Open Studio 2019

This book serves as a record of our Open Studio 2019

Guest Artist – Mridula Basi – Painting

Jenny Ozwell – Tableware Pottery

Fergus Hawson – Boats

Thomas Hawson – Visual Art

Extending Practice Group – Jenna Agate, Helen Douglas, Thomas Hawson, Merav Israel, Claire Pençak – Improvised Dance Event

Open Studio 2018

This book serves as a record of our Open Studio 2018, at Hundalee Mill Farm, Jedburgh.

Guest Artist – Peter McGoldrick – Painting

Jenny Ozwell – Tableware Pottery

Fergus Hawson – Boats

Thomas Hawson – Visual Art

THOMAS HAWSON, LOST AT SEA

This book is a record of Thomas Hawson’s art project, Lost at Sea, it was exhibited at the Eyemouth Hippodrome, on 27 August -18 October 2015, and hosted curated and made possible by Ian and Paula Tod.

Sailing from a craftsman's past into a family future

By Sarah Urwin Jones

The Herald Arts 03.10.2015

PhD Thesis Oct 2006.

Abstract

This doctoral project develops an interdisciplinary collaborative approach to furniture designer\maker practice. At its core is a practice-based framework that can be used to assess and reflect upon the tacit, primarily visual nature of makers’ knowledge and the way that this can be communicated in order to develop design outcomes.

The enquiry takes as its focus a two-year collaboration between the author – a British-based furniture designer/maker – and six indigenous Icelandic craft practitioners in which the ultimate goal was the creation of artefacts that, it was hoped, would be expressive of Iceland’s native craft traditions.

The project successfully develops new knowledge through a contemporary reinterpretation of indigenous Icelandic craft-making knowledge and demonstrates this through the making of artefacts imbued with recognised cultural status. It also extends furniture designer/maker research by developing an innovative practice-based method of collaboration rooted in the multimedia archiving of the making process which can then be used to illuminate and facilitate future practice.

During the ‘Iceland Project,’ as it came to be known, interaction between and among participants was grounded in a predetermined plan developed democratically through consultation and dialogue.

The project is a scholarly display of makers’ knowledge: the process is shared democratically among peers; the decisions that articulate design and methods of making are reviewed; and inter-subjective outcomes are generated. To facilitate learning from designer/maker practice-based research, the creative narrative is necessarily partly articulated through visual media and artefacts.