Cockpit Arts - summer open studios

If you remember my 'If I can't see you, you can't see me' post from December last year, I mentioned visiting the open studios that the Cockpit Arts organises twice a year. Yesterday, I visited the quirky space for its summer version and again, what a fun that was. As always, every time I visit an exhibition, fair of a showroom, I also learn something along the way. This visit was partially about responsible material-sourcing in order to preserve our planet and enhance lives of its inhabitants.

I came across the words 'fairtrade' and 'fairmined' when admiring jewellery by the jewellery designer Ute Decker. First thing I was told was that she uses recycled silver for her rather sculptural pieces.

On display, next to her exciting pieces of silver jewellery, was also a leaflet explaining about fairtrade and fair mining in regions of Africa, Asia and Latin America. This information was concerning gold mining (Ute's gold jewellery was not shown here since it is on display somewhere else at the moment).

The idea is to give to the mining organisations extra 10% on top of the internationally agreed price for gold and additional ecological premium of 5% if the gold has been handled safely (without the use of toxic chemicals such as mercury or cyanite). This extra money is then used to improve working and, more to the point, living conditions of the already remote communities. When a message like this is then demonstrated in a production of a jewellery piece somewhere in Europe, one can see the worldwide concern and cooperation.

Catarina Riccabona is another designer who carefully sources her materials. These would come not only from European suppliers but also from all around UK. She re-uses second hand yarn, hemp or wool in her eye-catching textile pieces.

Her cousions, throws or handbags reveal pleasing natural tones with the every-now-and-then introduction of colour. This was what caught my eye; her visually pleasing designs that just had to be touched. And here is when I realised that the material used is linen. I just love linen and the stages it undergoes during its long durable life.

You can imagine then what draw me to Winkers Resort Shoes. These hand-made shoes are made from Irish Linen that is printed with a Thornback & Peel print. One does not have to leave the shores of the UK.

This also proves the quality of linen. Used for shoes, it must be durable, capable of withstanding much harsher conditions than in a form of a kitchen towel. The frayed edges add a certain on-the-edge touch that I find so unique.

Visiting the Cockpit Arts in Holborn yesterday reminded me of the responsible route a designer has to take nowadays. It is not only about designing but also about the eco footprint one leaves behind. This is why I am pleased to see all this happening and hope that it will continue well into the future.

Wish you a lovely sunny week and see you next time. K-)

(All pictures in this post are scanned from the promotional material supplied by the designer.)

Every time I visit the V&A... - part 6

...I try to make my way to level six of this impressive building. This is where the Ceramics Gallery is located. When I say 'gallery' it is actually not only one room but a strip of rooms running along entire top floor. When I came there the first time I felt that this space was endless and quite frankly, I still have the same sensation every time I make my way there.

One walks across centuries, continents, styles and colours of pots, decorative plates or vases. One room even depicts various techniques connected to ceramic-making and if lucky, can see an artist (or ceramist) in residence being in the middle of a project. Yes, there is also space for a workshop. And this is when 'The Restoration Series' by Stephen Dixon started to take shape.

Stephen Dixon's figurative works address social and political issues. In 2009 he was the ceramist in residence in the V&A when he in collaboration with the gallery visitors created a bust of queen Victoria made out of collection of ceramic shards.

This technique is seen in 'The Restoration Series', where he depicts the only three Nobel Peace Price winners who were awarded the price while in prison or detention by their country's regime.

They are Carl von Ossietsky (German pacifist, winning NPP in 1935), Aung San Suu Kyi (Burmese opposition politician, winning NPP in 1991) and Liu Xiaobo (Chinese literary critic, writer, professor and political activist, winning NPP in 2010).

In each of these three busts Stephen Dixon used materials or processes that are known to each individual's country. Even though each is a mix of all three, one has to note the determination to keep to appropriate 'language' (work process of given country).

For Aung San Suu Kyi, he used burmese terracotta, a celadon glaze for Lie Xiaobo and the clinical white of phrenology heads for Carl von Ossietsky who exposed the deeds of the National Socialist party in Germany in 1930s.

I need to add that this time, I actually visited the Ceramics Gallery on purpose. I had read an article concerning these ceramic busts and so was on a mission of finding them. My already curious anticipation was rewarded when I finally laid my eyes on them.

I did not expect the bust to be bigger than in real life but they were. Seeing their size and the outcome of the work process with my own eyes was incredible.

These ceramics are put together from fragments of cast and glazed pieces that were first analysed from a clay model, then a plaster mould was taken and made into sections to be eventually assembled to create the busts. This process leaves a certain uncertainty with creating the final piece but once put together the effect is so striking.

I can imagine this process to be so time-consuming but can also see where the title also comes from. These busts and their character are restored on more than one level. And for me, to read about them first, see them with my own eyes and study more afterwards has been an inspirational journey.

Have a nice day and enjoyable week and see you next time. K-)