Letters to Adeline
What is your design background?
After a foundation in Art & Design at Southport College, I studied jewellery design at Middlesex University, London, graduating in 1987. I was extremely fortunate to be taught by several well known designers. Caroline Broadhead and Pierre Degen were tutors who influenced a fine art approach to my making, whilst at the time I was also classically taught in enamelling by Alan Mudd and Keith Seldon who trained me in the fine aspects of enamel on silver. In addition I was very lucky to be tutored further in my final year by enamellers Jane Short andRos Conway. After University I have benefited by attending workshops run by the BSOE & the GUILD of enamellers and courses at West Dean with Pat Johnson plus events at UWE run by the enameller Elizabeth Turrell.
After a foundation in Art & Design at Southport College, I studied jewellery design at Middlesex University, London, graduating in 1987. I was extremely fortunate to be taught by several well known designers. Caroline Broadhead and Pierre Degen were tutors who influenced a fine art approach to my making, whilst at the time I was also classically taught in enamelling by Alan Mudd and Keith Seldon who trained me in the fine aspects of enamel on silver. In addition I was very lucky to be tutored further in my final year by enamellers Jane Short and
What first attracted you to enamelling?
On choosing which degree option to go for I was very torn between doing jewellery or illustration.
I was very undecided and I still tend to drift between disciplines, but my Aunt and Uncle were artists and ran a jewellery shop, so I at the time I decided to follow in their path.
I enjoyed the experimentation and innovative approach to design at Middlesex. When I was introduced to enamel I just fell for the variety and range of possibilities it held. My leaning as an artist is always to colour, and the fact that enamel could also convey an image was a real light bulb moment. So, whilst the emphasis was to work with alternative materials in the late eighties I was always to be found at the kiln.
On choosing which degree option to go for I was very torn between doing jewellery or illustration.
I was very undecided and I still tend to drift between disciplines, but my Aunt and Uncle were artists and ran a jewellery shop, so I at the time I decided to follow in their path.
I enjoyed the experimentation and innovative approach to design at Middlesex. When I was introduced to enamel I just fell for the variety and range of possibilities it held. My leaning as an artist is always to colour, and the fact that enamel could also convey an image was a real light bulb moment. So, whilst the emphasis was to work with alternative materials in the late eighties I was always to be found at the kiln.
What does your creative process look like? (from initial idea to finished product)
I love working in sketchbooks. I mostly collect visually through taking photos and make drawings from them, but collage plays a big part too. I generally keep to a theme per sketch book. If it is my own work, once I have the direction of what I want to make, I tend to work directly into the metal / enamel, as I usually know how I want to construct something.
However, if I am making to commission I will produce a presentation drawing / models on request in order to confirm the design specifications. The work I make is labour intensive, any silverware or jewellery once shaped is engraved to reveal the nuances of the metal surface under the enamel. The enamels are ground into a paste, washed carefully and are applied by hand over several firings. The piece is generally finished by hand polishing or more engraving. When I am making panels the process is a little different but firing layers of thinly applied colour still factor and building up of an image is a key concern.
Enamel is a fascinating material in the fact that you can create with it on many scales. From a small jewel to a piece of domestic silverware, through to an architectural sized piece for a public art installation.
I love working in sketchbooks. I mostly collect visually through taking photos and make drawings from them, but collage plays a big part too. I generally keep to a theme per sketch book. If it is my own work, once I have the direction of what I want to make, I tend to work directly into the metal / enamel, as I usually know how I want to construct something.
However, if I am making to commission I will produce a presentation drawing / models on request in order to confirm the design specifications. The work I make is labour intensive, any silverware or jewellery once shaped is engraved to reveal the nuances of the metal surface under the enamel. The enamels are ground into a paste, washed carefully and are applied by hand over several firings. The piece is generally finished by hand polishing or more engraving. When I am making panels the process is a little different but firing layers of thinly applied colour still factor and building up of an image is a key concern.
Enamel is a fascinating material in the fact that you can create with it on many scales. From a small jewel to a piece of domestic silverware, through to an architectural sized piece for a public art installation.
What are you currently interested in and how is it feeding into your work?
I am fond of printmaking and attend other artists workshops when I can. I am particularly interested in wood engraving and woodblock printing at the moment. I find printmaking a valuable way of exploring design ideas. I like to experiment, finding ways to incorporate print methods with enamel. I use print more in the panels I make, but I may employ it in future jewellery and silverware collections.
I like getting out of the studio from time to time to catch up with exhibitions. Locally there are lots of places to see. I am lucky to live near Liverpool where we have excellent Galleries & Museums. I recently took part in a fantastic drawing day at the TATE, where as a participant I had the privilege to sketch the English Ballet performances and listened to talks about the Imagine exhibition. The Bluecoat Display Centre is also a frequent haunt. I exhibit my enamels there but also enjoy viewing the selected exhibitions and varied work that they showcase. Ruthin Crafts Centre in North Wales is day trip distance and there I am often in awe of the major design crafts they profile.
If there is an exhibition I particularly want to view I will travel further afield.
I recently went to The Hepworth Wakefield in Yorkshire to see the Gertrude Hermes prints, which are just stunning. I visit London quite a bit, so the latest show I saw there was the work of architect Chris Wilkinson who had an informative display of Sketchbooks at the Royal Academy.
My list is quite eclectic but exhibition visiting and my interest in print not only gives me the opportunity to get away from the isolation of working on my own but it feeds into my practice enormously. It keeps me up to date with other makers and gives me involvement in the wider world of art and design, the bonus is that somehow in the mix it enriches my design thinking and development of ideas.
I am fond of printmaking and attend other artists workshops when I can. I am particularly interested in wood engraving and woodblock printing at the moment. I find printmaking a valuable way of exploring design ideas. I like to experiment, finding ways to incorporate print methods with enamel. I use print more in the panels I make, but I may employ it in future jewellery and silverware collections.
I like getting out of the studio from time to time to catch up with exhibitions. Locally there are lots of places to see. I am lucky to live near Liverpool where we have excellent Galleries & Museums. I recently took part in a fantastic drawing day at the TATE, where as a participant I had the privilege to sketch the English Ballet performances and listened to talks about the Imagine exhibition. The Bluecoat Display Centre is also a frequent haunt. I exhibit my enamels there but also enjoy viewing the selected exhibitions and varied work that they showcase. Ruthin Crafts Centre in North Wales is day trip distance and there I am often in awe of the major design crafts they profile.
If there is an exhibition I particularly want to view I will travel further afield.
I recently went to The Hepworth Wakefield in Yorkshire to see the Gertrude Hermes prints, which are just stunning. I visit London quite a bit, so the latest show I saw there was the work of architect Chris Wilkinson who had an informative display of Sketchbooks at the Royal Academy.
My list is quite eclectic but exhibition visiting and my interest in print not only gives me the opportunity to get away from the isolation of working on my own but it feeds into my practice enormously. It keeps me up to date with other makers and gives me involvement in the wider world of art and design, the bonus is that somehow in the mix it enriches my design thinking and development of ideas.
With regard to your lecturing/workshops – what do you most enjoy about sharing your craft with others?
When I teach I love the magic moments when work is taken from the kiln and students are thrilled with what they have created. There can be real eureka moments!
The passing on of knowledge is important to me. Enamelling is a skill that could easily dwindle in our computer dependant age. As further & higher education courses close, so the opportunity to learn specific skills gets less each year. In time enamelling may only be passed on via the technique being considered as a heritage craft, although there is some very exciting work being produced by contemporary makers and short courses are popular.
I teach occasional weekend courses with silversmith Rajesh Gogna and find that in just a few sessions students connect with enamel and they become hooked on the breadth of effects available. Course info http://ruthball.weebly.com/courses.html
When I teach I love the magic moments when work is taken from the kiln and students are thrilled with what they have created. There can be real eureka moments!
The passing on of knowledge is important to me. Enamelling is a skill that could easily dwindle in our computer dependant age. As further & higher education courses close, so the opportunity to learn specific skills gets less each year. In time enamelling may only be passed on via the technique being considered as a heritage craft, although there is some very exciting work being produced by contemporary makers and short courses are popular.
I teach occasional weekend courses with silversmith Rajesh Gogna and find that in just a few sessions students connect with enamel and they become hooked on the breadth of effects available. Course info http://ruthball.weebly.com/courses.html
Which artists/enamellers do you particularly admire?
The are so many enamellers that I look up to, but to narrow it down I can reveal that my favorite enamels are the work of Jamie Bennett from the USA. I love the painterly approach he employs and admire his quiet narrative. A new find is the work of enameller Kario Juzi, I saw her work in a gallery in Denmark last year and was blown away by her sensitivity to the enamel surface.
There are also many artist & designers that inspire me, but one of the people top of my list is the work of Dutch artist Marian Bijlenga, her innovative use of materials is extraordinary. Closer to home I admire the fundamental knowledge behind the work of my friend the ceramic sculptor Pauline Hughes. She makes with a strong sense of identity and bucket loads of integrity.
The are so many enamellers that I look up to, but to narrow it down I can reveal that my favorite enamels are the work of Jamie Bennett from the USA. I love the painterly approach he employs and admire his quiet narrative. A new find is the work of enameller Kario Juzi, I saw her work in a gallery in Denmark last year and was blown away by her sensitivity to the enamel surface.
There are also many artist & designers that inspire me, but one of the people top of my list is the work of Dutch artist Marian Bijlenga, her innovative use of materials is extraordinary. Closer to home I admire the fundamental knowledge behind the work of my friend the ceramic sculptor Pauline Hughes. She makes with a strong sense of identity and bucket loads of integrity.
What advice would you offer to someone interested in learning your craft?
It depends at what level you are wanting to work towards. If you want to just learn enamelling, short courses are a great route and you can lean a lot in a weekend. You could search out skills from individual makers and build a good level of skill over a series of courses.
Joining the Guild of Enamellers or The British Society of Enamellers is a great way to make like minded friends and gain the opportunity to join their workshops, exhibitions and conferences. The two organisations work together to promote the work of graduate makers by offering an annual bursary competition which has a generous prize package.
If you are interested in a wider range of jewellery / art skills, I would additionally recommend looking out for evening classes in your area or complete an art & design foundation course. When you are ready you can then then search out a degree course where you could build your portfolio and have the opportunity of working with industry led designers.
It depends at what level you are wanting to work towards. If you want to just learn enamelling, short courses are a great route and you can lean a lot in a weekend. You could search out skills from individual makers and build a good level of skill over a series of courses.
Joining the Guild of Enamellers or The British Society of Enamellers is a great way to make like minded friends and gain the opportunity to join their workshops, exhibitions and conferences. The two organisations work together to promote the work of graduate makers by offering an annual bursary competition which has a generous prize package.
If you are interested in a wider range of jewellery / art skills, I would additionally recommend looking out for evening classes in your area or complete an art & design foundation course. When you are ready you can then then search out a degree course where you could build your portfolio and have the opportunity of working with industry led designers.
What are you passionate about besides your work?
Alongside my enamel work at the moment I am focusing on sketching and I am researching drawing skills. My New Years resolution was to enter the Sketch Book Project, which is an “open to all” initiative operated from the Brooklyn Art Library in New York. By the end of March I will have completed my entry and I am excited to think that my sketches will sit alongside the extensive collection of artist's work from all over the globe.
I am also taking part in various online courses in order to find out how learning online works. The 3D Design degree course that I have been teaching on at UCLAN closed last year and I have realised that I could maybe share my knowledge virtually instead. I am currently exploring how to present information digitally with the aim of hopefully developing my own online courses later in the year / early 2017.
Alongside my enamel work at the moment I am focusing on sketching and I am researching drawing skills. My New Years resolution was to enter the Sketch Book Project, which is an “open to all” initiative operated from the Brooklyn Art Library in New York. By the end of March I will have completed my entry and I am excited to think that my sketches will sit alongside the extensive collection of artist's work from all over the globe.
I am also taking part in various online courses in order to find out how learning online works. The 3D Design degree course that I have been teaching on at UCLAN closed last year and I have realised that I could maybe share my knowledge virtually instead. I am currently exploring how to present information digitally with the aim of hopefully developing my own online courses later in the year / early 2017.
What does success (in life & business) look like to you?
In life I am lucky to have good friends and a lovely family. I couldn't ask for more. My husband and I are very blessed to have two children, who now as young adults totally inspire us with all their individual achievements, adventurous spirits, and entrepreneurial thinking.
I have several career highlights that mean a lot to me. Writing my book on Enamel for A&C Black back in 2006 was a wonderful opportunity. In 2007 & 2013 I enjoyed working with fellow enameller Ulla Huttunen on exhibitions that took place in Finland. I felt privileged to be able to complete public art commissions for the NHS Royal Liverpool Hospitals in 2013 & 2014. In addition, I am thrilled to have had the chance to be exhibited at Collect in 2012 with the Bluecoat Display Centre and I am proud to have been selected to showcase my work at the Goldsmiths Fair each year since 2010.
In life I am lucky to have good friends and a lovely family. I couldn't ask for more. My husband and I are very blessed to have two children, who now as young adults totally inspire us with all their individual achievements, adventurous spirits, and entrepreneurial thinking.
I have several career highlights that mean a lot to me. Writing my book on Enamel for A&C Black back in 2006 was a wonderful opportunity. In 2007 & 2013 I enjoyed working with fellow enameller Ulla Huttunen on exhibitions that took place in Finland. I felt privileged to be able to complete public art commissions for the NHS Royal Liverpool Hospitals in 2013 & 2014. In addition, I am thrilled to have had the chance to be exhibited at Collect in 2012 with the Bluecoat Display Centre and I am proud to have been selected to showcase my work at the Goldsmiths Fair each year since 2010.
Which women do you admire and why?
On a personal note my 97 years young Aunty Jessie is my all time hero, she is an artist but has always painted for just the for the fun of it. However it is her positive attitude to life and sense of humour that is inspirational. At 97 she still paints, lives independently, walks to the shops every day down quite a steep street, and drinks a cheeky gin and tonic each night with her dinner !
In the world arena, I admire the visionary structures of Iranian-British architect Zaha Hadid. If you look at her website her workload is prolific, to my mind she is a real pioneer in terms of design. She breaks the mould in may ways, not only do her buildings defy convention, as a woman she has achieved “first woman” recognition in several prizes.
Wikipedia quotes that “in 2004 she became the first woman recipient of the Pritzker Architecture Prize. She received the Stirling Prize in 2010 and 2011. In 2012 she was made a Dame. In 2014 the Heydar Aliyev Cultural Centre, designed by her, won the Design Museum Design of the Year Award, making her the first woman to win the top prize in that competition. In 2015 she became the first woman to be awarded the RIBA Gold medal in her own right.”
Recent articles about Zaha Hadid :
http://www.dezeen.com/2015/09/24/zaha-hadid-royal-gold-medal-architecture-2016-riba/
http://www.dezeen.com/2016/02/04/royal-gold-medal-zaha-hadid-totally-overdue-jane-duncan-riba-president/
https://en.wikipedia.org/wiki/Zaha_Hadid
On a personal note my 97 years young Aunty Jessie is my all time hero, she is an artist but has always painted for just the for the fun of it. However it is her positive attitude to life and sense of humour that is inspirational. At 97 she still paints, lives independently, walks to the shops every day down quite a steep street, and drinks a cheeky gin and tonic each night with her dinner !
In the world arena, I admire the visionary structures of Iranian-British architect Zaha Hadid. If you look at her website her workload is prolific, to my mind she is a real pioneer in terms of design. She breaks the mould in may ways, not only do her buildings defy convention, as a woman she has achieved “first woman” recognition in several prizes.
Wikipedia quotes that “in 2004 she became the first woman recipient of the Pritzker Architecture Prize. She received the Stirling Prize in 2010 and 2011. In 2012 she was made a Dame. In 2014 the Heydar Aliyev Cultural Centre, designed by her, won the Design Museum Design of the Year Award, making her the first woman to win the top prize in that competition. In 2015 she became the first woman to be awarded the RIBA Gold medal in her own right.”
Recent articles about Zaha Hadid :
http://www.dezeen.com/2015/09/24/zaha-hadid-royal-gold-medal-architecture-2016-riba/
http://www.dezeen.com/2016/02/04/royal-gold-medal-zaha-hadid-totally-overdue-jane-duncan-riba-president/
https://en.wikipedia.org/wiki/Zaha_Hadid
