Let's Talk About Craft: Nadia Tasci

I am delighted to introduce you to the lovely glass jewellery artist Nadia Tasci. I met Nadia several years ago at the One of a Kind show and not only is she incredibly talented but she is one of the sweetest people you will ever meet. The glass community is pretty small and the glass beadmaking community, especially in Ontario, is even smaller and I’m so thrilled to be part of it with her. 

What does handmade mean to you?

For me handmade is a human connection with material matter. A craftsperson brings a unique set of expertise to a material. This can be functional or non functional.

How long have your been working in your chosen medium? Did you attend college or university to learn your craft?

I have been flameworking and silver fabricating jewellery for quite some time now.  I went to OCADU in the late 90s and studied Drawing and Painting. In 2000/2001, I attended Sheridan College’s Craft and Design Glass Blowing Program but decided after the first year that I was done with traditional schooling. At the time I needed to have freedom and a more direct learning experience, so I attended Sterling Quest School of Jewellery Design in San Miguel De Allende, Mexico. I lived and studied in Mexico for an extended period of time and completed the certificate program. It was the best experience I ever had as a student. I felt liberated and for the first time in my life was comfortable learning. I enjoyed the learning process of pursuing any design and technique with the support of the instructor to get you through the process. Over the last 10 years I have taken workshops with several internationally recognized glass flameworking artists. I’ve also learned a lot on my own from working in my medium for almost 20 years.

Tell me about your process. What would surprise people about your process? Is there a part of your process that you don't enjoy?

I always express my current aesthetic interest in my glass work. Over the years it has become very clear to me that my craft practice is directly influenced by the physical environment. I have traveled extensively over the years and I really pay attention to the environments that I visit. I spend time observing and connecting with new places. When I return into the studio from travel my visual experiences pour through me and I work through them until I’ve expressed my interpretation through glass.

My glass studio practice can be really challenging sometimes. I feel compelled to come up with new work pretty much every year and that can be really difficult. Sometimes I get really frustrated and nothing comes out of the studio for weeks or sometimes months. But eventually it all comes together and I get into a groove.

What about your chosen medium(s) made you pursue your craft?

Anytime anyone asks me what made me choose glass it’s very clear to me.

While attending OCADU I was invited to a hot shop that was having a party. I had never seen glass blowing before so I was very curious. The first time I saw molten hot glass being formed I fell in love with the material. I watched the glass blowers work for hours that night and I decided right there and then that glass was going to be my life. I never looked back.

If you could work in any other medium, what would it be?

I think if I could work with another medium it would be clay. Whenever I look at sculptural forms I am always drawn to works done in clay. I admire experimental glazing techniques and unusual forms that are made from clay work. I think I could really get into that process.

What is the most important thing you want people to know about your work?

Design is a big part of what I do in my studio practice. It’s important for people to understand that as craftspeople we not only make things by hand with a high level of expertise but we also design and create the artistic concept of the object.

What is your greatest accomplishment, or the thing you are most proud of achieving with your art?

My biggest accomplishment is that I make a living from my contemporary glass jewellery. I have had to work very hard and be dedicated to finding my way to make that happen. I have been lucky enough to meet amazing craft people and artists early in my career that showed me it was possible.

I have a family now and I am a mother of two small children. This adds to the complexity of life. It takes even more discipline and focus to have a family and a studio practice.  I would never trade it for anything else.

What has been your biggest challenge while pursuing your art?

My biggest challenge has been to find my own identity in flameworked glass. It’s taken me years to develop my artistic style. For several years I had to support my art through other part time jobs. I always wished I could have put myself into my art form full time from the beginning. When I started to work full time in the studio my artistic identity developed consistently. In the last few years I’ve really started to like my work as strange as that sounds. My next challenge and hope for the future is to be able to make glass work that is less commercially viable.

Has the confusion surrounding the term "handmade" affected your business/practice? What are your thoughts on re-sellers?

There is constant confusion surrounding handmade. The general public is usually very surprised that I make my glass pieces. People for the most part are very disconnected from handmade. They can get anything at their finger tips and for next to nothing because of cheap manufacturing done over seas.

It’s up to us crafts people and artists to educate with kindness. We need more than ever to open those studio doors and share our practice with others. We need to celebrate what we do and communicate with people that we are makers and what that really means.

How do you (and how can we) educate consumers about what handmade actually means?

We need to take responsibility for educating consumers and we need to see more exhibitions globally that are directly advocating for makers. I am finding more and more that craft shows are bending the definition of what constitutes an artisan. I find it harder every year to make a profit at craft shows. I’ve pulled out of some major shows over the last few years because of this trend. I want to see more shows that have a craft focus and really celebrate and support makers. It’s a critical time for us and we need to work together to protect craft.

How has being an artist changed the way you shop?

I support other crafts people whenever I can. I also try to buy Canadian products whenever it is possible. My dollar has a lot of power.

Who are your favourite makers?

My favourite makers are the nameless men and women of this beautiful planet that work with wood, clay, textiles, glass and other materials that bring such a high level of expertise and ancient traditional practices. Whenever I travel I seek out these makers. In India I visited the textile makers and in Guatemala I spent time learning traditional weaving. These people inspire me the most.

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Visit Nadia’s website to see her bright and colourful jewellery, and follow her on Instagram and Facebook

Let's Talk About Craft: Sonya Labrie

Anyone who works with glass in the hot shop knows how important it is to have a great assistant who you work well with and Sonya Labrie was that for me when we were both studying at Sheridan College. People used to tease us because we almost always wore matching outfits but it was never planned. Sonya finds time to balance a busy schedule teaching in a high school while still making her glass work at the Terminal City Glass Co-op in Vancouver.

What does handmade mean to you?

To me, handmade means being involved in every step of the process of your work, from the design and inception of your idea to creating your work with your own hands. I would feel very lost if I contracted parts of my work out to others, I need to be in control of every aspect of the glass to be connected with my process.

How long have you been working in your chosen medium? Did you attend college or university to learn your craft?

I’ve been working with glass since the summer of 2005 when I attended my first glass blowing class at Red Deer College in Alberta. I loved it so much that in 2006 I took a huge leap and left my career in arts administration in British Columbia and moved to Ontario to pursue glass in the Crafts & Design program at Sheridan College. I had the opportunity to study glass at the renowned Pilchuck Glass School in Washington state. I have also taught glassblowing and flameworking classes at the Terminal City Class Co-op in Vancouver since 2012.

Tell me about your process. What would surprise people about your process? Is there a part of your process that you don't enjoy?

I work in a variety of glass techniques including glassblowing, flameworking and kiln casting. There a physicality to glass blowing: you're sweaty, you have calloused hands, you smell like smoke, and the end product is sometimes very delicate and fragile I love the intensity and the physical demands of the hot shop but also crave the time to be completely neurotic about small details in casting - it’s a fun balance and that is why I love glass as a medium. There are so many possibilities within the material with so many different techniques to explore.

It might surprise people to know how much work goes into the pieces outside of the hotshop. Cold working or cleaning beads means hand cramps because of bad circulation. I am also not a fan of being cold and I’m pretty much always cold so being in the cold shop is my least favourite part of the process by far. These are the not so glamorous parts of the glass process that happen behind the scenes that often no one sees.

What about your chosen medium(s) made you pursue your craft?

Sheer love! I learn something new every time I walk into the studio even after 15 years of working with glass. Between my full time teaching job and my own studio practice I am often working seven days a week and waking up at ungodly hours on the weekends to be at the co-op, but I wouldn’t have it any other way. I fall more in love with glass every day and I feel amazing every time I leave the shop to the point that it’s almost overwhelming.

If you could work in any other medium, what would it be?

Clay or metal casting. Definitely still something 3D, sculpted, and handmade.

What is the most important thing you want people to know about your work?

I love what I do and like most makers, I put a bit of my soul into my work. Recently I had a client of mine tell me that she wasn’t just buying a piece of glass from me, she was buying the energy that I put into it as well. When an artist is passionate about what they do, that is evident in their work.

What is your greatest accomplishment, or the thing you are most proud of achieving with your art?

I had a large part in developing Terminal City Glass Co-op, the co-operative studio in Vancouver where I make most of my work. I have been a key contributor to the educational curriculum development, I am deeply involved in community building practices, as well as being one of the instructors in several disciplines in glass.

In 2017, I graduated from the University of British Columbia in Vancouver, BC with a Bachelor of Education Degree in Secondary Technology Education & Art, with highest distinctions of the Dean’s Educational Scholarship. With this degree I have pursued the love I have for sharing craft with others by becoming an Applied Design, Skills, and Technologies (ADST) educator with the Vancouver School Board. Having an active studio practice is important as an educator because I act as a role model to the students who may one day pursue their own career in the arts. I advocate for creativity and originality and encourage my students to reflect about the process of making, how that can inform their relationship with handmade, and highlighting why it’s important. My thoughts on handmade are woven throughout my pedagogy.

What has been your biggest challenge while pursuing your art?

Space! It’s so expensive to rent studio space in Vancouver, and glassblowing is incredibly cost prohibitive. I am extremely lucky to have the co-op where I am able to share a space with 200+ members.

Has the confusion surrounding the term "handmade" affected your business/practice? What are your thoughts on re-sellers?

There’s a time and place for everything and everyone - I find that I have to do a lot of research before participating in a show to see if it’s a good match for me and my business. I have come to realize that some shows offer a mix of handmade and “assembled or kit” crafts, and my business thrives at shows that prioritize depth of craft. Audiences at these shows tend to be more educated about handmade and have an easier time differentiating between what is authentically handmade and what has been assembled or pre-purchased to be re-sold.

How do you (and how can we) educate consumers about what handmade actually means?

I am always talking about my process whether it be on my social media channels, when I am in the studio making or teaching, or when I am selling my work at a craft show. All the products I offer have been imagined, prototyped and then made so I highlight this whenever I can.

How has being an artist changed the way you shop?

I shop local and at a lot of the local art and craft markets that I participate in. This also spills over to my food as well. I try to buy as much locally grown food and fresh farm products as I can or at the very least will try and shop at smaller independent grocers. I also choose family run restaurants over large chains.

Who are your favourite makers?

Oh the list! We have such a wealth of amazing makers! I could have divided them into sub categories, BUT since March is Women's History Month and Sunday was International Women’s Day, I'm only going to list a few of my favorite ladies (local and alive!) and in no specific order since I love them all: Holly Cruise , Elen Danielle, Arleigh Wood , Bridget Catchpole, Jennifer Blair, Lana Lepper Adea Chung, Heather Dahl, Julie Morrison, Emi Fugita, and my work wife Tara Pawson.

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Visit Sonya’s website to see her full collection, and follow her on Instagram and Facebook

Let's Talk About Craft: Scott Wilk

If you are looking for a unique and wonderfully crafted watch, then Scott Wilk of WIlk Watchworks is your guy! I met Scott when he was my neighbour at the Spring One of a Kind show in 2011.  I met him at the perfect time because I was only a few months away from packing up and moving to Halifax to go to NSCAD to study in the jewellery studio and he was graduate of the jewellery program there ten years earlier. I certainly got lots of tips on what to expect! That spring show was the first show where Scott brought only his watch collection instead of his jewellery line and it has been really great to see how much his business has evolved and grown in the last nine years. 

What does handmade mean to you?

This question is extremely difficult for me to give a definitive response to. It sounds like it should be quite simple in that handmade should mean an item is made with one’s own hands. But for my own work, I don’t make every single component from scratch with my own two hands. I purchase some of the components, I design some of the components and have another company make those for me, I make the dials from scratch, and then I assemble and test all those pieces into a complete watch. Is that handmade? Sure seems like it, but I’m not 100% sure. The dictionary definitions are quite vague, but I thought that Ele Willoughby’s answer to this question in one of your previous posts made a concise, well thought out answer.

How long have your been working in your chosen medium? Did you attend college or university to learn your craft?

I’ve been working in the field of horology for about 15 years, but I didn’t go to school to learn to be a watchmaker. I attended the Nova Scotia College of Art and Design, or as it’s now called, NSCAD University, and studied mostly printmaking and jewellery to earn my Bachelor of Fine Arts degree. After I graduated, I made my own line jewellery for a few years while I worked various jobs, mostly in the retail jewellery stores. It was in one of these stores where the owners decided to show me how to change watch batteries and do simple watch repair tasks. After I learned a little about watch repair, I got really hooked and started tinkering around at home, finding literature and other forms of educational material, and just learned all I could. (Emma’s fun fact: Scott is also a trained gemologist through the Canadian Gemmological Association!)

Tell me about your process. What would surprise people about your process? Is there a part of your process that you don't enjoy?

My process of creating a watch has many varied types of work. There is design work that I use a computer for. There is constructing the dials or faces of each watch, which I make from scratch using mostly jewellery techniques employing high tech and low tech tools. There’s pure watchmaking work in which I disassemble and oil each watch movement for every watch I make, plus there is the assembly and testing process for each watch.

I think many people think that I make every tiny part of the watch from scratch and that’s not the case. If that were true, I’d probably only produce and handful of watches each year and the pricing would be extremely high. I make the dial of every watch from scratch; I design the watch case or body and have another company make those for me in stainless steel. Occasionally I make a case from scratch if it’s a custom piece made from precious metals. I don’t make any part of the watch movement or mechanism, but I do disassemble, oil, and test each new movement before it gets assembled into a finished piece.

Because my process is so varied in the types of work that go into each piece, I’m rarely bored. I find each part of the process enjoyable. What I dislike are other parts of running the business such as taking photos of each piece. I’m slowly losing my enthusiasm for social media, but these tasks are all part of running a small business.

What about your chosen medium(s) made you pursue your craft?

From the time I was a child I always seemed to gravitate to artistic endeavours which were small in scale. I also enjoyed mechanical things so I’m not really sure why it took me 25 years of living before I discovered watches, but I got there and haven’t looked back since. I believe that my exploration of other art mediums helped me to be creative in the work I do today.

If you could work in any other medium, what would it be?

I think I’d like to pursue printmaking again if time allows, but there are so many techniques in the watchmaking field that I haven’t explored yet, it would be hard to justify going back to that medium. Maybe once I’m retired!

What is the most important thing you want people to know about your work?

There are so many things that are important that I want people to know that are not even about the watchmaking, but of course there is a lot about the watches too!

There is so much work that every small business does behind the scenes that I think most people don’t think about, that is instrumental in making that creation happen. There’s all of the administrative work such as email correspondence, DMs, social media, photography, website creation and updating, parts sourcing and ordering, inventory taking, job organization, payroll, etc… and then there’s all the lug work such as driving around to suppliers, lugging booth materials to shows, doing the shows, lugging it all back, etc. and those are just things off the top of my head. I’m very lucky that I have someone to help me with almost all of the administrative work, but many artisans do it all themselves.

As for the watches, I just want people to know that I’ve designed and put every watch together myself, to the best of my ability. I’m highly invested in making them the best that I can because it’s my own work, and I want people to enjoy them for a very long time. 

What is your greatest accomplishment, or the thing you are most proud of achieving with your art?

I’ve been very lucky to have had my work featured in some publications such as The Wall Street Journal, The New York Post, The Globe and Mail, Global TV, A Blog to Watch, and many other magazines and blogs, but I don’t really see those as my greatest accomplishment, though it’s very nice to be recognized. I think that my greatest accomplishment, and this is really corny, is simply that customers are happy with my work. I know I can’t please everyone, that’s certainly not my goal but when I see the joy that someone gets from wearing my work, it certainly feels like an accomplishment.

What has been your biggest challenge while pursuing your art?

Finding a balance between home and work has always been a challenge. My wife and I have two boys in elementary school, and I find it a struggle making it all work sometimes.

Has the confusion surrounding the term "handmade" affected your business/practice? What are your thoughts on re-sellers?

I believe it has, because of what I touched upon in my answer to the first question. Because I make some parts and also source some parts, it causes much confusion about the creation of the watch. I am constantly educating people about how I put together my work, what parts I design, what parts I make, and what parts I purchase. I think many people still think I make every little screw and jewel, so it certainly is my job to make sure they have an understanding about my process. I also try and tell people about how commercially available watches are made, because sometimes there is a huge difference in their processes compared with mine, even though pricing may be similar.

As for re-sellers, if people are purchasing goods from someone and selling them, that’s ok, but not at a show that specifically mandates that items are made by the vendor. This type of practice really can make customers feel duped and tarnish the reputation of a show that is supposed to be for handcrafted items, which in turn hurts the vendors who actually make their product. Everyone needs to be able to make a living, but having some integrity, and being honest about what you are selling is important in my view.

How do you (and how can we) educate consumers about what handmade actually means?

Most of my attempts at educating consumers about handmade happens face to face at shows. I find it’s really the best way to get someone to understand about the complexities of the term and how my work fits into that. I’m also slowly trying to add to our website about my process, but it certainly is a lot of work creating content.

How has being an artist changed the way you shop?

I certainly have changed the way I shop over the years in that I prefer to purchase items which are of higher quality and I do have a preference for items made by hand if that is an option. I’d rather purchase something that if taken care of properly can last a very long time. I actually dislike the whole experience of retail shopping at large stores and in malls. I’ve probably become jaded because of my years working in those establishments. I much prefer to speak with people who have created the product themselves, who have a story to tell, and are passionate about what they do.

Who are your favourite makers?

It’s certainly a tall order choosing just a few, but here are some people whose work I think is quite special (besides you Emma!):

Heather Rathbun – Jeweller

Graham Blair – Woodcut printmaker

Byron Hodgins – Painter

Naomi Clement – Potter

Hyun-seok Sim – Jeweller and amazing handmade cameras

Julia Hepburn – Sculpture

Courtney Downman – Glass

Lastly, my sister Erin made these fantastic robot pouches which are awesome and funny.

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Check out Scott’s amazing collection watches on his website, and be sure to follow him on Facebook, Instagram and Twitter

Let's Talk About Craft: Shoshana Farber

Let me introduce you to Shoshana Farber aka Showsh Designs who makes the loveliest fine jewellery.  Her newest collection, Home & Away, is inspired by local maps and is particularly lovely.  After both being around the craft show scene for quite awhile I am so glad I finally connected with Showsh last year at the Haliburtion Arts & Crafts festival. She was my show neighbour and we became fast friends because we share the exact same kind of sarcasm. I knew the instant I decided to start this blog that I wanted to interview her because of the great conversations we had about art and making.  I hope you find her views on being an artist as refreshing as I do!

What does handmade mean to you?

I define handmade as a product that is crafted using artisanal fabrication processes. That doesn’t mean that it was necessarily made locally, or exclusively by hand, or by a single person. But the maker should be heavily involved with the manufacture of the work, using mostly traditional, manual techniques. Methods can include simple/small machines, but I draw the line at heavy use of digital technology as a primary manufacturing process.

How long have your been working in your chosen medium? Did you attend college or university to learn your craft?

I graduated a 3-year Jewellery Arts program at Kootenay School of the Arts in 2003, and have been making jewellery ever since.

Tell me about your process. What would surprise people about your process? Is there a part of your process that you don't enjoy?

Up until last year I was mainly using fabrication techniques (sawing, forming, soldering, etc.) to make one-of-a-kind or limited-production pieces. I’ve since launched a production line of map jewellery called Home & Away. Many customers assume the line is CNC’d or laser-cut, but the manufacturing process is completely manual. I design and hand saw the metal models for each piece, have a local caster mold and cast multiples, and then do all the finishing/soldering/assembly myself. As a whole I enjoy the process of making this line, as I’ve been able to minimize the toxicity of my practice to a more manageable amount.

What about your chosen medium(s) made you pursue your craft?

I was initially drawn to jewellery because of the mystique of metal-making - I was both intimidated by the torch and intrigued by the challenge of it. To be honest, my main reason for sticking with it is because I’m stubborn-as-fuck. I am neither the most patient nor co-ordinated person in the world, and I really felt like I had something to prove by mastering the art of metalsmithing.

If you could work in any other medium, what would it be?

Paper. I have always had a huge crush on it and handmade paper brings me more intrinsic joy than metal. There are probably some psychological conclusions to draw from that.

What is the most important thing you want people to know about your work?

My new line is more “me” than any other work I’ve ever produced. I’ve always had a sentimental and often conflicting relationship to place, and the way it defines narrative and identity. While I wouldn’t call the collection conceptual, the reaction it invokes is often intensely personal and layered. Making this line is also allowing me to live/work in both urban and rural studios – so it’s satisfying a whole lot of my own “Home and Away” lifestyle goals.

What is your greatest accomplishment, or the thing you are most proud of achieving with your art?

I’ve been juried into some prestigious shows, and pulling them off takes more dedication, long hours, and bodily pain than most people can imagine. Who really understands the emotional and economic investment, the physical toll of studio practice, more than other makers? We are driven by the dim hope that people might like our work and pay us for it.  I’m really proud that I get to identify with this incredible community who are brave enough to constantly stand judgement with no guarantee of validation or reward. It’s no small risk, and in my opinion, it’s different than putting forth a service/design/curatorial skill. The tangibility of handmade work elevates it – the fact that only manifests by virtue of your hands and 10,000 hours.

What has been your biggest challenge while pursuing your art?

There are so many challenges. Maintaining my health is up there. I’m starting to really feel the effect of my studio practice on my hands and arms. I have some anxiety about whether I’m going to be able to continue to be a maker in the long-term, or how I’m going to adapt my practice to accommodate these injuries. Psychologically, I’ve managed a mood disorder for most of my life, and have difficulty with confidence and asserting my voice. These are amplified in the age of social-media marketing. Social media can be detrimental to my mental health and I’ve had to implement boundaries in the way I engage with it, but it’s also a useful and necessary platform for my art. It’s been hard to find a way to utilize these tools in an authentic way, and I’m still trying to navigate it.

Has the confusion surrounding the term "handmade" affected your business/practice? What are your thoughts on re-sellers?

Yes, re-sellers are a problem that has become increasingly difficult to identify in the age of globalization, and the ease by which sourcing can now occur with a click. However, I consider digital tech and the democratization of craft as co-contributors to the dilution of “handmade”. In the past 10 years (leading with the jewellery industry) manufacturing has evolved to the point that you can design an item on software, have it 3D printed or laser-cut at a shop down the street, and send it away for machine-finishing on a very small scale. What used to be the commercial manufacturing process – i.e. machine-made – has now been scaled down and made accessible to anyone with a computer.  This had led to a saturation of craft in the mainstream where anyone can have an idea and sell it on Etsy. The designer has evolved into an indie-maker-entrepreneur.

There are some really cool things about this. For one, it gives creatives who have very legitimate software and design skills the ability to bring a product to market that is more affordable, and therefore more accessible than your typical artisan-created work. It has always felt funny to me that my higher-end work was always out of reach to people of my own economic means. Art shouldn’t just be for the wealthy.

However, it also really skews the playing field on sales platforms for handmade work. It’s difficult enough explaining to a consumer the value of buying local-vs-offshore, or commercial-vs-handmade, but now how do you explain artisan-made vs. indie-made? Especially when you are selling at the same show and the margins are so different? Also, people who are primarily designers have more time (and skills) to invest in social media marketing, etc.  My Luddite bias is showing, but most of the artisans I know who fabricate their work from raw materials got involved in craft because of the tangibility of the process. Pivoting to digital creative content is not something that comes naturally to many of us. But the medium is the message, and if you have an Instagram account with 100,000 followers, with a “pretty” curated profile and giveaways, well, craft jurors are going to want you – and your audience – in their venue.

To be clear, I do think there is a place for indie-made work on maker’s platforms. I use indie-makers for my own business projects, from packaging to display. I also think that digital tech can be used by artists to elevate their craft – for example, to make something that would otherwise not be possible using manual methods (Lily Yung comes to mind). But I have definitely felt the pressure of indie-made work on my own profits and while I’m choosing to adapt to this shifting landscape, I feel sad that many artisans are losing their market positions to this re-branding of craft. You are going to see fewer and fewer traditional artisans selling at handmade venues, and I really mourn that loss.

How do you (and how can we) educate consumers about what handmade actually means?

I’ve started hanging my saw frame in my booth. I’m trying to document my process as much as possible on social media. (Emma’s note: Showsh has started using the hashtag #actuallyhandmade in her posts and I think it’s wonderful) I explain my technique at every opportunity. But ultimately, handmade doesn’t have a definitive quality, and people’s values are not necessarily going to align with my own. I’ve seen some incredible handmade work in my world travels - work that is one hundred percent artisanal and inspiring. Do I think something is better simply because it’s made locally? Not necessarily, but if supply-chain transparency is important to you as a consumer, then buying local is important. The ironic thing is Instagram can facilitate a personal connection between a maker and consumer, but also distort it as well.  Do you really understand the process by which that “local” person makes their work, or have they just artfully curated their image? Transparency can actually be a pretty muddy concept.

How has being an artist changed the way you shop?

I’m a firm believer in quality over quantity. I’m not perfect, and my closet isn’t fast-fashion free. But my treasures are all from makers, and it’s even better if I’ve made a personal connection with them.

Who are your favourite makers?

My favourite makers are the ones who have managed to create the impossible – accessible collections (i.e. stuff I can afford) that are unique and created with traditional techniques.  Yasmine Louis squeegees all of her screen-printed apparel in different screen combinations so that every piece is completely different. Miranda Britton uses only low-tech methods to make modern, minimalist jewellery inspired by the natural world. Joanne Jones of Mined Recreations combines recycled leathers and fabrics to make high-quality, completely one-of-a-kind bags that are environmentally sustainable. It’s such a hard formula to master, and these artists have nailed it.

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Want to see the full Home & Away collection? Visit out Shoshana’s website and follow her on Instagram and Facebook.

Let's Talk About Craft: Ele Willoughby

I am so delighted to introduce you to Ele Willoughby, a Toronto-based print maker and one of the best craft show neighbours ever! Ele doesn't come from a traditional art background, she has a PhD in geophysics, and her stories from being out in the field are always fascinating.  Her analytical science background translates really well into her art with a process that is so precise and technical. 

Even though this isn't art related I have to continue to brag about her because back in 2017 Ele was on the short list to become a Canadian Astronaut! There were over 3700 applicants from across Canada and Ele was in the top 72.  How insanely cool is that? 

What does handmade mean to you?

It turns out that it's hard to make a tidy definition, but handmade to me is the opposite of mass produced. A real person thought up the item and brought it into being using their own hands. They may use tools (even those we think of as high technology), but they employed their creativity, skill and labour to do it.

How long have your been working in your chosen medium? Did you attend college or university to learn your craft?

I sometimes joke that my education as an artist is a doctorate in physics. I have a lot of schooling but it's not directly related to my art practice (apart from the strong influence on subject matter). But, I had the good fortune to attend class at the Art Gallery of Ontario Gallery School from the age of 10, where I first learned printmaking including linocut, etching and screen printing. So, I have been working in this medium for decades! I have taken various courses and workshops over the years, including moku hanga (traditional Japanese woodblock printing) and assorted printmaking classes offered by Open Studio here in Toronto. I also sometimes include my science skills in my art-making, when I work with electrically conductive ink, electronics, thermochromic and UV-activated pigments and make interactive multimedia work.

I'm thankful that printmakers are by and large a very welcoming lot and I don't encounter a lot of gate-keeping based on secondary education and formal qualifications. They recognize you as a printmaker if you are printmaking and doing the work of the traditional printmaking methods.

Tell me about your process. What would surprise people about your process? Is there a part of your process that you don't enjoy?

I make relief prints, which means that I carve away the negative space on a block (usually linoleum, or artists’ materials which mimic lino but are a bit softer, sometimes call "softoleum" or sometimes vinyl). Then, I ink it and then print it onto paper or fabric. For me the process starts with drawing, sometimes on paper and sometimes directly on the block. I have to draw everything in reverse (because the printing process reflects an image as in the mirror). Think of the way a typewriter works, or a rubber stamp; the fundamental concept is the same. I often use a lot of photographs as reference material and sometimes I plan out a composition on the computer in advance. I carve away everything that isn't to be inked, all the background or negative space. Then I mix my inks on a palette and roll it out with a brayer (which is like a hard rubber roller) and onto the block. I have a couple of small simple presses, but I usually print by hand using a Japanese printmaking tool called a baren. I have a traditional one which is a flat disk covered in a bamboo leaf tied to make a handle on the back, but also use modern wood and plastic ones (which work well!). I burnish the paper onto the inked block and then carefully peel it back to reveal the print. You can make multiples by re-inking the block and repeating on a new sheet of paper, but unlike "archival prints" or "digital prints" where an artist uses a computer printer and can print limitless numbers, each and every print is made with my hands and elbow grease, as they say. Each print is also editioned and numbered and a human could never make an infinite number!

There are a few different ways you can get a multicolour print using this technique. You can ink different areas of a single block carefully with different colours. This is called inking "à la poupée" - it's 'doll style' because each area and tool is small and doll-sized. I often do this. You can carve multiple blocks to print different areas with different colours. I sometimes do this, but to be honest, registration - the careful alignment of the blocks and papers so that every print is the same and the colours line up as intended is finicky and my least favourite thing, so I tend to avoid it as much as possible. The third method is using "Chine-collé" or printing areas on to delicate coloured papers and affixing them to the main print. The term comes from French: collé means glued and Chine is for papier chine, or delicate handmade papers from China, India or Japan. Traditionally this is done in the press or with precut papers but I've adapted it to my purposes. Since I print by hand (and produce less pressure than a press) and use Japanese papers almost exclusively, I will collage coloured, or even patterned cut papers after making the key print. You can, and I do, combine all three methods.

There is a final method called a reduction print (or sometimes, unfortunately, a "suicide block"). This method involves using a single block for multiple multicolour inkings. After each colour is printed, you carve away more of the block and then over-print the remaining smaller area in a new colour. You often continue until you have virtually carved the whole block. You print is therefore by definition a limited edition; each successive colour destroys more of the block and there is no going back. I almost never use this technique. I like going back and revisiting and reinterpreting prints. This just doesn't suit my personality.

What about your chosen medium(s) made you pursue your craft?

I loved printmaking from childhood, though I loved other media as well. When I returned to it as a young adult, it was because of the means of making multiples. It's a medium that I can make and sell at a reasonable price point because I can make multiple prints from the same block, so it allows me to share my art with more people. Also, I just really love carving!

If you could work in any other medium, what would it be?

Sculpture. I always enjoyed sculpture and thinking in three dimensions. The carving still gives me that dimensionality (even if in low relief). I've started to do more multimedia and think about how to move my prints into the third (and occasionally fourth, as in time-varying) dimensions!

What is the most important thing you want people to know about your work?

I carved every single image in reverse and used my own hands (and arm strength!) to print them onto paper.

What is your greatest accomplishment, or the thing you are most proud of achieving with your art?

This is a hard question! I'm very pleased to have developed an identifiable style. I didn't set out to do things a certain way or according to a set of rules, but I find that my own output is distinctive. I'm really glad to see that my work has been purchased by a few international museums; I find that really exciting. I'm proud that I've had some big clients who brought some work to a wider audience. I'm proud to have helped run a gallery for a year and curate shows. It's hard to choose a greatest accomplishment. In a lot of ways, I think taking my own self-expression seriously and putting it out there is something I think is an accomplishment.

What has been your biggest challenge while pursuing your art?

I think like most artists, economics are the biggest challenge! I've managed to find a way to work from my own home. Promoting my own work is time consuming, but technology makes it much easier than in the past. But I always wish I had more time, and often that translates to money, with which I could afford to farm out some of my non-art responsibilities (whether that means getting help with shipping and other aspects of running a small business, or childcare and so on).

Has the confusion surrounding the term "handmade" affected your business/practice? What are your thoughts on re-sellers?

Printmakers specifically struggle because the word "print", which we have used for centuries to mean an image made with relief prints, etchings, screen prints, lithographs and other traditional methods, is now also used to mean a digital reproduction made by a machine. To my mind, these digital prints are still handmade, in that an artist made them with either real media or on the computer - but each one is not an original. It's a reproduction. And the value in terms of the material costs and labour of a single digital reproduction (one of a potentially infinite number) versus a traditional and original print made by an artist's hands (one of an edition or smallish open edition) is not comparable. But printmakers are competing with machines when it comes to price, and often have to keep prices as low as or lower than a reproduction produced by pushing a button.

I don't knock digital reproductions; this is a means for artists to make a better income and a democratizing force on art by making it more accessible to more people. These are very good things. One of the ways I can make a living is by licensing my artwork to be digitally reproduced (say, for illustrations in books and periodicals, or on clothing or other products). So I love that this exists and gets more art to more people! But handmade is a separate, special thing. I love having customers who understand that and I would love for that to be better known by more people.

One of the other things I do is organize craft shows. We work hard to have a jury of handmakers so that we can properly assess that work is indeed skilled handwork. The sad thing is that re-sellers can sometimes be quite sophisticated at disguising themselves, but we work hard to catch and reject those who merely import, repackage and resell items (often machine made and passed off as handmade).

How do you (and how can we) educate consumers about what handmade actually means?

For in-person sales, I've started to bring actual blocks with me so I can show people; I carved this by hand and then printed it. As an artist, I also view social media as part of my job. So I'm always sharing images of my process. Here's a drawing on a block, or a block being carved. Here's an edition I've printed laying out to dry. Process videos are even better. I enjoy your videos of flame-work and should post more of me physically printing! "The reveal" videos are pretty popular with the printmakers, as they slowly pull the print away from the block!

I think it would be great to get more exposure to more art in schools. Give more children more chances to try a greater variety of media. Get more artists into the schools to share their processes.

Lastly, if you want to support artists and makers and collect art, a good way to make sure you are investing in handmade goods is to learn more about the artists. These days it's easy to follow people online. You can actually see how they produce their work and you might find it then has more meaning for you.

How has being an artist changed the way you shop?

The gifts I give are almost exclusively made by artists (if I include authors as artists). I give handmade items and books. I love printmaking but I also really love handmade work that I could never make. I have a lot of respect for the work that goes into producing things by hand and I appreciate things that will last (and hence have a lower environment impact).

Who are your favourite makers?

That's like asking my favourite child! Luckily I only have one child...but I have so many favourite makers. Any list would be incomplete!

I have about 4000 favourite Etsy shops, for instance. You can have a look here. I could spend many hours trying to figure out a list of favourites. Instead, here's just smattering of a few great artists & makers: Horse Fiddle Press, Animal Sleep, Tugboat Printshop, Emma Kidd, Tosca Terran, Annie Bissett, the Vexed Muddler, Hine Mizushima, SHiliconfETTI°, Story of a Seed

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Want to see more of Ele’s gorgeous prints? Visit her website and shop! I also encourage you to follow her on Instagram, Facebook and Twitter!

Let's Talk About Craft: Kate Civiero

I am so delighted to introduce Kate Civiero of Infinite Glassworks. Not only does Kate make gorgeous glass wares for everyday use, but she makes some incredible work out of copper as well. Her Avian series is particularly stunning. She has fun with everything she does and sometimes she even lets her chickens decide which colours or which optic mold she is going to use that day (follow her on Instagram for some of this solid content, you will not be disappointed!)

If you are interested you can experience the magic of molten glass yourself because Kate teaches classes out of her studio in Eugenia, Ontario! Nothing will give you a greater appreciation for glass art than trying it out for yourself, so bring your sense of adventure to Grey County and try something new!

What does handmade mean to you?

In my mind, handmade is a thoughtful, deliberate and skilled intersection between material, process, design and creation.  It’s fun to own beautiful things, and there is significant value in owning an object designed and made by an artist. The look and the feel of handcrafted objects enhance our interaction with them. I design objects that emphasize functionality as well as aesthetics.  Connecting visually with a handmade object is important, but using it and interacting with it is paramount. Handmade pieces have a way of becoming intertwined in our lives; there is something inherently special about owning an original, human-made object.

How long have your been working in your chosen medium? Did you attend college or university to learn your craft?

I graduated from the Sheridan College glass program in 2002 and since then I’ve been a self-employed glassblower in Grey County (2 hours north of Toronto).  I formed Infinite Glassworks in 2005 with my husband Matthew and we spent many years renting time at various studios before building our own studio in our backyard barn in 2016.

Tell me about your process. What would surprise people about your process? Is there a part of your process that you don't enjoy?

My production work in glass focuses mainly on functional glassware using 2100ºF molten glass.  I think the pace of glassblowing is something that often surprises people about the process.  As glassblowers we use tools, heat, inflation, motion and gravity to shape the glass, all the while making split second decisions about its aesthetic outcome.  The speed and fluidity and constant motion are some of the cornerstones of glass making.

There’s not really any part of working with glass that I don’t enjoy, I even get satisfaction out of cold working (grinding and polishing glass when it’s cold).  There are good days and bad days in the studio and a bad day of glassblowing is always better than a good day of working at a job I don’t love.  I try and keep that perspective on days when glassblowing feels like more like a grind and less like a party.

What about your chosen medium(s) made you pursue your craft?

Looking back, it seems crazy to have pursued hot glass without ever having worked with glass before I went to Sheridan (though I think that’s a very typical experience in the program).  To be perfectly candid, glass was always a struggle for me in those years. I was young enough to be stubborn about it so I stuck with glass, but I don’t think that I necessarily had a natural talent for it.  What I did have was an inner conviction that making objects by hand was something that I wanted to pursue, and that even if I lacked the technical skills to make really challenging pieces, I could keep pushing to create objects that were well-made and thoughtfully designed.  Over time with practice and repetition my technical proficiency in glass grew to become aligned with my design capabilities.

If you could work in any other medium, what would it be?

I already relentlessly pursue other mediums when they pique my interest so if anything I probably should be exploring fewer mediums!  I like to integrate different materials with my glass work, and I often find myself quite deep into processes that draw parallels to working with glass (blacksmithing, metalworking and ceramics).  Lately, I’ve been diving deeper into metal forming techniques such as sinking and raising two dimensional sheet metal into three dimensional vessel forms.  So much hammering!

What is the most important thing you want people to know about your work?

Making is not solely about technical skills and manipulating a material with your hands.  I want people to know that I put literally everything I have into making objects: my heart and soul, my blood, sweat and tears and most definitely all of my mental, physical and emotional energy.  I do it for the thrill, I do it for the challenge and I do it because creating is inside me.  It’s what I’m good at and it’s what I was born to do.  I wake up in the morning thinking about making and every night I go to bed thinking about making.  It’s not just a job to me (and if it was, it’s not a get rich quick scheme by any stretch) but it is a way of life, and one that I have consciously chosen.  I don’t have the luxury of working when inspiration strikes so I treat making as a job and I put in the time and work.  I make when I’m full of ideas and the creativity is flowing and everything comes easy, and I make when nothing works and I feel tired and depleted and everything I create seems terrible.  I show up for making every single day of my life and I get rewarded over and over again with amazing objects that I am proud of putting out into the world.

What is your greatest accomplishment, or the thing you are most proud of achieving with your art?

My greatest accomplishment is building my own glassblowing studio on my rural property.  It’s no small feat (or expense) to build a glassblowing studio and it has unlocked some pretty awesome things.  It’s the catalyst for being able to support myself with my art and has allowed me the opportunity to teach glassblowing and metal smithing.  On top of that, it’s given me time to devote myself to making and pushing myself in directions that I wasn’t able to do while renting studio time.  I have grown more as a maker and as an entrepreneur in the last 3 years of running my own studio than I have in the 15 years of renting studio space.

What has been your biggest challenge while pursuing your art?

One of the biggest challenges while pursuing my art is finding ways to untangle my ego and separate it from the work I make.  I think that it’s a very difficult thing for any creative, not just makers.  With each object I make, I put a little piece of myself out there in the world, and at times that can stir up a lot of emotions, both positive and negative.  So many of these feelings I have are wrapped up in how others perceive my work and how they do or don’t validate it.  When I’m less confident in what I’m making I tend to base validation on whether or not an object sells and this can be toxic for creativity and innovation.  I’m trying to be more mindful of this tendency within myself to look at sales as validation and remember that gratification in making comes from within.  Sometimes I just need to get out of my head and create something for the pure thrill of making it!

Has the confusion surrounding the term "handmade" affected your business/practice? What are your thoughts on re-sellers?

It’s a murky word, and peeling back layers of meaning and labeling an object as handmade, human-made, assembled, fabricated or manufactured can frankly be quite confusing to consumers.  Overall, I get a sense that most people understand the core concept of handmade and that it is generally a positive attribute.  However, because there are so many fake handmade products and re-sellers flooding the marketplace, it can be very misleading to people wishing to purchase an original handmade piece. Re-sellers and knock-offs are absolutely diluting the term handmade, and unfortunately the responsibility is primarily left to the makers themselves to educate consumers on the difference between authentic handmade and imitation handmade.

How do you (and how can we) educate consumers about what handmade actually means?

My favourite way to educate consumers is to get them out to my studio so they can see first-hand what it takes to make something by hand.  When people see the 2100ºF molten glass and experience how physical, hot and tenuous glass making is, it opens up a dialogue about handmade and well-made objects and their place in our lives.  I love chatting with people about different ways of making and the contrast between handmade objects and manufactured objects.  There are nuances in the term handmade and there are nuances in the term manufactured and both have their merits and place in the marketplace.  I think it’s important to not necessarily say one is good and one is bad, but instead teach consumers to spot the differences so they have the tools to make educated decisions about what they are purchasing.

How has being an artist changed the way you shop?

More and more I’ve been avoiding buying certain things because I feel that I can make them myself.  This seems to be in direct relation to the technical fluency I’ve been acquiring in other materials.  Obviously I make the glass objects in my home instead of buying them, but now I have access to making things out of metal, clay, wood and even textiles that in the past I would have had to purchase.  When I do shop, I tend towards buying things that are made of natural materials and don’t contain much (if any) plastic.  I look for well-designed things that are higher quality.  I shop from small local businesses whenever possible, and I love buying from other independent makers, designers and craftspeople.

Who are your favourite makers?

I’m representing my rural roots here because the community of makers within Grey and Bruce County is a force to be reckoned with.  Over and over I am inspired and in awe of the creativity, resilience and ingenuity of the humble folks making a living with their hands outside of urban centres.  We truly have world class artists and craftspeople living on farms and back roads throughout our area, and they are some of the most humble people you will meet.  Marcelina Salazar (ceramics) encourages me to constantly consider the relationship between function and form.  Dano Harris (blacksmith) has shown me you don’t need a fancy studio or the best equipment to make innovative things.  Becky Comber (photo based collage) has taught me the art of patience and tenacity in the creative process.  I’m super lucky to have found a local community of makers, artists, craftspeople, farmers, chefs and creatives that I look to for support, inspiration, encouragement and even just to hang out and share a beer with.  

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To see more of Kate’s beautiful glass work (and to sign up to take a class with her!) visit the Infinite Glassworks website and follow her on Instagram and Facebook.

Let's Talk About Craft: Melissa Schooley

Melissa Schooley is one of my favourite people to talk about the business of craft with. Not only does she have so much experience herself, but she has absorbed a wealth of knowledge from other talented potters that she has worked with over the years. 

Along with her business, Raging Bowl Pottery, she is also involved with the lavender products made on her parent's farm Apple Hill Lavender in Norfolk County.  Word on the street is that you can now book your wedding ceremony in the lavender fields! 

What does handmade mean to you?

Handmade means there is some element of the work that has been made from scratch and by hand. In my field (ceramics) it means you started with a lump of clay, and using your hands, shaped it into a vessel or object. There are some in the ceramics world that design and make a piece, and then make a mold of that piece to do limited production runs. I would also classify that as handmade as the original piece fits the description of made from scratch, by hand. The artist is responsible for the prototype and production.

How long have your been working in your chosen medium? Did you attend college or university to learn your craft?

I first got my hands in clay in 1998 when I was attending my first year at Emily Carr Institute of Art and Design (now Emily Carr University of Art and Design). Prior to this I had only every played with air-dry clay, plasticine and my mom’s homemade play dough. I graduated in 2002 with a Bachelors of Fine Art degree and by 2003 I was working in clay part time out of my own studio. By 2005 I was working full time in clay. While working towards a full time career in my own studio, I worked part time for another potter where I learned a tremendous amount - things that weren’t covered in art school, like how to actually make a living.

Tell me about your process. What would surprise people about your process? Is there a part of your process that you don't enjoy?

I make all of my pieces using wheel throwing or hand building techniques. I absolutely LOVE throwing clay on a pottery wheel and that’s how I make the majority of my work. People are often surprised to learn I make the work myself. “Where is this made?” “I make it myself in my studio in Norfolk County.” I’m not sure why that’s so surprising to people, perhaps the work doesn’t look handmade? Or perhaps I don’t look like a maker? For the most part I enjoy all aspects of making - except maybe mixing my glazes - I have a hard time being organized and can make mistakes so it’s best if I get someone else to do that part for me! Three cheers for studio assistants!

What about your chosen medium(s) made you pursue your craft?

Ever since I was a kid I could feel clay moving through my hands, I could feel my hands making pots on a pottery wheel. Which I guess is kind of weird since my only exposure to clay was through play dough. I never took lessons, didn’t take art classes in high school, and didn’t even consider learning the craft until a really rough first year and a half in university. I went into science and was absolutely miserable but found myself inching towards clay - I chose the residence I wanted to live in for first year because they had a pottery wheel in the basement. (It was ultimately broken and I never tried it.) I shifted my focus to social sciences in my second year but still felt unhappy. I decided “fuck it”; if I was going to go to school and borrow all kinds of money to learn something it may as well be for something I want to learn. I dropped out of university, moved back home, put together a portfolio and by the following September I was off to art school in Vancouver.

If you could work in any other medium, what would it be?

All of them? Haha! I love working with my hands and learning new skills, leaning the ins and outs of various materials. I’ve done some work with glass, fibre, wood and metal. Right now I’m enamoured with raising cooper.

What is the most important thing you want people to know about your work?

That it’s meant to be used!!! Some people seem afraid of the work. “That’s too pretty! I could never use it!” But that’s the whole point! We have daily rituals around our food and drink; we take the time to prepare a delicious meal or the perfect cup of coffee so we should be serving them on/in something beautiful.

What is your greatest accomplishment, or the thing you are most proud of achieving with your art?

My greatest accomplishment is each day that I get to stay self-employed in the arts. I love what I do and couldn’t imagine doing anything else and it’s definitely not easy to be a full time maker.

What has been your biggest challenge while pursuing your art?

This would be finding a balance between what I need to make to pay the bills and what I want to make to feed my soul. They aren’t always the same thing. Often the pressures of orders and shows can mean I don’t get much time to play and try new things but if I don’t get the time to be creative I can be pretty miserable and stressed.

Has the confusion surrounding the term "handmade" affected your business/practice? What are your thoughts on re-sellers?

I don’t think confusion around handmade has really affected my practice. What I tend to come across are people who purchase commercially made dishes and then hand decorate them. Their price points are lower since mass produced pots are cheaper to make. I have no issue with this practice as long as those artists are making the distinction that their pieces are hand decorated as opposed to handmade. Only once did I have someone tell me they do the same thing as me (yeah, no). But in this medium anyways, there is certainly room in the market for both types of work. As for re-sellers, if you are trying to pass someone else’s work off as your own, I find that tacky and deceptive. Karma is a bitch, I’m just saying...

How do you (and how can we) educate consumers about what handmade actually means?

I am constantly educating my customers, chatting up my process and explaining how I make what I make and why. Education has always been a big part of selling handmade. It gets exhausting but I look at it as part of what I do. Sales is all about talking to people and making connections. The majority of people I come across are respecting and curious. It’s the odd one out who complains to me that they can go to Walmart and buy a mug for $1.99 and then decorate it themselves.... well knock yourself out. If you don’t see a distinction between that and what I do then I’m not overly interested putting in the work to convince you otherwise. That person is not a customer and never will be so I don’t waste my time.

How has being an artist changed the way you shop?

I try and buy as much as I can from other makers. I appreciate the time and skill involved in handmade and have a philosophy of “what goes around, comes around”. If I want people to buy my work, I need to buy other people’s work. I need to do my bit to help so that other people can continue doing what they love. I would much rather spend more on buying less when I know it came from a place of love.

Who are your favourite makers?

Oh my goodness! Soooo many to love! Too many to name! If you make something by hand and have excellent craftsmanship, chances are I love it.

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Visit Melissa’s website to view more of her gorgeous (and sassy!) pottery and follow her on Instagram, Facebook, and Twitter

Let's Talk About Craft

The Canadian Craft Federation is celebrating Craft Year 2020, a year-long celebration of contemporary fine craft. So I figured 2020 was the perfect time and opportunity to open a much needed dialogue about craft and handmade because of how drastically the landscape and language around craft and handmade have changed over the last decade. Terms like "artisanal" and "handcrafted" have become marketing buzzwords. I cannot recommend this TED Talk by the extraordinary Sandra Alfoldy enough. She explains it better than I ever could and is part of the inspiration for this series.

I have put together a questionnaire that I am sending out to some of my favourite Canadian artists/craftspeople to start this dialogue, but today I am answering these questions myself to kick things off. There are a lot of things that inspired this series and a number of reasons why this is so important to me that I think will become evident in my answers below. Typically this section will be a quick introduction to the featured artist, but if you are here, chances are you already know me so we can skip over that part. If you don't know me, then welcome! I'm Emma, I make glass jewellery, and I hope you find this series enlightening.

What does handmade mean to you?

It's funny, this is the hardest of the questions for me to answer because it transports me right back to college where we had dizzying debates about art vs. craft vs. design. For me, I think it really starts with how important the term craftsmanship is to me. This is a word that has been drilled into my head since high school where our amazing art teacher, Liz Sharp, had us define it on every single assignment we ever did. It was so important to her that we both knew what it meant and that we put the appropriate effort and skill into the art we were creating.

"Handmade" is kind of a spectrum. There is no singular definition and there is definitely a sliding scale. If you take factory-made finished components and assemble them into something then what you are making, in a way, is handmade, but it is lower on the spectrum than someone who is making all of the components themselves or using a raw material in an unexpected way to create a new piece. Both are inherently fine, but it’s the difference between someone being a "maker" and someone being a "crafts-person" or "artist". It’s about depth of craft and how involved someone is in creating their work. It can be the difference between someone spinning their own yarn vs. buying the yarn they use or someone silkscreening their own design onto fabric vs. purchasing fabric that already has a design. This is exactly why I think it's important to open a dialogue about handmade, particularly around the words we use when we talk about it.

How long have you been working in your chosen medium? Did you attend college or university to learn your craft?

I've been working with glass for over 14 years. I attended Sheridan College for the Crafts & Design program where I studied in the glass studio. I also have a Bachelor of Fine Arts degree from NSCAD University where I studied primarily in the jewellery/metalsmithing studio. I have also been lucky enough in the past to teach glass bead making workshops at the Living Arts Centre and the Nova Scotia Centre for Crafts & Design.

Tell me about your process. What would surprise people about your process? Is there a part of your process that you don't enjoy?

I work primarily with a technique called flameworking or lampworking (so called because for centuries it was done at oil-fueled lamps). I think people might be surprised to learn that this technique has been used to make glass beads since ancient Egyptian times, and has been widely practiced in Murano, Italy since the 14th century. Modern flameworking is done at a small torch fueled by oxygen and gas (either propane or natural gas). I heat coloured rods of glass, about the thickness of a pencil, at this small torch and use heat, gravity, and a few small metal sculpting tools to shape the glass into the desired shapes.

I have never liked the process of cold working glass (that's the grinding and polishing work that happens after the glass has cooled down in the kiln). The flameworking equivalent of that is dremelling the bead release out of the holes of the beads. It's definitely the least glamorous part of the process. At the same time, though, there is something very zen about the repetition of dremelling, and listening to some good tunes makes quick work of it.

What about your chosen medium(s) made you pursue your craft?

I fell in love with glass because there are so many different ways of working with it! Most people associate being a glass artist with glass blowing, but there is also hot sculpting, sand casting, flame working, kiln casting, fusing, engraving, and so many techniques within each specialty. Learning to work with a material where the possibilities seemed endless was really intriguing to me.

I originally entered the Crafts & Design program at Sheridan as a major in the ceramics studio. To be honest, the first time I ever gathered hot glass out of the furnace I thought, "this is hot, dirty, and sweaty, and I don't care for it at all,” Hot glass can be a very frustrating material to learn since it's 2000 degrees and you can't actually touch it with your hands. Learning to use tools as an extension of your hands was an interesting challenge to me and I quickly became enamored with the challenge and the material.

If you could work in any other medium, what would it be?

Textiles and fibre arts! I already crochet as a hobby, and to make gigantic wreaths in secret wreath competitions with my neighbour (she moved out, so I won!). When I made my coral reef pillows a number of years ago that's when I really fell in love with crocheting as a sculptural medium and learned to work free form without a pattern. I also took a weaving class that I really loved when I was at NSCAD, and the silk screening class I took at the Art Gallery of Burlington a few years ago was a lot of fun, too. One day, I might even learn to thread and use my sewing machine... One day... Maybe... We'll see.

What is the most important thing you want people to know about your work?

The one thing I always try and highlight about my work is that every piece I make is one of a kind. I do not use moulds to create my pieces, each bead is individually sculpted at the torch by me. I'm at a point where even if I did have a mould for the glass gummies, it would probably take me longer to make them with a mould than it would if I just kept making them the way I have been for the last 11 years.

I think it's important to let people how and why my work is different and special. This is particularly true with jewellery where there is so much work out there made with factory made components that have just been assembled, or worse, pieces that are completely fabricated overseas and purchased for re-sale. My glass beads are not mass produced charms, they start as nothing more than coloured rods of glass that I sculpt into shapes. Last year I even wrote a blog post all about what goes into making my glass gummy bears to help educate people on the amount of work that goes into what I do.

What is your greatest accomplishment, or the thing you are most proud of achieving with your art?

I have had the opportunity to do and be a part of so many cool things that there isn't one big thing that sticks out in my mind at the moment. So I will present you with a few cool career highlights:

● Selling glass breast implant paperweights to the Museum of Sex gift shop in New York City.
● Having a sculptural blown glass piece in the Unity & Diversity exhibition in the Canadian Pavilion at the Craft Biennale in Cheongju, South Korea.
● Receiving 9 grants from the Ontario Arts Council (8 exhibition assistance grants, and 1 project grant).
● My grad show at NSCAD, there seemed to be a bunch of people who didn't think I could pull it off and it delighted me to prove them wrong.
● Anytime a customer bought something and told me "your jewellery is being sent to (insert cool location here)!" It's really fun knowing my work has been all around the world, like to someone in Germany who is obsessed with Haribo gummy bears or on stage at Carnegie Hall!
● My #52WeeksofPendants project and show, it was something I wasn't sure I would be able to stick with but I am so proud that I pulled it off!

What has been your biggest challenge while pursuing your art?

How to be a single income household and afford to live while being an artist. I am lucky that I have an amazing full time job in marketing. Yes, it's an office job, but I get to be creative every day. It's not the soul sucking grind that most people picture when they think of office work. I wrote in a previous post about how it took me a really long time to realize and accept that having a full time job did not make me a failure as an artist. Of course, I still have moments where I struggle with those thoughts but ultimately this is the balance I needed in my life to be happy.

Has the confusion surrounding the term "handmade" affected your business/practice? What are your thoughts on re-sellers?

In the last few years, this has actually affected my practice a lot. Being rejected from craft shows and then seeing re-sellers and people whose items would barely qualify as handmade being accepted and thriving at those shows is honestly infuriating. With that said, I have to say that I am so lucky to have an amazing following of people that do understand and appreciate when work is truly handmade. Starting this blog was not only a way for me to turn my frustration into something positive and educational, but to help spread the handmade gospel far and wide!

I think re-sellers have a place, I just don't think it should be anywhere near a handmade or craft market. Want to start a lifestyle brand with curated products you bought from overseas? Knock yourself out! I hope it's amazing! But when those businesses are in shows alongside artists who are actually making their work from scratch it's incredibly confusing for consumers. If I were a shopper I would make the assumption that if something is at a craft show, especially one that is juried, it's handcrafted. Furthermore, if I bought something at a handmade show and later found out it was made overseas I would be incredibly disappointed, and frankly I would feel conned. I think if people asked more questions at craft shows and became more educated consumers they would be surprised by what they found out.

How do you (and how can we) educate consumers about what handmade actually means?

Start a blog! In all seriousness, I was once told that it wasn't my job to educate everyone. But I humbly disagree. I think one of the best things that we as artists and craftspeople can do is to open a dialogue about handmade. If I can help, even in just a small way, like with this blog series, great!

Whenever I can, I take and post photos and videos of my process on my social media channels. Personally, I absolutely love seeing behind the scenes and how something is made because I feel more of a connection with makers who are open about their process and whose process I can see.

The next time you are a shopper at a craft show I encourage you to engage with the maker and ask lots of questions about their inspiration or their process. Have you ever talked to someone who is passionate about something and seen their face light up? It's magical. And makers, don't be afraid to strike up that conversation yourself because the more people who understand and appreciate the hard work that goes into what we make, the better!

How has being an artist changed the way you shop?

I value quality over quantity and tend to either shop from handmade businesses or thrift shops. I love finding unique and well-made products from makers for both myself and for gifts! The benefits of thrift shopping could be a whole other blog series on its own, but I enjoy the thrill of sifting through the racks for amazing finds. It's also much friendlier on my wallet and a more sustainable way to shop.

Additionally, I like supporting brick & mortar shops that have a business model that is beneficial to the artists. I would rather support a store that buys an artist's work wholesale, or at the very least deals on a consignment basis. I have a really hard time with shops that charge their vendors a monthly rent. It's a model that benefits the store significantly more than it benefits the artist. It's just one more thing in the changing landscape of craft and another example of why it’s important to be an inquisitive and informed consumer.

Who are your favourite makers?

I have so many, but you'll have to stay tuned to this blog series to find out!