The national centre for craft and design, located in Sleaford (in Lincolnshire for all those wait-there's-an-England-out-of-London?! types) is quite the hidden East Midlands gem. I say hidden, as it only just recently came up on my radar, but it's link with the crafts council and £9 day return ticket to Nottingham makes it a new future firm favourite
The principle exhibition I came to see was the craft's council 'Space Craft' - though the whole building was full of inspiration. From the rooftop viewing platform to the ground floor design and gift shop (essentially the new Tate Modern!), I collected a whole load of photos, drawings notes. I'd probably be leaving with something from the shop too if I wasn't so far into my overdraft...
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Object a Day
The staircase is even a fine thing, with its 'Window Collection' - showcasing Helen Pailing's 'Object a day' installation, featuring lots of fun little material experiments. Like characters or creatures, they have a narrative to them, particularly as the the materials used have been 'found, scavenged, borrowed, purloined or recycled'
I particularly liked the way the installation used light and space, creating a subjective sense of scales to the works. These could be domestic fish tanks, or on an aquarium scale. The presentation was colour coded - which I can aids the viewer to appreciate the designed nature of these experiments. Though still the greatly varied forms and materials still praise the beauty of material play and undesigned, seemingly functionless objects.
It reminded me of the the 'material wall' of my foundation course, which became a dumping ground for unwanted samples, transforming them into inspiration for future years.
More about the collection, which 'possesses it's own rich tapestry of meanings and possible narratives' - can be found on her website at www.helenpailing.wordpress.com
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Lesser known architecture
This exhibition was the showcase for Theo Simpsons's ongoing research project that celebrates the forgotten icons of British architecture. As photography exhibitions go, I particularly liked the curation and coherent styling of the images.
The concept and content is simple, the real beauty to this display was the way it was presented. Each framed image stands alone, with no context or title. These exist in the accompanying guide, which uses alphabetical ordering, and contact sheet style images in clear correlation to text to make access to information really easy. This allows the images to speak for themselves at immediate glance, making them more powerful, as the viewer is swayed by notions of function, location and identity.
Along with great curation inspiration, I also learnt something new - that London had a mail rail in the early 20th century. With it's relevance to culture, society and history, it's all hardly 'lesser' architecture, I'm glad someone's putting it on a pedestal.
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Space Craft
This exhibition brings together two disciplines; craft and architecture, considering the relationship between them by presenting work by makers inspired by architecture and by architects that are deeply connected to making. I feel the term 'spatial' connects the two together well, playing on senses and scale. The exhibition quotes Edward de Waal on the subject, who said that when a pot is thrown 'you're making a volume in a very short space of time; you're creating an internal space.'
As with the previous display, I was really taken by the curation - more specifically the exhibition design - in the form of upright cardboard tubes laid out in a manner to change the function of the space in which these objects sat. More specifically, making it impossible to enter. Rather than solid walls or railings, as motifs of architecture, by using cardboard objects to create an abstract forms of barrier, the exhibition design mirrored the concept and reason behind the display. These tubes came in a variety of shapes and colour detailing, relating more to a craft or making I feel than architecture, playing on the idea of batch and bespoke production.
Space craft Exhibition design
I also had a personal connection with these forms - as they relate to a 3D piece of work I recently made, aptly named 'peg board'. I designed it in order to 'draw in 3D' - making my illustrations and interpretations spatial. Of the many unexpected and pleasantly surprising outcomes, one was that it looked like an architectural scale model, which is why I feel it links to this exhibition design. It therefore could be seen a map, which this space has turned into a reality. I like the way maps offer a varied perspective, so what looks I 'drew' (using elastic bands) looked different at different angles, had different shadows, presented different restrictions in space etc. As I feel this large scale installation version does. I also liked the idea of small changes, and traces being tracked, which relates to the relationship between time and space (perhaps how maps vary). It quite interesting to consider what it would mean to "draw spaces".
Of the high quality on offer, the individual displays which caught my imagination best were ones which came in a form or used a process that I felt familiar with and interested by. Ute Decker's interesting and inspired jewellery which played on themes of scale and function gives me hope that I could potentially translate my practice into body adornments (I've had many unsuccessful attempts so far.) 'Articulation' is a necklace which has been designed to enable the wearer to play and display it in different compositions on the body. 'In the praise of shadows' describe a set of earring which invite curiosity, playing with scale and light. They pay 'homage to Tanizaki's Classic essay on the aesthetics of shadows in Japanese architecture' - which has gone straight on my research list.
The FleaFollyArchitects' work was perhaps my favourite of the exhibition, I'd definitely describe it as being the most conceptual. It is a shame the actual 'Grimm City' wasn't present, the project was instead demonstrated with a film and a book. The latter cunningly titled 'Grimm city: an architectural fairytale', due to the project being inspired by the Brothers Grimm. The project saw a 'miniature universe' being hand-crafted, like a story-telling architectural model 'translating the Grimm characters into an elaborate cityscape.'
Stills from the video. Watch it here: https://vimeo.com/102012309
FleaFollyArchitects is a 'spatial storyteller using narrative to invent unique architectural propositions'. The studio describes itself as 'crossing the fields of architecture, design, craft and contemporary art' and highlights 'the importance of making by hands to create original and often surreal observations.' This all obviously greatly interests me as I feel my work crosses the boundaries between art, craft and design.
The presentation of a video (showing their final outcome) and a published book also resonates strongly with the way I wish to start presenting my work. As a commission piece (as noted in the video), this style of conceptual design is one in which I wish to work towards within my own creative career. With intentions to write more about my work, the fairy-tale style of the book was very interesting. This is maybe more engaging and conceptual than an essay or report (being short stories), and also featured 'plates' (black and white photographs with poetic text underneath). Rather than being a report on the process of design, it explains specific visual elements of it in relationship to the inspiring concept of the Brother Grimm tales. So starting with the end outcome, and explaining backwards, rather than in a chronological progression (a strong contrast to this blogpost huh.)
The pleasantly familiar yet colourfully striking work of Anton Alvarez was a great companion for the new-to-me range of designers and crafters. Alvarez's thread wrapping machine is potentially one of my greatest inspirations - and I have made the most of every opportunity presented to see the work which he has created with it. Alvarez's current practise 'focuses on the design of systems and the creations of tools and processes for production on a domestic and architectural scale'. The piece on display here was an arch, which perhaps isn't quite as loveable as the little stool that I saw on display at Libby Sellars last year (not with such a little price tag unfortunately.) Though it is interesting to the diversity of the outcomes this process can make - in terms of scale, form, colour and function.
The ceramics of Adam Furman were definitely of a medium that I have no interest in pursuing (clay is not my friend). However I found the reference to 3D manufacturing processes, and the fun quirky sculpture-esque titles he had given his formed outcomes interesting. (Think memetotem, kitschpot and scrollascaper - spellcheck loves them...) I suppose the real draw of my attention was the fact that he had developed these, as the well as the culminating piece 'Identity Parade', as part of a residency for the Design Museum in 2013, which is a position I would love to find myself in.
Jewellery: Ute Decker. Ceramics: Adam Furman. Wooden furniture: Simon Jones
Finally, the work of Simon Jones in the form of space saving self-assembly furniture sparked interest in me as I feel my project and practise connects quite strongly to tools, and toys. I'm interested in the functions of these objects; their interactive properties and the fact they directly benefit human capabilities. Toys particularly interest me, as I feel they are tools for developing the brain, both intellectually and creatively.
This got me thinking about how self-assembly furniture is like a toy for adults. It's problem-solving, engaging, and often comes with wordless instructions. These instead rely on symbols and diagrams for construction, in the same way Lego and K-Nex often did, which rely on some kind of Semiotic understanding. I'm quite drawn to the term 'construction', as I feel this relates to me drawing practise. There is also a novel approach in the fact that toys and tools are to be re-interpreted. You can imagine the fun things you could create if you assembled IKEA furniture incorrectly (though you might need some extra nails...)
To conclude and reflect upon the exhibition Space Craft, I certainly gained a lot of inspiration and further research sources to take forward with this current project. As an opportunity for 'Personal Exploration', it's a large build up for what I see myself taking forward next year. I've realised this year that I like to use my creative process to investigate things, as if using design to research. So I have quite a conceptual process, (ideally) leading to a well designed outcome. I feel the works exhibited are excellent examples of this. All in all I need to make sure what I'm doing is fun and interesting, so that I can enjoy it and hopefully what I do will get featured in similar future exhibitions.
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Kate Bajic: Lichenology
This exhibition focused on one specific designer/maker, Bajic, presenting examples of her material research, design process and final outcomes. As a jeweller, I particularly liked her use of concept, linking to the biological traits of Lichens, as well as her material research, similar to scientific experiments.
The concept behind the final pieces was explained through writing, though the brooches were definitely beautiful and interesting objects themselves. For the brooch 'Xanthoparmella semi - viridis' (vagrant lichen), the physical form of the Lichen has inspired the design as well as how it's used in research being symbolised. In this way I feel like this pieces could be used educationally. I also feel this dual function of displaying physical and symbolising information links these pieces to maps.
As I enjoy learning about Bajic's design process, it's also important to notes that her work is as much about being product to sell as well as display in an exhibition. This is a way of working which I find difficult to imagine myself doing, however obviously I really enjoy her work. One of the pieces on display, the 'Flourish Brooch', is explained to be a collaborative piece, designed to be part of an American exhibition. This is a process I would enjoy, though it is nice the thought of having my own range of well designed objects which I enjoy to make and sell (for hopefully quite a lot of money) alongside this statement work. The reason I find this hard to desire is because I feel like design and craft are two markets which can be very wasteful, exhausting and saturated with rubbish. I'd really need to feel like what I was doing was good and important, therefore I see myself aiming more towards the conceptual-product-displayed-to-inspire market, rather than the manufactured-to-own.
Though in saying that I feel like Bajic has got it right. I feel like what she is doing is original and inspired, due to her consideration to concept and extensive material experimentation.
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Closing Thoughts
I will accompany my concluding thoughts on my project that I've developed today with an image of the gift shop (one of the good ones!) . I suppose the question is 'Is this the dream?' Seemingly successful graduates of my course have their work here, as do designers that inspired me to choose the course I have, such a Donna Wilson. I always wanted to make work that was adored, and celebrated, though I'm now starting to question whether I really want my things to be owned, or more considered inspiring and referenced in future art/craft/design projects. Beautiful and interesting is the key, which has to come through initial concept as well as process of making (particularly see Anton Alvarez for the latter.) I'm strong at exploring the former, though I still feel like I need to refine the latter, which I feel like I am with this project, and by considering 'drawing in 3D'. Understanding my end function is also a big leap forward, and I've realised I am really keen for what I do to be interactive and engaging. I feel like I've gained a lot through really evaluating and reflecting upon previous projects, as well as discover new work that inspires me and presented in a way that I aspire to. Which I would say describes pretty much everything I saw today to an extent.
To conclude on my day out at National Centre of Craft and Design; I had a lot of fun. I think that's the most important thing right now, having fun with my work and doing what I want. I know I want to return again soon once the current exhibitions have rolled over. Hopefully anyone else who gets the chance and needs/wants/enjoys some inspiration will do too.
