I’ll be visiting the exhibition of Althea McNish’s textiles at the William Morris Gallery shortly, but I wanted to relate the remarkable story of the N15 Archive devoted to her and her husband, the jeweller John Weiss.
Althea died in 2020 aged 95. John had died shortly before. I knew John as a fellow trustee of the Society of Designer Craftsmen and met Althea a couple of times at SDC exhibitions. Althea’s achievements in textile design date from the early fifties in London and unfortunately it’s only since her death that her importance has been fully recognised.
Shortly after her death, someone walking past their house saw some interesting things in a skip. As part of the house clearance, much of their artwork had been thrown away. It was rescued and formed the basis of the N15 Archive. Most of John’s meticulous teaching notes, which he’d kept over many years, are, sadly, lost.
I’m co-ordinating the mentoring programme of the Society of Designer Craftsmen, which we run to help our new young members develop their professional careers, and as I don’t believe in reinventing the wheel I’m talking to organisations that run similar programmes. I’ve always worked this way, believing that standards are raised by sharing good practice.
So I was surprised to find that a few publicly-funded bodies were unwilling to talk to me. Their curt replies mean I can only guess why they are so unco-operative and my conclusion is that, now that such bodies regard themselves as businesses, some treat what they do not as a public service but as a commodity, and they treat other organisations doing the same thing not as colleagues but as competitors.
On Tuesday I was stewarding at “Hand of the Maker“, the Society of Designer Craftsmen’s exhibition at Chelsea School of Arts. The SDC is the leading body of designer makers in the UK and their major shows always have interesting and outstanding work. I have chosen some that I like.
Colin and Louise Hawkins
Table by Neal Crampton. This large piece of elm was a rare find, extraordinarily beautiful and somehow enhanced by the split and the oak ties.
Painted silk by Tori McLean.
Batool Showghi’s touching, personal paper constructions recall her family’s life in Iran and refer to forced migration in the Middle East. Her close relatives were Sufis and musicians and suffered persecution in their home country. She told me that there were many Syrian and Iraqi refugees in Iran.
Helen Banzhaf’s apparently abstract tapestries turn out to be pictures of vessels.