to know that each piece of the set was made with care, skill and passion.

If you are going to spend one or 1/2 day in Stoke on Trent, then I highly recommend this guided factory tour. It is not only about ceramics, but fundamentally it is about the British history and heritage.

Top left: The display of pottery in the visitor’s centre; Top right: The Burleigh pottery board game; Bottom: The popular cafe by the canal decorated with murals painted by local artist

A short film about the Middleport pottery factory

British Ceramics Biennial 2015

Posted on October 28, 2015 by Toothpicker

The former Spode pottery factory was used as the main hub of the event

I found out about the British Ceramics Biennial (26th September to 8th November) on the news, and it got me intrigued as I have never visited Stoke on Trent, the pottery home of England before this trip. Since the 17th century, the area (now a city composed of six towns) has been associated with industrial-scale pottery manufacturing, and it earned its nickname as “The Potteries”.

In the 1970s there were 200 potteries factories operating in the area; today there are around 20. The demise of British manufacturing saw the shut down of many well-known pottery factories like Wedgwood, which went into administration in 2009. Many renowned British ceramics brands now produce their potteries in Asia to cut costs, and this has had a profound effect on the industry. And as a result of the closing of the pottery factory, British Ceramics Biennial was set up in 2009 to promote the declining industry.

Luckily, the revival and appreciation of British craftsmanship in the last few years has brought new light to the industry and British manufacturing. Younger potters and ceramic manufacturers have been setting up small studios and factories in the city, which is helping the economy and restoring the reputation of this once-thriving pottery city.

Top right: Ingrid Murphy and Jon Pigott‘s ‘The Campanoligist’s Tea Cup’; 2nd left: Rita Floyd’s ceramic flowers

Although I followed official map to the main hub of the event, I was quite skeptical as I walked through the gates of the derelict looking former factory ground of Spode. (The factory is no longer in use, but there is a Spode Works Visitor Centre on site which opens in the weekends.)

It was a relief when I eventually found the entrance to the exhibition area. The vast (and rather cold) factory space had been transformed into a gallery showcasing the best of British ceramics including works by renowned and up-and-coming artists from different parts of the country.

Top left: ‘Spode Trees and Dressed Silhouettes’ by Charlotte Hodes; Top right: Steve Brown; Main: Shop selling ceramic pieces

Eleven ceramic artists were selected for the AWARD competition, and their installations were exhibited in the centre of China Hall. The winner, Sam Bakewell‘s ‘Imagination Dead Imagine‘ is fascinating clay structure housing 12 years of occasional object making.

I also love Caroline Tattersall‘s ‘Geysers/ Breaking Through‘, which was inspired by Patricio Guzmán‘s ‘Nostalgia for the light’ (one of my favourite documentaries). Several curved vessels containing clay reveal the material in different states including ones emitting bubbles and steam like the gurgling geyser. The primitive and ephemeral aspect of this work demonstrate fully the versatility and essence of clay.

Top: Mella Shaw; 2nd left: Paul Scott‘s ‘Guldagergård Tree’; 2nd middle: Amy Hughes; 2nd right & 3rd: ‘Imagination Dead Imagine’ installation by Sam Bakewell, the winner of the 2015 British Ceramics Biennial AWARD; 4th left: ‘Crossing Boundaries’ by Anne Gibbs; 4th right: ‘Breaking Through’ by Caroline Tattersall; 5th row: Aneta Regal; Bottom row: James Rigler

Another showcase installation at the site was ‘Resonate: Remembering the lost soldiers of North Staffordshire’ by Stephen Dixon & Johnny Magee, which was placed in a separate room. Dominated by a monumental clay head by artist Stephen Dixon, made using a ton of clay sourced from the WWI battlefield sites of Passchendaele, the sculpture is based on the Victory Medal of 1919. The structure was accompanied by a sound sculpture by Johnny Magee, which orchestrated the familiar and incidental sounds, poignant songs and popular music of the period.

2nd left: Angie Thirkell‘s Eastern inspired ceramic tableware; 2nd middle: Kate Haywood; 3rd & 4th right: Standing on the Verge/Live Up by Nao Matsunaga; 4th leftt: Zen Rogue by Vilas Silverton; 4th middle: Charlotte Barker; Bottom row: Ragna Mouritzen

I was very impressed by the standard and variety of works showcased at the site, though I would have lingered longer if the site hadn’t been so cold!

After visiting the main hub, I walked across town to The Potteries Museum & Art Gallery in city centre before it closed its doors at 5pm. Aside from its superb collection of over 5000 ceramic pieces, it also traces the history of British ceramic manufacturing and the importance of Stoke in this industry.

The temporary ceramic exhibition ‘Confected, Borrowed and Blue…an installation by Paul Scott’(7 February 2016)is a delight. Scott uses the traditional visual language of blue and white decoration on ceramic to explore contemporary social and political themes. There is irony and playfulness in his works, as demonstrated in ‘Scott’s Cumbrian Blue(s), Cow in a meadow (after Damien Hirst)’.

Top left: The statue outside of The Potteries Museum & Art Gallery; Top right: The poster of ‘Confected, Borrowed and Blue…an installation by Paul Scott’;2nd row: The facade that depicts the manufacturing of potteries; 3rd row: Paul Scott’s ‘Scott’s Cumbrian Blue(s), Fukushima’; 4th row: ‘Scott’s Cumbrian Blue(s), Cow in a meadow (after Damien Hirst)’; 5th right: Eric Ravilious’ design for Wedgewood

To be continued…

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Tag Archives: ceramics & potteries