SIDE x SIDE: EDGE > EDGE at the Royal Cornwall Museum – 18 September – 6 November 2010

Our exciting, groundbreaking exhibition of silverware is to be staged at the Royal Cornwall Museum in Truro – its first UK venue.

“We feel extremely privileged to be providing the first UK venue for SIDE x SIDE: EDGE > EDGE,” said Hilary Bracegirdle, Director of the Royal Cornwall Museum. “It is an exceptional collection of modern silverware that attracted large numbers of visitors when it was shown in Finland. We expect similar levels of interest here.”

Selection of work from SIDE X SIDE: EDGE > EDGE

The exhibition is the result of our group’s first ever collaboration with the Finnish Silversmiths Association and students and staff at the Lahti University of Applied Sciences Institute of Design in Finland. Seventy five pieces of new work are featured – all made in response to the themed title.

SIDE x SIDE: EDGE > EDGE was first shown in Finland in the summer of 2009. This is your opportunity to see how 75 different makers responded to the theme each in their own unique way.

A full gallery of the work and further details can be viewed here.

The exhibition was generously sponsored by the Finnish silver manufacturer Kultakeskus Oy, who supplied 1kg of silver to each participant, and by Goldsmiths’ Company.

A one day Silversmithing Workshop run by Rebecca de Quin, Peter Musson & Max Warren

It will demonstrate how a silversmith hammers and forges a sheet or bar of silver into a familiar object.

Come and see makers at work – watch the transformation from raw material to object and, if you’re feeling brave, have a go yourself!

This event ties in with the exhibition of  selected works by Contemporary British Silversmiths and pieces from the Silver Trust collection and is part of the London Design Festival.

Where: Victoria and Albert Museum, Sackler Centre, Exhibition Road entrance.

When: Tuesday 21 September 2010 from 10:00 – 16:00

A rare opportunity to see silver pieces from the Silver Trust’s Downing Street collection regularly used at state functions alongside selected works by members of Contemporary British Silversmiths. This exhibition showcases some of the finest pieces in contemporary silver which capture the artistry, variety and skill of current silversmithing practice and is being run as part of the London Design Festival.

Where: Victoria and Albert Museum Sackler Centre, Exhibition Road entrance.

When: 19-26 September 2010, 10 – 17.45 daily.

Contemporary British Silversmiths would like to thank Jane Carr (who recently curated “Handmade: A British Craft Exhibition” at Fortnum and Mason) for helping us select pieces for the show.

Martin Keane was our Design in Silver Award 2009 recipient and proved himself more than worthy of the judge’s choice. He is moving from strength to strength showing a dedication that is sometimes breathtaking in its speed. He has had a busy year at Bishopsland where he is about to complete his study. He opted to use his award to make a piece of work and in spite of two very hectic schedules Martin and Howard Fenn managed to find time to be student and instructor for a work experience placement that Martin says has dramatically enhanced his skills.

Firstly, I would like to express how honoured and grateful I was to receive the ‘Design in Silver Award, 2009’ from Contemporary British Silversmiths. As someone starting out in the industry it is always a great encouragement to be given such an important commendation and helping hand. Through the generosity of Charmian Adams in sponsoring the award I have really progressed in my skill and knowledge levels.

To give a bit of background about myself; I graduated with an Applied Arts BA from Middlesex University in 2009. Fortunately for me my senior tutor on the course was Julie Chamberlain who was instrumental in guiding and mentoring me to developing a love for working in metal and steering me towards starting a career as a silversmith. From there both Julie and Roger Taylor suggested I apply to go to Bishopsland which has been an incredibly positive and rewarding experience and has proved to be the perfect bridge between leaving university and setting up on my own.

My work up to now mainly revolved around the technique of raising, a skill I find satisfying and rewarding in its execution and possibilities of form. However, I am fascinated by the whole range of techniques the silversmith must master. Some of the most important of these are the skills to be learnt in soldering and fabrication and I decided to use the award to learn more in this field.

The project I very much wanted to realise was a wine decanter. It involved compound curves and other challenging aspects in its construction and I felt it would be the perfect vehicle for learning how to fabricate a complex piece. I had the great privilege of being under the tutelage of Howard Fenn at his workshop in Camberwell which he shares with Steve Wager.

Both Howard and Steve were very welcoming and good humoured and showed great generosity in their advice and help during my time with them. Howard was a fantastic teacher allowing me to try and work out things for myself and then stepping in when it inevitably all got too much for me and frustration levels reached dangerous limits. He showed me what I think is a silversmith’s greatest attribute: patience! In this way I was able to understand and learn step by step the intricacies of seeing my design to completion in spite of all its tricky complications.

In making the wine decanter I learned:

• Anticlastic raising in the forming of a groove on the neck of a curved spout

• Planishing a component piece to very slightly bow the metal so that it did not warp when heated for soldering

• Subtle manipulation of the metal when fitting component pieces with compound curves together for the small tolerances needed for soldering

• Stitching and wiring. I had read books on the subject but Howard showed me in detail all the pitfalls and tricks essential in getting a successful result. For instance proper application of the wires and situation of tightening loops but not tightening too much at the risk of deforming the metal, and the use of pins to hold the piece absolutely secure….preparation being the key!

• Soldering, setting up a piece properly supported on the hearth with everything clean properly boraxed and tools at the ready. How careful and sensitive flame control was needed keeping attention on the piece as a whole whilst being focused on the detail of applying the solder at the correct moment and temperature.

The amount of knowledge Howard passed on to me was invaluable and I am sure will save me years of mistakes and heartache in the future. He was absolutely thorough and meticulous in his approach leaving no stone unturned in the safeguard of getting a good result. Experience like this cannot be learnt from books. Instead from seeing a true craftsman I feel I can go forward from here and tackle projects like this on my own with confidence. The efficient methods and professionalism I saw with Howard is something that has, I hope, also rubbed off onto me.

Another aspect of spending time with Howard and Steve was the overall education they gave me on all aspects of the industry. Lunch times were always a highlight as I used to be a chef and enjoyed giving them something back and cooking for them, having a Japanese mother I made them a sushi lunch which proved an opportunity for me to turn the tables and educate them on the finer etiquette of Japanese dining!

The willingness to help on Howard’s part even went as far as allowing me to come several more times to the workshop than had originally been agreed so that I could make as good a job as possible on my piece. It seems indicative of how people in this industry are; only too happy to help each other and someone starting out. Contemporary British Silversmiths and all its members have been absolutely great in this respect. Richard Fox and his team gave me a part-time summer job between my second and third year at university despite my having little to no experience. It makes me feel I have chosen well a career in such a fascinating, rewarding profession.

Thank you very much.

Martin Keane

A word from Mary Ann Simmons, Chairman:

At this year’s AGM Martin told us that the piece you’ve seen in this article was sold during British Silver Week. Last year, after seeing all the work at New Designers 2009 the judges felt that Martin was the obvious choice and he’s more than justified their decision. He’s going from strength to strength showing a passion for the subject and an obvious enthusiasm we all share. We wish him all the best in the future and look forward to seeing his new work.

New Designers, the annual graduate degree show, provides the opportunity of viewing, under one roof, the budding applied artist; the talent, the trends and, more importantly the state of  the many applied arts courses from around the UK. Shona Marsh offers her view on this year’s exhibition noting that silversmithing seems to be coming under particular pressure.

At first glance New Designers was disappointing because of the obvious lack of silversmithing. On average only one or two students per university showed silversmithing and very few had a coherent or large body of work. However, on closer inspection the work on display show-cased some excellent talent, craftsmanship and design

Of all the universities Sheffield Hallam University and UCA had the highest number silversmithing students. It was Sheffield graduate Michelle Clare who won the Goldsmiths’ Company award with her unusual and beautiful raised silver vessels. Her intention is to continue and she was awaiting confirmation of a place at Persistence Works in Sheffield.

The winner of our Contemporary British Silversmiths ‘Design in Silver Award 2010′ was Malin Winberg from Glasgow School of Art with a collection of work  inspired by the stories and characters in the Finnish folklore epic ‘The Kalevala’.

“Organic forms and textures found in the Finnish forests and woodlands – where many of these stories take place – are also important source material and I try to replicate these in my work.”

Using raising and chasing, filling her vessels with pitch she forms the metal into folds and creases. She hopes to plans to look into courses to gain more experience in chasing and raising. With her pieces she expresses her love of hammer work shaping the metal intuitively saying, “The fluidity of metal when it is worked suits the concept of my work which is why I choose to use a lot of traditional techniques such as raising, forging and chasing in my pieces.”

Malin has been offered a place as artist in residence at the Glasgow School of Art for the next year where she will gain from continued support and access to all facilities.

Over in One Year On I met Niki Byrns who is an excellent example of dedication and commitment to silversmithing. Having graduated in 2009 she has already been commissioned by the Sheffield Assay Office (who she also convinced to sponsor all her marks for One Year On) but has also convinced local company British Silverware Ltd to take her on as an apprentice. She expresses how working alongside other silversmiths on the production line gives her experience in making to high standards and working on pieces that, in both scale and skill, she might not encounter so early on in her career. They also offer support and help in the development of her own work centred “around cutlery, the way we eat, serve and entertain with food” which has a practical yet playful feel particularly her ‘spaghetti tongs’ in silver and ebony.

Not content on being busy with this Niki has also set up her own company called the ‘Sheffield School of Silversmithing’. Backed by the Sheffield assay office it provides tailored course with the specific aim of providing specialist master classes in silversmithing techniques.

Overall, there is an obvious lack in the number of students taking up silversmithing. However, those who decide on this field do so with dedication, confidence and ambition. Many take full advantage of the opportunities presented through various start up schemes helping make the transition from university to skilled silversmith all the smoother. This is encouraging for the future of Contemporary British Silversmithing.

A few weeks ago, I paid a visit to the library at Goldsmiths’ Hall in London. During my degree course I had heard about the library as a place for research and a source of images and resources. Although I have often visited the Assay Office round the back of the building, and been to various events in the Hall, I hadn’t actually crossed the threshold of the library until an invitation to pop in was given during Goldsmiths’ Fair last autumn. However this visit was cut short before I’d really begun when, embarrassingly, my mobile phone disturbed the peace and I had to make a speedy exit – the perils of leaving one’s stand unattended!

A month or two later I arranged to make a proper visit. I was travelling up to London with some Hallmarking to do and had some time to spare. Eleni Bide showed me round.

The library is situated opposite the top of the left main staircase of Goldsmiths’ Hall. It is a beautiful panelled room; bookshelves packed with historic tomes, reading tables and chairs, and the reverent quiet you might expect in a place of study. It might be a little intimidating for the cautious first-timer, but don’t let this put you off – you will be made most welcome.

The Goldsmiths’ Hall library is open to researchers and visitors from Monday – Friday from 10.00am until 4.45pm, at Goldsmiths’ Hall, Foster Lane, London, EC2V 6BN.

If you would like to make an enquiry or arrange an appointment please call  0207 606 7010 or email library@thegoldsmiths.co.uk

Further details from the website: http://www.thegoldsmiths.co.uk/thelibrary/

David Beasley and Eleni Bide are the librarians, and between them have a wealth of knowledge on the treasures that lie within. At first impression, for a contemporary silversmith, the resources may seem somewhat limited, as much of the space in the main room is taken up with the jewellery and historical silver book collections and much information on Hallmarks etc.

You may not find all the latest books or most recent gallery exhibition catalogues, but Eleni explained that it isn’t their intention to compete with the university libraries – they don’t have the space, for a start. Their niche is in giving a personal service, taking on individual inquiries and preparing material for you to come and see.

The resources available in this way are so much more than is apparent in the main room. Further through, the adjoining section has filing cabinets packed with images and press-cuttings relating to contemporary and 20^th Century makers, with biographies and details of commissions undertaken. Then, upstairs, and not generally open without prior appointment, is a series of rooms filled to the gunnels with all manner of technical books, trade publications, catalogues and subscription magazines.

In fact, the Goldsmiths’ Hall library holds largest collection of specialist jewellery, silverware and related material in the country. There are over 15,000 images of jewellery and silverware and more than 8,000 specialist books and catalogues.

(Photographic credit: Martin Stewart)

So.

If you have a commission for a traditional item – a caddy spoon, or a sugar bowl perhaps, the librarians could find for you a collection of images of historic examples to compare.

If you would enjoy browsing through design drawings of silver objects from the last century, appreciating the skills involved at the design stage, and learning more about methods of production, you could arrange a library session tailor made for you.

Or if you want find out what shows are coming up and where to sell, or would like to know what competitions you could enter, you could make an inquiry by email or phone and have some information sent to you.

Perhaps you have an interest in ethical issues relating to your work, such as ethical gold and silver or fair trade? The library has resource files on these subjects.

Eleni told me how a number of makers have approached the library about historic and/or ‘lost’ techniques, and they have been able to provide them with information allowing them to incorporate a version of these methods in their work.

I asked Eleni if she had any ‘hidden gems’ to tempt people through the door! Here’s what she said:

“I think the Library’s real ‘hidden gem’ is the level of service we provide: whether your question is about the use of silver in medicine, plate from Peru, or advice on selling your work online, we’ll be able to find a range of materials for you quickly, and have them waiting when you arrive. Difficult subjects a speciality!”

David explained how if they haven’t the immediate answers to a query, they will do their best to point you in the right direction, perhaps to another library or archive. Computer cataloguing of library’s books currently goes back to those published since 1995 and work continues to extend this further.

I asked about the possibility of arranging a group visit for Contemporary British Silversmiths to have a tour of the library, and perhaps co-ordinate a tour of the assay office at the same time. This could certainly be organised if there was interest, and we might organise this at some time, but small groups would be welcome on less formal visits, if arranged in advance and especially if there was a common area of interest for study or browsing.

I shall certainly be visiting again to dig deeper into the contents of the upstairs shelves. I shall catch up on back issues of Metalsmith magazine, ask for information on Arts & Crafts silverware and perhaps borrow a recommended video: “Silversmith of Williamsburg”: an American-made re-enactment film showing the commissioning and making of a colonial silver coffee pot!

On another note, if you happen to have a piece of your work in the Goldsmiths’ Contemporary Silver Collection, there is a file on you in the library, with your CV and image. It could be worth considering updating this from time to time with current information. Who knows who might be browsing?

SIDE x SIDE: EDGE > EDGE opened at Häme Castle in Hämeenlinna attracting vast publicity within Finland which attracted 90% more visitors than usual to see this contemporary silverware showcase.

The Castle set the scene for the wonderful work on display, complimented by beautiful historical architecture and its lakes. The private view evening attracted some of Finland’s elite, and many sponsors, all of whom made the event possible.

The Chairman, Mary Ann Simmons, formally thanked all contributors during the speeches at the opening ceremony with special thanks to Kultakeskus Oy who generously contributed 1kg of silver to all the participating makers, and The Goldsmiths’ Company, who are always on hand to promote silver. Speeches were complimented by a traditional Finnish orchestra and raspberry punch.

Many of our members were on hand to celebrate the opening along with Anne Parikka, Director of Häme Castle. Members from Contemporary British Silversmiths, the Finnish Silversmiths Association and the Lahti Design Institute were enthusiastically complimented by visitors on the broad range and high quality of works on display which were all created under one theme.

The event featured the Silver Trust’s Downing Street Collection laid out on a table as it would be at state occasions and Christopher English, Secretary of the Trust spoke to many visitors about the unique pieces on display. Also showcased were F1 trophies made by Richard Fox and generously loaned to the castle by their owners.

Contemporary British Silversmiths Showcase

Lahti Design Institute & Finnish Silversmiths Association Showcase

When the opening event ended, a formal dinner in the castle vault began, organised by Anne Parikka. A successful start to the exhibition was acknowledged and celebrated by all partnering organisations. One of our members, Rauni Higson who was born in Finland, gave a personal speech in Finnish which was greatly appreciated by all.

The next day Rauni presented a talk in Finnish at the castle about her practice. In her talk she detailed her time as a student at the Lahti Design Institute in Finland and her HE studies in the UK which formed the foundation of her successful career as a silversmith.

After the opening I took the opportunity to visit Lahti University of Applied Sciences Institute of Design. Situated approx 50 minutes north of Helsinki the institute boasts a comprehensive range of facilities for the aspiring metalworker.

I made a brief but very informative visit to Lahti, and was given a tour by Mr. Pekka Koponen, a principal lecturer on the course and also one of founders of the Finnish Silversmiths Association.

The exhibition finished in December and was put on display at Kultakeskus. There it has generated a lot of interest and sales and we’re grateful to Kultakeskus for the opportunity to exhibit in their showrooms.

We are delighted to announce that SIDE x SIDE – Edge > Edge has a confirmed UK venue at The Royal Cornwall Museum, Treffry Gallery, opening 18 September – 6 Nov 2010. Michael Galsworthy, Prime Warden of The Goldsmiths’ Company, will open the exhibition at the Private View this autumn.

We hope you will be able to take the opportunity to enjoy this silver exhibition and look forward to seeing you there.

Review written by Rajesh Gogna.

With thanks to Staffordshire University for funding his educational trip to Lahti, Finland

Phil Jordan: a short course with Ndidi Ekubia

Contemporary British Silversmith Award

I recently completed a short 3-day course with Ndidi Ekubia at her workshop in Cockpit Arts, Deptford. The course was paid for by the award from the Contemporary British Silversmiths that I won at New Designers 2008. This money also allowed me to receive some silver with which to work whilst on the course.

My aim for the course was to learn more about how to work with silver, mainly through the techniques of hammering and chasing. I also wanted to see how another silversmith designed and worked in a workshop environment.

Whilst working with Ndidi I learnt a lot about how silver can be formed with hammers. I also re-learnt techniques and improved how I currently work. For example my raising has improved drastically since my course with Ndidi. The course has also led to me being trialled as an outworker, doing Ndidi’s early raising work. Hopefully, this will continue and allow me to learn much more from working alongside a professional silversmith. I also learnt more about the designing process that is necessary to produce high quality work – this was an added extra that I didn’t expect to learn whilst on such a short course.

The money from the award allowed me to purchase three pieces of silver from which to produce work. Whilst on the course I completed one piece, part-finished another and had a third to continue when back in my own workshop. These three pieces were all intended as small bowls and have continued that way. I have further developed the part-finished piece and have also brought the third piece up to a similar level. I hope to have both of these pieces finished very soon as I intend to display them in upcoming exhibitions.

As mentioned earlier I am working part-time for Ndidi and hope to learn as much from this experience as possible. When not working for Ndidi, I am working full-time in my own, rented workshop, developing and making my own pieces.  I am applying to Goldsmiths’ Fair this year and, having been given a bursary of silver from Cookson Precious Metals and a sponsorship, I will be exhibiting at British Silver Week in June.

In 2007 members of the association undertook a review of the structure and potential of our organisation. Through a series of ‘away days’ we worked with designer and consultant Tory Dunn, spoke with PR expert David McDonough, commissioned a Business Strategy Plan with Alex Murdin and invited Rupert Hambro to become our Patron.

From the outset our name: the Association of British Designer Silversmiths became the focus. Our PR adviser was concerned that our acronym ‘ABDS’ would not represent us effectively without massive media presence. The name was too long to use in full, as he suggested, and designer, so aptly chosen at the time, is now applied to almost anything. So changing our name and therefore our look became a priority.

Contemporary British Silversmiths accurately reflects the nature of our work in straightforward terms. Graphic Designer James Quail’s logo, depicting the atomic structure of silver, has a strong ’standalone’ quality. It has already been etched and made into silver pins for some of our members! In time we hope the logo itself will prompt instant recognition of our association.

On first impressions the overwhelming ratio of jewellers to silversmiths is, as always, a little disappointing but once I started mingling amongst the show cases I was more than happy with the quality and imagination of the silversmiths that were there. Not only was the work interesting but the graduates were approachable, friendly and quite vocal about their work, and this will stand them in good stead in the future.

One of the first to initiate conversation was Kirsty Eaglesfield from Edinburgh College of Art. Not only was I impressed by the quality of the work but the amount that she had actually produced for her final show compared to her colleagues. Inspired ‘by the way the sea weathers and erodes objects, changing their texture and shape’ she used a variety of techniques to a high standard such as riveting and hammer forming. I was particularly impressed with the way she managed to successfully combine found objects in her work without overpowering the silver. There was a confident consistency of ideas running through her pieces. Kirsty will be heading over to the Netherlands from September to take part in a ten month silversmithing programme called ‘Silver in Motion’, where I am sure she will flourish and will soon be showcasing her work on the circuit back here in the UK.

Kirsty Brown from Birmingham City University also impressed me with her work and attitude. A rough and loose approach to enamelling gave the silver a different look altogether. Using lace as a template to dust on the enamel left a shadow of a pattern that evoked memories of finding objects buried away that were faded and damaged. Kirsty also found this surface a practical one as she explained that the marks gained from use and tarnishing only enhanced the surface textures, so no laborious polishing for these pieces. Kirsty was also keen to develop her skills by applying for Bishopland.