Stories

Stories

Kilcoe Studios - Botanical Illustration

Kilcoe Studios - Botanical Illustration

  Posted by Clare Grennan in: 2018 calendar, coastal plants, Irish coastline, Kilcoe studios

Tell us a little about what you make...

Using the natural surrounds of where I live near Skibberen in Co Cork, I paint in watercolours a wide variety of plants and more recently fish. In their pure and simple form I then, with the help of a local graphic designer, reproduce them into my annual calendar and greeting cards. I chose to use the name Kilcoe studios as I also then use this to show my other craft work which is stone carving and my husbands furniture work. Even though my art disciplines are so different, in my mind they all connect as studying nature in drawing is a basic start to many designs and forms inspiration for other work, and the decision to reproduce them in this way means that they are affordable to a wide range of people.

Could you describe your studio to us? What is your favourite thing about the space and how do you get into the mindset of making?

My studio is the wonderful organised chaos that some people think is very charming, but the reality is we would love to have a fairy godmother come along each day to organise it and set up more storage etc . It is essentially a typical cottage business, where the life of studio and home is constantly interconnected. I do keep a division between where I paint { the creative space } and where I ‘Work’- i.e. e-mails/packaging. It is very important to keep that creative space clear, and the whole studio is separate enough from the rest of the living space to help me function.

What is your favourite tool and why?

A couple of years ago I did move to using the best watercolour brushes there are, which are of course expensive, but they really make a huge difference.

Can you describe the making process and inspiration behind your annual calendar?

My background is in fine art sculpture and painting and several years ago I had been doing detailed studies of plant forms. I then looked into using this style of painting in other ways and created a calendar with a local seed company in 2011. Now I create 12 new images each year on a different theme and these make up the next Kilcoe Studios calendar each year. Each image is painted in watercolour from life and with each set of images, I learn more and more about the plants and folklore and history. Each habitat in nature has its own range of plants, so I have chosen each year to feature new areas or new themes, in the past, I have done one on Kitchen garden, Native trees, Healing herbs, Foraged foods and this year Coastal plants. (Available here)

What led you to choosing this craft as a profession?

It is not something I ever really made a conscious decision to do, because I had always been drawing, painting and making from a fairly young age and after spending brief periods not creating knew that I could never do a job where I did not create. I am one of these people that finds it hard to keep my hand still. I think I need that sense of excitement in creating new ideas and seeing them through.

You can purchase Sonia's beautiful work here. 

 

 

Kilcoe Studios - Botanical Illustration

Kilcoe Studios - Botanical Illustration

  Posted by Clare Grennan in: 2018 calendar, coastal plants, Irish coastline, Kilcoe studios

Tell us a little about what you make...

Using the natural surrounds of where I live near Skibberen in Co Cork, I paint in watercolours a wide variety of plants and more recently fish. In their pure and simple form I then, with the help of a local graphic designer, reproduce them into my annual calendar and greeting cards. I chose to use the name Kilcoe studios as I also then use this to show my other craft work which is stone carving and my husbands furniture work. Even though my art disciplines are so different, in my mind they all connect as studying nature in drawing is a basic start to many designs and forms inspiration for other work, and the decision to reproduce them in this way means that they are affordable to a wide range of people.

Could you describe your studio to us? What is your favourite thing about the space and how do you get into the mindset of making?

My studio is the wonderful organised chaos that some people think is very charming, but the reality is we would love to have a fairy godmother come along each day to organise it and set up more storage etc . It is essentially a typical cottage business, where the life of studio and home is constantly interconnected. I do keep a division between where I paint { the creative space } and where I ‘Work’- i.e. e-mails/packaging. It is very important to keep that creative space clear, and the whole studio is separate enough from the rest of the living space to help me function.

What is your favourite tool and why?

A couple of years ago I did move to using the best watercolour brushes there are, which are of course expensive, but they really make a huge difference.

Can you describe the making process and inspiration behind your annual calendar?

My background is in fine art sculpture and painting and several years ago I had been doing detailed studies of plant forms. I then looked into using this style of painting in other ways and created a calendar with a local seed company in 2011. Now I create 12 new images each year on a different theme and these make up the next Kilcoe Studios calendar each year. Each image is painted in watercolour from life and with each set of images, I learn more and more about the plants and folklore and history. Each habitat in nature has its own range of plants, so I have chosen each year to feature new areas or new themes, in the past, I have done one on Kitchen garden, Native trees, Healing herbs, Foraged foods and this year Coastal plants. (Available here)

What led you to choosing this craft as a profession?

It is not something I ever really made a conscious decision to do, because I had always been drawing, painting and making from a fairly young age and after spending brief periods not creating knew that I could never do a job where I did not create. I am one of these people that finds it hard to keep my hand still. I think I need that sense of excitement in creating new ideas and seeing them through.

You can purchase Sonia's beautiful work here. 

 

 

Liadain Aiken - Merino Knitwear

Liadain Aiken - Merino Knitwear

  Posted by Laura Caffrey

Tell us a little bit about what you make

I knit things – hats, mittens, scarves, jumpers, landscape pictures and blankets. Everything is made on hand driven knitting machines and is fully fashioned, which means each piece is made to shape and hand finished. I love making something especially for someone so with each row and stitch I think of them. I use merino wool from Donegal yarns, it’s great to use an Irish company, their colours are so stunning from the earthy landscape colours to a group I call ‘the party yarns’ that really pop.

Could you describe your studio to us? What is your favourite thing about the space and how do you get into the mindset of making?

My studio is on the quays in Dublin. The knitting room overlooks the river Liffey, so I love watching the rise and fall of the river and often day dream of the green of the moss on the waterline. Mossy green is one of the colours that really makes me feel alive. I share the space with 4 women who are in fashion, knitwear and jewellery. It’s wonderful to be able to sound board ideas off them, we all support each other and the space works really well for us. 

I usually get laptop things out of the way first thing and then move onto knitting. Some days I love to just sit at the machine and knit a few new hat colour combinations or a freestyle pattern. It’s good to let yourself be free in creating from time to time and choosing colours is my favourite part of the process.


What is your favourite tool and why? Where do they come from?

I have a few specific favourite tools, one is an orange handled transfer tool that came with one of the machines. Again a colour thing, bright orange cheers me up. Another tool is a grey hexagon handled latch hook tool, my aunt gave it to me along with a knitting machine that her mother owned. Amazing to be handed down machinery that still works a treat knowing your family once created things with it. Lastly this funny story… my best pal gave me a voucher for a wool shop, I went there and asked if they had any linking machines for sale (a linking machine is a hand-driven machine that is used to join the seams of garments, like a sewing machine but more suitable for wool), they didn’t usually sell them but a lady had just called in the day before saying she was selling her one, it was in perfect condition and cost exactly the price of the voucher. When little things like that fall into place you know you are going on the right path.



Can you describe the making process and inspiration behind your knitwear

Choosing colour is my favourite part of the process. I have two inspirations, the earthy nature colours that somewhat fulfil my desire to make myself really small and be able to live in a home made out of moss, failing that thus far, it’s cosier to create an oversized moss green jumper to bury yourself in. The other is selecting irreverent combinations, ones that pop and clash, are so nearly wrong that they are just right. My inner child delights in colour, I used to leave the house some days and look down at myself and think, Uh Oh I’m a colour mess, now I embrace it and hope that I can bring a smile and some fun into the world.  

The other part of the process is quite technical. I design patterns on paper like in dress making, and then convert it into stitches and rows. It usually takes about 3 goes to perfect a pattern.  Knitting is a slow process, of course using the machines is faster than hand-knitting. I get a kick out of pernickety processes like the intarsia technique I use for the landscape imagery, it’s tedious but so satisfying.


What led you to choosing this craft as a profession? What do you love most about it?

Like a lot of creative people, my path to knitting was quite a meandering one.  After studying Interior Design in college, I knew after a stint of commercial and kitchen design that it wasn’t for me.  I have always loved nature and all the textures that the land offers us. After a stint of travelling through many varied landscapes from the lushness of New Zealand to the raw beauty Bolivia combined with their colourful native dress, I was filled with inspiration. I return home to seek a new path and immediately started hand crafting – making hobby horses and jumpers. I’ve always been into sustainability and found it difficult to find ethical fabric, then I came back to wool. Wool as a raw material sat well with me, it’s durable, ethical and warm. Coming from a family of knitters it’s not surprising and I had always been obsessed with wool jumpers as a kid. I went to Knit-1 in Brighton for an intensive course in domestic machine knitting and absolutely loved it.  I work in the ethos of the ‘Slow Fashion Movement’, making each piece to order so it’s cherished for a lifetime. It embraces craft and function over trends and throwaway culture.

 Liadain's hats and handwarmers are available to purchase through our online shop. 

Liadain Aiken - Merino Knitwear

Liadain Aiken - Merino Knitwear

  Posted by Laura Caffrey

Tell us a little bit about what you make

I knit things – hats, mittens, scarves, jumpers, landscape pictures and blankets. Everything is made on hand driven knitting machines and is fully fashioned, which means each piece is made to shape and hand finished. I love making something especially for someone so with each row and stitch I think of them. I use merino wool from Donegal yarns, it’s great to use an Irish company, their colours are so stunning from the earthy landscape colours to a group I call ‘the party yarns’ that really pop.

Could you describe your studio to us? What is your favourite thing about the space and how do you get into the mindset of making?

My studio is on the quays in Dublin. The knitting room overlooks the river Liffey, so I love watching the rise and fall of the river and often day dream of the green of the moss on the waterline. Mossy green is one of the colours that really makes me feel alive. I share the space with 4 women who are in fashion, knitwear and jewellery. It’s wonderful to be able to sound board ideas off them, we all support each other and the space works really well for us. 

I usually get laptop things out of the way first thing and then move onto knitting. Some days I love to just sit at the machine and knit a few new hat colour combinations or a freestyle pattern. It’s good to let yourself be free in creating from time to time and choosing colours is my favourite part of the process.


What is your favourite tool and why? Where do they come from?

I have a few specific favourite tools, one is an orange handled transfer tool that came with one of the machines. Again a colour thing, bright orange cheers me up. Another tool is a grey hexagon handled latch hook tool, my aunt gave it to me along with a knitting machine that her mother owned. Amazing to be handed down machinery that still works a treat knowing your family once created things with it. Lastly this funny story… my best pal gave me a voucher for a wool shop, I went there and asked if they had any linking machines for sale (a linking machine is a hand-driven machine that is used to join the seams of garments, like a sewing machine but more suitable for wool), they didn’t usually sell them but a lady had just called in the day before saying she was selling her one, it was in perfect condition and cost exactly the price of the voucher. When little things like that fall into place you know you are going on the right path.



Can you describe the making process and inspiration behind your knitwear

Choosing colour is my favourite part of the process. I have two inspirations, the earthy nature colours that somewhat fulfil my desire to make myself really small and be able to live in a home made out of moss, failing that thus far, it’s cosier to create an oversized moss green jumper to bury yourself in. The other is selecting irreverent combinations, ones that pop and clash, are so nearly wrong that they are just right. My inner child delights in colour, I used to leave the house some days and look down at myself and think, Uh Oh I’m a colour mess, now I embrace it and hope that I can bring a smile and some fun into the world.  

The other part of the process is quite technical. I design patterns on paper like in dress making, and then convert it into stitches and rows. It usually takes about 3 goes to perfect a pattern.  Knitting is a slow process, of course using the machines is faster than hand-knitting. I get a kick out of pernickety processes like the intarsia technique I use for the landscape imagery, it’s tedious but so satisfying.


What led you to choosing this craft as a profession? What do you love most about it?

Like a lot of creative people, my path to knitting was quite a meandering one.  After studying Interior Design in college, I knew after a stint of commercial and kitchen design that it wasn’t for me.  I have always loved nature and all the textures that the land offers us. After a stint of travelling through many varied landscapes from the lushness of New Zealand to the raw beauty Bolivia combined with their colourful native dress, I was filled with inspiration. I return home to seek a new path and immediately started hand crafting – making hobby horses and jumpers. I’ve always been into sustainability and found it difficult to find ethical fabric, then I came back to wool. Wool as a raw material sat well with me, it’s durable, ethical and warm. Coming from a family of knitters it’s not surprising and I had always been obsessed with wool jumpers as a kid. I went to Knit-1 in Brighton for an intensive course in domestic machine knitting and absolutely loved it.  I work in the ethos of the ‘Slow Fashion Movement’, making each piece to order so it’s cherished for a lifetime. It embraces craft and function over trends and throwaway culture.

 Liadain's hats and handwarmers are available to purchase through our online shop. 

Stephen Ryan - Traditional Woodwork

Stephen Ryan - Traditional Woodwork

  Posted by Clare Grennan

  • Tell us a little bit about what you make

I produce a range of traditional woodcraft products. Including children’s toys, kitchen utensils, carved spoons and small furniture pieces inspired by traditional life in Ireland.  I use locally sourced hard woods, along with traditional techniques to produce each item by hand. This style of woodcraft is known as green woodwork, using traditional tools to shape green (unseasoned) wood. The products are not sanded, leaving the craftsman’s tool marks clearly visible, completed with a coat of natural oil giving each piece a tactile touch.

  • Could you describe your studio to us? What is your favourite thing about the space and how do you get into the mindset of making?

I’m really lucky to have a workshop based in a woodland, in the heart of the Lagan Valley, in Belfast. It's called Minnowburn and is owned by the National Trust. I get to have my own space, but also work alongside some great people such as Rangers, volunteers, Bee Keepers and Community Gardeners. This idyllic setting really helps to inspire my work.

  • What is your favourite tool and why? 

I have an old draw knife that I use most days. The handles and blade are worn significantly from decades of use and sharpening by its previous owners. The draw knife has been used for centuries, through many woodworking trades from coopers to Wheelwrights to name a few.

  • What led you to choosing this craft as a profession? What do you love most about it?

I have always had a keen interest in woodwork from an early age, taking after my dad, using his tools to make things. I have worked at many woodworking trades for over twenty years, all of which I have enjoyed thoroughly, serving my time as Church Organ Builder, before becoming a furniture maker/restorer. However, after years of working in a sometimes noisy and always dusty environment, I wanted a change, this lead me down the path of green woodwork, it allows me to practice my craft in a healthier and happier environment.

 

Hand carved pencils by Steve are available to purchase through our online shop. 

 

Stephen Ryan - Traditional Woodwork

Stephen Ryan - Traditional Woodwork

  Posted by Clare Grennan

  • Tell us a little bit about what you make

I produce a range of traditional woodcraft products. Including children’s toys, kitchen utensils, carved spoons and small furniture pieces inspired by traditional life in Ireland.  I use locally sourced hard woods, along with traditional techniques to produce each item by hand. This style of woodcraft is known as green woodwork, using traditional tools to shape green (unseasoned) wood. The products are not sanded, leaving the craftsman’s tool marks clearly visible, completed with a coat of natural oil giving each piece a tactile touch.

  • Could you describe your studio to us? What is your favourite thing about the space and how do you get into the mindset of making?

I’m really lucky to have a workshop based in a woodland, in the heart of the Lagan Valley, in Belfast. It's called Minnowburn and is owned by the National Trust. I get to have my own space, but also work alongside some great people such as Rangers, volunteers, Bee Keepers and Community Gardeners. This idyllic setting really helps to inspire my work.

  • What is your favourite tool and why? 

I have an old draw knife that I use most days. The handles and blade are worn significantly from decades of use and sharpening by its previous owners. The draw knife has been used for centuries, through many woodworking trades from coopers to Wheelwrights to name a few.

  • What led you to choosing this craft as a profession? What do you love most about it?

I have always had a keen interest in woodwork from an early age, taking after my dad, using his tools to make things. I have worked at many woodworking trades for over twenty years, all of which I have enjoyed thoroughly, serving my time as Church Organ Builder, before becoming a furniture maker/restorer. However, after years of working in a sometimes noisy and always dusty environment, I wanted a change, this lead me down the path of green woodwork, it allows me to practice my craft in a healthier and happier environment.

 

Hand carved pencils by Steve are available to purchase through our online shop. 

 

Rosemarie Durr - Irish Potter

Rosemarie Durr - Irish Potter

  Posted by Anna Crudge in: Handmade, Irish Ceramics, Kilkenny, Pottery

Tell us a little bit about what you make

I make a range of hand-thrown tableware, made from Stoneware clay that are designed for everyday use.

Could you describe your studio to us? What is your favorite thing about the space and how do you get into the mindset of making?

At the moment I work between two studios. Both of which I share with my husband Ceramic artist Andrew Ludick. Our studio and shop in Castlecomer Discovery Park and the studio we built at home (4 miles outside Castlecomer)  since the kids came along. We split our time between the two so one of us can be home with the children. The studio/shop in the Discovery Park is a converted stable dating back to the seventeen hundreds with exposed stone walls and a red brick floor and our studio at home is a modern wooden structure with plenty of light. Both spaces are great to work in. I love the warm bright feeling I get from our home studio and in our shop/studio, I like being in a space where I'm away from the children and I can focus more on getting work done. So these days the only mindset I need to get into to make is a quite space away from little people.

What is your favorite tool and why? Where do your tools come from?

I have gathered many tools over the years but actually only use three or four on a regular basis. The one I use in the making of every pot is a plastic kidney (it's shaped like a kidney hence the name) I use it to smooth and shape the outside of my pots before I take them off the wheel and I made it myself from the lids of the catering buckets of mayonnaise. I've been making them for nearly 20 years and find that the Hellman's mayonnaise catering bucket lid is the perfect strength of plastic. I also have a porcupine quill which I got from a famous American potter Warren MacKenzie many years ago (he is over 90 now and still making pots) that is an amazing tool for putting holes in teapots among other things and a joy to use. I've since bought more from America as they do wear out after a while.

Can you describe the making process and inspiration behind your work?

Throwing the pots is actually the fastest part of the process it's all the other parts that take time. I weigh out the clay so each cup, bowl, etc. Is the same weight of clay and for my stacking range I set a pointer to make sure each pot is the same size. With my other ranges, I don't do this so these pots are a little more organic. With the stacking range, they need to be exact so they stack neatly. I then let the pots dry for a day or so (depending on the weather) then trim and stamp the bottoms and it's at this stage I add handles if required. After a week or so drying, they are bisque fired up to 1000 degrees C. They come out white, strong enough to handle easily and porous, it's at this stage I glaze them by dipping them into a large bucket of glaze and wiping the bottoms clean then they go back into the kiln and are fired up to 1290 degrees C. This firing takes 12 hours and then a further 24 hours before the kiln is cool enough to open. Then the pots either get packaged up to go out to shops or brought the short distance from the kiln shed to our shop.

I love to make pots. I love the physical act of throwing. I love the challenge of throwing pots that are uniform and exact in a short space of time. It's the joy of cooking and using pots in everyday life that inspire my designs. Function is an important aspect of my work, simple shapes that work well. We live up the hills and on walks along our quiet country road you go from hedgerows to pine forest to hill top views with the vast expanse of fields, distant mountains and big, big skies. All of these things soak into my work.

What led you to choosing this craft as a profession? What do you love most about it?

I studied Graphic Design for a couple of years after leaving school and following that I took up a night class in pottery while working in Dublin, this was the first time I worked with clay and I loved it straight away. I applied for and got accepted to Grennan Mill craft school and following that the   DCCOI Pottery Skills course in Thomastown. That was twenty-three years ago and I have never looked back. I trained as a production thrower, so I'm happiest at the wheel. I am completely at ease while throwing pots and count myself very fortunate to call it my Job.

You can purchase Rosemarie's stacking collection both online and from our Drury street location. 

Rosemarie Durr - Irish Potter

Rosemarie Durr - Irish Potter

  Posted by Anna Crudge in: Handmade, Irish Ceramics, Kilkenny, Pottery

Tell us a little bit about what you make

I make a range of hand-thrown tableware, made from Stoneware clay that are designed for everyday use.

Could you describe your studio to us? What is your favorite thing about the space and how do you get into the mindset of making?

At the moment I work between two studios. Both of which I share with my husband Ceramic artist Andrew Ludick. Our studio and shop in Castlecomer Discovery Park and the studio we built at home (4 miles outside Castlecomer)  since the kids came along. We split our time between the two so one of us can be home with the children. The studio/shop in the Discovery Park is a converted stable dating back to the seventeen hundreds with exposed stone walls and a red brick floor and our studio at home is a modern wooden structure with plenty of light. Both spaces are great to work in. I love the warm bright feeling I get from our home studio and in our shop/studio, I like being in a space where I'm away from the children and I can focus more on getting work done. So these days the only mindset I need to get into to make is a quite space away from little people.

What is your favorite tool and why? Where do your tools come from?

I have gathered many tools over the years but actually only use three or four on a regular basis. The one I use in the making of every pot is a plastic kidney (it's shaped like a kidney hence the name) I use it to smooth and shape the outside of my pots before I take them off the wheel and I made it myself from the lids of the catering buckets of mayonnaise. I've been making them for nearly 20 years and find that the Hellman's mayonnaise catering bucket lid is the perfect strength of plastic. I also have a porcupine quill which I got from a famous American potter Warren MacKenzie many years ago (he is over 90 now and still making pots) that is an amazing tool for putting holes in teapots among other things and a joy to use. I've since bought more from America as they do wear out after a while.

Can you describe the making process and inspiration behind your work?

Throwing the pots is actually the fastest part of the process it's all the other parts that take time. I weigh out the clay so each cup, bowl, etc. Is the same weight of clay and for my stacking range I set a pointer to make sure each pot is the same size. With my other ranges, I don't do this so these pots are a little more organic. With the stacking range, they need to be exact so they stack neatly. I then let the pots dry for a day or so (depending on the weather) then trim and stamp the bottoms and it's at this stage I add handles if required. After a week or so drying, they are bisque fired up to 1000 degrees C. They come out white, strong enough to handle easily and porous, it's at this stage I glaze them by dipping them into a large bucket of glaze and wiping the bottoms clean then they go back into the kiln and are fired up to 1290 degrees C. This firing takes 12 hours and then a further 24 hours before the kiln is cool enough to open. Then the pots either get packaged up to go out to shops or brought the short distance from the kiln shed to our shop.

I love to make pots. I love the physical act of throwing. I love the challenge of throwing pots that are uniform and exact in a short space of time. It's the joy of cooking and using pots in everyday life that inspire my designs. Function is an important aspect of my work, simple shapes that work well. We live up the hills and on walks along our quiet country road you go from hedgerows to pine forest to hill top views with the vast expanse of fields, distant mountains and big, big skies. All of these things soak into my work.

What led you to choosing this craft as a profession? What do you love most about it?

I studied Graphic Design for a couple of years after leaving school and following that I took up a night class in pottery while working in Dublin, this was the first time I worked with clay and I loved it straight away. I applied for and got accepted to Grennan Mill craft school and following that the   DCCOI Pottery Skills course in Thomastown. That was twenty-three years ago and I have never looked back. I trained as a production thrower, so I'm happiest at the wheel. I am completely at ease while throwing pots and count myself very fortunate to call it my Job.

You can purchase Rosemarie's stacking collection both online and from our Drury street location. 

James Carroll - Woodsman

James Carroll - Woodsman

  Posted by Anna Crudge in: handmade, irish furniture, James Carroll, sycamore stool

What do you make?

I make various types of furniture and occasionally both larger wooden things and smaller wooden things. For the most part, the furniture is for sitting on, individual and made of local wood.

Could you describe your studio to us? What is your favourite thing about the space
and how do you get into the mindset of making?

I worked outdoors on trestles for about two years before I built my workshop. When it rained I'd put the tools away. I wanted to make the workshop I had imagined. I knew if I cobbled something together temporarily I wouldn't ever get around to building it. So I also spent that time gleaning materials. Thankfully the only thing I ended up actually buying off the shelf was some steel RSJ's for the uprights, some clear roof panels, and the electrics. It was difficult to complete but I’m glad I did it that way.

I love the fact that it is right next to where I live and so accessible. It is often quite disorganised and crammed full of all sorts. Too much usually. I am always working on improving and changing it. When I do a Big Tidy (about once a month) I get a real creative rush to mess it up again.


What is your favourite tool and why? Where do they come from?

I do like Japanese carpentry tools. A few years ago, after a three-day workshop, the Japanese saw sharpener Nagakatsu gave me a Nokogiri saw he had tuned and sharpened. It was new but made from steel he had procured from a batch of blades made in 1950's. A real humdinger. I was not/am not worthy.

Can you describe the making process and inspiration behind your stools?

For me, it usually starts with the materials and the story behind them. Even if
it is not apparent in the finished piece it is the part of the process that interests me most.

What led you to choosing this craft as a profession? What do you love most about it?

I was always interested in making things and seeing how they are made. I didn't
consciously decide to make it a profession but just kept doing it I suppose. Now though I only do it for the money.

You can purchase James' Sycamore Stools both online and from our Drury street location. 

James Carroll - Woodsman

James Carroll - Woodsman

  Posted by Anna Crudge in: handmade, irish furniture, James Carroll, sycamore stool

What do you make?

I make various types of furniture and occasionally both larger wooden things and smaller wooden things. For the most part, the furniture is for sitting on, individual and made of local wood.

Could you describe your studio to us? What is your favourite thing about the space
and how do you get into the mindset of making?

I worked outdoors on trestles for about two years before I built my workshop. When it rained I'd put the tools away. I wanted to make the workshop I had imagined. I knew if I cobbled something together temporarily I wouldn't ever get around to building it. So I also spent that time gleaning materials. Thankfully the only thing I ended up actually buying off the shelf was some steel RSJ's for the uprights, some clear roof panels, and the electrics. It was difficult to complete but I’m glad I did it that way.

I love the fact that it is right next to where I live and so accessible. It is often quite disorganised and crammed full of all sorts. Too much usually. I am always working on improving and changing it. When I do a Big Tidy (about once a month) I get a real creative rush to mess it up again.


What is your favourite tool and why? Where do they come from?

I do like Japanese carpentry tools. A few years ago, after a three-day workshop, the Japanese saw sharpener Nagakatsu gave me a Nokogiri saw he had tuned and sharpened. It was new but made from steel he had procured from a batch of blades made in 1950's. A real humdinger. I was not/am not worthy.

Can you describe the making process and inspiration behind your stools?

For me, it usually starts with the materials and the story behind them. Even if
it is not apparent in the finished piece it is the part of the process that interests me most.

What led you to choosing this craft as a profession? What do you love most about it?

I was always interested in making things and seeing how they are made. I didn't
consciously decide to make it a profession but just kept doing it I suppose. Now though I only do it for the money.

You can purchase James' Sycamore Stools both online and from our Drury street location.