Bridget Bailey’s Life Cycle of Making explores her creative process, showing the evolution of ideas by arranging the experiments, finished works and inspirations that form a body of work on a large canvas, in the order they happened.
Bridget has also created a film to accompany the piece. It will show how ideas spark up, from scrutinising feathers, and then mutate through sampling in different materials – from wire and paper, to needles – turning into a creeping insect leg and a chrysanthemum skeleton along the way, while revealing what it’s like to experience the qualities of these stages from a maker’s point of view.
The film will be available to watch here from Monday 16 November, for the duration of the exhibition.
We will hold two live virtual events during the exhibition. Booking is essential for both.
Professor Roger Kneebone, Bridget Bailey and Emily Jo Gibbs in conversation, sharing insights into the way they work and comparing their creative process.
Roger Kneebone, Professor of Surgical Education at Imperial College London and Outreach Fellow for the Welcome Trust is well known for his inspirational lectures and his Countercurrent Conversations, which explore the contrasts and crossovers between medicine and many aspects of the arts.
Bridget Bailey’s Flora and Fauna inspired artworks and installations combine intriguing ideas and intricate making with her textile and millinery background.
Emily Jo Gibbs’ project ’The Value of Making’, shown at Collect 18, depicts makers through representations of their tools, in a series of exquisite hand-stitched still-life portraits.
The event is on Zoom and a link and will be sent out to you a few days before.
For more information and to buy tickets:
Bridget shares one of her production processes through a demonstration of making a delicate insect leg.
Bridget demonstrates making a delicate wire insect leg, and attendees can join in the process to get a sense of what it feels like to try the intricate intense production techniques she uses for some of her finished artworks.
This session is a demonstration and not in the ‘teaching’ style of a masterclass. It’s about noticing what it feels like to engage with the process. A chance to share the experience of handling and working with some of the actual materials used in the production stage of the making process.
Each person booking this session will receive a materials kit with the ingredients to have a go at making an insect leg, so please email me at firstname.lastname@example.org and give me your postal address so I can post you the materials.
Please note the last posting date to receive a materials pack is Wednesday 11 November.
The event will be on Zoom and a link will be sent out a few days before the date.
For more information and to buy tickets:
During London Craft Week, Guild members will be giving online talks and demonstrations about their work and the making process
Find more information about the event here.
This year for Open House London the Guild will be holding walking tours on Edwardian Art and Architecture in Holborn and Bloomsbury, led by expert guides, conservation specialist and local historian Alec Forshaw, historian and Master of the Guild, Alan Powers and architect Karen Butti, leading expert on Smith and Brewer.
Please see the Open House London website for more details and how to book.
PLEASE NOTE ALL TOURS ARE NOW FULLY BOOKED FOR THIS EVENT
When the members of the Art Workers’ Guild celebrated the 30th anniversary of the foundation of their organisation in 1884 by moving into their own building at No.6 Queen Square, they were consolidating a longer history of the Arts and Crafts Movement in this part of London. We could trace it back to the time that William Morris and Edward Burne-Jones spent at No.17 Red Lion Square in 1856, near the Working Men’s College, later in Great Ormond Street, where Dante Gabriel Rossetti and John Ruskin were lecturers. In 1914, The Rebel Art Centre at No.38 was the home of Vorticism.
The London County Council’s Central School of Arts and Crafts was provided with a sturdy headquarters designed in part by its Principal, William Lethaby, a building opened in 1912, with its departments mostly headed by members of the Art Workers’ Guild, practising ‘learning by doing’ across a wide range of design and crafts. Other individual buildings of note on this part of the walk include No.12 Queen Square by Eustace Frere, 1907 and the Queen Anne style National Hospital for Neurology and Neurosurgery by Sir John Simpson, 1881-85 and 1938 extension with sculpture by Arthur Ayres. Stanley Hall, Easton and Robertson’s Nurses Home for Great Ormond Street, 1932, has a frieze by Eric Aumonier.
Much redevelopment took place in Bloomsbury between the wars, with Sir Herbert Baker’s London House (now Goodenough College), 1933-7, Coram’s Fields insertions to create a playground, 1936, and the School of Pharmacy by H. J. Rowse of Liverpool, 1939, close to J. M. Brydon’s Women’s School of Medicine, 1897-1900. Post-war Patrick Hodgkinson’s Brunswick Centre, 1972 takes us into Marchmont Street and a view of the magnificent back of the British Medical Association, by Sir Edwin Lutyens, 1912 (originally for the Theosophical Society) and on to Mary Ward House, 1898, a fascinating multi-purpose social project modelled on Toynbee Hall, the architectural debut of Cecil Brewer and A. Dunbar Smith.
At Woburn Square, the Warburg Institute, 1955-8 is a late work by Charles Holden, part of his revised scheme for London University begun with the Senate House, 1931-7. We finish with Heals, Tottenham Court Road, the original section by Smith and Brewer for Brewer’s cousin, Ambrose Heal, 1914-16, extended in replica 1938 by Sir Edward Maufe, decorations by Harold Stabler.
Alec Forshaw’s book, An Address in Bloomsbury: The Story of 49 Great Ormond Street (Brown Dog Books), will be available for sale from the author.
Bro. Francis Terry will be holding an exhibition of his watercolours, done in collaboration with Create Streets, from the Tuesday 21 to Thursday 23 April at the Art Workers’ Guild.
Viewings will be available between 10.30am to 5pm on Tuesday 21 and Thursday 23 April and from 12pm to 5pm, then 6.30pm to 7.30pm on Wednesday 22 April. Please note booking is essential for the 6.30 – 7.30 session.
Create Streets is a social enterprise which encourages the building of traditional urban developments, with Francis using his design flair to bring their ideas to life. They have collaborated on many counter proposals, giving a voice to local residents who are often ignored by avaricious developers. These include many important sites in London, such as:- Mount Pleasant Sorting Office, Farringdon; The Gas Holders Site, Oval; Empress Place, Earls Court and others.
Recently they have been successful in helping to convince the owners of the Sutton Estate in Chelsea to refurbish the flats rather than demolish, providing at least 80 new social rented homes, upgrading the existing flats and improving the outdoor spaces.
All proceeds from sales of these watercolours are going to the charity Cure EB.
For further information, or to arrange a viewing, please email Leah on email@example.com or call 01206 580528.
Paintings, drawings, prints, textiles, ceramics, carving, cutlery, and more, by members of the Art Workers’ Guild, past and present, from the personal collection of Master of the Guild Alan Powers.
Alan has raided the walls and cupboards of his house to produce an exhibition of work by AWG members going back to the 1880s. In some respects random and unrepresentative, it is nonetheless instructive about some of the characteristics that have recurred through the decades: a relationship to the past (from F. L. Griggs’s Gothic fantasies to Glynn Boyd Harte’s celebration of Lutyens); a commitment to art in the service of people (especially mural studies); the rural and urban pastoral (Reynolds Stone and Richard Sorrell); the process outshining the product (studies rather than finished works); the elevation of the everyday through decoration (pottery, textiles and cutlery); and the sheer delight of a satirical architects’ pantomime programme by Beresford Pite and cardboard models made from designs by Edward Ardizzone and Rowland Emmett.
Viewing is by appointment only. Please contact Leigh on firstname.lastname@example.org to book.
There will be a private view on Friday 28 February, 6 - 9 pm.
Exhibition will feature work by:
F L Griggs
Glynn Boyd Harte
Sir Edwin Lutyens
Sir Thomas Monnington
A Beresford Pite
A selling exhibition of watercolours and drawings by Thomas Hennell (1903-1945), mainly drawn from the Estate of the Artist, curated by Jennings Fine Art.
Thomas Hennell was an artist, writer and countryman. He was tragically killed at the end of the Second World War, in which he served with distinction as an Official War Artist. Edward Bawden and Eric Ravilious both regarded him as a ‘man of genius’. He was a key contributor to the Recording Britain project and lectured (more than once) at the Art Workers’ Guild in 1940 on the subject of ‘Country Crafts’.
East London Textile Arts will lead an embroidery workshop inspired by the current Re-envisioning John Frederick Lewis - Interpretations in craft and architecture exhibition.
An exhibition exploring the work of the Victorian Orientalist painter, John Frederick Lewis, and offering contemporary interpretations of ’the Oriental’ today. The project is in partnership with East London Textile Arts and The Watts Gallery and will run in parallel to the Watts Gallery exhibition of portraits by John Frederick Lewis to be held from summer 2019.
Viewing is by appointment only. Please contact Leigh on email@example.com to book.
The Exhibition will be open to the public from Thursday 6 - Saturday 8 February, 11am - 5.30pm
The Art Workers’ Guild mentoring scheme is holding an open evening showcasing their mentors, offering support and advice for students as they launch their creative careers.
An exhibition of recent work by Edward Stone. There will be a private view on Saturday 9 November.
Edward Stone was born in Berkshire in 1940, the eldest son of the distinguished wood engraver and painter Reynolds Stone. He was educated at Eton and Hammersmith College of Art, where he studied mural design. After college he worked as an assistant to the muralist George Mitchell. Later Stone worked part time as a day care officer in the Health Service, supporting himself while beginning a long process of discovering painting. Edward Stone’s art is a complex one. He appears at first glance to paint the surface of what he sees. In the Summer he paints landscapes, either in Dorset South West England where he lives, or in France around the Poitu region. In the winter he paints indoors, still lives and interiors. He does indeed paint what he sees but his is a complicated vision. A mixture of observation, history and homage. The references to other art and artists are everywhere present in his paintings. This is his way of sharing the delight that he finds. His enthusiasms are evident throughout his work. Visual clues are laid out among his still lives interiors and landscapes. Allusions are made to Chardin and Vermeer to Corot and to Daumier. He has a strong affinity with France and French culture. His passion for the writer Balzac was so intense at one time that the host of a dinner party in France was moved to admonish him before the meal with, ‘Pas de Balzac ce soir Edouard’. Proust is another of his literary enthusiasms. Edward’s painting is very much involved with notions of memory and time. He has shown at the BP Portrait awards and has held several solo and mixed exhibitions at the Francis Kyle Gallery in London. His work has been collected by among many others Iris Murdoch. This is Edward’s first exhibition since 2007.
Ian Archie Beck
During his 1909 lecture tour to the West Coast, Past Master C. R. Ashbee presented lectures in Seattle, Washington and Portland, Oregon. Unimpressed by the crowds, pollution, and degradation he had seen in New York, Pittsburgh, and Chicago, he was fascinated and delighted with the West. Ashbee wrote in his journals that Seattle was “the only American city I have so far seen in which I would care to live. All the gold of Ophir would not tempt me to live in one of those smug eastern cities. Here is a city with a new light in her eyes.”
His wife, Janet, remarked on the city’s cosmopolitanism, its ‘well-appointed restaurants decorated with the latest Arts and Crafts distinction of line and coloring.’ Her comments reveal that Seattle and the Pacific Northwest were participating actively in the important design and reform movement that had roots in nineteenth century Britain but soon was taken to heart by America.
This lecture, based upon an award-winning book by Lawrence Kreisman and Glenn Mason, The Arts and Crafts Movement in the Pacific Northwest (Timber Press, 2007), explores this theme of regional identity. Examples in architecture, interior design, furniture, decorative and applied arts, photography, and fine arts demonstrate the remarkable variety of progressive, architect-designed residences, bungalows for everyone, and all manner of artistic and practical furnishings and accessories that were the handiwork of anonymous amateurs and significant regional artists alike.
Lawrence Kreisman, Hon. AIA Seattle, was Program Director of Historic Seattle for 20 years, He has been recognized for significant work in bringing public attention to the Pacific Northwest’s architectural heritage and its preservation through courses, tours, exhibits, lectures, articles, and 11 books. Kreisman and his husband, Dr. Wayne Dodge, are both members of the Decorative Arts Society.
To reserve your place, please email firstname.lastname@example.org. Entry is free.
The Art Workers’ Guild Table Top Museum is back for its fourth year, in conjunction with Open House weekend. Join us for an inventive celebration of the madness and the individual and extraordinary rules of those who collect, organised by Guild member, Stephen Fowler.
Come and delight in an exhibition of 23 installations, curated by Guild members and others selected by invitation, featuring molluscs, plane spotters notebooks, stereoscopes, blank paper and the archive of Zenda, to name but a few. (for more details of exhibitors see here)
The Museum forms part of Open House Weekend, more information can be found on their website and catalogue.
We will be open to the public for one day only on Sunday 22 September, 11 am – 6 pm.
Cake and refreshments will be available throughout the day.
The Art Workers’ Guild
6 Queen Square
For more information contact Leigh Milsom Fowler on email@example.com
020 7713 0966
We look forward to seeing you there!
Jennings Fine Art presents an exhibition of drawings, watercolours and lithographs by PM Glynn Boyd Harte. There will be a private view on Monday 23 September, from 6.30pm – 9pm
Sunday 22 September 11am – 6pm
Monday 23 to Friday 27 September 10.30am – 4.30pm
Saturday 28 September 10am - 2pm
Monday 30 September to Friday 4 October 10.30am – 4.30pm
The Outreach Committee are holding an evening conversation on 3 July. Master Anne Thorne will discuss the history of gendered space in the UK and how her practice has used this to challenge the design of public and private spaces, working with different community groups. Bro. Celia Ward will talk about gendered spaces within the Egyptian architecture depicted by Victorian painter John Frederick Lewis.
A display of work in progress by Bro. Carol McNichol, Bro. Rachael Matthews and the members of East London Textile Arts for the current Outreach project, Re-envisioning John Frederick Lewis - Interpretations in craft and architecture will also be on show.
To book your place, please email Leigh on firstname.lastname@example.org. Places are very limited, so will be allocated on a first come, first served basis. Entry is free and refreshments will be available.
The Guild is hosting the closing event for this years Material Witness - an interdisciplinary training programme for the interrogation of physical objects in the digital age.
The prevalence of digital images both online and in exhibition and museum spaces has resulted in the dematerialised object becoming increasingly ubiquitous. Interest in physical artefacts has intensified as a result, both within the academy and across the public sphere. Material Witness acknowledges the centrality of objects across the humanities and offers innovative and cutting-edge training to emerging scholars in a broad range of theoretical and practical methods for interpreting physical objects. A central theme of Material Witness is the mutually enriching relationship between the digital artefact and the ‘real thing’. Material Witness will provide training for PhD students in techniques and methods for examining the material world. It aims to encourage researchers who come from different disciplines and backgrounds and who study diverse time periods, pre-modern and modern, to share ideas about the relationships between materials and meaning. The programme also promotes collaboration across (and beyond) the spectrum of humanities disciplines through the study of materiality.
The programme takes the form of day-long events that take place during the Spring and Summer terms, with the concluding event at the Art Workers’ Guild designed to showcase skills learnt during the programme. The evening will include key-note speakers followed by presentations from members of the Art Workers’ Guild on their individual crafts.
An exhibition of photographs by Nicholas Hardinge (1927 - 2005), hosted by Brother Jacqueline Taber of the Geedon Gallery.
The exhibition will be open 10.30am to 4.30pm daily and there will be a private view on Friday 17 May, 6.30pm - 8.30pm.
In 1949, after service in the RAF Nicholas Hardinge studied briefly at the London School of Photography, before getting his first job in the darkroom of society photographer Walter Bird. The premises were shared with Photographic Illustrations Ltd, who were Industrial and Architectural Photographers. Later he worked for Pictorial Press Agency, who provided illustrations for the long departed weekly Everybody. These pictures were all taken in his spare time or weekends. The 2 ’/2"x 2 " negatives were lost for over 30 years until they were found on moving house.
These few surviving images illustrate a way of life that has gone for ever. In those days, the Thames and London Docks were seething with shipping and small craft. The Thames barge, although in decline was still very much in evidence. The workmen, in their flat caps all look so different today. All these photographs were taken with a Rolleiflex camera.This was not taken at eye level, but looking downwards into the dark hood, thus making it easier to snatch pictures undetected, like Gas Workers at Greenwich and the old lady in Deodar Road, Putney.
The Guild is holding two events over London Craft Week, between 8 - 12 May 2019.
Unveiled – The Craft of Millinery
Wednesday 8 - Friday 10 May
This exhibition brings together British milliners, chosen for their diverse designs and skills, to give an insight into the particular workings and craftsmanship of each. Curated by leading milliners and Brothers of the Guild, Rachel Trevor Morgan, Edwina Ibbotson and Noel Stewart, the exhibition draws on their experience and knowledge to bring together the best of British millinery, including hats from Stephen Jones, Philip Treacy and Bro. Bridget Bailey. Their aim is to highlight the very special craft of millinery and its varied techniques, both modern and traditional. A working gallery forms part of the exhibition, where you can see hats being made over the three days. There is also a display of winning hats from the annual Feltmakers’ Design Competition.
Included in the week are ticketed talks and demonstrations. For more details, please see the website.
London Craft Week: The Art of Making at the Art Workers’ Guild
Sunday 12 May, 11am - 5pm
The Guild is holding a special one-day event to showcase the enormous variety of our members’ craft disciplines. Brothers will be demonstrating the specialist skills involved in the making process of each, featuring stone carving, textile design and calligraphy, to name but a few.
Entry is free and refreshments will be available.
Those taking part include:
Jane Cox - Potter
Wally Gilbert - Sculptor
Edwina Ibbotson - Milliner
Paul Jakeman - Stonecarver
Mark L’Argent - Calligrapher
Sue Lowday - Leather work
Georgy Metichian - Woodcarving
Jeremy Nichols - Potter
Tom Samuel - Woodcarving
Annie Sherburne - Textiles
The AWG Outreach committee invites you to a day of decorative darning and mending on Saturday 4 May, 1 - 5 pm in the Art Workers’ Guild Hall. Please bring your holes or somebody else’s. If you are one of those extraordinary people who has no holes, please come along anyway.
Yarns and woven fabrics of many colours are waiting to darn knitwear and patch holes. There will be tuition in the use of darning mushrooms, and examples of how decorative darning can bring new life to old favourites. Sewing machines, irons, needles and scissors will all be provided along with refreshments. It’s possible that standard buttons can be matched but we are unable to mend broken zips.
Please RSVP to Leigh on email@example.com or call on 020 7713 0966.
Entry is Free
The Power of Wealth/This Yellow Slave
This is the first UK solo show for Swiss born sculptor Isabella Kocum. Using a number of techniques including printmaking, gilding, sculpture and ceramics, her work explores contemporary issues rooted in the traditions of European art. In this exhibition she will be showing polychrome wood reliefs alongside lustre glazed ceramic figures and lino prints.
There will be a private view on Monday 8 April, 6pm – 9pm
Still I Rise: Feminisms, Gender, Resistance, Act 2, 9 February – 27 May 2019,
Installation view, De La Warr Pavilion, Bexhill-on-Sea.
Courtesy of De La Warr Pavilion. Photo: Rob Harris
Still I Rise is a timely exhibition exploring the history of resistance and alternative forms of living from the perspective of gender. This major group exhibition looks at the many forms resistance can take: from intimate acts to large-scale uprisings, from the late 19th century to the present and beyond.
Still I Rise presents the way in which resistance has been approached by visual artists, writers, architects, designers, activists, working as individuals or in groups. It takes place within a global context, referring to recent women-led uprisings and demonstrations, as well as historic moments including the Civil Rights Movement, independence movements against colonial rule in Africa, the Women’s Liberation Movement, the AIDS crisis and the Stonewall Rebellion.
At the core of Still I Rise is the idea of collaboration, community building and egalitarianism.
The Master, Anne Thorne, has some of her work as part of the Matrix Feminist Design Co-operative on show, plus the Head of Exhibitions at the De La Warr, Rosie Cooper (also Prue and Nicholas Coopers daughter), will be giving us a guided tour of the exhibition. We have organised for lunch afterwards in the Cafe.
For more information and to book your place please contact the Guild Administrator, Leigh Milsom Fowler, by email on firstname.lastname@example.org or phone 020 7713 0966.
De La Warr Pavilion
Come and discuss and view works in progress for the Guild Outreach exhibition about the English 19th century painter John Frederick Lewis taking place at the Guild in the Autumn.
All welcome and drinks will be provided. An AWG Outreach project in partnership with The Watts Gallery and East London Textile Arts.
Useful Parallels: Exploring ways in which other disciplines approach comparable problems.
An exhibition of glass work by Brothers in the Yellow Gallery and Courtyard. The exhibition shows finished pieces and the processes and tools behind them and features work by Katharine Coleman, Ged Palmer, Sally Pollitzer, Tracey Sheppard, Caroline Swash and Helen Whittaker.
Curated by Bro. Monica Grose-Hodge.
The AWG Outreach committee invites Brothers and their friends to an afternoon of collage on Saturday 2nd February, 2-5 pm. Play a giant game of collage-consequences, make a cheerful valentine card for your sweetheart, create a cut-and-paste poem, or simply experiment with paper, scissors and glue.
Collage materials, tools and refreshments will be provided.
If you’ve got any visually interesting magazines, books or scraps of paper you’d be happy to cut up and turn into something new, bring them along. And if you’d like to make a valentine, remember to print out a picture of your loved one(s) and bring it with you.
Please RSVP to Leigh on email@example.com or call on 020 7713 0966. Entry is free.
A selection of festive cards created by Brothers of the Guild on sale in the Gallery. Featuring work by Phil Abel, Brian Webb, Christopher Brown, Vicki Ambery-Smith, Angela Barrett, Rosalind Bliss, Jane Dorner, Matthew Eve, Marie-Helene Jeeves, Peter Malone, Anthony Paine, Jeremy Sancha, Jacqueline Taber and Russell Taylor.
Individual cards: £3
Pack of 5 cards: £12
An exhibition exploring a collaboration between painting, gilding and computer graphics by Brother Elizabeth Ball, Prof. Grzegorz Mazurek and Marek Letkiewicz PhD. Exploring the concept that museums are not a storage of paintings and sculptures but repositories of timeless human imagination. Images reach us from the past, they are projections of the visual mind in which we intuitively sense the vibration, strength of life and energy.
Better known for his books on mid twentieth century British artists, architects and designers, Alan Powers also produced a considerable body of paintings and graphics, mostly in the 1980s. These are the subject of a forthcoming book from Inky Parrot Press, with text by the artist and introductory essays by Peter Davidson and Michael Hall. In anticipation of this, he staged a small retrospective exhibition at the Art Workers Guild, of which he has been a member since 1982.
The exhibition included a number of watercolour paintings for sale, and others borrowed from their owners, showing buildings, landscapes and interiors. There were sample of etchings, lithographs, magazine illustration, painted furniture and a couple of peep shows.
Details about the book can be obtained from firstname.lastname@example.org
A talk by Jessica Douglas-Home on the sculpture and puppets of past Brother William Simmonds, to coincide with the publication of her new book and an exhibition of Simmond’s work.
A film screening of The Chair Maker by Falcon Productions. Master craftsman Lawrence Neal has been handcrafting exquisite ladderback chairs for over half a century. The Chair Maker explores his making process, the historic lineage of ladderback chairs, and the existential threat facing modern craftspeople. For more information please see the website.
Brother Neil Jennings of Jennings Fine Art held an exhibition of Harold Jones’ work, featuring paintings, watercolours, prints and original artwork.
The Art Workers’ Guild Table Top Museum is back for its third year, in conjunction with Open House weekend. An inventive celebration of the madness and the individual and extraordinary rules of those who collect, organised by Bro. Stephen Fowler and PM George Hardie.
Desdemona McCannon The Museum of Ashridge, PM George Hardie Stencils
We delighted in an exhibition of 24 installations, curated by Guild Brothers and others selected by invitation, featuring mincers, alphabets, antique breadboards, rough seas, objects of desire and the architectural garden of Eden, to name but a few. This year we also dedicated a table to matchbox museums - special collections in micro.
The Museum forms part of Open House weekend, and features on their website and catalogue.
PPIG (Psychology of Programming Interest Group), a niche think tank of academics, held their annual conference at the Guild this year, with the aim of questioning whether arts and crafts sensibilities could be introduced to computer programming at a deep philosophical level.
An exhibition of sculptural work by Brothers in the Yellow Gallery and Courtyard. The exhibition showed finished pieces and the processes and tools behind them and featured work by James Butler, Charlotte Hubbard, Wally Gilbert, Guy Reid and Simon Smith.
Curated by Bro. Monica Grose-Hodge.
Bro. Rob Ryan and TAG Fine Arts held an exhibition of new work, But If I Tell You It Won’t Come True at the Guild. Rob made a departure from his previous monochromatic paper cuts, showing new pieces using multi-layered collaged paper cuts and highly coloured limited silkscreen prints. There was a book signing with Rob on Saturday 23 June 1 pm - 3 pm
An exhibition of works refused entry into the Royal Academy Summer Exhibition by members of the Traditional Architecture Group, organised by Bro. Simon Hurst.
This year, many TAG members submitted entries for the Royal Academy Summer Exhibition. All but one were refused and all these entries, which included many fine architectural models, exquisite drawings, stone carvings and plasterwork went into TAG’s own exhibition.
An exhibition of work by new Brothers in the Yellow Gallery. The exhibition showed finished pieces and the processes and tools behind them and features work by Hannah Coulson, Zebedee Helm and Jeff Soan.
Curated by Bro. Monica Grose-Hodge.
An exhibition which brought together the best of British millinery, showcasing the diverse styles and skills of makers and giving an insight into their design processes. In conjunction with London Craft Week, supported by the Worshipful Company of Feltmakers and hosted by the Art Workers’ Guild.
Curated by leading milliners Rachel Trevor Morgan, Edwina Ibbotson and Noel Stewart, this unique exhibition drew on their experience and knowledge to highlight the very special craft of millinery and its varied techniques, both modern and traditional. It includes hats from Stephen Jones and Philip Treacy as well as millinery costumier, Jane Smith. There was also be a display of winning hats from the annual Feltmakers’ Design Competition. Throughout the week there were variety of other ticketed talks, demonstrations and a documentary.
Magic Carpets and the possibilities and limitations of ’Neurodiverse Art’: An exploration of the Creative process and its relation to how our our brains work through the launch of #MagicCarpet tapestry art.
On the occasion of the launch of a new tapestry artwork, artist Dr Kai Syng Tan and mentor Professor of Psychiatry Philip Asherson (Social, Genetic and Developmental Psychiatry Centre, King’s College London) and distinguished members of the Art Workers’ Guild held a discussion exploring the creative process and its relation to how our brains work. Guests speakers were Professor Andrew Stahl (UCL Slade School of Fine Art), Jo Verrent (Unlimited) and Ben Graham (Headway East London). Brothers Rachael Matthews, Fleur Oakes and Paul Jakeman demonstrated their work alongside the discussion.
The AWG Outreach committee invited Brothers and their friends to a day of decorative darning and mending. Yarns and woven fabrics of many colours were provided to darn knitwear and patch holes. There was tuition in the use of darning mushrooms, and examples of how decorative darning can bring new life to old favourites. Sewing machines, irons, needles and scissors were provided along with refreshments.
Brother Jane Dorner held an exhibition of work inspired by Past Master Stephen Gottlieb’s workshop. Several Brothers contributed pieces illustrating the diversity of a craftsman’s practice.
The Guild had the honour of hosting Hon. Brother HRH The Prince of Wales. His visit marked the official opening of the new Courtyard. As well as unveiling a plaque in honour of his visit, he took the opportunity to meet and view the work of Brothers. More photos can be found on the Guild’s Instagram feed.
The Guild held a film screening of Anthony Dolan’s new documentary film ’Edgar Wood - a Painted Veil’, featuring Brother Gareth Mason as Edgar Wood. Doors open at 6.30 pm for a 7 pm start.
Our annual auction of Brothers’ work featuring paintings, prints, furniture, ceramics, glass pieces and more…all broadly on the theme of Thanksgiving, to mark the American holiday.
Convened in partnership with the Art Workers’ Guild, the Heritage Crafts Association and the Crafts Council, this panel debate at the Museum of English Rural Life brought together influential thinkers connected to craft and making to explore pressing issues facing the creative economy.
As part of the Bloomsbury Festival, the Guild hosted the award-winning campaigner and founder of the global Craftivist Collective Sarah Corbett.
An exhilarating, exciting and inventive celebration of the madness and the extraordinary rules of those who collect. Featuring museums of groovy flutes, coastal curiosities, shopping lists, gay dolls, the Chinchilla’s Museum of Crypto-Zoology, and many more...
A dialogue between local community groups and professional craftspeople.
Members of the Guild (jeweller, stonecarver, decorative plasterer, potter, product designer, embroiderer, etc) paired up with surgeons, engineers, bioscientists, people working with computers, etc, to demonstrate the critical importance of craftsmanship across disciplines, and the transferability of the understanding of skills.