Author: Jo Lowndes

Please tell us about the materials and techniques that you work with.

My work usually shifts between hand embroidery, metalwork, silversmithing, illustration, 3D sculpting and jewellery. I began as an embroiderer, and that sensibility remains the thread that ties all my other practices together. A lot of my metalwork, for instance, has a distinctly textile quality and I often use wire or silver as though it were thread, shaping it to float around the head in three-dimensional forms. I make each piece by hand in my small studio, situated at the bottom of my garden here in Iceland. 

 

 

Could you share more about the journey that has led you to be making masks for Björk?

I met Björk in 2009, just as she was coming off the Volta tour and starting to formulate what would later become the Biophilia album. Initially, I joined her as sort of research / personal assistant, but over the years my role evolved to focus more on the visual side of stuff with her – whether it be tour visuals, music videos, making apps or virtual reality projects etc. In 2015, while we were working on the visuals for the Vulnicura album and tour, I started to make some embroidered masks for her to wear on stage. Most of those were made while we were on the road, initially just as a little side project – we were usually so busy working on other stuff during the day, I would make them in the evening in my hotel room. For a long time I saw them as these spontaneous physical flowers that would spring up out of all the other work we were usually doing during the day. So I was often surprised when people would call me her “mask maker” as that was initially a very small (but visible) part of our collaboration. Over time though, the masks became a more integral part of our creative partnership. 

 

 

Could you talk us through the process of designing and creating one of her masks, perhaps a creation you have been especially proud of?

During the Covid lockdowns, I finally had the time to look back and archive all the masks I had made, and was amazed to discover I’d created over 70… and the process for each one is a bit different ! But typically, there will be some visual references or emotional cues that will emerge from conversations with Björk – or some inspiration from nature that I have become fixated on. And then I will just start experimenting and making prototypes in my studio – often for weeks or months, until I figure out some mood or character that works on the face. A lot will depend on what specifically I am making the mask for: if it is for a video, a live performance, a photoshoot – they all have slightly different parameters for how theatrical or casual they should feel, so that is usually at the forefront too. If we take one recent mask as an example – the “Fascia” mask, I had become very interested in the body’s connective tissue, and had been researching that for a while. Taking that as an initial starting point, I started to draw some contours directly onto a bust of Björk´s head, which I then abstracted into a series of organic flowing lines. Almost all of my previous masks have lifted off the face and floated around the head, as I was always wanting to avoid making a typical “mask” with eye holes that is worn flush to the face. This was my first attempt at trying to make a piece that could easily just be taken on and off like that. I ended up laser-cutting this piece from solid copper, polishing it by hand and then forming it to fit exactly onto Björk´s face. Björk had also been sharing references with me at the time that had this same sort of contour-line feeling – so this mask shows how often it is a strange combination of things that leads to any particular mask: an anatomical reference, some visual clues from Björk, a mixture of hand craft and digital techniques combined, a long process of experimentation with different forms… all of those will merge and a new mask will eventually appear out the other side! Watch the making of this mask here.

 

 

How do new ideas emerge for you and what is the process for developing them into finished pieces?

Most of my inspirations, unsurprisingly, come from the natural world — usually something botanical or anatomical, often something internal or microscopic that I want to try and bring to the surface. More recently I have been finding lots of inspiration in archaeological sites and finds, specifically from Iron Age Britain. Typically I will become fascinated by a particular form or structure, and start studying it obsessively for months, until I begin to see it as a character that could live on the face. I prefer to evolve the shapes beyond their origins, creating curves or structures in my own visual language – until I find something that suggests the essence of something, rather than a direct copy of its natural form. I will usually try to clear my mind of references entirely and go into the studio without a sketch, and let my hands do the thinking instead. In my practice I am often switching between different materials and techniques, and I find that approaching it this way lets me react more instinctively to whatever material I am using, until something new emerges.

 

 

Where do you hope to take your practice in the future and why?

I’ve recently launched my first pieces of jewellery at Dover Street Market in London, which feels like a very natural and exciting evolution for where I want to go next. Adorning the body has always been central to my work, but now I’m shifting my focus from the face to the hands, ears, necks, and wrists. I´m really proud of those first pieces – especially the fact that I made them in my hometown in Gloucestershire, with the amazing team at Pangolin Editions – a world class bronze foundry just a few steps from where I grew up. I wanted to keep the scale small and focused, prioritising craftsmanship and intention in every piece – and feel very lucky to have done that with them. It was the first time I gave my designs to someone else to make, and I already can’t wait to start making new pieces with them. 

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Please tell us about your journey into the world of art, design and craft, and the unique perspective you bring to it.

It was clear to me from a really young age before I knew what design or craft was, this is what I would do. It came into sharp focus over time and particularly during my RCA years. Marina and I started to collaborate soon after graduating and formalised our studio in 2015. Our work is deeply informed by processes that occur in nature such as lava stone from volcanic activity or how mountains are formed over many years. Nature creates the most beautiful forms, albeit uncontrolled, and this is what we try to achieve in our work. In traditional design there is a tendency to control and perfect every aspect of production and outcome but we try to create work with process and feeling. For us the outcome is a result and not an expectation.

 

How do new ideas emerge for you and what is the process for developing them into finished pieces?

We both have intuitions which we tend to sketch or talk about. For us ideas are fast but we often work on longer projects like Moon Rock which took years to develop so many ideas can influence the outcome of a single project and a single project can have numerous outcomes. We produce drawings, material samples, models and collect lots of material that builds towards a collection of finished pieces. Moon Rock is ongoing so we will keep adding to the collection over time.

Which materials do you each enjoy working with most and why?

We are lucky enough to work with our own materials which we have created. They are not materials within their own right but rather variations of materials such as our metal and ceramic foams. We also love to work with glass, and light is something we treat as a material, an immaterial material, but something that can be worked and shaped nevertheless. We are drawn to transformative materials and materials which are enduring.

 

We’d love to hear more about the inspiration for the Moon Rock project and how it feels to be sending artwork to the moon.

The Moon Rock project grew out of our ceramic foam work. We wanted to create furniture scaled work but our porcelain foam is better suited to hand scaled pieces so we started to explore the possibilities of creating our own metal foam process. We created the process first and looked at geological processes occurring in the natural world such as volcanology which forms and shapes planets all over the universe. Volcanoes are like massive crucibles that spew out weird and wonderful materials. There were many iterations of the process before we perfected it but then we took the steps to rework it so the outcome is 100% recycled from car wheels meaning no new material is required cutting out mining and around 90% of the energy required in the production of new aluminium.

Looking up at the Moon it all seems so far away and even hard to imagine someone setting foot on the surface let alone imagine something I made will go there and be preserved for a very long time. But I have come to think of it like Everest, there was a time before anybody set foot on the summit and one afternoon that changed. Now in climbing season long queues of people wait their turn to summit. Soon the Moon will be a busy place, probably sooner than many of us expect and I think that’s the point. We created a cobalt porcelain hybrid material and produced a tiny Moon Rock table for the occasion.

 

Where do you go from there? What will you be working on next?

We are presenting our work on a global stage now with PAD London and Design Miami coming up soon for example. It’s invigorating to experience how new audiences interpret our work. We are creating larger scale pieces and have some bronze foam pieces also. We are most excited about what’s going on behind the scenes. As well as a shift in scale we are thinking about some more advanced processes to form the next generation of our work.

Find out more at www.studiofurthermore.com

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An exciting opportunity has arisen to join the London Craft Week team as Senior Sales and Programme Executive.

About London Craft Week

Returning for its tenth edition from 13-19 May 2024, London Craft Week (LCW) is a city-wide festival celebrating exceptional craftsmanship from around the world. A unique cultural and commercial platform, LCW attracts 225,450 visitors to a rich and varied programme of over 500 events from 40 countries.
LCW’s curated programme brings together established and emerging makers, iconic heritage and contemporary brands, studio groups, collectives and galleries with discerning consumers to build engagement and sales. It features exclusive workshops, demonstrations, exhibitions, talks and discussions and performances.
London Craft Week tells the stories behind some of the world’s most beautiful objects – the material, the maker, the process and the inspiration. We work closely with partners to shape persuasive activations, connecting partners with new and existing customers.
London Craft Week is an independent, not-for-profit organisation.

About this role

London Craft Week is looking for a confident individual with strong sales experience, exceptional communication skills and meticulous attention to detail.
You will work closely with the Head of Programme and Content and the Content and Brand Manager to achieve stretching sales and programme targets.
You will need to be methodical, creative and communicate London Craft Week’s utility to our partners and sponsors.
You will have the opportunity to contribute creatively to LCW’s success.
You will have a keen interest in the work of London Craft Week, craftsmanship, art and design, luxury fashion, retail, arts and culture.
You will be part of a small but growing team working on a dynamic and ambitious event. This role will require you to work with flexibility, energy and commitment.

For further information about the role and for details of how to apply, please see below.

KEY RESPONSIBILITIES

Sales
● Maintain and update existing database of companies and contacts.
● Research new partners and build sales data including artist-makers, independent retail, luxury brands, studio groups, international collectives, galleries and national delegations.
● Develop sales pipeline and actively sell programme partnerships and advertising opportunities to achieve specific targets.
● Ensure potential programme partners understand the LCW opportunity and address any queries.
● Issue invoices, maintain accurate sales records and report progress.
● Provide ongoing relationship management for programme partners.
● Attend partner meetings with Head of Programme and Content and the Content and Brand Manager, in person and online as required.

Programme Development
● Support the Head of Programme and Content and the Content and Brand Manager on the development of larger content projects for London Craft Week 2024.
● Support and advise programme partners to develop persuasive events that address their individual objectives.
● Ensure that all programmed events meet or exceed LCW benchmarks for quality.
● Liaise with category and discipline experts to review and approve applications as directed by the Head of Programme and Content. Print & Proofreading
● Approach and chase programme partners for copy and images for the LCW Guide and website, newsletters and social posts.
● Liaise with partners and the Copy Editor to ensure efficient copy flow from partners to the Copy Editor and onto the design agency.
● Proofread the LCW Guide, website, newsletters and social posts. Online, Social & Digital
● Research and secure images for London Craft Week newsletters and social posts
● Support the Content and Brand Manager with uploading newsletter copy and images onto MailChimp and the website
● Working with the Head of Programme and Content and the Content and Brand Manager, publish social posts as directed using Hootsuite
● Support Programme Partners in uploading their event information (copy and images) to the LCW website.
● Chase programme partners, sponsors and media partners for copy and images. Administration
● Provide general administrative support to the LCW team.
● Prepare and distribute invoices for programme partners and sponsors using the accounting software Xero.
● Ensure timely payment of invoices, contacting partners and sponsors as necessary.
● Prepare agreements for programme partners, confirming the terms of their participation in LCW.
● Use Adobe Sign to send agreements to programme partners.

Distribution
● Support the Marketing Manager on the distribution of LCW Guides and event signage, liaising with partners and suppliers.

PR
● Provide information and images to LCW’s PR agency as directed by the Head of Programme and Content.
● Liaise with the PR agency and the LCW team to schedule interviews and to monitor copy deadlines.

VIP Programme
● Liaise with programme partners to ensure the smooth delivery of VIP events, monitoring guest lists, F&B and logistics as necessary.

ESSENTIAL SKILLS AND EXPERIENCE

● Relevant sales experience.
● Self-starter with strong commercial awareness.
● A keen interest in the work of London Craft Week, craftsmanship, art and design and the luxury, fashion, retail, arts and culture sectors more generally.
● Strong interpersonal skills with excellent written and spoken English.
● Confident telephone manner and understanding of how to structure a sale.
● Self-confident with the ability to communicate and work with senior staff from a range of organisations including the art, craft and luxury sectors.
● Ability to manage multiple priorities, work to deadlines and stay calm under pressure.
● Creative, with the ability to think clearly and solve problems effectively.
● Methodical, organised with meticulous attention to detail.
● Strong customer care ethic.
● Tenacious and hardworking.
● Some marketing experience an advantage.
● Good understanding of digital and social channels.
● Experience of using a content management system for websites.
● Experience working with a range of software including MailChimp, Mac/Adobe Creative Suite, In Design, Photoshop, Xero, Adobe Acrobat and Microsoft Excel/Office.

To Apply

Please email jonathan@londoncraftweek.com with a CV of no more than three pages and a covering letter explaining in no more than 500 words how your skills and experience match the requirements of this role.

The deadline for applications is midnight Saturday 28 October.

Photo credit Dan Weill Photography

Though our usual routines may lose a little of their rigidity over the summer, diaries seem to fill up faster than ever. Make the most of precious remaining slots with our selection of experiences across the worlds of craft, art and design. From the latest talent at New Designers, to a particularly convivial Serpentine Pavilion and two revitalised institutions bouncing back onto the scene, there’s plenty of zip about town this summer. Knowing though that most of us will welcome a gentler pace as temperatures rise, we’ve included four day trip suggestions for a change of scene that’s still laced with well-crafted culture.

And, while calendars are to hand, why not pop in the dates for the tenth anniversary edition of London Craft Week, which takes place 13-19 May 2024.

We’re taking a break for August, so look forward to sharing our next round-up of cultural happenings and fine craftsmanship in early September. In the meantime, we will continue to share creative talent, events and experiences on Instagram, so please follow us there. Wishing you a happy summer.

Craft Capital

 

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WC2, ongoing
The National Portrait Gallery has reopened, inviting visitors through its new Tracey Emin-designed doors. The bronze doors’ low-relief depictions of ‘every woman, throughout time’ foretell the more diverse and inclusive picture that is now painted through the collection on show. New Making Galleries delve deeper into the process of portraiture. Find out more

 

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E2, ongoing 
Aiming to be ‘the most joyful museum in the world’, the newly reopened Young V&A is designed to showcase the power of creativity in children’s lives. A ‘doing’ museum, it encourages hands-on interaction with the various multi-sensory experiences on offer and offers a construction zone, a performance and story-telling stage, and an open design studio in which imaginations can run free. Find out more

 

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W2, until 29 October 
Titled, ‘À Table’, the French call to join together around a meal, this year’s Serpentine Pavilion invites visitors to gather around the circular table that curves around its perimeter. The roof too is inspired by the architecture of community gathering, taking its lead from the togunas of Mali, West Africa. Its pleated form, which references palm leaves, sits low to create an atmosphere of calm conviviality. Find out more

 

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N1, until 8 July
New Designers at Islington’s Business Design Centre is the largest showcase of graduate designers in the country. Discover fresh designs by the newest businesses in the industry at ND Selects, a subsection of the event curated by London Craft Week Partner Louisa Pacifico, Founder of Future Icons. Find out more

 

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Sarah Myerscough Gallery, W1, until 21 October
Sarah Myerscough Gallery marks its Silver Jubilee with the exhibition ‘Collections,’ an immersive and representative curation of their key artists and artworks. The show weaves together the makers, materials and objects who express the vision of the gallery; expect signature works from familiar names, as well as new directions and developments. Find out more

 

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Fashion & Textiles Museum, SE1, until 10 September 
There’s a distinctly summery flavour to many of Andy Warhol’s textiles, currently on show at the Fashion & Textiles Museum. Warhol’s fascination with everyday items and artistic relationship with mass production emerges here, and the exhibition, the first dedicated to his commercial textile designs, showcases how this work contributed to the artist’s oeuvre. Find out more

Curated Day Trips

 

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Wakehurst, Sussex, until 17 September

Wakehurst has commissioned a series of award-winning artists to create a series of outdoor installations in celebration of trees. Taking inspiration from Wakehurst’s varied landscapes and ecology, the eight works capture a broad range of artistic practices, from sculpture to sound. Visitors will discover a 10m explosion of neon, a series of human portraits carved from trees lost to Storm Arwen, a drinks bar made entirely from fungi, giant wooden megaphones and plenty more. Find out more

 

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Waddesdon, Buckinghamshire, until 26 October  

Waddesdon Manor was built by Baron Ferdinand de Rothschild to display his collection of arts and entertain a fashionable elite. The latest Rothschild Foundation commission, the 12m ceramic tiled ‘Wedding Cake’ by celebrated Portuguese artist Joana Vasconcelos is a suitably generous and joyful addition to this collection, set as a folly amid the gardens. Visit this summer for a tour of the multi-tiered structure before going on to explore the collection of contemporary sculpture in the Water Garden. Find out more

 

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Ascott House, Bedfordshire, until 17 September

Ascott House hosts the late Victoria, Lady de Rothschild’s collection of contemporary craft prior to its auction through Maak this September. Tomasz Starzewski curated the display across the house’s six public reception rooms. The historic domestic setting juxtaposes contemporary works with antique interiors, celebrating materiality and the quality of the hand-made, regardless of era. Find out more

 

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Kettle’s Yard, Cambridgeshire, until 29 October 

The current exhibition of Palestinian embroidery at Cambridge’s Kettle’s Yard is the first to explore this beautiful and intricate tradition, in the UK, in over 30 years. Alongside historic dresses are artworks by five contemporary artists, films of embroiderers speaking about their work and rarely seen archive material. Consider then heading down the road to the Fitzwilliam Museum for their showcase of embroidery practices from across the Mediterranean.  Find out more

Meet The Makers: Uzomaka Obiocha and Henry Rolnick

 

This month, we get to know two New York-based textile designers we came upon at the recent North American Pavilion exhibition at No. 9 Cork Street. Both showed with Of The Cloth, an art and design gallery whose interests span the realms of textiles, ceramics, antiques, contemporary art, and furniture, always exploring how materials shape our experiences, evoke emotions, and influence our interactions.

Uzomaka Obiocha and Henry Rolnick share an intuitive and responsive relationship with the materials they work with, “I enjoy that within the woven and dyed cotton fibers, a structural dance unfolds, forming patterns and textures that bring my creative ideations to life. Through this process, the materials themselves become storytellers” (UO) “When I wind warps and weave in the wefts, I have a wide array of natural fibers and yarn sizes to choose from and I integrate them together intuitively, allowing for the materials to tell me where they want to be in the fabric.” (HR)

We hear about how ideas form and are developed into final pieces. “A significant aspect of my creative process involves invoking the wisdom and talents of my ANCESTORS” (OB) and “I find inspiration in propaganda, advertising, and product packaging, as they provide insight into the communication channels through which we inspire intentions and actions.” (HR)

The interviews close with a look ahead to where each artist intends to take their practice and an introduction to other artists they admire.

Read the full interviews here. Follow their work at Of The Cloth

Additional image credits

Craft Capital
National Portrait Gallery Reopens: The new doors at the entrance to the National Portrait Gallery, London, designed by Tracey Emin. Photograph © Olivier Hess
Young V&A Reopens: Selection of doll’s houses to be installed within Rachel Whiteread’s installation Place (Village). © Jamie Stoker courtesy of Victoria and Albert Museum, London
Serpentine Pavilion 2023: Serpentine Pavilion 2023, designed by Lina Ghotmeh. © Lina Ghotmeh — Architecture. Photo: Iwan Baan, Courtesy: Serpentine.
New Designers: New Designers 2022
Collections: Installation view by James Harris courtesy of Sarah Myerscough Gallery
Andy Warhol: Image courtesy Fashion and Textile Museum

Curated Day trips
Rooted: James Hillier work in progress, James Hillier © RBG Kew
Wedding Cake Tours: Wedding Cake 3D Rendering © Atelier Joana Vasconcelos
The Collection of Victoria, Lady de Rothschild: Image courtesy of Maak
Material Power: Everyday dress from Gaza or Hebron, 1935-1940, from the collection of Tiraz: Widad Kawar Home for Arab Dress