Amelia’s Magazine | Silversmith me: Jewellery upcycling workshop at the Papered Parlour

Ada Zanditon A/W 2010 Echolocation
Ada Zanditon A/W 2011 The Cryoflux by Ankolie
Ada Zanditon A/W 2011 The Cryoflux by Ankolie.

I cannot tell a lie: I went into Ada Zanditon‘s presentation with high hopes, order especially after I ran a huge pre LFW interview with her describing what to expect from new collection The Cryoflux.

Ada Zanditon A/W 2011 The Cryoflux by Ankolie
Ada Zanditon A/W 2011 The Cryoflux by Ankolie.

Ada Zanditon The CryofluxAda Zanditon A-W 2011
Ada Zanditon deep in conversation.

On entry to the On/Off space I was ushered towards already packed seats. Ada was deep in conversation on the front row but it was unclear what was going to happen until she urged those near her to get up and touch the clothes, arranged on a series of awkward mannequins across one half of the room. At which point everybody got out of their seats and descended on the area at the front, immediately blocking the wall just as her short film started playing. I looked at the clothes briefly, then tried in vain to watch The Cryoflux film over a sea of heads before leaving for another show.

Ada Zanditon The Cryoflux film faceAda Zanditon The Cryoflux film

This was a compact collection compared with previous seasons. Taking inspiration from the extreme climate in Antarctica The Cryoflux features plenty of complex pyramidal cutting, a technique for which Ada Zanditon has become well known. We have already run multiple images of the gorgeous orange red ‘flame’ wool coat, which picks up on a key colour theme for the next season, but the dominant colouring of The Cryoflux was icy blues, whites and a deep navy.

Ada_Zanditon CryofluxAda_Zanditon Cryoflux

My favourite piece was the stunning showpiece dress, replete with a layered waterfall of printed silk inspired by frozen ice formations. I was also struck by a particularly beautiful geometric necklace, another collaboration with Luca Romanyi.

Ada Zanditon The Cryoflux jewellery
Ada Zanditon The Cryoflux jewellery in collaboration with Luca Romanyi.

We have been massive supporters of Ada Zanditon for several years now and we were blown away by her show last season. In short I really like Ada’s design aesthetic and ethical outlook… but I’m afraid that this proved to me once and for all that presentations are a difficult beast to get right. She had spoken of her desire for people to get up close and personal with the collection, which is all well and good, but journalists want good images, and it’s very hard for mannequins to provide this – pretty girls in pretty clothes will always win head and shoulders over a bony angled mannequin, however bony said girls are likely themselves to be. It felt as though this presentation was aimed at the needs of buyers rather than press.

As for the promise of a surprise when we entered the room, I still have no idea what this was, though other people have assured me that there was an ice sculpture in the room somewhere. I never saw it, thanks to the density of the crowd in attendance. Despite Ada’s protestations that this was the best possible way to showcase her A/W 2011 collection I left feeling sadly underwhelmed. Please bring back live models next season Ada!

You can read more about Ada’s views on sustainability here, and she does of course feature in Amelia’s Compendium of Fashion Illustration.
Ada Zanditon A/W 2011 The Cryoflux by Ankolie
Ada Zanditon A/W 2011 The Cryoflux by Ankolie.

I cannot tell a lie: I went into Ada Zanditon‘s presentation with high hopes, sale especially after I ran a huge pre LFW interview with her describing what to expect from new collection The Cryoflux.

Ada Zanditon The CryofluxAda Zanditon A-W 2011
Ada Zanditon deep in conversation.

On entry to the On/Off space I was ushered towards already packed seats. Ada was deep in conversation on the front row but it was unclear what was going to happen until she urged those near her to get up and touch the clothes, diagnosis arranged on a series of awkward mannequins across one half of the room. At which point everybody got out of their seats and descended on the area at the front, site immediately blocking the wall just as her short film started playing. I looked at the clothes briefly, then tried in vain to watch The Cryoflux film over a sea of heads before leaving for another show.

Ada Zanditon The Cryoflux film faceAda Zanditon The Cryoflux film

This was a compact collection compared with previous seasons. Taking inspiration from the extreme climate in Antarctica The Cryoflux features plenty of complex pyramidal cutting, a technique for which Ada Zanditon has become well known. We have already run multiple images of the gorgeous orange red ‘flame’ wool coat, which picks up on a key colour theme for the next season, but the dominant colouring of The Cryoflux was icy blues, whites and a deep navy.

Ada_Zanditon CryofluxAda_Zanditon Cryoflux

My favourite piece was the stunning showpiece dress, replete with a layered waterfall of printed silk inspired by frozen ice formations. I was also struck by a particularly beautiful geometric necklace, another collaboration with Luca Romanyi.

Ada Zanditon The Cryoflux jewellery
Ada Zanditon The Cryoflux jewellery in collaboration with Luca Romanyi.

We have been massive supporters of Ada Zanditon for several years now and we were blown away by her show last season. In short I really like Ada’s design aesthetic and ethical outlook… but I’m afraid that this proved to me once and for all that presentations are a difficult beast to get right. She had spoken of her desire for people to get up close and personal with the collection, which is all well and good, but journalists want good images, and it’s very hard for mannequins to provide this – pretty girls in pretty clothes will always win head and shoulders over a bony angled mannequin, however bony said girls are likely themselves to be. It felt as though this presentation was aimed at the needs of buyers rather than press.

Ada Zanditon A/W 2011 The Cryoflux by Ankolie
Ada Zanditon A/W 2011 The Cryoflux by Ankolie.

As for the promise of a surprise when we entered the room, I still have no idea what this was, though other people have assured me that there was an ice sculpture in the room somewhere. I never saw it, thanks to the density of the crowd in attendance. Despite Ada’s protestations that this was the best possible way to showcase her A/W 2011 collection I left feeling sadly underwhelmed. Please bring back live models next season Ada!

Ada Zanditon A/W 2010 EcholocationAda Zanditon A/W 2010 EcholocationAda Zanditon A/W 2010 Echolocation
Previous Ada Zanditon A/W 2010 collection Echolocation. Illustrations by Joana Faria.

You can read more about Ada’s views on sustainability here, and she does of course feature in Amelia’s Compendium of Fashion Illustration.
Illustration by Avril Kelly

There’s something about coming out of the Tube in an area where you’ve never been before. I realise this is an extremely London-centric point, buy information pills but bear with me – when you find yourself spat out onto a brand new street it’s like discovering a different city. But then you look up and see the familiar roundel and you know that yes, malady it’s still London. It’s interesting how so many of us seem to come to London to experience all the variety, only to entrench ourselves in one specific part of the city. Some (who, me?) may even develop a few prejudices about certain other parts of the city too, as if London were some sort of microcosm of the world … Actually that last bit’s about right, isn’t it. ‘There is in London all that life can afford,’ Samuel Johnson famously said, and it’s very true. But still, going all the way to Clapham on a Saturday morning? South London? Really!

But last weekend I went to Clapham for the very first time, because that’s where the Papered Parlour is and I’d been looking forward to their silversmithing class for weeks. I surfaced from the Tube at Clapham Common, curiously peeking around while the nice man with the coffee cart ground beans from scratch to make my espresso. The Papered Parlour is just up the road, hidden behind a plain door in a side street. Claire and Louise, the workshop’s founders, weren’t there, but my fellow would-be smithers and I were welcomed by Hana and our teacher, Caren Hartley.

Upcycled jewellery by Madi

Jewellery upcycling, or recycling of old items, was the theme for last Saturday’s seminar. We each poured out our bags of old, neglected jewellery, hoping Caren would be able to help us make something usable out of it. I’d brought two rings I was hoping to fix, having broken both of them within weeks of each other after having worn them every day for years. I’d also brought some broken brooches my grandma had given me, as well as a few other pieces I wasn’t wearing. Having just told the group we could not use heat on any item that wasn’t pure silver or gold, Caren shook her head at my beloved moonstone ring. ‘You can’t heat anything with a gemstone as it will break,’ Caren said. Araldite glue it is, then.

My mother’s old floral pendant also got the brush-off from Caren: ‘That’s pewter, it would melt before you could do anything with it.’ This is the main danger when working with old jewellery, as you haven’t made it yourself and hence you can’t be completely sure about the metal composition. Caren studied the pendant, curved and prone to annoying swinging, concluding: ‘You could flatten it, with the mallet.’ Mallet! I was expecting delicate tools, tiny adjustments and boiling frustration, but it turns out silversmithing includes plenty of hammer action.

Caren Hartley

The next few hours went by in a flash. After my mallet fun I got the little pliers and snippers, changing the broken grandma brooches into pendants. Rough edges were smoothed down with the metal files – silver is quite soft when you’re working with it. Silversmithing is also a surprisingly dirty activity, with the suds from my hands running black as I washed before the cake break. It can be dangerous too – judging by the fact they made us sign some sort of release before letting us use the saw.

The blue flame by Naomi Law

Halfway through the day we were introduced to the blowtorch, used not only to join pieces of metal together but also to prepare silver to be worked on. Heating up the metal to reach ‘the cherry red temperature’ loosens the molecules within the silver, Caren explained, meaning you can work on it. My main task with the blowtorch was to mend my ring, a little lady who wraps her legs around your finger. I’d got the ring half price at a craft fair nearly ten years ago, and worn it every day until the poor girl broke her leg. High street silversmiths haven’t seemed very keen on sorting this for me though, and now that I’ve seen how it’s done I can see why: it’s fiddly.

I put on the leather apron and the protective goggles, ready for the big moment. ‘Now, angle the flame away from me, as I will be holding the leg piece,’ Caren said as I lit the torch, wondering if she gets paid extra if a student maims her. But as the little lady turned cherry under the blue flame, everyone’s digits remained intact and the metal leg was back where it belonged. Okay, so it sticks out a bit more than it did before, but a little tap of the hammer and Bob’s your uncle.

Caren and Eva by Avril Kelly

I left the Papered Parlour with eight new pieces of jewellery, having altered or mended old things I either couldn’t or wouldn’t wear. My hands were aching as I counted up change for another espresso from the cart, about to go back to the familiar side of the river. As I stood on the platform waiting for my train, I absent-mindedly ran my thumb along the lady-ring. She’s back, and I fixed her all by myself.

Result!

The Papered Parlour is in Clapham: 7 Prescott Place, London SW4 6BS. For more information about the spring workshop schedule see our listing – there are more silversmithing workshops to come, plus printmaking, sewing, photography, quilting and how to make your own shoes. Also, the Papered Parlour is putting on two mini-festivals at the V&A Museum of Childhood in Bethnal Green this spring: ‘Ethical fashion in the age of austerity’ is tonight (3 March) and ‘It’s your write!’ is next month (7 April) – for more details see our listing here.

Categories ,Avril Kelly, ,Caren Hartley, ,Clapham, ,craft, ,jewellery, ,london, ,Madi, ,Naomi Law, ,recycling, ,silversmith, ,The Papered Parlour, ,Upcycling, ,workshop

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Amelia’s Magazine | Silversmith me: Jewellery upcycling workshop at the Papered Parlour

Ada Zanditon A/W 2010 Echolocation
Ada Zanditon A/W 2011 The Cryoflux by Ankolie
Ada Zanditon A/W 2011 The Cryoflux by Ankolie.

I cannot tell a lie: I went into Ada Zanditon‘s presentation with high hopes, order especially after I ran a huge pre LFW interview with her describing what to expect from new collection The Cryoflux.

Ada Zanditon A/W 2011 The Cryoflux by Ankolie
Ada Zanditon A/W 2011 The Cryoflux by Ankolie.

Ada Zanditon The CryofluxAda Zanditon A-W 2011
Ada Zanditon deep in conversation.

On entry to the On/Off space I was ushered towards already packed seats. Ada was deep in conversation on the front row but it was unclear what was going to happen until she urged those near her to get up and touch the clothes, arranged on a series of awkward mannequins across one half of the room. At which point everybody got out of their seats and descended on the area at the front, immediately blocking the wall just as her short film started playing. I looked at the clothes briefly, then tried in vain to watch The Cryoflux film over a sea of heads before leaving for another show.

Ada Zanditon The Cryoflux film faceAda Zanditon The Cryoflux film

This was a compact collection compared with previous seasons. Taking inspiration from the extreme climate in Antarctica The Cryoflux features plenty of complex pyramidal cutting, a technique for which Ada Zanditon has become well known. We have already run multiple images of the gorgeous orange red ‘flame’ wool coat, which picks up on a key colour theme for the next season, but the dominant colouring of The Cryoflux was icy blues, whites and a deep navy.

Ada_Zanditon CryofluxAda_Zanditon Cryoflux

My favourite piece was the stunning showpiece dress, replete with a layered waterfall of printed silk inspired by frozen ice formations. I was also struck by a particularly beautiful geometric necklace, another collaboration with Luca Romanyi.

Ada Zanditon The Cryoflux jewellery
Ada Zanditon The Cryoflux jewellery in collaboration with Luca Romanyi.

We have been massive supporters of Ada Zanditon for several years now and we were blown away by her show last season. In short I really like Ada’s design aesthetic and ethical outlook… but I’m afraid that this proved to me once and for all that presentations are a difficult beast to get right. She had spoken of her desire for people to get up close and personal with the collection, which is all well and good, but journalists want good images, and it’s very hard for mannequins to provide this – pretty girls in pretty clothes will always win head and shoulders over a bony angled mannequin, however bony said girls are likely themselves to be. It felt as though this presentation was aimed at the needs of buyers rather than press.

As for the promise of a surprise when we entered the room, I still have no idea what this was, though other people have assured me that there was an ice sculpture in the room somewhere. I never saw it, thanks to the density of the crowd in attendance. Despite Ada’s protestations that this was the best possible way to showcase her A/W 2011 collection I left feeling sadly underwhelmed. Please bring back live models next season Ada!

You can read more about Ada’s views on sustainability here, and she does of course feature in Amelia’s Compendium of Fashion Illustration.
Ada Zanditon A/W 2011 The Cryoflux by Ankolie
Ada Zanditon A/W 2011 The Cryoflux by Ankolie.

I cannot tell a lie: I went into Ada Zanditon‘s presentation with high hopes, sale especially after I ran a huge pre LFW interview with her describing what to expect from new collection The Cryoflux.

Ada Zanditon The CryofluxAda Zanditon A-W 2011
Ada Zanditon deep in conversation.

On entry to the On/Off space I was ushered towards already packed seats. Ada was deep in conversation on the front row but it was unclear what was going to happen until she urged those near her to get up and touch the clothes, diagnosis arranged on a series of awkward mannequins across one half of the room. At which point everybody got out of their seats and descended on the area at the front, site immediately blocking the wall just as her short film started playing. I looked at the clothes briefly, then tried in vain to watch The Cryoflux film over a sea of heads before leaving for another show.

Ada Zanditon The Cryoflux film faceAda Zanditon The Cryoflux film

This was a compact collection compared with previous seasons. Taking inspiration from the extreme climate in Antarctica The Cryoflux features plenty of complex pyramidal cutting, a technique for which Ada Zanditon has become well known. We have already run multiple images of the gorgeous orange red ‘flame’ wool coat, which picks up on a key colour theme for the next season, but the dominant colouring of The Cryoflux was icy blues, whites and a deep navy.

Ada_Zanditon CryofluxAda_Zanditon Cryoflux

My favourite piece was the stunning showpiece dress, replete with a layered waterfall of printed silk inspired by frozen ice formations. I was also struck by a particularly beautiful geometric necklace, another collaboration with Luca Romanyi.

Ada Zanditon The Cryoflux jewellery
Ada Zanditon The Cryoflux jewellery in collaboration with Luca Romanyi.

We have been massive supporters of Ada Zanditon for several years now and we were blown away by her show last season. In short I really like Ada’s design aesthetic and ethical outlook… but I’m afraid that this proved to me once and for all that presentations are a difficult beast to get right. She had spoken of her desire for people to get up close and personal with the collection, which is all well and good, but journalists want good images, and it’s very hard for mannequins to provide this – pretty girls in pretty clothes will always win head and shoulders over a bony angled mannequin, however bony said girls are likely themselves to be. It felt as though this presentation was aimed at the needs of buyers rather than press.

Ada Zanditon A/W 2011 The Cryoflux by Ankolie
Ada Zanditon A/W 2011 The Cryoflux by Ankolie.

As for the promise of a surprise when we entered the room, I still have no idea what this was, though other people have assured me that there was an ice sculpture in the room somewhere. I never saw it, thanks to the density of the crowd in attendance. Despite Ada’s protestations that this was the best possible way to showcase her A/W 2011 collection I left feeling sadly underwhelmed. Please bring back live models next season Ada!

Ada Zanditon A/W 2010 EcholocationAda Zanditon A/W 2010 EcholocationAda Zanditon A/W 2010 Echolocation
Previous Ada Zanditon A/W 2010 collection Echolocation. Illustrations by Joana Faria.

You can read more about Ada’s views on sustainability here, and she does of course feature in Amelia’s Compendium of Fashion Illustration.
Illustration by Avril Kelly

There’s something about coming out of the Tube in an area where you’ve never been before. I realise this is an extremely London-centric point, buy information pills but bear with me – when you find yourself spat out onto a brand new street it’s like discovering a different city. But then you look up and see the familiar roundel and you know that yes, malady it’s still London. It’s interesting how so many of us seem to come to London to experience all the variety, only to entrench ourselves in one specific part of the city. Some (who, me?) may even develop a few prejudices about certain other parts of the city too, as if London were some sort of microcosm of the world … Actually that last bit’s about right, isn’t it. ‘There is in London all that life can afford,’ Samuel Johnson famously said, and it’s very true. But still, going all the way to Clapham on a Saturday morning? South London? Really!

But last weekend I went to Clapham for the very first time, because that’s where the Papered Parlour is and I’d been looking forward to their silversmithing class for weeks. I surfaced from the Tube at Clapham Common, curiously peeking around while the nice man with the coffee cart ground beans from scratch to make my espresso. The Papered Parlour is just up the road, hidden behind a plain door in a side street. Claire and Louise, the workshop’s founders, weren’t there, but my fellow would-be smithers and I were welcomed by Hana and our teacher, Caren Hartley.

Upcycled jewellery by Madi

Jewellery upcycling, or recycling of old items, was the theme for last Saturday’s seminar. We each poured out our bags of old, neglected jewellery, hoping Caren would be able to help us make something usable out of it. I’d brought two rings I was hoping to fix, having broken both of them within weeks of each other after having worn them every day for years. I’d also brought some broken brooches my grandma had given me, as well as a few other pieces I wasn’t wearing. Having just told the group we could not use heat on any item that wasn’t pure silver or gold, Caren shook her head at my beloved moonstone ring. ‘You can’t heat anything with a gemstone as it will break,’ Caren said. Araldite glue it is, then.

My mother’s old floral pendant also got the brush-off from Caren: ‘That’s pewter, it would melt before you could do anything with it.’ This is the main danger when working with old jewellery, as you haven’t made it yourself and hence you can’t be completely sure about the metal composition. Caren studied the pendant, curved and prone to annoying swinging, concluding: ‘You could flatten it, with the mallet.’ Mallet! I was expecting delicate tools, tiny adjustments and boiling frustration, but it turns out silversmithing includes plenty of hammer action.

Caren Hartley

The next few hours went by in a flash. After my mallet fun I got the little pliers and snippers, changing the broken grandma brooches into pendants. Rough edges were smoothed down with the metal files – silver is quite soft when you’re working with it. Silversmithing is also a surprisingly dirty activity, with the suds from my hands running black as I washed before the cake break. It can be dangerous too – judging by the fact they made us sign some sort of release before letting us use the saw.

The blue flame by Naomi Law

Halfway through the day we were introduced to the blowtorch, used not only to join pieces of metal together but also to prepare silver to be worked on. Heating up the metal to reach ‘the cherry red temperature’ loosens the molecules within the silver, Caren explained, meaning you can work on it. My main task with the blowtorch was to mend my ring, a little lady who wraps her legs around your finger. I’d got the ring half price at a craft fair nearly ten years ago, and worn it every day until the poor girl broke her leg. High street silversmiths haven’t seemed very keen on sorting this for me though, and now that I’ve seen how it’s done I can see why: it’s fiddly.

I put on the leather apron and the protective goggles, ready for the big moment. ‘Now, angle the flame away from me, as I will be holding the leg piece,’ Caren said as I lit the torch, wondering if she gets paid extra if a student maims her. But as the little lady turned cherry under the blue flame, everyone’s digits remained intact and the metal leg was back where it belonged. Okay, so it sticks out a bit more than it did before, but a little tap of the hammer and Bob’s your uncle.

Caren and Eva by Avril Kelly

I left the Papered Parlour with eight new pieces of jewellery, having altered or mended old things I either couldn’t or wouldn’t wear. My hands were aching as I counted up change for another espresso from the cart, about to go back to the familiar side of the river. As I stood on the platform waiting for my train, I absent-mindedly ran my thumb along the lady-ring. She’s back, and I fixed her all by myself.

Result!

The Papered Parlour is in Clapham: 7 Prescott Place, London SW4 6BS. For more information about the spring workshop schedule see our listing – there are more silversmithing workshops to come, plus printmaking, sewing, photography, quilting and how to make your own shoes. Also, the Papered Parlour is putting on two mini-festivals at the V&A Museum of Childhood in Bethnal Green this spring: ‘Ethical fashion in the age of austerity’ is tonight (3 March) and ‘It’s your write!’ is next month (7 April) – for more details see our listing here.

Categories ,Avril Kelly, ,Caren Hartley, ,Clapham, ,craft, ,jewellery, ,london, ,Madi, ,Naomi Law, ,recycling, ,silversmith, ,The Papered Parlour, ,Upcycling, ,workshop

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Amelia’s Magazine | The Makery – Bath gets Crafty

Very occasionally and normally with a good dose of tongue-in-cheek irony and predatorial bad-taste, illness is an older woman considered as an object of sexual-desire. In the Coen brothers’ latest, this site ‘A Serious Man’, click the ‘sexy-neighbour’ is a scary super-woman with too much make-up and too little decorum. The older woman and sex is a topic of taboo and avoidance. As Charlie Brooker recently pointed out, Susan Boyle is an average looking woman but in comparison to today’s airbrushed army, she is more than the wrong side of beautiful.

When Louise Bourgeois grins widely wearing a coat of monkey fur with a two foot-long latex phallus wielded under her right arm she is disarming and confrontational. Old women aren’t meant to make sexual jokes, are they? This is 1982 and the artist is in her early seventies. The photograph, taken by Robert Mapplethorpe the same year as her retrospective at MoMA, is subsequently cropped so all we see is the image of her wrinkled, smiling face. The erotic humour is therefore stripped from the image leaving the question; can erotic art and old age go hand-in-hand?

‘The glint in the eye refers to the thing I’m carrying. But they cut it. They cut it because the museum was so prudish’. Bourgeois suggests that the image is a joke on MoMA itself; having famously excluded females largely in it’s history of twentieth-century art, Bourgeois proudly grappling a crumbling, latex phallus pokes fun at this.

Hauser and Wirths’ latest all-female line-up of Bourgeois, Lynda Benglis and Alina Szapocznikows’ brought together three artists who address the taboo of eroticism and late-style or even death. Is this show an indication that the contemporary art world has come a long way since the Guerrilla Girls’ protests of the eighties?

Lynda Benglis’ most enduring image is of her posturing, greased, powerful and amazon-like with a giant dildo held between her legs. She is sexy yet terrifying with a perfectly formed body and ‘dyke-cut’. Originally created for Artforum in 1974, this work has had the most enduring impact and potentially effects the way we view everything she has created since. In the show her works are sensual, erotic and mirror the female/male emphasis of Bourgeois’ works. Similarly, Szapocznikow casts the female body and presents us with breasts, phalli-type objects and the idea of the female-body traumatised by the holocaust, dying early as a results of breast-cancer. Although Szapocznikow does not specifically address the idea of sexuality, she makes the viewer confront a body which is not aesthetically beautiful, desirable or even fully-finished.

These artists demonstrate a way in which the ageing female artist depicts eroticism or the female body without really depicting it. By making parts of the body, cast, crumbling or partially-shown, they create ‘acceptable’ versions of their own sexuality, while also subtly disrupting the idea of the complete, ‘perfect’ form in modernist sculpture. It is only when we are confronted with the photo, the ‘reality’ of late-eroticism in the form of Louise Bourgeois and her crumbling phallus that this question is truly addressed. You can be old and erotic, you can even be old, ugly and erotic so long as you don’t take a photo of it.
DSCF3079

It’s a buoyant sign of the times when a child chooses to celebrate their birthday not with fat-fuelled tour around the local burger chain kitchens and a game of musical chairs led by a man in a grubby, information pills sinister clown suit but by brushing up on their sewing skills. AS the make-do-and-mend approach to life seeps back into the mainstream public consciousness, ampoule the enthusiasm to reskill and bask in the glow of DIY pride is being felt by a new generation very aware of its ecologic and economic environment – and determined to enjoy itself without trampling all over its ethics.

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DSCF3081

The Makery, price a new creative community workshop-cum-DIY help centre in the bustling ‘Artisan Quarter’ of the historic city of Bath, is on hand to help out with this. Husband-and-wife team Kate and Nigel opened The Makery just a few weeks ago – collecting the keys just days after the birth of their first child – and are on a mission to steer Bathonians away from the shopping centres and towards their sewing machines.

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“We’ve made things forever,” says Kate who, along with husband Nigel, left television careers in London for the West Country good life a year ago. “We moved here and we thought, ‘Let’s do something we really enjoy.’ So we brainstormed ideas. There’s been so much press about make-do-and-mend, making things is so en vogue again, and people are proud to say they made things themselves. It’s a backlash against everyone spending loads of money. That’s exactly up our street – all our furniture at home is from Freecycle or auctions, and we make it look beautiful ourselves. Friends always comment on it, and say, ‘Ooh I wish I could do that,’ so we thought, ‘Right, well, we’ll teach people how to do that then.’”

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Location hunting, key-swapping, floor-board stripping and a birth ensued, with The Makery now running regular workshops in everything from crocheting your own snowmen to making natural soap. “My speciality is sewing, so we run workshops like ‘Get to know your sewing machine’, or making your own clothes and bags,” Kate continues. “But we’ve got loads of freelance tutors so its not just sewing; we teach ceramics, there’s an upholsterer who’s going to get upholstery workshops going, and we’ve been approached by a lady who makes natural toiletries. There will be bookmaking, printmaking – we don’t want to pigeonhole ourselves.”

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Split over two floors, The Makery’s workshop space is a crafter’s pick-and-mix dream, lined with piles of recycled fabrics awaiting a new lease of life, rows of eager sewing machines and reclaimed furniture whose drawers spew colourful buttons, yarns and threads. And, of course, there are the parties

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DSCF3076

“We’ve got a little girl’s birthday party here on Saturday, and where possible the materials will be re-used. That used to be a jumper!” says Kate, pointing to stocking hanging in the shop’s window. “Each child will bring in an old T-shirt and spend the first half of the workshop designing a monster, and giving it a name and a personality. In the second half of the workshop, they’ll make the monster – they draw the outline, I’ll sew around that and they can stuff it and put the eyes on.” It certainly beats an afternoon trying to build things out of grease-saturated Happy Meal boxes.

DSCF3075

In addition to the workshops and shindigs, it won’t be long before The Makery offers itself up as the go-to place for advice and resources for people’s own homemade projects. Pop in, pick a sewing machine and pull up a chair. “We are getting approached by lots of people with lots of different skills, so it’s really exciting,” Kate enthuses about The Makery’s potential directions. “Ultimately, we want to teach people to be a bit more resourceful and do things for themselves rather than having to go out and buy it.”

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Categories ,Artisan quarter, ,Bath, ,bookmaking, ,craft, ,creative community, ,diy, ,ecology, ,Freecycle, ,printmaking, ,recycle, ,recycling, ,sewing, ,The Makery, ,workshop

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Amelia’s Magazine | Like when you were five: Persona Arts Festival and painting workshop

Cyrus Iravani

It was with some trepidation that I signed up for a painting workshop at the Persona Arts Festival, treatment because my talents for painting and drawing are pretty rubbish. I look at the works of artists, photographers and graphic designers with awe, as I have no idea how they do it. But all skill levels were welcome at the workshop, I was assured, as I accepted the challenge.

L-R: Lara Sophie Benjamin, Robert West, James Hillman

Persona Arts Festival took place last weekend on the far side of the crowds celebrating the Bangla newyear on Brick Lane. At the Rag Factory, curators Anitra Pelekanou and Zia Fernandez had brought together an eclectic mix, ranging from painters, sculptors, photographers and multi-media artists. My favourite was probably painter Cyrus Iravani, with his blue-drenched, blurry style. I also liked photographer Lena Aliper, a photographer who had created a book of images and text. The photographs made the London streets look extra bleak with the lack of contrast in the images, as Aliper laments: “The only thing I’ve ever really desired is to be permanently fascinated.”

Lena Aliper L-R: James Hillman, Ricki L Klages

The workshop was called To Get There, a reference to how our finished canvases were to be sewn together to make one finished piece. We all sat down around a big table, tentatively eyeing up the tools in front of us as we waited for the go-ahead from teacher Avalele. ‘I want you to pretend like you’re a child again and use your imagination,’ she said – not entirely unrealistic as most people’s painting skills have probably been dormant since primary school. Using paper plates as palettes, we reached for the watercolours or acrylic paints. After the initial couple of minutes of doubts, people grew silent as they concentrated on the task at hand.


I ended up painting my bicycle, Lola – thus named for the Kinks song as she’s pretty butch for a girl bike. This was the first time I’ve tried painting since I was a teenager, which saw a short-lived, yet prolific, phase of moody, dark oil painting. The workshop reminded of me why I used to love painting– it’s really good fun – but I always find it frustrating that I can’t be any better at it. But at the Persona Arts Festival we all got points for participation.

The workshop and my contribution

Read more about the participants of the Persona Arts Festival here.

Categories ,Anitra Pelekanou, ,Avalele, ,Bangla newyear, ,Brick Lane, ,Cyrus Iravani, ,James Hillman, ,Lara Sophie Benjamin, ,Lena Aliper, ,Lola, ,london, ,painting, ,Persona Arts Festival, ,Ricki L Klages, ,Robert West, ,the kinks, ,workshop, ,Zia Fernandez

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Amelia’s Magazine | Interference: Art for Activism at Artsadmin

Cameramen dashed about as streams of high-heeled, information pills information pills fake-tanned fashionistas paraded through the glass doors of the GAS flagship store on the King’s Road, try each feeling and looking altogether important. Both intrigued and slightly amused, my colleague and I shot straight for the free Bellini Bar, situated between racks of very-samey garments.

Glass in one hand bruschetta in the other we weaved through the crowds towards tables of folded vests and spangly gold swimsuits. Despite tones of Diesel in the denim section of the display, our overall consensus: the selection veered more towards H&M, but in a not-quite-so-cool way. Linens and cottons prevailed, with the odd speck of diamante here and there. High-necked shirts were a favoured item, the finely pressed cotton succeeded in giving the collection a much classier feel, though unfortunately these pieces were few and far between.

Downstairs, the first menswear rail boasted tangerine-lime-and-cyan Hawaiian shirts, which were up against a significant amount of beige? That’s what I thought. A shimmering goldthread and white shirt hung alongside some smartly tailored trousers on the far side of the room, the subtlety of which was a welcomed sight.

Overall, a little too much hype for minimal visual stimulation, the phrase ‘all mouth and no trousers’ springs to mind.
Arriving at the Finsbury Town Hall in jeans and a jumper, price hair bedraggled and mascara running down my cheeks, I was initially there to help set up, but within minutes I had been roped into dancing with the band (Cut-A-Shine), drinking far too much Red Stripe and forgetting that I was at a single’s night after all… Welcome to Barndating Heaven!

We do-si-soed ‘til the cows came home, with flowers in our hair and our cheeks blushed… Amelia was carried through the cheering crowd to call some dances and following her instructions couples entwined and herds of people trampled on each other’s feet and laughed and drank and kissed and laughed and everything was bloomin’ marvelous!

If you haven’t been to the Finsbury Town Hall before I advise that you do so – it is a beautiful space with original décor and eccentric light fittings (random, I know but true). The ceilings are soooo high yet still, the place was bulging with crazy faces by 10pm – men were donning handmade bows and women wore elasticated beards and everyone was having a jolly old knees up to some rocking country sounds. In the corner of the hall was a Romancer’s Retreat (beautifully designed and manned by an East-end creative duo Lightning and Kinglyface) where couples could go to ‘gaze into one another’s eyes…’ There were a few snoggers and a certain amount of loving was most certainly kicking off but by the end of the evening a few people were having a kip in there. Notes of confession were pegged onto strings in this haven of love, a certain pencil-scribble stuck in my head and read ‘yesterday when you called, I pretended I was asleep’ – ah it makes your heart sink doesn’t it!? But others weren’t quite so romantic, and more explicit, and bloody hilarious…

The evening was heady yet relaxed and I remember I spent a lot of time twirling around in my gingham dress and probably looking slightly mad, hence I didn’t spot my nice young farmer (haha) but the night was brilliant and I hope there’ll be many more to come… Cut-a-shine – you rock. All in all a very groovy night. (Sorry – groovy, maybe not the right word) All in all a foot-stamping, dress-twirling hoe-down which left me aching and laughing for days…
‘Glass Gun 2′ by Julie Hill

A couple of days ago my housemate returned home bursting with a tale that he’d been carrying around with him all day. What he had witnessed on his well-trodden route to work that morning had seemed to pervade the conditioned air of his office in the hours that followed, viagra approved reruns of the scene played out in windowpane reflections and on the inside of mid-blink eyelids. He had been inspired.

‘Breath Should Be Held’ by Julie Hill

The action that had my friend so roused wasn’t overtly political. Nor was it spectacularly en-masse. It was a man. Alone. Dancing at 8am in the centre of one of Bristol city centre’s busiest junctions, this multiple lanes of traffic whirring around unrestrained flying limbs like mechanical rings of chorus girls, help their metallic bodywork sparkling.

The root of this act, and the results of it, we can only guess at. Was his rush hour spinning a signal that the rest of us should slow down? A statement on the vulnerability of the pedestrian or the mindlessness of the daily grind? Maybe he just fancied a dance.

CRASH at Artsadmin: experimenting with sustainable alternatives to financial and ecological crises CRASH at Artsadmin: experimenting with sustainable alternatives to financial and ecological crises

As my friend’s impassioned regaling of the scene evidenced, whatever its grounds, form or situation, art is an enormously affecting class of action. And it’s being increasingly embraced as a method of political expression beyond homemade banners or gallery walls, because we can all be arts activists. The only thing that’s required is a little imagination.

Image courtesy of Artsadmin: ‘Quantitative Teasing- A benchmark in post-capitalism’

Two artist activists are on hand later this month to help spark that imagination via Interference, a free five-day workshop to encourage people to develop new ways of working collectively to make a difference to the causes they care about. Beth Whelan (who last year played a large part in the Mainshull Solidarity Camp) and Julie Hill will be working with participants to develop art-related strategies for both acting towards and reacting against change, using such tools as story-telling and myth making, climbing and reclaiming public space, urban foraging, self-publishing and night biking. Interference runs from 21st to 25th June at Artsadmin’s Toynbee Studios in London, but is limited to just 20 places, so if you want one of them Artsadmin asks that you write a short paragraph explaining why you want to get involved, and send it to heather@artsadmin.co.uk.

Beth Whelan at CRASH

Open to people from all backgrounds and experiences, Interference is an invitation to those who want to go beyond just thinking about change; to act via art to be part of, or begin, an empowering, engaging and positive political movement. You never know, it might even be one that stops traffic.

Categories ,activism, ,art, ,Artsadmin, ,Beth Whelan, ,course, ,Julie Hill, ,night riding, ,storytelling, ,workshop

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Amelia’s Magazine | Food For Thought


22 year old Luciano Scherer is truly dedicated to his cause. Working 8-10 hours a day, more about 7 days week, he produces paintings, sculptures and animation until his back hurts too much to carry on. The Brazilian self-taught artist works alone as well as with a collective called ‘Upgrade do Macaco’, and has collaborated with Bruno 9li and Emerson Pingarilho. I found him to be much older than his years, with some very insightful and philosophical things to say about everything from art to life and the internet.

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When did you realise you had creative talent?

When I was 8 years old my school had a drawing challenge for a children’s book, the teachers read the book to us and we should drew parts of it. My drawing was chosen, it was not the best, but it was the craziest, and the teachers said to me that I was very creative. I started to draw again when I was 15, and only seriously when I was 18.

Which artists or illustrators do you most admire?

From the past: Bosch, Brueghel, Jan van Eyck, Crivelli, Albrecht Altdorfer, gothic art in general. I also like alchemical drawings, illuminated manuscripts, and popular art from my country. But my real influences are my artist friends, they helped me to transform my spirit, not just my art, modifying my inside shell, something that still happens everyday. They are: Carla Barth, Carlos Dias, Bruno 9li, Emerson Pingarilho, Talita Hoffmann, Upgrade do Macaco collective. My current master is Jaca, he is genius.

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Who or what is your nemesis?

My nemesis is somebody with lot of dedication and creativity to create evil things, like guns, bombs, wars, murders, lies.

If you could time travel back or forward to any era, where would you go?

I would go to the late-gothic era, in the end of the 15th century and early 16th century, just to understand or comprehend a little better how artists can do those masterpieces. I want to know about the places, the woods, the people’s clothes, the churches, the religions and the spirituality of this time. It is my all time golden age of painting. They all invested years of dedication to each piece, the result of it is bigger than our current comprehension.

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If we visited you in your home town, where would you take us?

My hometown is a very small city in the extreme south of Brazil, almost Uruguay. There’s no galleries, no museums, no cinema, no nothing! But there are very beautiful natural places, like mystery fog woods, beautiful beaches with nobody, lakes, fields, lots of different animals; I will take you to all these places.

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To what extent is your work influenced by your religion or spirituality?

I’m a son of a catholic father who takes me to the church every Sunday, and a mystic mother who is deeply connected with questions of spirituality. All my life I’ve been in catholic schools, and the people that I know there appear to be dedicated to God with tons of saints in sculptures, bracelets, necklaces, flyers, but the rest of their lives they spend being so petty, earthly, extremely connected with just the image of faith, and the concepts of guilty, suffering and impotencies. This contradiction makes me feel revolted, and at the same time I too have been into spiritualism, a Christian based doctrine, but much more metaphysical. This time the metaphysical seems to me so curious, respectable and scary, very scary. So when I started to paint, the images of Catholicism caused a strange fusion of respect, fear, nostalgia, and anger. I felt I needed to work over them, to learn about them and get more intimate, question the images and dogmas and lose the fear. It was a period of destruction like a renaissance. For a year now I’ve found myself distant from the doctrines, but between all of them, mainly the oriental ones like Buddhism and Hinduism, I’m feeling more spiritualized than religious. But this is just the start; I have much more to learn and I’m trying to not answer all the questions but instead learning to live together with them. All of this reflects in my artwork.

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If you weren’t an artist, what would you be doing?

An artist’s assistant, or a curator, or a collector; art aside, I’d be a garden sculptor.

Where would you like to be in 10 years time?

Living in a self-sustainable vegetarian community, with all my friends and family, in a place not too hot and not too cold, with as many animals as possible, all of them free.

What advice would you give up and coming artists?

Over and over I’ve heard people say “art doesn’t make any money” or “what do you want to be an artist for, it’s so useless”. I’ve stopped listening to the cynics now though.

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What was the last book you read?

I read the David Lynch book about transcendental meditation “Into Deep Water” (This is the name in Brazil), and the Krishnamurthy’s “Freedom from the Known”- it’s like a bible to me, I read it over and over. I’ve been reading H. P. Blavatsky “Voice of the Silence” and “Isis Unveiled” too. Now I’m reading Nietzsche’s “Also Sprach Zarathustra”, it’s awesome.

What piece of modern technology can you not live without?

The Internet. It’s my mail, my books, my telephone, my all time world museum 24-7.

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What is your guilty pleasure?

The excesses, in food, drink, work, sleep. Anytime I get too much of these things I feel so regretful, but I’m working on it.

Tell us something about Luciano Scherer that we didn’t know already.

I have a post-rap band, named Casiotron. And I’m working on my first individual exhibition, at Thomas Cohn Gallery next year.

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This is certainly a young man full of promise.
As a purveyor of Steve Reich meets Daniel Johnston instrumental music, sickness Graeme Ronald, a.k.a. Remember Remember, is keen to take it to the stage as nature intended:
“I’ve put together a seven piece band for this tour. It’s hard to time it right but it’s worth it. Using a laptop isn’t the same as a live band is it?”

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Sitting in the back of a Brighton drinking den, Ronald exudes a boyish sense of wide- eyed enthusiasm. Currently touring with influential US noise crew, Growing, he’s rightfully proud of his self-titled debut album on Mogwai‘s Rock Action Records. Ronald’s sweet, Glasgow brogue suffuses our conversation as he gives me an insight into his formative days:
“I played with Mogwai as an additional keyboard player. I kept pestering them to let me join the band. I was working on my own stuff with a Loop station and started playing live regularly. Mogwai came down to hang out at one show and then offered to do an album”

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As it has afforded him so many opportunities, Ronald is proud of his home city:
“Glasgow does have a great music scene. It takes going away to appreciate what’s there. The art school or dole queue are great places to meet musicians. It’s a vibrant environment. Best steer clear of the Neds though”

The music of Remember Remember mirrors the urban, comfortingly grey, concrete beauty of Glasgow:
“It was a conscious decision to make a record that sounded Scottish. I hate it when people sing in American accents. Or think they’re German. There’s a sense of shame attached to being Scottish. Growing up, I was embarrassed by the Proclaimers, Rab C Nesbit, bag pipes. I saw Kurt Cobain on MTV and that was it! Getting older, you look to your own identity to create more honest art”

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Ronald is refreshingly grounded and deadpans:
“I’m not deluded enough to think I can become a pop star off of minimalist drone music. Making money is not a priority. Shouldn’t music be free? CDs, selling music – they’re all imposed business models.”

Forever the Modernist, he’s already got his sights on the future:
“The label wants me to promote this record more but I’m so keen to start working on new music. Touring’s new enough to be exciting but it’s still work. I’m quite up for doing a Brian Wilson and sending out other people to play my songs…”

remember_remember_interview%204.jpg

All photos by Ken Street

Chatsworth Road, earmarked in the ‘Secret Streets’ feature of Time Out some twelve months ago, viagra lies deep in the E5 environs of Hackney- between Millfields Park and Homerton Hospital. Since it was said to be ‘bearing the fruits of the slow gentrification process,’ it seems the high street is ripe for development. With the arrival of such bijou retailers and eateries as Book Box and L’Epicerie, change is certainly in the air. As an actress friend and young Mum in the area recently put it: ‘it’s all gone a bit Guardian reader,’ the latest manifestation of which is the bid to reinstate the erstwhile street market.

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Illustrations by Krishna Malla

Never one to bypass a strikingly rainbow-fonted poster in my local newsagent, especially not one bearing the promise of a shopping opportunity, I found myself drawn down to Chats Palace on the rainy evening of 14th July. The former Homerton library turned community arts venue had generously offered its premises free of charge for an open meeting of the Chatsworth Road Traders and Residents Association. A veritable cross-section of the neighbourhood populace, fifty or so strong, had assembled to hear the results of the spring opinion poll. But with Spitalfields, Broadway and Ridley Road already doing a roaring trade in the borough, does East London really need another market? Judging by 863 responses to 1200 leaflets distributed, of which 96% voted in the affirmative, it would seem so.

I tracked down campaign front man Ashley Parsons in the bar, post-Power Point presentation, to get the lowdown on launching a market from scratch.

What first inspired or provoked the idea to mount the campaign?

Well it certainly didn’t start out as a carefully hatched plot. It’s been a decidely organic affair so far, inspired mainly, I think, by a collective sense of pride in the local high street and aspirations for its future success as the community’s favourite place to shop.

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Photo: Joe Lord

I’d say that if there was any ‘provocation’ it was that many of the traders at these 2008 meetings seemed to agree that business on the street was slower than last year – as on high streets everywhere. But the residents attending these meetings were equally concerned at the number of closed shop units on Chatsworth Road, particularly when it became apparent that Tesco was planning to massively expand the nearby Morning Lane store and that the Council were considering imposing a new tax on shopkeepers using the forecourts in front of their shops. So there was a general sense of concern that a much-loved independent high street – and a distinctive community hub to boot – was at risk of further decline. There was a very positive sense of, ‘let’s try and do something about it ourselves’.

Have you played a part in similar grassroots/ community ventures in the past?

A few years ago I was involved with Open Dalston when it was trying to prevent the demolition of the Four Aces / Labyrinth / Theatre building, and a pair of Georgian townhouses, on Dalston Lane. The campaign questioned whether the Council’s plans for the Dalston Junction area were sustainable or appropriate, and proposed a different style of development to that which you now see shooting up into the sky. It was gutting to see that particular campaign fail. But the act of mounting the campaign did result in Open Dalston going on to become a fully-fledged community organisation. Ever since that campaign they’ve been impressively committed and imaginative in trying to engage with their local community as the future of that area is fiercely debated.

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How is the Chatsworth Road Market campaign different?

One of the invigorating things about it has been that it’s not a ‘no campaign’ working against someone else’s clock. It’s much more of a ‘yes’ campaign. And, to an extent, it’s been afforded the luxury of not having to react to outside events. Having said that, the campaign is, of course, going to face challenges, and it may be harder to motivate people without a sense of immediate jeopardy. But the high number of people who have attended our meetings and participated in the survey does suggest a really proactive community spirit.

When & why did the original Chatsworth Road market close?

The consensus seems to be that it closed down around 1989 or 1990. But the anecdotal evidence as to why it closed varies. Some traders who have been on the street for decades described a prolonged process of a new brick pavement being laid and re-laid, and causing such chaos and disruption to pedestrians and to the stalls’ ability to trade that the market died as a result of the work. Other residents have reported that the stalls simply declined in number and quality throughout the late ’80s. It’s certainly a story that needs to be told at some point. It’s amazing how quickly things get forgotten.

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What would the major benefits of a new market be for the local community?

A new market could – and I stress ‘could’ – be a great way of improving shopping choices for local residents, which in turn might persuade more people that they don’t need to use supermarkets any more. It could bring people back to the high street and increase passing trade, benefiting all the existing businesses as well as encouraging new ones to open and fill empty shop units. It could help ensure the future of the high street as a community hub by regularly bringing together all parts of what is a hugely diverse community. It could allow more opportunities for people to set up and develop new businesses without committing to a shop lease. It could be fun!

Why is this local high street so crucial, would you say?

Firstly, because the surrounding residential area is originally based on this high street being the focal point. Many high streets are essentially lines of shops that grew up along major highways in or out of cities – they can feel transitional, cramped and chaotic. But Chatsworth Road was nothing but a field path before it was laid out by Victorian developers in the 1860s & 70s. What you see now is no accident – it was purpose built to serve a planned community, conceived as a public space with handsome proportions and wide pavements where people would shop, stroll and meet. It was built as the heart of an aspirational new working class suburb. So, for starters, it’s an unusually good urban space.

Secondly it’s important because Chatsworth Road’s renegade charm is rooted in its independence. There are very few chain names on the street, it’s almost entirely a centre of entrepreneurship, in an age of ever-expanding supermarkets and identikit city centres.

As soon the sense of community is diluted it becomes a transitional space, a way to get somewhere else rather than a destination in its own right. I’d suggest that a community-led market could just be another way of safeguarding it, another tactic for helping ensure it thrives for another 130 years, and doesn’t contract any further. For me, it’s not about fixing something that’s broken, so much as taking out a community insurance policy.

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Are you ready to pass on the baton to a new line-up of committee members in September, and will you continue to be involved?

Absolutely, yes. Personally, I’ll probably take a step back after ensuring that the report on the survey is published and properly publicised, because I have to get on with earning a crust. But I’ll help out where I can because I think it’s got great potential to bring the area together.

I certainly hope that by the end of 2009 you’ll see a new Market Committee established with new faces taking things forward. That will probably be the focus of the next big meeting in Autumn 2009 – offering people the chance to shape the Association and to get more involved. People can keep an eye on the website for details of that meeting – www.chatsworthroade5.co.uk. Or they can email- info@chatsworthroade5.co.uk – and ask to be added to the mailing list. If enough people step forward there’s a great chance of making a new Chatsworth market happen.

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With artists collecting in the shadowy crevices of the world’s biggest cities in search of space on the cheap it goes without saying that they tend to be found on the frothy crest of the wave of gentrification. A canary of sorts, viagra artists are often trailed by real estate speculators and big businesses, lurking and waiting like stock brokers for their chance to turn a quick buck with something they see as nothing more than a commodity. They stand apart, at the ready to raise property taxes and muscle out what is often the cultural backbone of these city-bordering towns and pat one another on the back for “cleaning it up”. But in the heart of Dalston last month, I finally saw the merging of two social layers into something not only mutually beneficial but unselfconsciously beautiful.
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It began when experimental architecture collective EXZYT saw an opportunity to pirate an unused lot behind Dalston Kingsland Junction to build a 16 meter high temporary mill where land artist Agnes Denes had planted a lush wheat field thus giving life to an endless germination of ideas, all with the intent of bringing the local community together and raising issues of sustainability, economy and ownership. It played host to workshops, screenings, music, dance
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In a call and response kind of ……. EXZYT, commissioned by the Barbican as part of Radical Nature, literally built upon Denes’ concept by turning the disused lot (often the hive of criminal activity in cities) into the site for a wind powered mill. EXYZT’s wild haired and bighearted architect/artist Nicolas Henninger and Celine Condorelli, whose sleep in tents amid the mill’s scaffolding, refer their temporary autonomous zones as “pirate architecture”. The idea being to create spaces which, rather than dictate its use, leaves it open to its neighbors to determine how it will be used. And use it they did! Try to keep up…
The mill was used to grind flour which was used to bake bread in ovens which open to the public. Anyone who desired to came and baked whatever they brought, drank from the wooden open air bar which twinkled with wind power and catered to a nightly flocking of local families and hipsters alike drawn to the wheat gazing deck chairs and nightly DJ, whose equipment was powered by cycles. No shortage of well developed cycle muscles in this neighborhood!
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Every day saw a new manifestation of the space. A lab coat wearing urban psychoanalyst did research by asking questions like “if Dalston wear a fruit what would it be?”. Scarecrows were created to protect the wheat field, a gaffer tape poet pronounced his thoughts across the wood planks, and a local currency was baked with the help of world renowned baker Dan Lepard Even the super cool owner of local but now defunk jazz bar 4 Aces Club was a nightly fixture, ready to recount tales of its experimental jazz heyday in the 60′s staging the likes of Desmond Dekker, Jimmy Cliff, Bob Marley, The Sex Pistols and Bob Dylan.
And in the most elegant example of this project’s cycle, Alexandre Bettler hosted a workshop in which participants could bake everything from the utensils and trays upon which their dinner would be served.
Although many a plea was voiced for this amazing catalyst to remain, it’s clear from all the smiling faces present that beyond the connections made, thoughts provoked and fun had was the distinctive flavor of Dalston’s pride.

Categories ,architecture, ,art, ,bar, ,barbican, ,dance, ,DJ, ,landscape, ,nature, ,workshop

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Amelia’s Magazine | An Interview with Yasmin Dilekkaya of Yas-Ming Ceramics

Yas Ming ceramics by Lauren KellyYas -Ming by Lauren Kelly

I’m a big fan of collaborations and the wonders they can produce, and Yas-Ming Ceramics is no exception. Begotten from a project between Yasmin Dilekkaya and Ming Wai Sun during their time at University for the Creative Arts in Rochester, these animal mugs, bowls and other items could give the Urban Outfitters homeware section a run for its money. Talking-pieces as well as beautiful kitchen thingymabobs, their handcrafted ceramics are slip-cast, with press moulding and hand building also used in their creation.

Yas Ming
Yas Ming  (1)

Fun is vital part of the brand and the product lines are named accordingly: Moo Cups, Rawr Bowls, Oink, Squeak and Nay. The mugs are my fave, available with an animal head or a bum on the mug instead of a handle, you can choose from a delicate giraffe, fierce lion, stern horse, cute pig, grumpy cow and majestic ram. There’s all sorts of other stuff too including bowls with animal faces and posteriors, dishes with adorable characters patiently watching you munch down your nosh, and even little ceramic chopstick holders that let your eating implements have a quick rest.

Having bumped into Yas at the Ohh Deer Pop-Launch and spent an evening with her talking about ceramics, I can confirm that not only are the products from this exquisite little brand lovely, but the people behind it are too. I spoke to Co-Founder Yasmin Dilekkaya about mugs with bums and getting a creative company off the ground.

Yas Ming
Yas Ming

Can you tell me a little about both yourself and Ming?
We met while we where studying on an Applied Arts degree, Ming Wai was born in Hong Kong and is now living in the UK with her husband and daughter. I have a Turkish Cypriot background, but born and grew up in England. Our multicultural backgrounds were a stimulus and inspiration to us while designing and making at university.

Yas Ming by Lilly Allen
Yas-Ming by Lilly Allen

How did you get the idea for the mugs? 
In our final year at uni, as a year group, we had to raise money for our end of year Graduate Show. At this point I was making a set of Turkish coffee cups and Ming Wai was making beautifully elaborate 3D ceramic picture frames that had animals coming out of them.  We had the idea of attaching the animals to the cups so we had a product that we could sell around university.  The cups were really popular so after Graduation we decided to see how much further we could push the idea.

Yas Ming
Yas Ming ceramics by Lauren Kelly
Yas -Ming by Lauren Kelly

Why did you start making the mugs with ‘bums’?
In the beginning we experimented a lot with cutting the animals in half and seeing where they worked on the cups/bowls and we thought it was a fun idea to have bums as handles as well as the heads.

Which events have you been at in the last year, and what do you have planned for future?
In the past year we have been part of lots of great events from trade shows to markets and pop-up shops. We have had the opportunity to work with some fantastic organisations. Highlights include being selected by The Secret Emporium to be part of their Christmas Market and their Boxpark Pop-Up. Also, exhibiting in Launchpad at Pulse, getting to meet lots of new potential stockists and being part of the Ohh Deer Pop-up where we have been asked to run a ceramic workshop. We have another pop-up with Crafty Fox and Brixi next month, with lots to look forward to in the coming months.

Yas Ming
Yas Ming

What kind of reactions do the pieces usually get? 
They generally get a great reaction, sometimes it takes a while for people to register what they are looking at, and you can watch as their face goes from confused to a smile. There are always lots of smiles, laughter, and people love to pick them up and try out holding them.

Can you explain the process that goes into making the mugs?
We use moulds to cast the animals and moulds to cast the cups/bowls/dishes, once they are out of their moulds the two pieces are carefully attached together by hand and put into the kiln for the first firing. They then get glazed and put into the kiln for a second time.

Yas Ming by Lilly Allen 2
Yas-Ming by Lilly Allen

Is handcrafting your products important to you, or do you think in future you would consider mass-production? 
It is important to us, we use traditional techniques and are proud that each piece is touched and crafted by the hand of a skilled craftsperson. It gives the work personality and quirks that you would not get from factory mass-production.

Yas Ming
Yas Ming

Do you have a favourite animal?
That’s such a hard question, I have favourite animals for different products. I like the Rat Oink because I like the way he looks when he has sauce in the dish. The Cow Rawr is also a favourite, I use it for my cereal most days. The Giraffe Moo I also love as it’s is beautifully elegant.

What’s the greatest challenge of setting up a business? 
Like a lot of new businesses we have had a huge amount of challenges, ours were mostly kiln problems and production issues at the start. Now we have some great people in Stoke helping us produce the products, the challenges have changed.

How do you take your tea? 
Two sugars and not much milk.

Yas Ming
Yas Ming by Nikki Miles
Yas-Ming by Nikki Miles

To get your hands on these Baa-utiful ceramics, check out the Yas-Ming website at www.yas-ming.co.uk

Categories ,animals, ,Applied Arts, ,Boxpark, ,Brixi, ,cast, ,chopsticks, ,Clay, ,Crafty Fox, ,glazed, ,Graduate Show, ,graduation, ,Homeware, ,jessicasrcook, ,Lauren Kelly, ,Lilly Allen, ,moulds, ,Mugs, ,Nikki Miles, ,Ohh Deer, ,Pulse, ,The Secret Emporium, ,trade shows, ,workshop, ,Yas-Ming, ,Yasmin Dilekkaya

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