Silent Sunday

 

Silent Sunday

 

Interview with Anna Krystyna Casey

I  met Anna last year when she asked me to come along and provide a talk to the students at the school she works as a technician.  At the time I didn't know much about her work or her creativity, only that she was a Design Factory member.  I was soon to become better informed as I listened to her own artists talk on the same day.  Now, I have seen wire used in crochet, but it intrigued me how she uses wire and crochet to create very organic forms, trapping other mediums within the lacework.  My first reaction to her work was how experimental it feels.

Since our first meeting, our paths have crossed on many occasions, not least her recent exhibition at the National Centre for Craft and Design in Sleaford where she is part of the 10th anniversary celebrations. I was fortunate enough to be there on the celebratory day. Anna sat by her installation calmly crocheting her wire into omeba-like forms whilst talking to visitors and introducing them to the delights of dipping the omebas into pulped paper and adding elements of colour.

It was at this visit, I made a mental note to ask Anna to become a guest on my blog so I could find out a little more about her creativity and what makes her use her chosen materials.

Here are the questions I pitted to her:-

Can you describe your journey to becoming a professional maker?

During the final stages of my degree (Multi Media Textiles) at Loughborough University I began getting people asking to buy the things I was making. This continued while I was at New Designers, giving me the confidence to consider becoming ‘professional’ and running a business as a Designer/Maker. When I entered the UKHKA UK Hand Knitting Association Graduate prize, I was selected as a finalist, and as a result I exhibited in London and Harrogate, and again people wanted to buy what I was making. It went from there really!

What made you become a Designer/Maker as opposed to a 9 to 5 job? 

I have no idea. I didn’t plan it! I always thought I’d be very sensible, find a nice 9-5 job I enjoyed and the creative making would probably be a hobby. But I suppose I got the bug, and I didn’t want to stop! I sat applying for ‘sensible’ graduate placements etc, but when I was filling out the forms I’d reach the section that asked ‘Why do you want this job?’ (or words to that effect) and I just couldn’t answer it!! So I started to realize that I was going to take a different route, and I felt I needed to take the risk and find a way to be a creative professional. 

What are your main influences when conceiving a piece of work? 

It depends entirely on the situation; quite often an exhibition will provide a framework, such as a request for only 2d work. Challenges like these stimulate me to develop and adapt existing work, which then creates new ideas. Or it could be that I’ve had an inkling of an idea for a while, and suddenly, I’ll know how to develop it. I have a very organic working process really. I’m sure you’ve been asked this question many times.

Where does your inspiration come from?

I love looking at the small details, the microscopic elements and details that are often overlooked. By magnifying these intricate details, I find a new way to look at the world around us.

Are there any particular styles or visual stimuli that influence the design of your work and why?

I’m not sure there are any particular styles which have a clear visual cohesion with my work, because I draw influences from so many! However, there are a handful of artists I always go back to. They might be surprising; their work is very different to my own. For instance; I love the work of Eva Hesse and Louise Bourgeois, especially the pieces that make me feel uncomfortable. And I really love ceramics, even though clay and I never seemed to work well together during my explorative studies! I think I am influenced by contemporary ceramics actually.

If you had a choice of venues and locations, where would you most like your work to be exhibited and why?

There are so many!! I especially love the V&A, the high level of technical excellence and innovation in their collection is defiantly something I aspire to reach one day.

Do you have any new plans, collections in the pipeline?

I have so many ideas for new work; my studio is full of sketches and scribbled notes!! But at the moment, I’m concentrating on the three main collections I have already. The beginning of this year was taken up with preparation for my first big solo show, Synthesis, and I’m still working on off shoots of that for the time being. But keep an eye out, those sketches will come alive soon!!

When designing your work, what comes first the materials or the design? 

It varies, depending on the intended outcome. I think usually they go hand in hand. I’m very experimental with my materials, and I have a collection I love to work from, so I suppose I design with them in mind. Inevitably the intention I start out with changes anyway! I’ve stopped worrying about that so much!

What would you say are your values and ethics when it comes to making?

To be completely honest, at the moment I am trying to make sure I am true to my own aesthetic vision rather than commercial values, I am trying to focus on making work I am proud to put my name to, rather than creating top selling items. I feel so new to it all, I still feel like a beginner sometimes, so my main focus is that anything I create feels like me. Finding your ‘voice’, your own visual language is so hard, and I think it evolves with you. I like my work to be as environmentally friendly as possible, and I keep trying to improve in this area where I can.

 From all of your pieces which is your favourite and why?

That depends on my mood. I am incredibly proud of the Synthesis body of work, as I feel I have developed the Cellular Collection into something more than I initially envisioned was possible! But I think the hooked collection might just win out! I think the "Hooked" collection is most ‘me’, it is the sort of work I would invest in, and I absolutely love the colour palette in the work, the reds and blues that appear in the glass are incredible!

Tell us about what keeps you motivated? 

That’s hard. On a day to day basis, really I’m the sort of person that needs a deadline to work to; otherwise I can be very easily distracted. In the bigger picture, I can’t put my finger on it. There are so many negatives in this job; a day of mistakes, a bad day at a craft fair, the irregular income, but somehow they don’t matter!! It’s a passion; more than that, I think it’s a bit of an addiction!!

What tips do you have to get around creative block? 

When it comes to kick starting new ideas, think big. Start scribbling about a dream project- as if funds/ time/ etc were no issue… Usually thinking big helps you spark new ideas!! Then you can reign yourself in and address the reality factor. Alternatively: walk away, let your brain rest, and think on something else. Usually I get creative block if I’ve been working too hard. A bit of distance always helps.

What do you listen to when you create? 

I like to have the radio on, as the conversation and music varies from one day to the next. Also (very naughty I know!) I have the television on if I’m crocheting large amounts. Having something to focus on in the distance helps me stop straining my eyes and by forcing me to look up every so often. It sounds like an excuse I know, but it really does help!!!

Tell us about your workspace.

It’s in my home, and it’s rammed full!! I have a mish mash of furniture collected over the years, like a vintage dressing table as my computer desk, and a lovely little Lloyd Loom chair for when I’m crocheting. Lots of desk space for spreading out big work. Oh, and a paddling pool. Yes, a paddling pool! When working on some of my new pieces, they were so big; they wouldn’t fit in my usual paper troughs! So a paddling pool provided the perfect solution.

Do you have an online presence that we can find more information about your work?

I’m on Facebook and Twitter, and I’m utterly addicted to Pinterest! I blog most weeks and include a whole range of creative subjects. All of these profiles can be found by through www.anna-krystyna-casey.com Where do you sell your work? I sell online through Folksy, where I sell arrange of smaller works, and I have several Gallery stockists. I also do a lot of Craft Fairs and similar events!

So, where can we expect to see your work over the next few months?

I have an outdoor exhibition, Sculpture at Coughton Court, open at the moment. In September, I’ll be part of the Melbourne Arts Trail, I can’t wait for this one, as there is always so much to see, and I usually have to leave my purse hidden at home!! I’ve got a lot of Craft Fairs in the run up to the big C- I’ll be at Gifted.13 (Sleaford) The Maker’s Mart (Leicester) and I’ll be confirming more on my website nearer the time.

It's always a pleasure to meet up with Anna, we always enjoy a creative banter.

I will next see Anna at Gifted13, as it looks like we will both be at this event. Applications are now open if you would like to apply for a stand at Gifted13.

Engaging the people of Lincolnshire with creativity

The lovely Carole Miles

Over the past couple of months I have been working with Carole Miles over in Lincolnshire for an organization called Transported Art funded by the Creative People and Places fund. Their focus is investing in parts of the country where people’s involvement in the arts is significantly low.  The idea is to increase the likelihood of participation by the local community and those hard to reach people who wouldn't normally access the arts.

During May, June and July 2013, Phase One began which was a consultation to gather information in order find out what arts activities the community would like to see in their area using commissioned artists in a variety of areas including dance, acting and visual art, throughout Boston Borough and South Holland.  Carole and I joined forces and became the "Eloquent Fold" and worked on the project providing a number of engagement activities in a variety of public places including libraries, community centres and pop-up shops.

"Wish you Were here" workshop in Boston in full swing

The activities we provided during July and August were Pin a Petal, Sewing the Seeds, Origami Fleet and Wish you Were Here  and we did our best to encourage many different age groups to get involved.  I was interested at the response we got.  When presented with a craft actvitiy, Mums and Dads seem to often discount themselves seeing it as an opportunity to keep a child occupied.  What can quite often happen is the parent, helps the child to the point of taking over their project.  At this point, I find it is alway good to entice the parent to make something of their own, working alongside their child so they share each others creativity.

Can we come and join you?

Other people often reply, I don't do this sort of thing or I'm no good at it.  This makes me wonder if somewhere along the way they have been told this.  Statements made in childhood often stick with us then we start to believe these negative mantras.  Carole and I were exceeding good at generating conversations which quite often led to a little dabble of our engagement activities.  The people we met proved very interesting, we loved the stories that were shared with us and we have both been inspired by the people and places in Lincolnshire. We both know in our hearts that we will be returning to this inspiring county in the future.

Silent Sunday

The National Centre for Craft and Design celebrates its 10th anniversary (Part One)

The History and Origins of the National Centre for Craft and Design in Sleaford 

This year The National Centre for Craft and Design celebrates its 10th anniversary. In July, I attended the celebrations with my son; I especially enjoyed the current ‘Growing’ exhibition and joined in many of the “Make and Take” activities that were available to visitors.

The title of the exhibition got me thinking about how artists develop over time. One of the activities was a quiz which ran through the building, one of the questions being, “What did the building used to be?” My knowledge of the building extends as far as I remembered being told that it used to be a seed factory. The old adage sprung to mind, “Mighty oaks from little acorns grow”.

So how did this humble seed factory find it’s way to becoming such a strategic focal point for the Crafts Industry in Great Britain?

The PeaRooms (Image by Finnur Hannard)

It started life as The Pearoom in Heckington which was built in 1870 by the Great Northern Railway Company and shortly afterwards leased to the internationally renowned seed firm of Charles Sharpe of Sleaford. Locally grown peas were brought to the Pearoom by horse and cart with peas from further afield being delivered by rail for sorting and then exporting. It was used in this manor right up until 1961.

In the 1970s, with the help of Government grants, fundraising activities, hard work by many volunteers and leadership by the Heckington Village Trust, the Pearoom was converted into a heritage, craft and tourism centre for the village. It was operated by the Village Trust, a team of dedicated volunteers, until a licence was granted by the trust for North Kesteven District Council. Thus began an important relationship between the local council and craft makers and designers.

When the lease expired a decision of what to do with the craft centre needed to be taken. The chosen option was to move the centre and to develop the old Hubbard and Phillips Seed Warehouse in Sleaford, which was disused and in poor condition. The building had been used by the same company since 1890 and finally closed it’s doors in 1972.

The approach taken by the architect, Frank Shaw Associates has been sympathetic and reflects the industrial heritage of the old building. Leaving the original exposed steel work combined with the use of modern materials such as the stainless steel architraves and lighting panels in the main gallery to reflect the building’s past. 

The Building formed one of the major redevelopment projects of the seven years Sleaford Pride Regeneration that began in 1996. On 7th October 2003, the building was opened officially by The Princess Royal and so became the largest dedicated contemporary craft exhibition gallery in England had been created. It was recognised as a nationally significant development by the Arts Council of England in 2003.

Some say the title for the building was taken from the Hubbard’s family name to commemorate the building’s origins. “The Hub” as it was formerly known, was a significant part of the very successful Sleaford Pride project, as it was the “Hub” of Sleaford Pride. Over the years, the term “Hub” has been used in many different concepts, transport hub, university hub and it was felt that perhaps the title was no longer relevant to the continual development of this contemporary craft venue.

In 2011, the building changed its title to The National Centre for Craft and Design thus marking the changes. Amongst the changes a number of new partnerships formed including linking the NCCD with the Design Factory, an organization that “promotes artistic integrity, raises the standard of craft and design and commercially supports and develops the very best designer/makers in craft practice today” and LOV Lincolnshire One Venues. 

From humble beginnings, the origins of the Pearoom and the old Hubbarb and Phillips seed factory will certainly not be forgotten. There is one phrase that greets visitors on entering the building:-

 “This used to be a seed warehouse it still is” 

The National Centre for Craft and Design celebrates its 10th anniversary (Part Two)

Silent Sunday

Silent Sunday

Applying for the Re: view Bursary wasn't such a breeze

Bursaries of £500-£1,000 designed to support the critical and artistic development of visual and applied artists - assisting them to move their practice forward.

Initially, I wasn’t going to apply for it. I read the advertisement, scratched my head and thought, “Why, would I or how could I review myself” Since graduating in 2008 I’d been a one women band doing pretty much everything myself with just the basics. This included things like photography, website management, marketing, advertising, bookkeeping and all self taught. You see, I come from a background of Make Do and Mend and this makes you very ingenious at making things happen using very little money. I always look out for free opportunities in training and advice, learning social media to promote my work and gaining important exposure by regularly exhibiting my work at galleries throughout the country at minimal cost.

A few years ago I’d had some very nurturing free business advice from a lady called Morag Ballantyne. She obviously saw the potential in me that I wasn’t quite brave enough to fully face. She encouraged me and showed me a variety of options which would move my creative business in the right direction. I guess that was the closest I’d got to reviewing myself following my graduation. But this seemed different, this opportunity was with the A-N magazine, it seems so much more officious and scary. As interested as I was I didn’t know how I could spend that amount of money on investing in me as a designer/maker and my business. I clicked away from the advert and moved onto more pressing things like catching up on my administration.

About a week later, a good friend and fellow artist rang me. She’d also seen the advert and asked me if I was going for it, noting that it was now a very short deadline, 2 days in fact. “Mmmm, I’m not sure”, I said, “I was thinking about accessing the skills of Pete Mosely, but I’m still not sure I can justify it, it seems and awful lot of money.” Through total selfless encouragement she talked me into applying and after making an initial contact with Pete, who was quite happy to give me some advise on the approach I needed; I proceeded to download the dreaded form.

Once on the screen I blinked many times staring at the empty spaces that revealed themselves to me on the application form. Inspiration didn’t come easily so I thought, “I guess if I fill in the questions I can answer, then half of the battle will be done.” Still some blank boxes to fill. I started to look through my files at some other applications and submissions I had put together in the past, some successful, others not so much. It was in this way that I began to fill in the empty spaces. I think the hardest thing about the form is some of the questions seemed to duplicate themselves and I was left saying to myself, “Well, I’ve already said that!” Soon though, I had managed to fill something in all of the boxes on the form. Next, I needed a second and third opinion. I emailed it through to a few of professional friends for their feedback and input. The first, took out some words and added more in where it was needed which I was expecting as I am dyslexic and although I do read and re-read things through I often miss the most obvious of mistakes. The second advised me that although my form was shaping up I did need to make sure I used the word allowance to the full.

Using this feedback, I soldiered on. I re-read the questions, re-read my answer and put myself in the mind of the person who was about to read my form. Call it an Old English Teacher trick that was given to me at school. Think of the person who will read your form as an alien, they know nothing about you or what you can do, really give them a good visual in words. Visual, I can do, I’m an artist. So, working on this prowess, I managed to complete the form more confidently.

After a couple more emails to and fro to my friends, my form was ready to be sent. It had taken one and a half days commitment to get the “dreaded” form to a stage that I was happy with; leaving behind all negative thoughts of not worthy, too higher mountain to climb and I’ll never do it. And it was at that point I recalled a book I had read many moon ago, “Feel the fear and do it anyway” by Susan Jeffers. Expand your comfort zone, do something that stretches you a little more everyday.

“Take a risk a day, one small or bold stroke that will make you feel great once you have done it. Even if it doesn’t work out the way you wanted it to, at least you’ve tried. You didn’t sit back powerless.” 

Well, Susan, I have definitely done that and yes, I felt pretty great, I had climbed that high mountain and stuck my fancy flag right in its peak.

Silent Sunday

Interview with Rachel Reilly for "Facets of Avalon"

I met Rachel earlier this year at the British Craft Trade Fair, where we both had a stand.  During the show it was clear that we had a few connections, both in our interests and the approach to our work.

It was the ethereal quality of her work that I admired and the gentle nature that Rachel presented to me and she in turn was intrigued by the techniques I employed in my book sculptures and jewellery pieces. After a few conversations we decided to barter our work. This is quite commonplace amongst artists at events and I highly recommend the practice as it offers an opportunity to mutually appreciate each other’s creativity. I exchanged a book sculpture for a selection of jewellery pieces. I have to say I was over the moon and couldn’t stop smiling as I chose jewellery from Rachel’s stand. It still makes me smile now when someone admires her jewellery when I wear it. 

If you are a follower of my Blog, Twitter or Facebook you will have seen that I have been a little too quiet for the past few months. I can only say that I have been in a state of flux as I have needed some silent moments to re-assess my practice. Within those moments I have been carefully calculating how to carry on presenting my online journal. One of the aspects I have particularly enjoyed is interviewing other artists. By asking certain questions it can unfold aspects of the artist and how they work. 

These are the questions I pitted to Rachel:- 

Phiona: Can you describe your journey to becoming a professional maker? 

Rachel: Slow and steady mainly! I have always been a fiddler, beading as a child, moving towards textile as an adult. As an undergraduate, (jewellery degree at Sir John Cass College, London) I took apart a broken television to discover small reels of coloured wire inside… and so my wire jewellery exploration began. That was twenty years ago. I will never forget the excitement I felt when I managed to machine knit more than three consecutive rows! 

My mother and I opened Facets of Avalon, Glastonbury the year after the birth of my second child. Until then I had been fitting my creativity around part time work. 

Phiona: Many, many artists reading this will identify with that, Rachel. 

Rachel: For the first time, my jewellery business was given some importance and time. 

Phiona: And that is a dream most of us have to turn our creative skills into a serious business. 

Rachel: Over the last fifteen years I have worked hard to balance the bread and butter stock lines with the more flamboyant and theatrical work. 

Model:  Chanty Yeung

Phiona: In some cases it is easier to play it safe and not push the boundaries with your designs. 

Rachel: I’m not a natural business risk taker, but over the years I have shown at events regularly. The Desire jewellery show in London, the Glastonbury Festival and most recently my first visit to the BCTF (the British Craft Trade Fair) which I have booked for next year, it was the friendliest event I have ever been involved with! 


I supply a number of UK galleries, and a few overseas too. 

Entering competitions has always worked well for me and it’s so easy to do! Emailing good images with an application form and waiting to see the response. I won first place in the US, Bead and Button wirework category a few years ago. 

Phiona: Really! Perhaps I need to try this. 

Rachel: I love what I do and get enormous satisfaction from the contact I have with my customers plus managing to eek out a living…. pretty good eh? 

Phiona: Most definitely. What are your main influences when conceiving a piece of work? 

Rachel: If the piece is a commission then obviously the customer has already influenced the making of it, to a point. 

Phiona: Yes, I remember our discussions when I was deciding on which jewellery I wanted, you were very accommodating. 

Rachel: With a completely new collection, I let the material almost talk to me, if I manage to listen, then it’s kind of magical! There is still a thrill from changing a 2-D piece of metal mesh, into something 3-D and sculptural. I tend to make organically… with a vague starting point which evolves into a finished piece as it’s worked upon. 

It’s still surprising me, which is why, I guess I’m still working with it! 

Phiona: Do you have any new plans, collections in the pipeline? 

Rachel: I’ve been exploring origami folding this year, which is in its infancy. But I hope to develop this further in the next few months. 

Phiona: I’d be interested to see the results.

Rachel: A very exciting Geisha styled photo shoot recently spurred me onto finishing a small collection. A very talented team of Jess Augard – photography, Jo Jo P – make up, and Chanty Yeung – model worked fantastically well together. 

Photographer - Jess Augard

Phiona: Wow! This collection has definitely pushed some boundaries, it’s phenomenal. 

Phiona: What would you say are your values and ethics when it comes to making? 

Rachel: a) To strive to produce the best work I possibly can b) Too enjoy the challenges along the way and to keep having fun in the making. c) The spirit of my enjoyment, I hope is seen in the work. d) To not get complacent and to keep seeking out new techniques, pushing the boundaries… 

Phiona: What tips do you have to get around creative block? 

Rachel: There is a world of inspiration out there, online or on the doorstep! Looking at other artist’s work, not to copy but to appreciate a different outlook, I find also very interesting. There is such a thing of being over visually stimulated however… 

A glass of wine and a good bouncing around of ideas with friends is good too! Some crazy sketching in the middle of the night….messy, spontaneous, not precious, just first workings, relaxed explorations… 

Make up by Jo Jo P

Phiona: Do you allow people to visit you at your studio? 

Rachel: Absolutely! The shop/gallery is my studio too….I have workshop space at one end of the shop floor. I’d go mental if I couldn’t make, whilst being in the shop! It’s nice to be able to do mini demos to interested visitors, knit colour samplers on the spot, to show customers thinking of commissioning. 

Blending the workshop and retail space keeps things vibrant. 

Phiona: How did you get into running workshops? 

Rachel: To date, I have given one, one-to-one workshop… it was lovely. It’s not where my heart is however, not right now anyway. I am a maker through and through! 

Phiona: Do you have an online presence that we can find more information about your work? 

Rachel: Yes, of course my own website is www.rachelreilly.com and the shop’s website is www.facetsofavalon.com 

Phiona: Thank you so much for sparing the time for my questions, if I don’t see you before I will see you at BCTF where I have also booked a stand for 2014.

Silent Sunday

Silent Sunday

Craft & Design Magazine Selected Awards

It's official, after making the finalists a few weeks ago I received an email informing me that I had achieved a Silver Award in the category of Specialist Media for the Craft and Design Magazine Selected Awards.

First, I read the email, which I wasn't expecting, then I bounced up and down on my chair with a big grin on my face, then I rang friends and family.  It's a weird situation where you want to share your news but feel a little uncomfortable in some ways.  I think it is an English trait.  It doesn't take me too long to get over that hurdle then I am only too happy to share my achievements and likewise I enjoy hearing the success of others.  If you follow me on Twitter or Facebook you will already know this.

So, on that note, why don't you head over to the Craft and Design website and register yourself for next year's awards.  Watch out for the post "Who knows what you do" where I'll talk about how to promote yourself.

Silent Sunday

Silent Sunday

 

Speed Craft - Six Designer/Makers, Six Crafts, Six Makes to take home

On Saturday 27th April I was one of the Designer/Makers who took part in Speed Craft an event organised by Debbie Bryan who runs Debbie Bryan Studio and Shop.  If you are ever visiting Nottingham I highly recommend you pop in for a visit especially if you are looking for a handmade gift for someone special.  She stocks work from many, many talented Designer/ Makers.

The event was held at the Galleries of Justice which is just down the road from the shop and this was to be the second event I had taken part of.  I travelled in with the lovely Katie Almond.  We had a lovely journey in and chatted excitedly about our coming workshop day which comprised of six activities provided by six designer/makers working in different mediums.

I decided to share my "Forget me Not" flower that I had designed to support the Stroke Association.  I have seen first hand what a stroke can do to a person.  My mother experienced many mini strokes which went un-noticed.  Gradually over a few years she lost the power of communication; first her speech, then her writing and finally the simple hand gestures, thumbs up and down.

Forget-me-Not Flower

Speed Craft is a great way of experiencing craft disciplines that you wouldn't normally access, giving you a 30 minute taster of each.  At the end of each time slot Debbie Bryan rang a hotel call bell and participants would then move tables to start the next activity.  As you can imagine the excitment in the room was positively crackling.  Apart from myself the other designer/makers there included:-

Katie Almond, ceramacist, provided an activity that involved making a colourful plaque from a ball of clay. This involved rolling out the porcelain clay chosing a shaped template for the plaque shape, then adding texture or lettering using various tools and paper cut out, followed by painting it to the colour of your choice.

Stevie Davies whose medium of choice is glass.  Her table was arranged to include a line of old cigar tins each included the materials that were needed for the 30 minute session; wire, glass and beads.  Each person was allowed to take there tin with them which I felt was a nice touch.

Nicki Dennett shared her skills as an illustrator and printmaker. Her activity involved gelatine printing.  I noticed that there was plenty of re-cycled and reclaimed papers available to produce prints along with new papers.  Nicki gave participants the option to draw freehand or use a print provided.  I think writing backwards proved to be the biggest challenge.  http://www.nickidennett.co.uk

I was thrilled that two of my favourite jewellers were going to be there;  Judith Brown and Alyse Powers.

Judith Brown provided an array of beads, wire and safety pins.  At the end of the session, each group came away with either a pair of earrings or a brooch.  The image below shows a button she created for the Button Project.

Ayls Power proved quite a noisy opportunity.  Her table had tins stacked full or ephemera, clock faces, beads, old broochs etc also mini anvils to hammer your message on.

It was a wonderful day, I am sure I enjoyed it as much as the participants.  It was the extra touches that made the day worth while; never ending supply of tea or coffe and a selection of homemade biscuits and cakes made by the lovely Jo who works at the shop. Would love to get my hands on that lovely coconut cake/biscuit.

I'm happy to say that there will be another Speed Craft event later in the year, not sure which Designer/Makers will be there but if you decide to go be assured that you won't come away empty handed.

Here's a peek into the November event.

Silent Sunday

 

 

Silent Sunday