• Our Crafted Collectables series launches an artwork each week from gallery artists and the wider community of artist-designer-makers. We’ve invited...

    Our Crafted Collectables series launches an artwork each week from gallery artists and the wider community of artist-designer-makers. We’ve invited them to make a small-scale work that might act as an artefact; a piece that can be treasured over a lifetime, nurtured through family generations or gifted in an act of friendship. We believe that within the taxonomy of objecthood the art object has a unique skill in transferring emotional content; beginning with the maker's expression through their chosen material, it proposes a focal point upon which memories and ideas can be created, held or restored over time.

    The ninth in our Crafted Collectables series are Rush Matters' hand woven rush pieces: woven rug, pouffes, basket with leather handles & cushions. 

  • Rush Matters

  • When the last member of Britain's remaining family of rushcutters died in 1994, Felicity Irons stepped in to save the...

    When the last member of Britain's remaining family of rushcutters died in 1994, Felicity Irons stepped in to save the harvesting tradition of the rush weaver. Historically, rush was used as floor covering and was an essential part of the British home. However, as mass produced materials emerged from the Industrial revolution, the demand fell into steep decline. Felicity is now training others in rush harvesting and weaving techniques and revitalising traditional methods with contemporary innovation.

     

    At harvest time, Felicity navigates the Great Ouse and Nene Rivers in an aluminium punt; in a physically demanding process, she plunges a scythe five feet underwater from a standing position to sever the stalks cleanly.

    The rush, which are dried against hawthorn hedges and in stubble fields, are woven from meat hooks in nine-strand plaits: ‘As the rush is consumed in the plait, new strands are invisibly interwoven, yielding a continuous strip. The width is formed by sewing the strips with jute twine using a sailmaker’s palm’. Felicity has received a number of significant public commissions from the UK’s National Trust, including an immense 171-foot-by-22-foot mat at Hardwick Hall, Derbyshire’s Tudor masterpiece. Museum commissions include the Frick Museum and the Metropolitan Museum of Art, both New York.

  • Making images

  • Other Crafted Collectables

  • Marc Ricourt

    Marc Ricourt draws his inspiration from the ancient utilitarian object of the vessel. He comments that, ‘I’ve based my work around a simple but very essential object, as it was the first tool created and used by mankind… My work on vessels has allowed me to develop a relationship between ancient or geographically remote cultures and civilizations and modern creations. The most important facet of my work is the research and exploration of new forms, colours, textures and finishes.

    • Marc Ricourt 07 Walnut Walnut 39 x 24.5 ø cm
      Marc Ricourt
      07 Walnut
      Walnut
      39 x 24.5 ø cm
    • Marc Ricourt 08 Walnut Walnut 39.5 x 24.5 ø cm
      Marc Ricourt
      08 Walnut
      Walnut
      39.5 x 24.5 ø cm
    • Marc Ricourt 04 Lime Tree Lime Tree 39 x 26 ø cm
      Marc Ricourt
      04 Lime Tree
      Lime Tree
      39 x 26 ø cm
    • Marc Ricourt 05 Beech Beech 36 x 28 ø cm
      Marc Ricourt
      05 Beech
      Beech
      36 x 28 ø cm
    • Marc Ricourt 07 Beech Beech 44.5 x 28.5 ø cm
      Marc Ricourt
      07 Beech
      Beech
      44.5 x 28.5 ø cm
    • Marc Ricourt 09 Beech Beech 44 x 29 ø cm
      Marc Ricourt
      09 Beech
      Beech
      44 x 29 ø cm
  • Morten Klitgaard

    Morten Klitgaard's work explores notions of place and reflects on the influential effects of nature on both the landscape and its inhabitants. His pieces appear weatherbeaten, patinated by the rugged Danish coastal landscape the artist grew up in. Oxides, metal pigments and ash are applied during the final heating process, causing the surface of the glass to effervesce and create intricate textures and patterns. The work obscures our perception of material whilst successfully honouring the traditions of glass blowing; it pushes the boundaries of contemporary craft and design. 

    In 2012, Morten graduated with a Bachelor of Arts from The Royal Danish Academy of Art, Bornholm, Denmark. In 2020 his work has been exhibited in major museum shows, including Van Eyck's Colours in Design at Design Museum Gent, Belgium; and Craft from Bornholm, at the Hempel Glasmuseum, Holbæk, Denmark. In 2019 he was shortlisted for the International Exhibitions of Glass Prize in Japan, and for the Stanislav Libenský Award in Prague.

     

    Video credit - Cæciliie Philipa. Photos credit - Dorte Krogh.

    • Morten Klitgaard Origin IV, 2020 Blown glass, hot sculptured Glass, pigment, and ash added on the last heat. 44 H x 19 ø cm £4,400 inc. VAT
      Morten Klitgaard
      Origin IV, 2020
      Blown glass, hot sculptured
      Glass, pigment, and ash added on the last heat.
      44 H x 19 ø cm
      £4,400 inc. VAT
    • Morten Klitgaard Origin V, 2020 Blown glass, hot sculptured Glass, pigment, and ash added on the last heat. 45 H x 18 ø cm £4,400 inc. VAT
      Morten Klitgaard
      Origin V, 2020
      Blown glass, hot sculptured
      Glass, pigment, and ash added on the last heat.
      45 H x 18 ø cm
      £4,400 inc. VAT
    • Morten Klitgaard Origin VI, 2020 Blown glass, hot sculptured Glass, pigment, and ash added on the last heat. 43 H x 18 ø cm £4,400 inc. VAT
      Morten Klitgaard
      Origin VI, 2020
      Blown glass, hot sculptured
      Glass, pigment, and ash added on the last heat.
      43 H x 18 ø cm
      £4,400 inc. VAT
    • Morten Klitgaard Origin VII, 2020 Blown glass, hot sculptured Glass, pigment, and ash added on the last heat. 46 H x 18 ø cm
      Morten Klitgaard
      Origin VII, 2020
      Blown glass, hot sculptured
      Glass, pigment, and ash added on the last heat.
      46 H x 18 ø cm
  • Christian Burchard

    'I have been working with wood for most of my life. We are comfortable with each other; we have a close relationship and I value that connection immensely. I am curious about what is inside and how it works. At times, I am awed by the story of its history, the tracks that the passing of time have left. I feel driven to expose this beauty. At other times, I am fascinated with its inner structure, its subtle form and spirit'. - Christian Burchard

     

    Christian Burchard uses Pacific Madrone, a tree indigenous to the northwest coast of the United States. In his Cold Mountain studio in Ashland, Oregon, he works with the wood when it is green and supple; as it dries, it warps and contracts according to its grain structure. He makes use of these undulating surfaces to create personality, gestural forms and, when grouping the shapes together, relationships. The cutting edge of the artist’s tools and his process of light sandblasting creates a soft surface texture, akin to satin. 

    Christian began his career as a furniture maker, subsequently studying sculpture and drawing at the Museum School in Boston and then at the Emily Carr College of Art and Design in Vancouver, BC. His work is part of prestigious museum collections across the US, including the Mint Museum of Craft + Design, Charlotte; Museum of Arts & Design, New York: Museum of Fine Arts, Boston; Bellevue Arts Museum, Bellevue; de Young Museum, San Francisco; Minneapolis Institute of Arts, Minneapolis; Museum of Fine Arts, Houston; and the Smithsonian American Art Museum, Washington, DC.

  • Junsu Kim

    South Korean artist Junsu Kim creates his organic vessels by stacking thin leather strips in combination, meditatively building the layers with varying thicknesses and subtle tonal differences. With an innate interest for raw material, Junsu began working with metal but became captivated with leather when he participated in workshops with local leather craftsmen in Tuscany, Italy. Junsu seeks to capture a sense of time through his use of material and process; the coils of leather reflect the rings of a tree and the slowness and regenerative qualities of a lifecycle. Each piece has its own rhythm and momentum, reflective of the meandering pace of life. 

    In 2016, Junsu graduated from Kookmin University in Seoul with an MFA in Metalwork & Jewellery. His work has been exhibited extensively in South Korea and shown internationally in Paris and London. In 2019, he was a winner of the Cheongju Craft Biennale Competition and in 2017, he was awarded The Artist of the Year 3rd Prize (Director Prize) at the Craft Trend Fair, organised by KCDF in Seoul, and received the Award of Selection in the Talente Competition, Munich.

    • Junsu Kim Eternal Life, 2019 Leather and natural lacquer 50 H x 38 W x 34 D cm £7,700 inc. VAT
      Junsu Kim
      Eternal Life, 2019
      Leather and natural lacquer
      50 H x 38 W x 34 D cm
      £7,700 inc. VAT
    • Junsu Kim Leather Bowl IV, 2017 Leather and natural lacquer 15 H x 37 W x 25 D cm £2,150 inc. VAT
      Junsu Kim
      Leather Bowl IV, 2017
      Leather and natural lacquer
      15 H x 37 W x 25 D cm
      £2,150 inc. VAT
    • Junsu Kim Leather Container I, 2017 Leather and natural lacquer 16 H x 31 W x 18 D cm £2,100 inc. VAT
      Junsu Kim
      Leather Container I, 2017
      Leather and natural lacquer
      16 H x 31 W x 18 D cm
      £2,100 inc. VAT
    • Junsu Kim Leather Container I, 2018 Leather and natural lacquer 28.5 H x 17.5 W x 14.5 D cm £1,950 inc. VAT
      Junsu Kim
      Leather Container I, 2018
      Leather and natural lacquer
      28.5 H x 17.5 W x 14.5 D cm
      £1,950 inc. VAT
    • Junsu Kim Leather Bowl I, 2018 Leather and natural lacquer 12.5 H x 29 ø cm £2,350 inc. VAT
      Junsu Kim
      Leather Bowl I, 2018
      Leather and natural lacquer
      12.5 H x 29 ø cm
      £2,350 inc. VAT
    • Junsu Kim Leather Bowl II, 2019 Leather and natural lacquer 11 H x 26 W x 32 D cm £1,300 inc. VAT
      Junsu Kim
      Leather Bowl II, 2019
      Leather and natural lacquer
      11 H x 26 W x 32 D cm
      £1,300 inc. VAT
  • Alison Dickens

    Alison Dickens makes organic, sculptural forms in willow from sustainable sources in Somerset. She also produces delicate plaited vessels in bark and other plant materials harvested from hedgerows, gardens and roundabouts.

    Alison’s baskets are contemporary in form, yet they call on a rich and varied craft tradition. Her pieces visually echo the high and low curves of spare open landscapes: the Yorkshire Dales and Wolds, Norfolk and made by water, wind and wave. Her willow vessels are made using the rope-wale weave, which involves adding a new rod at every stroke and weaving with a bundle of willow. The technique is slow and time-consuming, however the artist comments that, ‘I love the sense of movement it creates and feel it best evokes the landscape forms and forces that guide me.’

    Alison was selected for the London Creative Network programme in 2018 and won the Cockpit Arts/ The Worshipful Company of Basketmakers’ Award in 2019. In the same year, her work was included in the major exhibition Basketry - Function and Ornament at Ruthin Craft Centre, Wales. 

  • Maisie Broadhead

    Maisie Broadhead has produced special miniature photographic prints of My Bella: The Studio. The artist builds the theatrical set in her London studio, carefully selecting each prop and costume element to build the narrative of the scene. The central figure is played by Maisie's sister and muse, Bella. Maisie comes from a closely-knit family and she often returns to this theme in her work; by placing her relatives in scenes that intertwine the past and present, she highlights the enduring importance of family in our lives. 

     

    Maisie's images unfold like enigmatic ocular novels; scenes are rich with pictorial clues that point to an underlying story, yet these intimations are not enough to reveal the plot in full. Central characters are either lost in a moment of quiet distraction or turned towards us, as if our presence has just disturbed them from their thoughts. Ambiguity is a recurrent theme in Maisie's work; 'there is no easy narrative… in the glimpses we have into each other's lives, knowledge is partial, obscured by our own preconceptions.' (Annie Warburton, Through the Looking Glass: Caroline Broadhead and Maisie Broadhead, The National Glass Centre, UK, 2019).

    In 2013, Maisie was a winner of the Jerwood Makers Open and in 2015 she received an Arts Council England grant for a public commission at the Royal Pavilion, Brighton, UK. Her most recent public commissions have been from the Manchester Art Gallery in 2018 and National Glass Centre in 2019, where her work is held as part of their permanent collection. Maisie has exhibited in major international museum shows, including at the National Gallery, UK; the Fitzwilliam Museum, UK; CaixaForum Barcelona and Madrid, Spain; the National Gallery of Victoria, Australia; and Nationalmuseum, Sweden.