- Venue
- LSO St Lukes
- Location
Its time to “rethink” Craft. This was the message coming across at the Crafts Council Conference. Key themes which emerged as the day progressed were:
– telling the story of what we make and how we make it to engage a wider society
– collaboration across disciplines
– adding value to Craft
The conference was opened by Rosy Greenlees CEO of the Crafts Council. Mike Press Professor and Head of the Design School University of Dundee was the chair and challenged us from the outset to think about craft as an exciting place to be. He stated that it was time to set an agenda for Craft by looking at how it is funded and taught, seeing it as a professional occupation and not a hobby, and engaging as craft makers in wider society.
The talks began with Mary Schwarz, a cultural sector consultant, and Dr Karen Yair, Crafts Council Research Manager, summarising their research report: ‘Making Value: Craft and the economic and social contribution of makers’. This was one of three pieces of research that the Crafts Council has undertaken the other two being: ‘Crafting Futures’ and ‘Consuming Craft’. All reports are available from www.craftscouncil.org.uk website. It was a good idea to provide ‘Executive summaries’ in our delegate pack as they were easy to read and contained pictures and key points that related to aspects of the speakers talks. I found myself referring to them throughout the day.
We then heard how digital technology is being used by craft makers. Michael Eden, a potter, explained how digital design is used to print 3D objects and that information can be embedded into an object using graphic markers. Another potter, Andrew Cornell Robinson, focused on how he tells stories with materials. He uses material and narrative in unexpected ways to encourage artisans to collaborate across disciplines. Lynne Murray, an interdisciplinary maker, explained how augmented reality is used in retail so that potential customers can interact with virtual 3D objects in real time. Tom Gallant, artist, showed how he has combined his interest in Victorian decorative craft and Kirigami with digital technology to work on collaborative projects in the fashion world creating designs for the catwalk. All of the speakers explained the digital terminology in a clear understandable way so that although I was hearing some of the terms for the first time I was able to understand these digital developments.
In the panel discussion that followed which was chaired by Dr Jane Harris, Reader and Director of the Textile Research Centre at Central St Martins, concerns were raised that Craft was getting lost in digital technology and it was suggested that makers needed to do more than just responding to new technologies. There is an opportunity to be proactive and say how digital can be used in the process of making. Craftmakers can add value through collaboration with industry balancing the values of manufacture with the perceived integrity and quality of the crafted item.
Trends in Consumption were considered next. Martin Raymond, Strategy & Insight Director at the Future Laboratory, provoked us to consider our turbulent economic times as a rollercoaster taking us off into the night. I liked this metaphor especially as this conference was being held on the same day as the Budget. Martin Raymond went on to say that if the last decade was all about excess this next decade will be austerity. Craft makers could produce things that survive and continue, things that last forever in keeping with ideals of considered consumption and being local.
Arantza Vilas, a trends writer, looked at how consumer preferences were moving towards moderation and rationalization where the time invested in making a product was important and the product was seen as an investment.
Gerri Morris, owner and Director of Morris Hargreaves McIntyre presented the findings of her report: ‘Consuming Craft: the contemporary market in a changing economy.’ The full report is available from www.craftscouncil.org.uk website. In Gerri Morris’ summary we learnt that craft has a strong positive image and sales are increasing as consumers are looking for items with meaning and value. They are attracted to the story behind the making. This idea of telling the story of the craft object was a theme that cropped up throughout the day and something that I think makers could use as a unique selling point in marketing their work.
Daniel Miller joined us by video link to examine people’s relationship to things. He is Professor of Material Cultural Studies at the Department of Anthropology at University College London. He challenged the notion that we live in a superficial materialistic society by explaining that people who develop deep relationships with objects are most likely to have good relationships with other people. This really surprised me. He went on to draw a comparison between owning objects and making by saying that a relationship with objects evolves over time, just as making requires skill, devotion and commitment over time. Consumption isn’t necessarily bad its more a case of what products are made, with what materials and how that impacts on the environment.
Martin Conreen, a lecturer in design, looked at the complexities of sustainability and advocated making on an industrial scale and adding value by hand finishing and good quality design. Makers understand the value of the materials they use from the toil expended to gather or the cost of buying, then the physical process of changing materials into made object and the cost of that process on the environment.
In the afternoon session Dr Matthew B Crawford, philosopher and mechanic, examined passivity, dependence and learned helplessness in our society. He looked at the trend of people retreating into a virtual world after feeling disengaged with the real world. Consumption, whilst promising freedom of choice and autonomy, actually leads togreater dependence as the buyer has to pay and keep paying to consume more. In contrast making enables individuals to see the outcome of their actions, to build up skills and to appreciate that they have a role in society.
Craft making is having a social impact. This was demonstrated by C J O’Neill, ceramicist, Clare Harris, interdisciplinary practitioner, and Andy Cathery, carpenter, who shared their experiences of working with socially excluded young people. I found it encouraging to see that craft making resulted in a sense of achievement, ownership, self esteem and value.
Conference delegates then had the opportunity to take part in smaller discussion groups, engage in craft making, explore materials and/ or watch a film of makers before coming back together for the plenary session led by Mike Press.
As the conference drew to a close it was evident that a wide range of issues had been discussed and debated which I thought were very relevant to our current ecomonic and social circumstances. The debate is very much ongoing through the online User Voice Discussion Board via the www.assemble.org.uk website.
Prior to coming to this conference I was aware that the perception of Craft is changing in wider society with a surge of people learning craft skills and engaging in craft activities. From the talks I heard I now know that consumers are becoming more discerning wanting to buy objects with authentic value and to learn the story behind the making. I think that if craft makers seek to share their stories they will be able to engage in an expanding market which appreciates integrity and quality.
Craft makers are changing the way industry and society works through interdisciplinary collaboration. This new way of working and thinking is highlighting the importance of craft entrepeneurship.
Craft making has social and cultural value. Individuals engaged in the process of making develop skills and self worth and are better able to contribute to society. By telling the story of objects and teaching craft skills to young children, craft makers can inspire and empower the next generation to change society for the better.
It was good to attend a conference focusing exclusively on Craft because I feel that Craft has been marginalised within the wider creative industries. Craft has a distinctive identity quite separate from Art and Design. I am now “rethinking” Craft because it has great relevance in the 21st century through its exciting use of digital technology and its readiness to tackle issues of sustainability and the environment.
