If anyone is interested in learning more about this competition / exhibition please get in touch with Ruth Ball who has a copy of the forms.
The deadline for submissions is the 15th January 2010.
Each artist can submit up to 5 Entries - no fee.
Work is juried by the actual pieces and not slides.
The Exhibition is to be held at the Ueno Royal Museum Tokyo, from 6th - 12th March 2010.
The contest is organised by the Japan Shippo Conference NPO
If you would like to contact them directly their email is jewelrycontest@nifmail.jp
Goldsmiths Craft & Design Awards
The call for entries for the 2009/10 competition has been released.
Please visit the Goldsmith Craft & Design Awards Website for information.
You can download the application from on the site - click here.
Please visit the Goldsmith Craft & Design Awards Website for information.
You can download the application from on the site - click here.
ORIGIN
Check Out Week Two of Origin !
The London Craft Fair at Somerset House, London takes place from 13-18 October 2009
(open daily 10-6, open late on Thursday until 9pm - entrance fee £10 on door).
This second week of 150 makers includes the stands of five makers who use enamel as an integral part of their work: Jane Moore, Grace Girvan, Sally Grant, Honeybourne Jewellery and Janine Partington.
To find out more about this great opportunity to see a wide range of their work visit www.craftscouncil.org.uk.
Posted by Janine Partington
SOME LIKE IT HOT
12th September - 17th October 2009
Open: Tuesday - Saturday 10.00am - 5.00pm Sunday 2.00pm - 5.00pm Closed: Mondays
This selling exhibition is an excellent opportunity to discover contemporary enamel in all its diverse and exciting forms and features the work of some of the country’s leading enamellers.
Work on show will include jewellery, boxes, bowls and panels.
Work on show will include jewellery, boxes, bowls and panels.
Playing With Fire - Update
The tour schedual continues !
The exhibition is now closed at Rhyl Arts Center, however "Playing with Fire" is now touring to :
The exhibition is now closed at Rhyl Arts Center, however "Playing with Fire" is now touring to :
25 July - 30 August > CRAFT IN THE BAY, Cardiff
Please check the venues for open times and directions.
Ed Silverton - Cactus Display 
Beate Gegenwart - Innenraum 2007 (detail) 
Kimberly Scott - Urban Diary 2008 ( detail )Photos: Taken by Ruth Ball at the Rhyl Exhibition
Emerging Enameller Awards
REPORT by Jilly Morris
"The Things We Leave Behind" (detail ) 2008
"The Things We Leave Behind" (detail ) 2008Photo from Playing with Fire - Rhyl Arts Center Exhibition
I would like to thank you for awarding me the prize of 'emerging enameller' at the 'Playing with Fire Exhibition' it is wonderful to receive recognition in my enamel work.
I have recently accepted an artist residency, which takes place in Highgreen in Northumberland from an organisation called VARC. This stands for 'Visual artists in Rural Communities' and is a yearlong residency starting in October 2009. This is an incredible opportunity for me to spend a whole year devoted to my practice in a beautiful remote location with my own studio and remote converted Dovecote apartment, without the pressures of my usual city life in Bristol. In October my nearest shop will be ten miles away in a village called Bellingham and part of the Pennine Way is my front garden. The scenery is rolling moorland that stretches for miles and miles around me. It is a very exciting opportunity to see what remoteness and isolation does for my creative practice and to myself, I am both excited and slightly scarred by the prospect.
I will be taking my kiln to Northumberland and intend to do some experimental enamel work whilst I am there. Part of my residency contract is to initiate activities that include the local community and schools for a seven-week period; therefore I intend to hold enamel workshops regularly for both adults and children. The rest of the time I get to spend solely on my own practice and at the end of the year I have a solo exhibition and a catalogue printed.
My residency includes a very small income, enough to survive on dhal and rice for a year but I will need extra money to help fund materials and other needs. As it is so isolated I will also have to buy a car for the duration of the residency (I usually bicycle around Bristol). Therefore the money that you have awarded me will go towards my experience of my residency, it will either be spent on materials during the year or go towards buying a car that will help me explore my environment. I was reluctant at first to get a car but have been informed it is essential in such an isolated area. I cannot stress what a wonderful opportunity this is for me to spend such time exploring my art, I currently work part-time as a receptionist to help fund me being an artist and this takes so much time away from doing what I really want to do, that of being a fully-fledged artist.
I am currently conducting some research for some large enamel pieces, which I would like to make. As a child I had major heart surgery and as a 'memory' of the major event I am interested in researching into the development of heart surgery. It all sounds rather gory, yet there are fascinating details and incredible old engravings of anatomy that I may use. It all is at a very early stage at the moment. I am also waiting to here from an interview from a new gallery that has opened in Bristol called 'View' in hope that they will want to exhibit my work. I am also facilitating some enamelling workshops at UWE for children aged 14 - 15 and have recently sent some enamel work to Studio Fusion in London.
I have recently accepted an artist residency, which takes place in Highgreen in Northumberland from an organisation called VARC. This stands for 'Visual artists in Rural Communities' and is a yearlong residency starting in October 2009. This is an incredible opportunity for me to spend a whole year devoted to my practice in a beautiful remote location with my own studio and remote converted Dovecote apartment, without the pressures of my usual city life in Bristol. In October my nearest shop will be ten miles away in a village called Bellingham and part of the Pennine Way is my front garden. The scenery is rolling moorland that stretches for miles and miles around me. It is a very exciting opportunity to see what remoteness and isolation does for my creative practice and to myself, I am both excited and slightly scarred by the prospect.
I will be taking my kiln to Northumberland and intend to do some experimental enamel work whilst I am there. Part of my residency contract is to initiate activities that include the local community and schools for a seven-week period; therefore I intend to hold enamel workshops regularly for both adults and children. The rest of the time I get to spend solely on my own practice and at the end of the year I have a solo exhibition and a catalogue printed.
My residency includes a very small income, enough to survive on dhal and rice for a year but I will need extra money to help fund materials and other needs. As it is so isolated I will also have to buy a car for the duration of the residency (I usually bicycle around Bristol). Therefore the money that you have awarded me will go towards my experience of my residency, it will either be spent on materials during the year or go towards buying a car that will help me explore my environment. I was reluctant at first to get a car but have been informed it is essential in such an isolated area. I cannot stress what a wonderful opportunity this is for me to spend such time exploring my art, I currently work part-time as a receptionist to help fund me being an artist and this takes so much time away from doing what I really want to do, that of being a fully-fledged artist.
I am currently conducting some research for some large enamel pieces, which I would like to make. As a child I had major heart surgery and as a 'memory' of the major event I am interested in researching into the development of heart surgery. It all sounds rather gory, yet there are fascinating details and incredible old engravings of anatomy that I may use. It all is at a very early stage at the moment. I am also waiting to here from an interview from a new gallery that has opened in Bristol called 'View' in hope that they will want to exhibit my work. I am also facilitating some enamelling workshops at UWE for children aged 14 - 15 and have recently sent some enamel work to Studio Fusion in London.
You can get updates about my work from my website http://www.jillymorris.co.uk/ and the residency details can be found at http://www.varc.org.uk/
Once again many thanks for the award. Jilly
Once again many thanks for the award. Jilly
............................................................................
REPORT / letter from Kimberly Scott
Kimberly Scott - Ubran Diary ( detail )
photo from Rhyl Arts center Exhibition
I am delighted to have won the Emerging Maker prize for my piece "An Urban Diary" in the Playing with Fire exhibition.
I plan to put the prize money towards buying a kiln. Unfortunately my financial situation is not ideal for buying one at the moment and, as I work full time, I am not eligible for most of the funding/grants available. However the prize money is in my savings account (hopefully earning interest!) so once I save up the rest I will purchase one.
I sold my piece from Playing with Fire to a private collector in Devon, to be displayed in his home so when I receive the money late 2009/early 2010 this will go towards it. I am noting my new ideas for when I do get a kiln! I was in particular pleased to see the exhibition review in Crafts Magazine.
I really do want to continue developing and improving my enamelling work and to pursue my passion for enamelling. I always feel so at ease when working next to the kiln and I am missing it very much. I am keeping up to date with all the enamelling news (as much as I can!) with what is happening in the enamelling world and checking the BSOE blog regularly.
Kimberly Scott
UWE Visit
Workshop Report by Ruth Ball
The following photographs were kindly posted to me by Melissa Rigby, Jeanne Crosse, Rachel Gogerly and Rebecca Gouldson, BSOE members who visited the group workshop to UWE in June. The full group also included, Jill Leventon, Jannie Partington, Annie Appleyard, Chis Jorgenson, and myself.
Elizabeth Turrell and Jessica Turrell generously facilitated a day that was very actioned packed and encompassed a range of study which included:
- A talk and viewing of enamel samples and experimental works
- A demonstration of screen printing for enamel transfers
- A demonstration of a panel being fired in the large scale kiln
- A tour of the printmaking department & extended UWE facilities
- A tour of the Illustration BA Hons and MA Design/Printmaking Degree Shows
The day started with an informal talk and the viewing of a cumulative display of samples and experiments, undertaken as part of Elizabeth / Jessica / their student's research projects. The photo here reveals only a small section of what was on show, the amount of work was extraordinary.
A short demonstration was given showing the firing of a panel in the large scale kiln. Here Elizabeth is inserting a panel into the kiln. The process is much the same for firing in a small kiln though obviously a much more industrial kit is required to support the work.
The demonstration of screen printing transfers for enamel was of great interest. The group were lucky enough to be able to view the entire process, from the making of a mark to the final printing of the specially developed transfer sheet (UWET paper available from the paper suppliers John Purcell)
The following photo's give a brief outline of the methods involved:
The artwork was prepared with a variety of products (inks/crayons/torn paper/lace etc)
Next, the artwork and prepared screen was then placed in an exposure unit.
Once exposed to light, the screen is washed to reveal the image.
The following step is to carefully register the transfer paper.
Then a mix of specially formulated enamel ink is screened onto the transfer sheet.
Finally the printed sheets are stacked, to dry off. Generously, several sheets were printed, enabling us all to take a sheet home to experiment with, so below are some results from Rachel and myself of transfer experiments. These were done after the event in our own workshops.
The process for applying the transfer is relatively simple.
- The printed paper is cut to shape.
- Then it is dipped briefly in a shallow bowl of water, which results in the backing paper becoming loose.
- Next, holding the image over the enamel surface you can then slide off the backing paper.
- The transparent film remaining, which contains the enamel ink, is smoothed over the enamel surface and should be left to dry.
- Additionally the transparent film that the enamel ink is printed onto should be carefully burnt off before a full fire - this smokes a bit so full venation is essential.
- The piece is fired as per requirement to the design / the enamels you are using - firing is much the same I would say as for painted enamels. (ie. don't over fire, otherwise the ink will burn out ! )
Rachel Gogerly - UWE transfers over transparent colours - fired on silver.
Ruth Ball - UWE transfer over a base of flux & a center strip of opaque black - fired on silver.
Unfortunately, it is not possible to show photos of the degree shows, but needless to to say the standard of work on view was totally amazing. It left a few of us wishing to start a second degree, and enrolment on MA programmes seemed to be a most favourable route! This desire was particularly enforced as the tour from the shows led into room after room of facilities. The departments at UWE on the Bower Ashton Campus boast laser cutting, and mind boggling 3D printmaking technologies, in tandem with an enviable selection of traditional printmaking processes.
To conclude it is needless to say that the visit was a great success and yet another great learning adventure ! Many Thanks to Elisabeth, Jessica and all the staff at UWE for sharing their knowledge and providing an excellent range of inspirational events.
BSOE at The English Bridge Workshop, Shrewsbury
Workshop Report by Jane Ball
The English Bridge Workshop in Shrewsbury, Shropshire hosted two days of BSOE workshops held on May 9th and 10th May 2009.
Day one saw 11 keen enamellers with a range of backgrounds coming together to learn about and take part in “Experiments with high firing and corrugated copper shim” facilitated by Van Long.
Van began by displaying a range of test pieces and final pieces showing how from one enamel it is possible to get a range of colours depending on:
· how high the firing temperature is
· how long you fire for
· how thick the enamel is
· how thick the metal is
Whites and ivory enamels give a wide range of colours such as gold, blue, green, pink and of course white. Enamels Van used on the pieces she had on display were:
SOJE 159 White
SOJE 88 Ivory
SOJE 157 White
SOJE 0141 Hard White
SOJE 625 Super Soft White
LJE 0137 Rose Pink
LJE T214 Ochre
LJE 0100 Soft White
All give different colours at different firing temperatures [820-850 degrees] from those gained at lower temperatures as intended by manufacturers.
The English Bridge Workshop in Shrewsbury, Shropshire hosted two days of BSOE workshops held on May 9th and 10th May 2009.
Day one saw 11 keen enamellers with a range of backgrounds coming together to learn about and take part in “Experiments with high firing and corrugated copper shim” facilitated by Van Long.
Van began by displaying a range of test pieces and final pieces showing how from one enamel it is possible to get a range of colours depending on:
· how high the firing temperature is
· how long you fire for
· how thick the enamel is
· how thick the metal is
Whites and ivory enamels give a wide range of colours such as gold, blue, green, pink and of course white. Enamels Van used on the pieces she had on display were:
SOJE 159 White
SOJE 88 Ivory
SOJE 157 White
SOJE 0141 Hard White
SOJE 625 Super Soft White
LJE 0137 Rose Pink
LJE T214 Ochre
LJE 0100 Soft White
All give different colours at different firing temperatures [820-850 degrees] from those gained at lower temperatures as intended by manufacturers.
Samples of opaque white and ivory enamels, high fired - Van Long
Van showed a range of 2D and 3D pieces using thin copper shim often corrugated to allow a combination of colours to emerge from 1-2 enamel coverings.
Test pieces and experiments - Van Long
The group then spent time crimping and shaping copper shim and experimenting with white and ivory enamels on their own 2D and 3D pieces. Van was on hand to guide and support these personal experiments, sharing her knowledge and expertise with each person in turn. Group members ended this inspiring day with ideas for future “experimentation” and designs.
Samples of experimental shapes - Van Long
Day two saw the group eager to learn from Ruth Ball about how she uses Riso screens and other methods to build layered images in her work. She started by showing a slide show of her work involving Riso screens. She supported this stunning display of work with insights into her thoughts/design process as well as technical information on how the various effects were achieved.
Ruth explained she uses a range of techniques within each project (Riso screens, cloisonné, foils, transfers, painting enamel, sgrafitto, stencils, stamps, etc). Her designs are inspired by a wide range of elements from architectural structures/urban features to nature and textures. Click here to view examples of enamel panels on her website.
A quick ‘run down’ on how ‘Adobe Photoshop’ can be used to create Riso screens followed, though I got the feeling a specific evening course would be required to fully understand the extent of what could be achieved using this software tool. A free version can be downloaded from gimp.com, Ruth explained, which could be used to gain negative and positive images as well as ‘stamp’ and ‘line’ effects. More of a 3D image can be obtained when a series of screens are created from one picture and enamels built up one upon another using these various effects.
Applying riso image with sponge
Then Ruth demonstrated her method of using Riso screens. She uses repositional spray adhesive (the more expensive type she finds better than cheaper versions) sprayed very lightly over the piece, lays the screen in place on the piece and smoothes it down. Enamel is sieved onto the screen and rubbed across using a dry sponge. (Boots make-up sponge wedges were shown to be a valuable part of the enameller’s toolkit!) The screen is then gently removed.
She initially counter-enamels the metal by spraying the back with Klyr-fire or diluted wallpaper paste. A layer of enamel is then sieved over the metal, another spray of Klyr-fire made (the more Klyr-fire, the better the enamel will ‘set’) and left to dry. The piece is then turned over and enamelled on the front before the first firing. When ready to be fired Ruth places her pieces counter-enamel side down on a ceramic fibreboard tile slightly larger than the piece.
The piece made during the workshop demonstrated how Ruth builds her designs layer by layer. It was initially counter-enamelled, two separate Riso screens laid on opposite sides of the bare metal (care was taken not to lay the second screen over the enamel laid by the initial screen) and additional sieving of enamel over the piece, where some pieces were masked, using T6 white only. The fire-scale was used for effect (creating different coppery hues of green) within the second and consecutive firings. Blythe’s T6 Medium White was mostly used with a couple of other colours. The repeated firings and gradual build up of white gave interesting colour effects. Consecutive firings involved building on the Riso screens, using stencils and areas masked off using paper or wet newspaper. A useful tip when using paper stencils was to spray them before use with a fine spray of water. This traps the sieved enamel and allows the enameller to remove the stencil without enamel particles falling unwanted, back onto the piece when the stencil is removed.
An instructive 20 minutes was spent ‘rifling’ through Ruth’s stencil and stamp collection. She has a unique collection of all types of materials and objects, anything which can create a pattern in some way.
It is not necessary to use a frame with the repositional spray adhesive method of working with Riso screens. However if liquid enamel is to be used a framed screen is advised. The spray adhesive is easily rubbed off the screen when dry. Riso screens have a finite life and it is therefore prudent to make additional photocopies of the original images sent to create the screens if you wish to use them for a series of pieces.
A huge thank you needs to be given to both Van and Ruth for such an inspiring weekend.
JANE BALL
Additional Report:
Rosmary & Jill - Veronica & Maureen - Ursula & Melissa
A convivial group of twelve: Ruth Ball, Van Long, Hilary Bolton, Melissa Rigby, Rosemary Zeeman, Carol Griffin, Hilary Lawler, Jill Leventon, Veronica Matthew, Dyana Symonds, Maureen Carswell and Ursula Taylor (recruited from the Guild, together with Jane Ball) gathered together on the Saturday evening for a sumptuous Chinese meal and lively conversation at the popular ‘China Rose’ restaurant. Many thanks to Jill Leventon for organizing this, and to her and Maureen Carswell for so generously giving B&B to members over the weekend (Jill had 5 to stay on the Saturday night!)
Melissa Rigby (workshop organizer)
Playing with Fire - Rhyl Arts Center Wales
Posted by Ruth Ball
"Bowlscape" - Enamel on Steel Vessels - Helen Carnac
"The things we leave behind" - (detail) Panel - Jilly Morris
"Rememberings" - (detail) Panel - Jessica Turrel
6 June - 18th July 2009
"Playing With Fire" is currently on show in Rhyl Arts Center in Wales.
Just thought that I would share a few photos from my visit !
"Bowlscape" - Enamel on Steel Vessels - Helen Carnac
"The things we leave behind" - (detail) Panel - Jilly Morris "Rememberings" - (detail) Panel - Jessica TurrelHome & Antiques June 2009
Enamelling featured in several articles in the June issue of the BBC HOME & ANTIQUES. Notably, there was a beautiful four page spread about the stunning work of Jane Short.
Associate members Deakin and Francis also had a handsome profile in an article displaying an array of antique cuff links and the "ask the expert" section has a mystery to solve in the way of identifying a small antique panel bearing the image of mother and child.
I have taken the liberty of showing photos of the articles for perusal, as I think the July issue may already have replaced this edition on the news stands. You might have to go to the magazine website to order a back copy. http://www.homesandantiques.com/backissues.php
First page of the four page article about Jane short
Deakin & Francis feature prominently in the information about antique cuff links.
A puzzle to solve on the maker of this beautiful small panel.
Posted by Ruth Ball
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