This exhibition draws work from the whole range of the Crafts Study Centre’s collections. It investigates the way that particular collections relate to a book of some description. The book may be a formal record of a craft process; or a scholarly analysis of the maker’s work set in an art or social context; or a listing of samples; or a volume of poetry; or an artwork in its own right. In each case the maker, researcher or curator has taken a very particular care to record specific objects in the collection, or has used the collection as a basis for original creative work. The exhibition reveals academic integrity, private thoughts, creative struggles and romantic reflection on the past. Research and creative writing are placed in the public domain, often after long periods of study.
The small display case on the top floor of the Crafts Study Centre, the staircases, landings and the shop are used to display recent works by UCA students and artists in residence, as well as research-led objects and recent collections. These shows give a special focus on the process of works of craft and acquisition research related to the CSC museum holdings.
This exhibition is comprised of ceramics (with some textiles) from the important collection drawn together by Michael OBrien. The ceramics explore his deep and resourceful fascination with post made in Africa, and most especially in Nigeria. In addition, the exhibition is used to encourage a critical reflection on OBrien’s own ceramics, which are less well known. We can see Africa in them, too.
A collaborative exhibition between MA students in the School of Craft and Design at the UCA and the Crafts Study Centre. Students have used the collections of the Centre as a source of inspiration to make new work, which they have curated alongside objects from the Centre in this exhibition. This exhibition recognises not only the skills, processes and materiality of renowned craft makers represented in the Centre’s collections, but also showcases the talent of emergent makers here at UCA.
Join Curator Greta Bertram in exploring a specially selected group of objects ncorporating and utilising patterns from the Crafts Study Centre collection to spark your creativity. In this hands-on workshop participants will have the opportunity to handle and draw on a range of historic craft objects, by leading makers, from this renowned collection of ceramics, calligraphy, furniture, textiles and more.
Triple Parade is a prestigious annual international cultural project, and has become one of the leading contemporary applied art and design exhibitions where cultural exchanges are expanded between China and the rest of the world on a multitude of levels. The four-part exhibition and conference opened in Shanghai HOW Art Museum-Design Center in October 2018.
Tim Johnson has been a practising artist and basket maker for over twenty years. Currently based in Catalonia, he works in both hard and soft materials such as willow, hazel, grasses and rushes. Join Tim in conversation with Greta Bertram, Curator of the Crafts Study Centre and basketry researcher to discuss his practice, inspiration and research.
TICKETS : £5.00 bookable in advance through the Crafts Study Centre on 01252 891450 or in person.
Artist and basketmaker Tim Johnson makes contemporary baskets rooted in world traditions. Based on the Mediterranean coast of Catalonia he uses a wide variety of plant materials harvested in the countryside and along the urban margins of his home town. The specific properties of these plant materials combined with diverse techniques gleaned from researches and experimentation give endless possibilities for creativity and expression.
We are delighted to announce that the symposium will be opened by Professor Magdalene Odundo, Chancellor of the University for the Creative Arts. In the 21st century technology has established an extraordinary relationship with the body: its crafting and its representation. Textiles, metals, and ceramics are used to replace interior body parts, while fibres can ‘read’ our most intimate details, acting as diagnostic tools. How does this affect the ways we construct our identity, process information about our bodies, move those bodies through space? The conference asks if craft knowledge and haptic understanding have roles to play in this debate. How can craft reflect on the body as a means of literal and poetic understanding of ourselves, our narratives and histories, hopes and concerns?
The short lecture ‘The role of the gallery: St Ives selling craft’ will consider how the specialist gallery of craft acts as a shop, a meeting-place and forum, and as a destination, and how the character and resources of the gallery directors, and their interplay with makers, sets the tone for the promotion of contemporary craft.
In recent years, with the advent of the digital age, there is a risk that we are quite literally losing touch with the things in our lives. This decline in “material intelligence” is a problem - not just because we are becoming illiterate about our surroundings, but also because it prevents us from seeing the human connections that exist in objects made by others.
In this talk, Glenn Adamson will suggest ways to reconnect, using everyday pottery as his primary example. Ceramics, a medium intrinsically connected to the earth, is among our oldest repositories of human ingenuity and remains an artistically and technologically active eld to this day. From a morning cup of coffee to the most high-tech applications,learning about a material like clay is a way to keep ourselves grounded in the 21st century.
318 Ceramics and the Crafts Study Centre are pleased to announce that the 2019 Emmanuel Cooper Memorial Lecture will be given by Felicity Aylieff.
Many thought that with the global digital explosion of the 1990s and virtual technology, the use of clay and making ceramics would be reduced, but there is a renewed interest in matter, craftsmanship, the acquisition of creative skills, and an opening to the sensory world, offered through working with clay.
In the 21st century technology has established an extraordinary relationship with the body: its crafting and its representation. Textiles, metals, and ceramics are used to replace interior body parts, while fibres can 'read' our most intimate details, acting as diagnostic tools. How does this affect the ways we construct our identity, process information about our bodies, move those bodies through space?
The conference asks if craft knowledge and haptic understanding have roles to play in this debate. How can craft reflect on the body as a means of literal and poetic understanding of ourselves, our narratives and histories, hopes and concerns?
David Grimshaw, Manchester School of Art
With 25-years of experience within creative design practice, teaching and research, David will be discussing his current work that explores the potential for craft led approaches to making and how this can inform a more sensitive and exploratory engagement with materiality when using computer controlled manufacturing tools.
In addition to discussing his own work, David will present some of the more innovative and intriguing uses of technology, being developed by genre breaking designers and makers who are embracing, progressing and redefining making within the digital age. As programme leader for ‘MA Design: Product & Furniture’ and ‘MA Design: Craft’ at Manchester School of Art, David brings his extensive knowledge of international design and innovation to inform the current debate on the future for craft making within a society that is increasingly experiencing virtual lives through the digital lens.
RECEPTION : 5:30pm - 6.00pm
TICKETS : £5.00 - advanced booking is required.
When reading Pye’s comments on the pre-eminence of his making over that of a computer, it inspired me investigate whether digital manufacturing technology had developed to a level where it could produce work with a similar level of finesse and beauty that is characteristic of Pye’s work. Pye’s making process using his fabulous “Fluting Engine” had particular constraints, risks and opportunities that led to the individuality and beauty embodied in his work, and whilst the CNC router has a similar reductive cutting
process, it also has an individuality that is particular to its digitally controlled making process. Through my research, I have realised that my ambition is not to produce physical replicas of Pye’s work, but to embody his making philosophy when using digital echnologies. I now approach CNC manufacturing as a craft maker, focusing less on the CAD modelling process, and seeking to more fully engage and respond to the physicality of the digital making process.
Richard Slee will discuss his work in the context of his new exhibition 'Richard Slee: Framed'. The exhibition contains mostly new work which has not been shown before.
In association with the Hales Gallery
Reception 500pm to 600pm
Tickets £5.00 - advanced booking is required
An exhibition of new and recent work by Richard Slee, whose exhibiting career began in the 1970’s, and has continued with many solo and group exhibitions nationally and internationally. Slee’s ceramics often imitate other objects, such as saws and hammers ‘whose normal function clay is sublimely incompetent to perform’, as Mark Jones has noted. Technical skill is allied to a broad, comedic touch, where the shiniest of surfaces seems to accentuate the absurdist purpose.
Slee has brought together wall-mounted ‘frames’ - a collection of wall works exploiting both glazed clay combined with found materials. He describes these as ‘a study collection of pieces: pictures at an exhibition’
In association with Hales Gallery.
‘Richard Slee’ has been especially selected to form part of Farnham’s October Craft Month
A lecture that considers the contested history of the
county-based craft guild in England, and asks how the memberships of these vital, often unsung,
organisations manage the issues of exhibition, selection and selling.
Are they outmoded or essential, and how have their programmes developed. A special focus is placed
on craft guilds in the South West of England.
Simon Olding is Director of the Crafts Study Centre.
REGISTRATION : 1.45pm at the Crafts Study Centre
TICKETS : Free - advanced booking is required.
Join Jeffrey Weeks, Angus Suttie collection trustee and Alison Britton, Chair of the Crafts Study Centre who will discuss the life and work of Angus Suttie and his important and lasting legacy to ceramics.
PRIVATE VIEW : 4.00pm - 6.00pm - all welcome
IN CONVERSATION 6pm - 7pm
TICKETS :£5.00 - advanced booking is required.
The Artists in Residence of the School of Craft and Design bring together a selection of the varied work they have been making over the past year. The opportunity to investigate and expand on seedling themes whilst connecting with other makers has led to totally new viewpoints for AiR thinker-makers.
It takes a long time to perfect new skills, especially when working on new themes. Agendas of form and function, the intrinsic qualities of materials, when to stop and when to push a piece further are all challenges to battle with. Resonance with research and technical exploration have been the outstanding benefit of the space and facilities provided at UCA Farnham. Valuable time and space have aided both physical and mental processes to grow.
The material pieces in the exhibition are not necessarily concluded or permanent statements. They are more new ways of seeing and working for the continuing curiosity of the artists with their professional practice.
The Air 2018 artists are: Kas Williams, Cara Wassenerg, Sigi Hill, Candy Matterson, Leo Duff, Hannah Viner and Haley Haddow.
Joanna Bird remarks that ‘we felt it was imperative to make a film about Richard Batterham, the last of a line of students to Bernard Leach still practising in the UK. Richard is a great example of how one person with due talent, diligence and discipline can achieve a remarkable and successful lifetime’s work making pots which truly embrace life and are life-enhancing.
An Alex J Wright film for the Joanna Bird Foundation
Tickets £5.00 must be booked and paid for in advance.
Friday 14th & Saturday 15th September
The Crafts Study Centre is proud to participate once again in the national scheme of Heritage Open Days. Celebrating the fantastic architecture and culture that England has to offer, Heritage Open Days encourages free access to places that are either normally closed to the public or would make a charge for admission. Visitors will be able to see the Centre’s reserve collections and a specially curated group of objects will be brought
together for more detailed analysis.
1100 to 1200 Director’s Tour
Free admission but tickets must be booked in advance
In partnership with the Ruthin Craft Centre.
Angus Suttie’s allusive, energetic, hand-built ceramics were powerful contributors to the postmodern art of the 1980s. Although his work sometimes has an ironic and even playful edge, Suttie was deeply thoughtful about its humanist intentions, and the references are present not just for play, but for critical, sometimes political provocation. Suttie could use the conventional form of the teapot, transform it through innovative, complex and entirely unexpected shapes, and reflect on deeper themes of death or sexual expression. He said that he wanted to make pots ‘that shock us, console us, that are life-affirming or that haunt us’.
The exhibition is drawn from Suttie’s personal collection and archive. The selection has been made by collection trustee Jeffrey Weeks and curator Gregory Parsons. The exhibition was first shown at the Ruthin Craft Centre, Ruthin, Denbighshire.
A one day conference convened by the Crafts Study Centre and the International Textile Research Centre. The theme of the conference is the resonant relationship between craft and text. This may take literal as well as metaphorical forms: from critical analysis to ceremonial lettering and on to performance, where the craft object has
inspired poetry or dance.
The keynote speakers are the eminent academics and practitioners Alice Kettle (Manchester Metropolitan University) and Timothy Donaldson (Falmouth University). The conference is promoted with the support of our academic partner, the Edward Johnston Foundation.
Alice Kettle is a contemporary textile/fibre artist, who has established a unique area of practice by her use of a craft medium, consistently and on an unparalled scale. She is Professor in Textile Arts in MIRIAD, Manchester School of Art, at Manchester Metropolitan University.
Timothy Donaldson is Associate Professor in Graphic Design at Falmouth University. He is a Letterworker: a practising graphic designer, type designer and action calligrapher with enthusiasm for the use, abuse and reuse of text as a communication device.
11:00 Timothy Donaldson - The Hammer Shapes the Hand
12:00 Lynn Setterington - Sew Near, Sew Far
12:30 Catherine Slade-Brooking and Loucia Manopoulou - Allusive Crafts: Drawing Words, Writing Letters
2:00 Pat Taylor - Text and Tapestry, A Weaver’s Perspective
2:30 Edward Wates - A Calligrapher’s Approach to the Text
3:00 Mona Craven - The Artist Printed-Form: A Craft in-between Letterforms, Exhibition, Audience and Meaning
3:30 Alice Kettle - In the Margins, Materialising Stories
The conference is promoted with the support of our academic partner, The Edward Johnston Foundation.
REGISTRATION : 10:30am - 11:00pm at the Crafts Study Centre
CONFERENCE : 11:00am - 4:30pm at the University for the Creative Arts
RECEPTION : 5:00pm - 6:00pm
CONFERENCE FEE : £20.00 | £10.00 students & unwaged. Advanced booking is essential and be made in person, by calling 01252 891450 or emailing: firstname.lastname@example.org
Remastered is the sixth in a series of collaborative exhibitions between MA students in the School of Craft and Design at the University for the Creative Arts and the Crafts Study Centre. This year’s project focuses on making, using the collections at the CSC as a source of inspiration for contemporary craft practice. Traditionally, the CSC has acted as repository, a place where ‘things’ have been catalogued, documented, stored and their history recorded, whilst the active processes of making new craft take place in the studios of the School of Craft and Design. Remastered brings the two together, making links between the museum and studio settings.
The students, from Ceramics, Textiles, Jewellery and Product Design, were invited to visit the stores to select an object or set of objects which captured their attention – whether it was the material, the technique, the colour, the texture or the maker. They then worked either individually or in collaboration with others working in different media to create responses to those objects, and to curate their work in an exhibition at the Centre and online. Remastered recognises the skills, processes and materiality of renowned craft makers represented in the Centre’s collections.
Visit Remastered for a full list of students and their work.
The Crafts Study Centre has long been indebted to the flax and linen specialist and award winning author, Patricia Baines. She was commissioned to research and write the monograph and catalogue of the collection of Rita Beales, one of Britain’s best linen hand weavers and her book, A Linen Legacy: Rita Beales 1889-1997 is still available from the Centre’s shop.
The Crafts Study Centre has been very privileged to have been able to add to its textile collections through funding generously provided by the Patricia Baines Trust. Working with the expert advisors on the Centre’s Acquisition Committee (currently Tim Parry-Williams and Sharon Ting) works by emerging and established living makers in both printed and woven textiles have been added. These include a hand woven rug by Peter Collingwood, scarves by Makeba Lewis, two screen-printed panels by Sally Greaves-Lord, experimental and 3D work by Ann Richards and, most recently, a collection of work by Kate Blee. The exhibition will also present a small number of pieces in the collection by Rita Beales. The title of the exhibition is taken from Patricia Baines’s monograph on Rita Beales.
The exhibition is presented in association with the Patricia Baines Trust
This event has been cancelled. Apologies for any inconvenience caused
This talk will explore the nature of Hugh and Suna’s collaboration, charting the creation of a new visual language that fuses together poetry and ceramics and illuminating how their work has been influenced by the practice of dance improvisation. Their shared concern for capturing the present moment and highlighting the very ordinary moments of everyday life has resulted in the exhibition Æsc, which took place in a medieval church in Hampshire in the Autumn of 2017. The talk will also reveal how the collaborative process is now shifting into a new body of work that is responding to land and alternative firing methods that will cast the poetry in a new light.
Suna Imre’s initial training in dance influences her approach to making with movement and improvisation playing a significant role in the creation of ceramic art and contemporary painting. She is artist in residence at Mottisfont National Trust from October 2017 to October 2018.
Hugh Greasley is a visual artist as well as a poet - painting and writing about landscape, people and memory. He has a scientific education which often informs his writing.
SUNA IMRE & HUGH GREASLEY: HELD PROJECTS
WEDNESDAY 23 MAY 2018
RECEPTION : 5.30pm - 6.00pm
ARTIST’S TALK : 6.00pm - 7.00pm
TICKETS : £5.00 - advanced booking is required.
The lecture will consider the curatorial process underpinning the exhibition ‘Things of Beauty Growing’ arranged for the Yale Center for British Art, New Haven, CT and now on display at the Fitzwilliam Museum, Cambridge from 20 March to 18 June 2018. It will also reflect on the reactions to the exhibition, billed as the first museum show of modern British studio ceramics in the US, as well as the differing approaches to interpretation in the US and the UK. The co curators of the exhibition are Dr Glenn Adamson, Senior Research Scholar and Martina Droth, Deputy Director of Research and Curator of Sculpture at the Center and Simon Olding.
Simon Olding is Director of the Crafts Study Centre, University for the Creative Arts, UK. A writer and a curator, he has a special interest in craft practice and organisations located in south west England. He is Chair of the Bernard Leach (St Ives) Trust, and his current Research focuses on Leach’s personal ceramic collection. He is President of Walford Mill Crafts and a patron of SITselect. He sits on the gallery committees of Arts University Bournemouth and Aberystwyth University.
WEDNESDAY 2 MAY 2018
RECEPTION : 5.00pm - 6.00pm
LECTURE : 6.00pm - 7.00pm
TICKETS : £5.00 - advanced booking is required.
Nao Matsunaga writes that ‘Works for Raw Faces will comprise of clay and wood sculptures and wall hanging pieces. It will be mostly new works, with these pieces I plan to further explore the relationship between abstraction and symbolism, primal and digital, gravity and balance.
In my recent body of work, I have been working with masks/faces as a prop to animate my otherwise abstract sculptures. Using them as a visual hook to engage viewers and to instil humor and sometimes movement to the pieces. Action and response to the material is important to my practice, I hope that effects and recording of such actions, through clay, wood and other materials, will form the backbone of the show.’
You can watch a recording of the talk here.
Presented in association with Marsden Woo Gallery.
Artist Talk & Private View
Wednesday 18 April 2018
Reception 500 to 600pm
Artist’s talk 600 to 700pm
Tickets for Artist’s talk £5.00 and advanced booking and payment is required
In 1991 the British Council acquired jewellery for its craft collection to form the circulating exhibition ‘All that glisters…New Jewellery in Britain’. The collection is comprised of work mainly in non precious materials from leading makers such as Mike Abbott, Jane Adam, Anne Finlay, Peter Niczewski, Annie Sherburne, Louise Slater, Karina Thompson and Clara Vichi. The exhibition was both elegant and discriminating and presented 90 pieces selected by Muriel Wilson, Curator of the Craft Collection from 1979-1984. The British Council subsequently and generously donated the collection to the Crafts Study Centre (2006), where it is used mainly as a resource for University jewellery students. The original exhibition toured from 1992 and the work was shown in Bahrain, India, Malaysia and Thailand, and other countries.
This small display is timed to coincide with a Jewellery conference at UCA convened by Rebecca Skeels and is presented in the cabinet on the second floor of the Crafts Study Centre.
On the 11th of January 1747 a magnificent dinner party was held to celebrate the marriage of the Dauphin and Princess Maria Josepha of Saxony. Hosted by first minister of Saxony Count Heinrich von Brühl, he commissioned a fabulous surprise to mark the occasion and had produced a centrepiece for the dessert course: a fountain that stretched four metres along the table directly in front of the diners. The fountain was a huge accomplishment, having been modelled by Johann Joachim Kändler and manufactured by Meissen in their newly invented European hard paste porcelain.
123 years later in 1870, the V&A in London acquired a large group of porcelain objects in ‘a much shattered’ state, and the museum put on display a number of figurative pieces, which were remains of this once monumental table fountain. Reino Liefkes Senior Curator of Ceramics & Glass at the museum, determined to do something to re-invoke the spectacle that had been seemingly lost to the past. Steve Brown and Martin Smith were asked to take on the fountain’s restoration.
This illuminating lecture takes its audience on a captivating journey covering all aspects of such an enormous task. Please note the reception and lecture will be held in the small lecture theatre on the University campus.
The Emmanuel Cooper Memorial Lecture is presented by the Crafts Study Centre in partnership with 318 Ceramics to celebrate the life and work of renowned potter Emmanuel Cooper.
RECEPTION : 5.30pm - 6.00pm
LECTURE : 6.00pm - 7.00pm
BOOK YOUR TICKETS FOR LECTURE : £10.00.
In 1950 the young Dr Peter Collingwood decided to abandon his medical career and dedicate himself instead to becoming a weaver. Collingwood developed a technical mastery over his weaving equipment, and tailored his creative output to what the loom would permit him to do, mindful of weaving at economic speed, with the future 'repeat' potential and marketability of a design ever in mind. He gained a reputation as a teacher, making many teaching visits to America, and produced four important books on the techniques and art of weaving.
Collingwood's first purchases of woven materials were made in his years as a recently qualified doctor, posted with the Red Cross, to help with refugees in Jordan, and he added to these throughout his life. This broad ‘Ethnographic Collection’ displaying both completed historic and contemporary objects and samples, from Indonesia to South America, Arizona to Africa, now resides at the Crafts Study Centre. The exhibition displays this research and study collection alongside Collingwood’s own work As a mature craftsman, Collingwood found his artistic voice. Preferring an ordered, graphic style, reminiscent of pencil-drawn lines over anything exuberantly expressionist, he produced works of great beauty, which hid their considerable technical cleverness within a quiet, contemplative physicality – very much like the man himself.
Peter Collingwood was awarded the Gold Medal at the Munich International Handicrafts Exhibition in 1963, and the OBE in 1974. In 1989 he won the Annual Medal from the Worshipful Company of Weavers, and in 1994, the Annual Medal from the Society of Designer Craftsmen.
The exhibition has been curated by Caroline Burvill as part of her studies for the degree of M Res Crafts at the University for the Creative Arts.
A major new exhibition of new ceramics by Emilie Taylor, commissioned by Gallery Oldham. Emilie Taylor has a long-standing interest in representing the lives of people who exist in the gaps of society, which she describes as the Edgelands.
Emilie’s latest body of work is inspired by the Greek myth of Persephone and Demeter, but in a contemporary setting. Demeter, the goddess of fertility and harvest is grief stricken to find that her daughter Persephone has been taken to the Underworld. Persephone is doomed to spend half the year in the Underworld and half on earth. Demeter’s grief means that nothing can grow on the earth during the time that Persephone is in the Underworld, meaning that the year is divided into winter and summer.
Supported by Oldham Council logo and Supported using public funding by Arts Council England
Artist Talk & Private View
Wednesday 28 February 2018
Private view 400 to 600pm
Artist’s talk 600 to 700pm
Tickets for Artist’s talk £5.00 and advanced booking and payment is required
A one day conference convened by Professor Lesley Millar, Director of the International Textile Research Centre, Professor Simon Olding, Director of the Crafts Study Centre, and Allan Atlee, Head of the Canterbury School of Architecture, University for the Creative Arts The conference will explore how works of craft engage with modern and contemporary architecture through the interiors and exteriors of buildings and the spaces between buildings. It will enable a reflection on the ways that architecture makes demands of craft and its makers, or even rejects craft. The keynote lectures will be given by the Dutch designer Petra Blaisse, and the architects and academics Piers Taylor and Roz Barr
The conference speakers include:
Richard Kindersley, Jo McCallum, Christopher Tipping, Philip Koomen. Closing remarks will be by the Professor of Architecture at the University for the Creative Arts, with a welcome by Professor Bashir Makhoul, Vice Chancellor.
The conference is supported by the Journal of Modern Craft, The Built Environment Trust and by the Building Centre.
BOOKINGS: Crafts Study Centre 01252 891450
TICKETS : advanced booking is required
REGISTRATION : 10.00am at the Building Centre
CONFERENCE : 10.00am - 5.30pm
RECEPTION : 5:30 - 6:30pm
This celebratory exhibition presents work from the Association of Contemporary Jewellery. It shows the best of the new jewellery and conveys progression in design over the last twenty years. Twenty of the most prominent and innovative members of the ACJ have been invited to show work from circa 1997 alongside a new piece. The twenty invited artists are: Jane Adam; Stephen Bottomley; Norman Cherry; Susan Cross; Maria Hanson; Dorothy Hogg; Daphne Krinos; Adam Paxon; Ann Marie Shillito; Christoph Zellwger; Holly Belsher; Caroline Broadhead; Jack Cunningham; Joel Degen; Jan Hinchcliffe McCutcheon; Terry Hunt; Jacqueline Mina; David Poston; Jessica Turrell; Frances Julie Whitelaw. These have been Founder Members, Chair or Board Members and include many of the most respected jewellers of the 21st century.
Artist's Talk & Private View
Tuesday 31st October
Private View 5pm - 6pm
Artist Talk & Screening - 6pm - 7pm
Tickets £5 - advanced booking is required
The Lace Study Day has been designed as an introduction to lace for those who have little or no knowledge of the subject.
The day will begin with an illustrated talk about what constitutes lace, including images of historic and contemporary work. Using examples from the Textile Collection at the University for the Creative Arts, participants will then have the opportunity to study, at first hand, a wide variety of laces. This will include: English and European bobbin lace, needle-lace, tambour and needle-run laces, knitted, crochet and machine-made laces.
The Lace Study Day is presented by Dr Carol Quarini and Dr Gail Baxter, leading makers who use lace in their contemporary textile practice; they are also at the forefront of research in historic and contemporary lace. In 2014 they founded the Lace Research Network at the University for the Creative Arts, with an inaugural conference and exhibition of the works of Piper Shepard at the Crafts Study Centre.
TICKETS : £10.00 advanced booking is required. Includes refreshments
RECEPTION : 10.30am at the Crafts Study Centre
STUDY DAY : 11.00am - 4.00pm
Rita Parniczky primarily works with weave, installation, photography and light. Fascinated by the invisible structures of objects and materials, she investigates ideas based on materiality, change, time and human experience. In her woven work X-Ray Series, a translucent material Parniczky has developed, she studies the vertical structure and the visual transformation of the material as light passes through its structure. She brings to life the material through installation and performance with sunlight; a spectacle which may only exist in a particular location and moment in time, marking time in space whilst evoking a sense of chance.
In her solo exhibition ‘Beyond the Surface, Observing the Inner Structure’ at the Crafts Study Centre Parniczky will call attention to scale, structure and movement through illuminating X-Ray Series with artificial light. Along this work she will show a selection of her photographic works.
ARTIST TALK & PRIVATE VIEW: 17th October 2017
TICKETS : £5.00 advanced booking is required
PRIVATE VIEW : from 4pm - a viewing of the exhibition
RECEPTION : 5.30pm - 6.00pm a drinks reception
TALK : 6.00pm - 7.00pm
All the objects chosen for this year’s Stories in the Making have a tale to tell, and a role to play too in the emerging narratives of the participating students setting out to develop their own craft signature.
The Stories in the Making project offers MA and MRes students at the University for the Creative Arts in Farnham the rare opportunity to closely examine and research a chosen craft object from the Collection held by the Crafts Study Centre, University for the Creative Arts, Farnham.