Friday 2 December 2011

Christmas Shopping at the Design Tower

This year the artists and designers in The Design Tower welcome you to visit us for The Twelve Days of Christmas - a unique shopping experience for craft and design lovers.

This is a great opportunity to visit twelve working studios and purchase unique Irish designed gifts for Christmas.

The studios are open mid-week, starting on Thursday 8th December and finishing on Friday 23rd December. If you work nearby, you might like to pop in on your lunch break!

We are located in the Docklands, a short distance from The Grand Canal Theatre. The entrance to The Design Tower is on Grand Canal Quay. Visitor parking is available. We look forward to welcoming you!

For further information about the designers, visit our website or read our series of designer interviews.

Thursday 17 November 2011

The Design Tower Winter Workshops

{Click for larger version}

The Design Tower are delighted to announce their schedule of Winter Workshops.

This unique series of workshops comprises instruction is such diverse creative activities as drawing of a life model to jewellery making, leather design to paper-making. These limited classes are given by some of the leading practitioners in their fields. The small classes take place in the studios of The Design Tower over the the course of a couple of weekends.

The courses include -

  • Portrait sculpture with Elizabeth O'Kane
  • Leather workshops with Roisin Gartland
  • Silversmithing with Seamus Gill
  • Jewellery making with Da Capo
  • Porcelain sculpture with Ayelet Lalor
  • Jewellery making with Breda Haugh
  • Paper-making with the Paper Conservation Studio


To launch this series of workshops - Pat Mc Bride from the Paper Conservation Studio is offering an amazing prize of a place on their paper-making workshop.

To be in with a chance to win this prize, simply friend the Paper Conservation Studio on facebook (@ ThePaperConservationStudio). The lucky person will be chosen on the 1st Jan 2012 and the winner announced on our facebook page and The Design Tower blog. 

For full details of all the Winter Workshops on offer, keep an eye on our blog!

Gift Vouchers

Why not give the gift of creativity to someone this year? We have gift vouchers available for all of our courses or for any of the individual designers in the building. For further details, contact

Friday 11 November 2011

'Diva' Ayelet Lalor exhibition

Award winning sculptor Ayelet Lalor's new exhibition DIVA will open on 25th November in the Dirty Fabulous Boutique, Wexford St, Dublin 2.

Inspired by Dirty Fabulous' vintage styling, Ayelet has created almost twenty innovative ceramic sculptures, complete with hand-painted colour illustrations of all the outfits used.

The exhibition will run until Dec 15th, and all work will be available to view on Ayelet's exhibition blog called Diva Exhibit.

The opening night is an RSVP event - please contact Ayelet if you would like an invitation. Contact Dirty Fabulous if you would like to view the exhibition or browse the range of gorgeous vintage clothing - 01-6111842.

Make sure to check out Ayelet's blog to see more details about this exciting collection.

Contact details:
Ayelet Lalor
Telephone: 01 672 9799 or 087 648 5856

Dirty Fabulous - by appointment
Telephone: 01 611 1842
21 Wicklow Street

Opening hours
Mon - Closed
Tue - 10am-6pm By Appointment
Wed - 10am-6pm By Appointment
Thu - 10am-7pm By Appointment
Fri   - 10am-6pm By Appointment
Sat   - 10am-6pm By Appointment
Sun - Closed

Thursday 10 November 2011

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!

Tuesday 1 November 2011

The RDS Art Fair 2011

The Design Tower are delighted to be taking a group stand at the RDS ART Fair 2011. We will be located at stand M9 and would love you to come and say hello!

With a proud history in the Arts stretching back over 200 years, the RDS is pleased to welcome the general public, artists and galleries from both Ireland and abroad, to the ART FAIR 2011. The event will take place from 4th to 6th November in the Main Hall of the RDS.

Over 100 Artists and Galleries will gather from all national and international corners to show and sell their work to the art loving public, with works on canvas, sculpture, prints, photography and other media. Free lectures and live music will also feature at the show and under 12s go free so you can bring the whole family!

Over 100 galleries and artists from Ireland and abroad
Exciting programme which includes talks by gallerists, curators, artists and collectors from Ireland and abroad
Sculpture feature area with works from some of Ireland’s best known sculptors
Live music, cafés and art suppliers
A relaxing atmosphere to buy and view art

Venue:  Main Hall, RDS, Dublin
Friday, November 4th- 12 noon to 9.00pm
Saturday, November 5th-11.00am to 7.00pm
Sunday, November 6th – 11.00am to 6.00pm

Admission :
Adults €10
Concessions €8 - (OAP, students, children over 17)
Children under 16 go free

Wednesday 21 September 2011

Culture Night 2011 - The Design Tower

Culture Night is a night of free culture which was first created in Temple Bar in 2006. It now takes place in thirty regions across Ireland on Friday 23rd September 2011, offering the public a wide range of cultural attractions and the opportunity to visit iconic cultural venues.

The Design Tower will be open until 10pm, with individual designer/makers opening their studios. It's a great opportunity to get to meet a range of designers from jewellers to sculptors to violin makers! There will also be a series of short talks taking place as outlined below.

Come and say hello - we'd love to meet you!

6pm    Mick de Hoog  -   Making music

6.30    Ayelet Lalor  -   Clay forming

6.45    Celt Clan Jewellery  -   See your heraldic seal!

7pm    Elizabeth O’Kane  - Bronze sculpture

7.30    Da Capo Jewllery -  Dazzling gems stone setting

8pm    Breda Haugh  -   Jewellery making

8.30    Paper Conservation  -  Conservation techniques

9pm    Alan Ardiff  -   See the movement!

Roisin Gartland -   Aritst and leather work

Rangoli Jewellery -   Bridal hair accessories

For more information on Culture night, visit the website or look at other events happening in the Docklands area.

Sunday 18 September 2011

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! 

Thursday 15 September 2011

Elizabeth O'Kane stone carvings

Sculptor Elizabeth O'Kane recently returned from four weeks carving marble at the Pietrasanta Marble School, Tuscany, Italy.

She made a pig from red Travertine, (a relatively soft stone from Iran) and started work on a portrait head, in an Egyptian yellow marble (softer than the local Carrara white marble). Both pieces were carved by hand using hand tools and air hammer, working solely by eye rather than using pointing techniques used for making more complicated sculptures.

Marc Michel - (seen below)
Egyptian Yellow marble
Work in progress. Life size.

Red Travertine, on a Belgian black marble base
25 x 43 x 20 cm
(Also available in bronze in a limited edition)

For more information visit Elizabeth's website.

Friday 9 September 2011

Leather workshop with Roisin Gartland

RÓISÍN GARTLAND’s studio has been creating leatherwork of distinction since it was set-up in 1987. The RÓISÍN GARTLAND brand has developed over a span of 24 years to become synonymous with innovation, design, quality and craftsmanship. The studio is now developing a new strand: teaching small groups of people to make special personalised items from leather

The initial workshops in The Design Tower are a testing ground and as such are very flexible and will develop and change over the coming months. we will work with the finest luxurious leathers that have proven the test of time and as the practice encompasses several areas of expertise, there is a wide selection of skins from which to choose.

Participants are encouraged to bring along their own designs, however, templates of bags and other items will be provided and participants may embellish and adjust these templates to add their own unique touch.

The costs for each workshop is €400. this includes all materials, trimmings, fixtures and fittings. the cost is based on size and while larger items will incur an extra charge, smaller pieces may be duplicated.

The workshops are designed for and limited to groups of 4

This is a unique opportunity to make special pieces that can be used for christmas gifts… or remain prized possessions forever!

Schedule for the first set of workshops is as follows:

· 4x3 hours sessions €400 Tuesday evenings, over 4-week period

Running through October and November

· 2 full days €400 consecutive Saturdays. Each day consisting 2x3hour sessions with 1-hour lunch

Running through October and November

Templates of bags and other items will be provided and participants may embellish and adjust these templates to add their own unique touch.

Contact Róisín for booking details and booking form 01 6710020 or 0872490984 or email

Monday 8 August 2011

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.

Thursday 4 August 2011

RDS Student Art Awards 2011

Congratulations to Linda Uhlemann on winning the Print Award at the recent RDS Student Art Awards 2011. Linda successfully completed a four year BA [Hons} In Visual Art Practice in The Institute of Art Design and Technology Dun Laoghaire. Linda majored in print-making.

Her graduation project was called "The House". The etchings are inspired by a house that Linda used to visit on holidays when she was a child.
"My final project was called “The House” and it concerned a house I used to visit when I was a child. I returned to it through a series of coincidences only to find it derelict, I traced the owners and unravelled the story of why this had happened. My work then became involved with memory and how it slips away and cannot be defined and contained."
'The House', consisting of four large etchings and and artists book

Etching and chincolle - Title empty corridors

Etching and chincolle - Title Mirror

Etching and chincolle - Title Bedroom

Etching and chincolle - Title Stairwell

The RDS Student Art Awards has an annual prize fund in excess of €16,000. Encompassing the RDS Taylor Art Award which has been awarded since 1860, the Awards are the most prestigious art awards open to registered art students of all award-bearing courses in Ireland.

The Awards continue the long tradition of the Society’s developmental role in supporting and nurturing the creative arts in Ireland. Until 1877, Ireland's first 'Drawing School' was managed by the Society after which it was transferred to the Government to become the Metropolitan School of Art and Design and later the National College of Art and Design.

The RDS Student Art Awards are significant in the recognition of excellence and best practice in the work of students registered in full and part-time award bearing art courses. They also provide a platform for exhibiting works that students might not have the opportunity to do otherwise. Previous winners of the RDS Student Art Awards include Walter Osborne, William Orpen, Mainie Jellett, Melanie Le Brocquy, Arthur Gibney, Dorothy Cross, Eamon O’Kane and James Hanley.

An exhibition of winners and a selection of works of excellence chosen by the judges is shown at the RDS National Crafts Competition & Student Art Awards Exhibition during the Discover Ireland Dublin Horse Show in the RDS Concert Hall.