Studio Visit - Ayelet Lalor

The 'Studio Visits' are a monthly blog installment. We're opening our doors to introduce you to the artists and designers in The Design Tower! Each interview will give you an insight into the individual designer or business. This month we're chatting to figurative sculptor Ayelet Lalor.

When did you set up your practice and move into The Design Tower?
I originally set up in a shared studio in Arnotts St, Dublin in 1998, with a group comprising of jewellers, ceramists, lead-work and a prop designer. I had just returned from two years in London where I’d fled after finished 4 years of Art college in NCAD. By 1999 the space was too small and I moved into The Design Tower, sharing what is now my studio with another ceramist. This was a great way to share early set up costs and shared experiences as we found our feet in the craft world, and began to create our niche.

'Brunhilde' detail of ceramic Diva

Tell me a little more about your ceramic work
I have always gravitated towards figurative work, and drew a lot as a child. The Divas (my signature range of ceramic figurines) was born, although they looked very different to what they do now. The Divas have developed and changed through the years, but certain elements have remained true, the exaggerated height and aloof manner for example.

I tend to go through phases in which different work is created, so overall the range of work can appear quite diverse. Wall pieces, heads and busts, series of bathers, corporate awards, large scale figures in clay standing 7ft tall or tiny porcelain miniatures; enjoying what I do is paramount to getting the most out of the idea.

Last year I created a range of Divas based on the vintage clothing from the Dirty Fabulous Boutique on Wexford St. A variety of the vintage outfits were chosen, and each represented by individual ceramic Divas, interpreting  the clothes,  and the collection of 18 pieces was exhibited within the boutique for a number of weeks, along with watercolours of each corresponding outfit. The previous year I became fascinated with the vibrancy and purity of colour that can be achieved from working with pigments, and the Divas created were darker with small areas of strong and vibrant colour. Next year, who knows?

'On the Verge'- detail of ceramic Diva

And you also work in other materials?
I don’t only work in ceramics, although it is fair to say that clay is the basis for most of my other work. The different qualities achieved through changing materials has long since interested me, but it is only in the last few years that I have really experimented with these changes.

Moving into bronze was only a matter of time and the quality of the material lends itself to the work, creating a very different outcome. Busy, colourful ceramics can become  quiet, serene sculptures just by changing the material they are produced in. One of my favourite pieces, Serenity is such a piece, and the fun and frivolity that characterise some of the ceramic heads, becomes a very different creature in bronze.

'Serenity' - Bronze on limestone. Edition of 6.

I completed a masters in 2009 in NCAD, and used the time to experiment more fully in other materials, casting heads in coloured resins, plaster and eventually concrete.This new medium has been a very exciting transition for me, and again the material has very different qualities to clay, or bronze.

In the summer of 2011 I completed a series of concrete heads which were exhibited at Art in the Garden, with Gormleys Fine Art in Belfast, Contemporary Sculpture in Irish gardens, Ballintubbert house, Athy and  Sculpture in Context, National Botanical Gardens, Dublin. One of the pieces, Chryseus, (seen below), received an award for ‘Large work of Distinction’ from the Sculpture in context committee, which I was thrilled with as this was the first time these new concrete works had been seen by the public.

'Chryseus' - Cast concrete and steel.

What are you working on at the moment?
Currently, I am working in my studio, doing private commissions and running classes and workshops, both in clay and in concrete casting and silicone mould-making.

There has been a definite shift in the market in the last few years, and unfortunately a lot of galleries have closed.Positively what this has meant is that new ways of working have had to be found and sometimes it's good to get a bit of a kick!What this has meant for me is that I am working on more private commissions, which I enjoy as working directly with the customer can often throw up new ideas that wouldn’t have come so naturally otherwise.

This will start with an informal meeting to find out what what the customer is looking for. This could be anything from a personalised Diva (working from a photograph), to a sculpture that contains elements of something more private. We can go through images of other work for suitable examples of colour and form, and finally I will produce a watercolour illustration from the design.Once the customer has signed off on the drawing it can take between 4-6 weeks for a commission piece to be completed, depending on size.

And you mentioned you run classes?
I originally taught ceramic night-classes in NCAD for over 6 years, but due to lack of numbers these classes eventually collapsed. For over the past two years now I have run classes every week in my studio, for beginners and advanced levels, and some students have remained with me the whole time. Its very enjoyable to be able to hand on my knowledge, and get instant feedback.

I also occasionally run workshops in more specialised areas, concrete casting, silicone and plaster mould-making, and recently in Porcelain-paperclay and decal application. I can run these workshops at any time, so if there is an existing group of people interested, I can work to suit them. I only need 3-4 people to run a workshop.

'In Flower' - porcelain on limestone

Tell me about the piece you made for the Wunderkammer Exhibition
I chose to respond to a sculpture of a Buddhista at the Bender exhibition in Collins Barracks. The Buddhista is the name given to a being in the state before it turns into a Buddha, and this resonated with me, like a caterpillar encased inside its pod before it changes into  butterfly.

The piece for the exhibition was a head cast in plaster and mounted on a polished black limestone slab. The face was tilted, turned up to the sky, as if awaiting this ephemeral transformation that was to come. The head was coloured with a wash of blue to help emphasise this spiritual transition.

'Transition' - Cast and stained herculite on limestone.

Thanks Ayelet! It's great to see the variety of your work in this feature. For more information, visit Ayelet's website or Facebook page. Ayelet also runs ongoing courses on a range of ceramic skills. Get in touch on 01 672 9799 to see when her next course starts.

This interview is part of a series which is archived on the blog - meet the rest of the Design Tower designer/makers!

Studio Visit - Da Capo

The 'Studio Visits' are a monthly blog instalment. We're opening our doors to introduce you to the artists and designers in The Design Tower! Each interview will give you an insight into the individual designer or business.
This month we're chatting to Se O'Donoghue and lee Harding from Da Capo.

Who or what is Da Capo?

Da Capo is the name of our goldsmithing studio and is italian for "from the beginning".

We felt it neatly encapsulated our idea for our workshop when we were first starting out, in that we wanted to specialize in bespoke work and commissions.

So each customer is a fresh start on their particular piece.

 Embrace 1

And Who then is 'we' in Da Capo and how did you become Goldsmiths?

Myself Sé O'Donoghue and my colleague Lee Harding. We met on a Crafts Council jewellery skills course in the mid 90's run by the legendary and formidable Jane Huston.

It really gave us a solid grounding in hand skills and the craft of fine metalwork. The course at that stage was in its infancy but has over the last 15 to 20 years managed to forge a very strong reputation both at home and internationally, and places there are very sought after. It is quite intensive, but gives you everything you need from the start to go on and work at the very highest levels of the trade.

After this we both went on to work in Germany and Holland respectively, and then in Dublin before opening our own studio.

Embrace:3

How long are you in the Design Tower?

We opened our studio in October 2000, originally in studio 67 at first before later moving to 61 at the front of the building overlooking the canal basin.

The building is a very interesting design in itself, partly born out of innovative thinking for its day, and designed within the material limitations of it's day. It is so unusual to have vaulted brickwork on the upper floors of a building. We have to say that we love our studio for its aspect and nearly every visitor remarks on the view. It makes a nice added bonus and surprise for people visiting us.

 

Embrace 7

Why did you set up your own studio?

While we were both working for other businesses our jobs were focused purely on the making side and we missed the interaction with the customers.

For us the nuances that make a piece really stand out are the subtle details that come from making it "for" someone, so it is tailored to fit them, and detailed according to their particular taste.

What materials do you use?

We work mainly in Platinum, 18kt Yellow Gold and 18kt White Gold, with gemstones.
We also work quite a bit with Sterling Silver, and more recently Palladium and Titanium.

The gemstones we work with can be anything that the customer requests or has an interest in. Most people are looking for Diamonds, and in colours most people are looking for Sapphires and Rubies.

Recently there has been an increase in people looking at coloured diamonds. We try to work with interesting suppliers and gem-cutters, usually people who are small individual workshops on a similar scale to ourselves. This means you have a closer relationship to the raw material, where it has come from and how it has been fashioned from a rough crystal into a unique gem. These relationships also mean that we can work with some of our more unusual requests when we need something specifically cut to work to a bespoke design.

Yellow Gold Solitaire with Orange Diamond

Do people come to you already knowing what they want?

Sometimes yes and sometimes no. Some customers come in looking for a specific gem, maybe because it is their birthstone or a colour that they like. Then we are talking to them about the shape and style of cut that can work best along with a possible design and their budget.

Others start with an idea of a colour and we can suggest types of gems that will give them that range of colour. A lot of the time it isn't until we have shown a person through our portfolio and had the initial first conversation that an idea of colour, or materials and style starts to come together.

It is always a journey of discovery, each person is just starting from different points along the beginning of that line.

So what gems have you used recently that would be more unique or unusual?

In December we made a pair of wedding bands that had Orange Diamonds set into them. They were absolutely stunning stones and gorgeous rings to work on. Previous to that, we once had a 14ct Marquise-cut Aquamarine which was a particularly stunning stone, it had been really well cut and polished. When you have good ingredients then the design work to surround, hold and show off the gem can become a labour of love.

Other than those, at the moment we have a set of 3 baguette-cut Green Tourmalines in the studio which are particularly fine. Someday they'll go towards something special when they find their owner.

Apart from gemstones, what other pieces have you done recently or stand out in your memory?

 Little Black Ring LBR2

That is actually a difficult question, it's hard to choose. And no doubt we'd both have different highlights.

I love our Little Black Ring series for the simplicity of the idea of a wardrobe staple to accompany a Little Black Dress, and the Black&White works so well.

We made a pair of rings for a couple in London based on the theme of the sculpture of Barbara Hepworth which were a definite highlight of the last few years. Another would be a Sapphire and Diamond ring we made, for the contemporary nature of the shape. (See the Embrace 7 images above.)

Often what constitutes 'modern' or 'contemporary' design could have been originated as far back as Germany in the 1930's which if you think about it is getting to be a long time ago now. This shape really struck me as being current in terms of a jewelry shape at the start of a new century.

Embrace 3

And of course the Embrace:3 never fails to get attention and "wow's". It's a true Diva ring.

So what inspires you?

Personally we are both quite interested in design in general. We follow what is happening in fashion design, graphic design, jewelry and product design, and boutique companies making small scale production of interesting ideas. It is easy to get carried away with a current style or trend, or work to a personal taste and this can be great when you are making a line that then gets to it's audience through a process of wholesale and retailer distribution. With regard to our studio we feel that it is incumbent upon us to create the best piece for our customer.

So for us, working directly with the customer, we are interested in tailoring what is a fit for them. This requires that we put our own taste and ego to one side and listen more to the persons own story. While they are looking through our portfolio with us and talking about the work, they are constantly expressing tiny hints about what catches their eye, and most importantly what doesn't.

This gives you a sense of what will suit them, and lets you know a kind of envelope of where their comfort zone is. Some people are naturally more conservative, others more modern or contemporary in their taste. Some like more ornament and detail, while others like sparse cleanliness and crisp definition of a shape. Some people wear their jewelry quite demurely and privately, while others carry off quite bold statements and can really push the boundaries. It is our place to help articulate these elements and to guide the person through what we think would be of interest to them. Invariably once you get to the sketching and design stage, you are already well down a path towards discovering their piece, and that direction may be completely different with the next person.

Over the last 11 years I think that this approach has forced us to become better designers and improve our flexibility in creating objects. This is what we really love about how we work, and I think it is something that our customers enjoy. When they get their finished piece, it already has more importance and emotional value to them as they can feel that they have been an integral part of the creation of the object, and it quickly transcends the material value of the ingredients. And it is nice knowing that these future heirlooms are out there, gathering stories as they are worn.

How long does it take from the start of a commission to a finished piece?

We usually say that we have a 3 to 4 week lead time, and beyond that each job has it's own characteristics.

The design process prior to building can take usually 2 to 3 weeks, but we have had customers decide and make decisions on the first day while others have taken a couple of months to work out nuances and arrive at a final design. Once we get to the building stage it is usually fairly straightforward and gets completed within a month.
We have had customers where we have pulled out all the stops to get something done for a short deadline, but most people are quite happy to take the time to get something special right and would rather wait to find the right, suitable gem for instance and know that the finished piece is just what they wanted, rather than rush and regret it afterwards.

Where is your work available?

We work from our studio, primarily by appointment so we can be sure to have the time set aside to spend with people. We also have pieces for sale in DesignYard on Dublin's Nassau St. such as the Little Black Ring pieces and Ready-To-Wear engagement rings.

Can you tell us about the pieces you designed for the Wunderkammer Exhibition?

We were inspired by the collection of Tankas which are portable spiritual objects, and the visual stylistic of the Tibetan illustrations such as their mythical animals and landscapes.
We have always been interested in the Chinese representation of the Flaming Pearl of Wisdom, commonly shown falling through the sky being chased by a dragon.

On further research we discovered a tradition amongst Tibetans of carrying a "G'au" with them on their travels. This would be a very ornately carved and decorated box, or portable shrine, which would be carried on the hip with a very brightly coloured sash slung across the body and over the shoulder. This box would contain a spiritual relic to keep the traveller safe and assist in their devotions.

There was a nice synergy between these elements for us and a curious cross-over between the Chinese and Tibetan elements.

 

Image top and bottom left shows Lee carving and making the finished box or G'au. Images on the right show a Tibetan monk carrying a G'au.

So our piece was a dark grey Pearl surrounded by a flame of white Diamonds in 18kt White Gold, and a second ring of Rubies set in 18kt Yellow Gold in stylized Tibetan Clouds which sits over and surrounding the Pearl ring. So it is a Chinese symbol of pursuit of wisdom falling through a Tibetan sky. We also built a G'au out of hardwood with Silver fittings, with a bright yellow sash. Rather than the saturation of the traditional heavy and crowded ornamentation we liked the idea of the G'au having the traditional shape, but with a more contemporary interpretation of the decoration. So we took a singe element from the original Tankas and engraved a tree and leaves crossing the whole face of the box and overlapping onto the sides.

The box is hung on the wall and can be used to store the rings when they are not being worn, so even when they aren't in use they can still be enjoyed as an artwork.

Thanks for chatting to us, Se, and telling us about how yourself and Lee design and make your jewellery. For more information visit the Da Capo Website and blog.

This interview is part of a series called The Studio Visits. Next month we'll be meeting ceramic sculptor Ayelet Lalor.

Studio Visit - Elizabeth O'Kane

The 'Studio Visits' are a monthly blog instalment. We're opening our doors to introduce you to the artists and designers in The Design Tower! Each interview will give you an insight into the individual designer or business.

This month we're chatting to Sculptor and painter Elizabeth O'Kane.

How did you become a sculptor and painter?
It has been quite a jigsaw getting here. As a child I always dreamed of being an artist however after school I followed a more career-oriented path studying French and Spanish, followed by a post grad in Business Studies. I worked in Paris and Dublin for several years before deciding to return to college and try my hand at art, opting to study Interior Design.  During a college placement in a foundry I totally fell in love with bronze; I loved the noise, the smell and the chaos of the place.  I worked part time as an interior designer for a few years until taking the leap to become a full time artist in 2000 after winning the CAST Sculpture Prize in the Annual Oireachtas Exhibition.  As a sculptor and painter I am mostly self-taught and I now teach portrait sculpture.

What materials do you sculpt in?
I sculpt people and animals and I usually work in terracotta, building my sculptures up around metal armatures within the clay to hold it all in place.  I then make a silicone and plaster mold of the sculpture and cast a wax version from the mold. The wax sculpture is sent to the foundry for bronze casting, you can read more about this complicated process on my website.

Tell us about your work carving stone
I started stone carving three years ago. I had studied sculpture in Italy for several summers at the Florence Academy of Art.  While I was working with clay in Florence I became curious about stone on seeing so many beautiful marble sculptures. I first tried my hand at stone carving in 2008 at the Art Students League school in New York.  I have now spent the last few summers carving in Tuscany in the famous stone carving town of Pietrasanta near the Carrara white marble quarries (James Bond’s Quantum of Solace movie opens with a car chase through these quarries).  I find stone carving fascinating and challenging; it is very physical and unforgiving work but extremely rewarding at the same time.  The subtraction of the material is the opposite of working by addition in clay.  My stone work tends to be looser and more abstract than my bronze sculptures.  This year I made a pig in Persian Red Travertine marble, and I am currently working on a portrait head in Egyptian yellow marble, which is my most ambitions stone project to date.

 
Describe your paintings
My background in Interior Design has given me a love of architecture and perspective drawing.  I most enjoy painting buildings and cityscapes; I am drawn to straight lines and the play of light and shadow. I work mainly in watercolour and my paintings have been described as photorealist. I am currently working on a series of paintings of New York based on a three month stay in Manhattan’s Lower East Side some years ago.  I am enjoying these urban and industrial subjects just now.

What inspires you to design?
In my paintings I am drawn to interesting shapes in architecture the play of light on surfaces, however I enjoy sculpting people and animals. I am interested in anatomy and movement. If I see an interesting pose I will keep the idea in my head for future sculptures, I am constantly looking at interesting bone structure I see in the faces I see every day.

How does travel inspire you?
In my work you can never stop learning.  I think it is really important to see new places and meet new people and learn new skills. I am lucky to have lived in a number of different cities and my love of language makes me adaptable to change. The art world is relatively small and I find a lot of overlaps, often meeting the same people whether in New York, Tuscany, London or Dublin.

Do you have any interesting projects in the pipeline?
I am excited about the New York paintings I am working on; I took hundreds of photos so the series could be never-ending.  Sculpture-wise I am currently working on a number of private commissions of portrait heads, and also some heads of Great Dane dogs which, as an animal lover, I am hugely enjoying.

Can you describe the piece you made for the Wunderkammer Exhibition?
I was inspired by several Buddha sculptures in the Albert Bender Collection at Collins Barracks so I sculpted a Buddha and cast it in plaster with 22 carat gold leaf.  He is seated with his legs crossed in the traditional full lotus position, soles of feet facing upwards, hands laid peacefully in meditation.  Like much of my work this sculpture has an overall feeling of calmness.

Where can your sculptures be seen?
My best know sculpture is of the tenor John Count McCormack singing his heart out in The Iveagh Gardens, just behind the National Concert Hall.  My sculpture of champion Irish greyhound Mick the Miller, in Killeigh village green in County Offaly, was unveiled by former Taoiseach Brian Cowan in January 2011.  I also have bronze busts of historic Irish figures in Belfast City Hall (Mary Ann McCracken) and New York New York Hotel Casino in Las Vegas (Thomas Francis Meagher).

 
Where is your work available to purchase?
Most of my work is commission based, so I encourage customers to visit my studio to see my work and discuss their requirements.  I also exhibit regularly at the RHA and RUA annual exhibitions in Dublin and Belfast, with the Society of Portrait Sculptors in London, and I show with a number of galleries in Ireland.
Thanks Liz! For more information, visit Elizabeth's website.


As part of the Design Tower Winter Workshops, Elizabeth will be teaching portrait sculpture in her studio with a live model.
The next classes begin 18th February 2012.
Run over two weekends, the course consists of 8 x 3 hour sessions. 
Students will have a finished clay head at the end of the course.
Suitable for all levels. Maximum four students per class.
Sign up now!

Check out the other designer interviews in the series too!

Studio Visit - The Paper Conservation Studio

The 'Studio Visits' are a monthly blog instalment. We're opening our doors to introduce you to the artists and designers in The Design Tower! Each interview will give you an insight into the individual designer or business.

This month we're chatting to Pat McBride from The Paper Conservation Studio.

What is paper conservation?
It is the preservation of works of art on paper, water colours prints, drawings, old documents, everything on paper; from expensive works of art to sentimental pieces. People bring us their damaged original works and we would treat them to reverse the damage, preserve them, and return them to there original owners. It’s a great job which lets us work with beautiful objects, a great way of earning a living. I have been doing this now for nearly thirty years and in a wider context the arts sector has been very good to me.

Dry cleaning of support using smoke sponge

What made you decide to become a paper conserver?
You get started in conservation in two ways; you choose it or it chooses you. It was the latter in my case. After leaving school, I got an opportunity to train in the National Gallery of Ireland, it wasn’t planned, it just sorta happened, but I loved it then and I still love it now.

Over the years what different training have you done?
I trained for three years, as an apprentice, when I was in the National Gallery. Following on from that, I’ve done many different courses to develop and update my skills. Within the conservation profession, there is an ethos of continuous training, continuous professional development. You never really stop learning. The profession is constantly evolving and changing, so you need to evolve and change with it. I also have done a degree in business studies, and I’m currently studying towards a PhD in change management exploring how conservation has changed over the past forty years.

Consolidation of losses

Why did you decide to set up your own studio?
At the time there was no opportunities, there was no job’s in galleries. There was a choice to travel or set up my own space. In hindsight, I probably feel I should have travelled more, but I did choose to set up my own business. It’s not very lucrative, I’ll never be rich from it, but it suits me. I like it, having my own place.

When did you come to be in The Design Tower? I set up the studio in December 1985, so this is my 26th year here.

What is the best thing about having your own space?
I suppose it’s the freedom to come and go. In other places you can have very long hours. But here we can work without extreme pressure and at our own pace. And I like the comfort of it here. It’s a very easy environment to work in. The wider community in the Tower have been wonderful to work with. There is great camaraderie within the building and always someone to help or give advice if you have a problem. Its very supportive place to work.

What’s the worst thing about being so responsible for these objects?
All the time you want to do right by the object. It’s what we’re trained for. We have a passion for it, but you also want to guide the expectations of the customer. It’s the one business where the customer is not always right. They have a damaged object and they know that they need something done with it. Sometimes, they don’t fully realise what goes into this type of work. People’s expectations about what is ‘clean’, or ‘fixed’ is very different to what it actually is. But you do want to do what they want done to the object, but that is not always possible.

What materials do you use?
We rely heavily on Japanese paper; it’s a repair paper that is very strong and long fibered. We draw from a set of tools that have been collected over the years, from all different areas. I even have a set of dental tools I use! customized pieces are important, but there are no set tools. We collect them like magpies over the years and change them for what we might need them for. Conservation also relies heavily on science; advances in scientific research have had a direct affect on the processes and tools we use.

Is there any danger in your work?
Naturally, there are potential risks to the objects and there are few processes that can be dangerous to a conserver. Some of the chemical processes we use can be harmful to the conserver. Some techniques need precautions but this is well known in conservation and there is a strong ethos in heath and safety. The danger to the objects can be two fold. The wrong process may damage the object in the short term and the long term. It’s important to understand completely the ageing process of object, the processes being used, and the materials that will be affected.

Pat mounting Harry Clarke watercolours

Have you ever completely ruined a peace?
Never! And I hope never too. In fairness we are trained to not let things go wrong.

How many objects do you work on a year?
Oh god… well when you think about it, one client could bring in one object, where the next could bring in 10. Last year we had one client that had 60 pieces in the one collection. That collection was turned around and returned within 3 months. An archival collection alone could have more than 200 documents. So, maybe about 30 clients and 150 objects, roughly

How is it working with clients?
Some clients are brilliant. They understand the processes of the work and they trust you with the object. In a lot of cases that trust has been built up over many years. But most of the time it’s an ongoing first meeting situation, and you have to explain your approach, how you intend to treat the object, and your reasons behind that.

Consolidation of flaking material

Do you get mainly gallery or private work?
It’s mainly galley commissions. I’ve worked for almost all the public galleries and museums in the country over the years, depending on what they needed, and I enjoyed working for them all. It would be a lot of mixed media work on paper. But we do get private collectors or individuals with works of sentimental value calling in with their damaged.

In all your time working, what has been your favourite piece to work on?
One of the most memorable was the last letter from Robert Emmett. He wrote to the Viceroy thanking him for his consideration. It was written just before he was lead to the gallows. It was a moment in history, a beautiful object that has come down the centuries to our time. It was a privilege to work on it. As was most of the materials in the Last works room of Kilmainham Jail. Many of these were the last writings and memorabilia of the 1916 patriots and are unique and very special objects.

Where do you see yourself in five years?
On an island in the Bahamas, sipping my pina colada, after making my millions in conservation. (Laughs) no, no, probably still doing what I’m doing, Trying to maintain the business in this current climate. Still conserving paper. Hopefully.

Is there any thing funny that has ever happened to you in your line of work?
Well, not so much funny but just people with strange ideas of us. I have been accused of having an agenda for cleaning dirty pictures! My colleague has been asked on multiple occasions if she’s “one of those people who hug trees all day?” so we tend to laugh at peoples assumptions, not situations as such.

If you could change one thing about your work what would you change?
(Pauses) I don’t know….If I was to change any thing it would be the way we work with the institutions. I’ve been working with some for many years, but I’m still on contract. Its strange being an outsider when you’ve been in for so long. Sometimes it could be twenty or twenty five years. It’s an unusual relationship. You’re not a member of staff so you don’t get the privilege of that. You can be let go any day, and be replaced within a moments notice. So I guess id change that.

Thanks for telling us more about your business Pat! For more information, follow The Paper Conservation Studio on their Facebook business profile.

Check out the other designer interviews in the series too! 

Studio Visits - Aisling Nelson from Rangoli

How did you come to design jewellery and hair accessories?

I began my career studying graphic design, specialising in illustration. A six month trip to India and Nepal in 1994 inspired a career change. I was completely fascinated by the ornamentation and use of colour in even the most everyday objects. I've always loved pattern and colour so India blew all of my senses.

When I got back to Ireland, I enrolled in college for a two year craft design and business studies course. I specialised in jewellery and my graduation collection featured silver box frame pendants and brooches, with  Perspex, Japanese silks and beading.

Photo by White Tea

Photo by Stephanie Fay

While at college, I also did some work experience with a textile artist where I learned the techniques of crochet and weaving. I began combining these traditional techniques with modern jewellery skills to produce a range of fine textile jewellery. On leaving college, I set up my business Rangoli in 1998.

 Headpiece made from fine crochet, incorporating citrine and pearl beading

What materials do you work with?

I work with two different methods of construction. My crochet designs are made by combining up to five strands of metallic threads and incredibly fine enamelled wires. This mix allows for subtle colour variations. For example rose gold can be created by adding a magenta coloured wire to the selection of gold and silver threads. My other collections are made from intricate beaded wire-work where I can replicate some of the delicacy and pattern formations of crochet but with a stronger structure. I incorporate a wide range of semi-precious stones, pearls and crystals into the designs.

Photo, (right) by Nicola Webster

Who do you design for and what process is involved in designing bespoke pieces?

I specialise in designing bridal jewellery and hair accessories. All of my designs are made to order so I get to meet my clients in person. This is one of my favourite aspects of my job, discussing ideas, styles and occasions!

 Photographs by Bernard Carolan at Mark Griffin Photo

The first meeting usually involves an informal chat - I get to find out about the person's style as well as the dress they have chosen. I look at many elements such as the lines and structure of the dress, the embellishment or surface decoration as well as the overall style. Hairstyles also come into the equation! Some clients come in with a clear idea of what they want while others want me to design a special piece for them. I offer advice on styling the bride's look. Listening is an important skill in what I do.

Photo by Brendan Lyon

Where is your work available?

I make bespoke pieces to order and do not supply any other retail outlets. Having previously supplied a number of outlets around the country, I found that I missed out on the connection and valuable feedback that I get from my own customers. Not everyone is able to visit my showroom, so pieces can also be ordered online and designs discussed by phone and email.

Have you worked on any unusual commissions recently?

The headpiece below was for someone who had a very definite idea on the shape, materials and overall feel of the piece that she wanted. The dress was lace, with a vintage feel. The client also sent me a picture of a comb whose shape she really liked. For this design, I printed the image of this comb and cut it out so we could place the shape on her head. This probably sounds odd but it gave us both an excellent idea of the scale and outline shape of the proposed design! Below left, you can see how I have pinned on some small beaded shapes on top of the paper.

Once we were both happy with the scale and shape of the piece, I began working on detailed sketches of the intricate lace form. I then created many individual beaded elements which were finely woven together as the piece was being constructed. This design took many hours to make and was a fascinating new direction for me in terms of assembling a piece from a number of smaller forms.

What inspires you to design?

Pattern and colour are key things. I love delicacy and transparency and yet I am equally drawn to structure and linear forms. Fashion is a constant inspiration too from eighteenth Century to modern innovative couture. Travel to weird and wonderful places is another passion. This year we're off to Uzbekistan for an adventure along the old silk route!

What do you enjoy most about your job?

I really enjoy the interaction with clients and involving them in the design process. I love working for myself with the balance between client interaction and my design and making time. Most of my work comes from word of mouth referrals which is also very satisfying. And I am proud that I am now in my fourteenth year of business!

Can you tell us about the necklace you designed for the Wunderkammer exhibition?

The Wonderkammer Exhibition was a group show from designers in The Design Tower, inspired by the Albert Bender collection at the National Museum of Ireland.

Inspiration came in two forms! I loved the colour palette found in the Thangka paintings as well as the stylised swirly clouds. In these Buddhist paintings, the blue sky depicts the Buddha mind while the clouds convey the random, transitory thoughts that pass through the mind during meditation.

I enjoyed experimenting with a new material - fine coloured enamelled crochet ribbons. I discovered that I could distort these ribbons into undulating cloud shapes by crocheting along the upper edge of each strand. It is still the only piece that I have ever made that doesn't incorporate a single bead!

Thanks for chatting with us Aisling! You can read more 'Studio Visits' interviews from the series.

For more information on Rangoli, visit the website or the Rangoli Jewellery blog which showcases some of Aisling's recent bespoke commissions.

Studio Visit - Róisín Gartland

The 'Studio Visits' are a monthly blog instalment. We're opening our doors to introduce you to the artists and designers in The Design Tower! Each interview will give you an insight into the individual designer or business.

This month we're chatting to Róisín Gartland.

Can you tell us about your creative path up as far as your latest field of study?

My design practice opened in 1987 and has been located in The Design Tower since 1988. I am a leather specialist and my business concentrated on developing a low volume high quality range of products.

I created bespoke pieces for private clients from the outset, (which I continue to do) and when demand for my work grew, I developed a commercial range of clothing that sold throughout Ireland, the UK and Europe. I am commissioned regularly to make pieces for film & TV and also for special events and concerts.

While being an independent woman operating a small business in the late eighties to early nineties was challenging in itself, it did not feed my soul. I needed to find a way to express myself creatively outside the commercial world. In 1991 I began to explore fine art as a means to fulfill that purpose and discovered a perfect visual language ideally suited to my needs. Over the next decade I balanced studies in fine art with my design business and was rewarded with a BA in fine art in 2000.

The most difficult time came in the years following the BA. Attempts to stitch my two practices together were surprisingly unsuccessful. My business had become a demanding master allowing little space to grow. So in 2004 I took a leap of faith and closed the commercial side of the business. In breaking up the old framework new possibilities emerged and as a result the last seven years have been some of the most creative and rewarding of my career to date. I returned to study 2 years ago to concentrate on an MFA in sculpture at NCAD.

What inspires your design - are there people or things that particularly inspire you?

 Unité d'Habitation by Corbusier

I am continually drawn to pattern formations, be they in nature or in geometry.  In this regard I am inspired in equal measure by nature, the human body and by architecture. Paris is one of my favourite cities for creative stimulus and Italy for its abundance of beautiful materials. I also have moments in sleep where inspiration is awakened.

Tell us about the range of materials that you like to work with

The range of leathers available is enormous but over the years I have whittled the list down to Spanish lambskins, Japanese hides, Ethiopian lamb suede, and a small selection of special finished leathers. On the other side of my practice I really like working with clay and paper, both separately and together.

It would be great to hear about your master’s course - what your goals and aspirations were and whether you feel they were met.

Pattern formation on vellum

For the last 2 years I have been immersed in a research based MFA at NCAD. This space allowed me the freedom to explore new avenues and engage with new audiences. My goal was to develop the building blocks for my reconfigured practice and out of that I developed a method that enabled my research to weave in and out between internal and external enquiries so while I spent much time pondering issues in the studio an equal amount of time was spent developing work that required an audience to activate it. It was a very challenging and rewarding time that was equally balanced by holding on and letting go. I’m happy to say was it was successfully completed.

In relation to your studio, if you had a crystal ball what vision of the future would you like to see?

I would like to see my studio continually evolve allowing the unexpected to happen. I would like to continue to share my expertise and experience with the generations to come and I would like to move outside the studio on occasion to research abroad. Having just completed my first ‘Tower Summer School’ workshop I would also like to see these develop as regular events in the ‘Tower’ calendar.

Can you tell us about the piece you created for The Design Tower Bender Exhibition?

The concept was to create an image of beauty in a modern style while making reference to Benders collections of Japanese Ukiyo-e prints and antiquarian books.

The image brings together all these elements: the outfit is made entirely from Japanese materials and the collar and cuff highlight the prominent fan motif in Japanese prints. Finally the location is the Long Room Library with centuries of knowledge as the backdrop.

Thanks for telling us more about your business Róisín! For more information, visit the Róisín Gartland website.

Check out the other designer interviews in the series too!