Collect 2018: Q&A with Craft Scotland

Scottish craft is booming. Not only does it contribute more than £70 million to the country’s economy (from an estimated 3,500 makers), but according to Craft Scotland director Fiona Logue, the appetite for workshops, pop-up fairs and specialist publications is voracious like never before.

For Collect 2018, the UK’s largest showcase of global craft taking place at Saatchi Gallery between 22 and 25 February, Craft Scotland will present 17 of the country’s most intriguing makers, working in glass, silversmithing, furniture, ceramics, tapestry and mixed media.

This year's exhibition, Scotland: Craft & Design, really pushes what you might expect from a craft showcase. Jeweller Joanne Thompson, for example, takes inspiration from ancient chain-mail, whereas stealth bomber planes are the starting point for Jonathan Pang’s new sculptures. Jeweller Lucy Woodley’s latest collection is themed around the hope and desperation of human migration, and Isabelle Moore’s Woven Elliptical chair is crafted from ultra-strong, lightweight polyethene fishing line usually used for catching tuna and sharks.

Given Collect 2018 is rapidly approaching, we wanted to quiz Craft Scotland director Fiona Logue about the country’s growing scene and harness her wisdom about what to look out for at Scotland: Craft & Design.

How is the craft landscape different in Scotland to the rest of the UK?

Craft in Scotland is experiencing a renaissance at the moment. We have a strong educational network, with some of the finest art schools in the country producing multi-disciplinary creatives. Scotland has an effective infrastructure of business support, galleries, training and opportunities to support makers in developing their creative and business practice, including support from ourselves Craft Scotland.

We’ve also seen the Scottish public become increasingly engaged with Scottish craft since the mid-2000s. Scottish craft is being showcased more and more on a local, national and international level. There has been a proliferation of high-quality fairs and pop-up markets for craft consumers, a boom in craft workshops where people can engage directly with the handmade process and new niche handcrafted publications have emerged. The growth in social media platforms such as Instagram and Pinterest have also increased the ability of Scottish makers to share their beautiful objects with a larger, engaged international audience.

What challenges do Scottish makers face?

The main challenges for Scottish makers are linked to the remoteness of rural living. Often large prestigious events are held in London, or internationally, and the high travel fees have to be factored into the costs. A number also face the challenge of having a poor internet connection, which is not available in some areas or less reliable than others. However, on a positive note, our makers are a strong community and support each other.

Craft Scotland last exhibited at Collect in 2011, how has Scottish craft developed in the past seven years?

The international demand and reputation for Scottish craft have increased significantly. The reputation of our four celebrated art schools has attracted talent from around the world, with makers choosing to base themselves and their practice in Scotland. The spirit of internationalism is a Scottish trait that has always been present: it allows makers born here, and those new to Scotland, to be open to new technologies and influences. This creates vibrant work built on the foundations of a strong craft heritage but full of ambition and vigour.

The inspirations behind the work exhibited at Scotland: Craft & Design are really broad, from migration to ancient chain-mail to stealth bomber planes. Are there any emerging themes or concerns that connect the 17 makers?

If there is any theme that connects our makers it is that they are all engaged in the conversation about the future direction of Scottish craft. Scotland has a long traditional craft heritage, the makers selected for Scotland: Craft & Design at Collect explore ancient practices while simultaneously presenting new perspectives or utilising new technologies or materials to create truly contemporary pieces that visitors to Collect might not have expected to see.

We love how Isabelle Moore’s Woven Elliptical Chair uses polyethene fishing line. Are there any other unorthodox materials that have excited you?

I’m particularly excited to see how Jonathan Pang applies his sleek minimalist approach to using Richlite to create clean interesting, tactile pieces. This resin-infused paper is now a premium surface material used in aerospace, marine and sports and design industries. Choi Keeryong’s manipulation of glass together with the use of 3D printing and tradition casting techniques is also exciting. I am excited to see the reaction to Harry Morgan’s stunning pieces using traditional green sand casting to work with concrete and then incorporating glass and metals. Harry’s juxtaposition of these materials in his pieces result in stunning sculptures.

It is always fascinating to see too how makers can use common materials and transform them into the making process to imbue them with new qualities. Susan O'Byrne's use of thin sheets of porcelain to create a lace-like pattern on the surface of her animal sculptures is one particular example of this.

Several works respond to Scotland’s natural environment (we’re thinking Angus Ross, Fiona Hutchison and Heather McDermott), why do you think this is such a preoccupation for your makers this year?

This is not just confined to this year’s selection. Scotland is an extraordinary place to make work, and we enjoy a natural environment of unrivalled beauty. Response to the natural environment is often a recurring theme in the work produced in Scotland. We have spectacular landscape, the colours and textures of the hills, the moors and the sea provide endless inspiration. Many of our makers often feel they and their practice are rooted in the land.

Which other galleries should we have on our radar at Collect?

Scotland will be strongly represented at Collect 2018. Alongside the Scotland: Craft & Design presentation by Craft Scotland, and supported by Emergents, North Lands Creative will showcase the work of four glass artists. I’m very much looking forward to seeing the work exhibited by North Lands Creative. It’s a unique glass studio facility and gallery in the north of Scotland, that is renowned for working with Scottish and international glass artists. North Lands Creative will show new work from Emma Baker (UK) and Alan Horsley (Edinburgh), will show alongside work by Anne Petters (Germany), a multi-media artist with a strong background in glass, as well as work by Silvia Levenson (Italy) whose work has been exhibited around the world and is part of several public collections.