Crafting an appreciation of design

CORK Craft Month, which runs until September 8, showcases the enormous range of ways in which Irish craft and its history can be invoked, questioned or celebrated.

Ask around, and views about craftspeople are wonderfully varied, from the boreen-dwelling, hand-knitted yoghurt hippie stereotype to the new, sleeker breed of designer-maker. So too are discussions of their work, from the rise of “craftivism” — such as guerrilla textiles, performances and yarn-bombing — to lofty arguments about conceptual meaning.

In attempts to unravel the definition of craft, some writers have focused on the contrast with works of fine art, and the key distinction that a designed object is made to a pre-set specification, whereas an artist more often pursues a personal creative journey. But for many who work in clay, metal, fibre, wood or glass today, creative experimentation with process may throw up a new idea or different direction along the way.

Other critics have homed in on the idea of the mark of the hand, and the almost sacred bond between man and material so much celebrated by “anti-industrialists” such as William Morris and John Ruskin in the 19th century.

Many contemporary makers in Ireland echo this concern by giving primacy to the nature of the material in which they work, allowing its quirks or limitations to shape their ideas and suggest the final form of the object.

So, when looking at Irish craft over the next few weeks, how can you best understand and interpret the diversity on show? One good starting point is always the affective response, or, to put it more simply: do you like it? Then try and understand more about why it appeals to you, perhaps by finding out how it was made and why it looks the way it does.

Sometimes the process is not only important to the maker, but is also implicit in how an object is appreciated visually or works in a functional way. It is easy to see how a basket has been constructed, and its meshed structure allows air to percolate, while a fired and glazed ceramic vessel is rather more mysterious. For most craftspeople today, the technicalities of construction and surface finishing absorb them completely. Losing the sense of self, or what some might term ego, while fully engaged in planning and making a crafted object, is one of the huge attractions for those who choose job satisfaction over and above financial reward.

Every handmade or hand-finished object has a distinct character, intuitive and tactile — its own “aura”. The physical work of making by hand, using tried and tested tools and much-loved raw materials, is immensely soothing for the practitioner. It can be argued that this sense of solace is then invisibly inscribed in the finished piece. The continued relevance and importance of the handmade in the 21st century is due in part to these connections, both tangible and intangible, between maker and user.

The solidity and grace of a well-made work of craft can connect us not just to its maker, but also to a particular set of values — sometimes called “the politics of work” — initially identified with the Arts and Crafts movement but still relevant today. Dignity of labour, the slow acquisition of skills, and excellent raw materials (often sourced locally) mean that makers of Irish craft can contribute to the national economy in a very real way.

Ideas and memories are encoded in objects made with care and bought with discernment; a chair, vessel or woven textile can be an object of contemplation, and yield visual pleasure, as well as fulfilling a useful function in the home. When you buy, and use, Irish craft, the enormous amount of time and care invested by the maker is part of what makes it special.

Choosing an object, or perhaps seeking out a craftsperson or designer to make something to your exact requirements, creates a circle of involvement, a personal contract between maker and user. This can give real meaning to everyday objects, and help to enrich and individualise your living space. As the grim financial climate continues to curtail consumer spending, there is more reason than ever before to seek real value and buy a piece of Irish craft or design.