Daring design, decadent detailing, disruption and innovation at the Great Northern Contemporary Craft Fair

This weekend I went out in search of new approaches to craft at GNCCF. Seeking the fearless and provocative, defined by a daring approach to form, fascia and function. As a designer concerned with divergence, meaning, innovation and transformation, naively or otherwise, I didn't hold out much hope that I would discover many creative leaps in work produced by makers often concerned primarily with the perfection of process. Thankfully, hidden within the rows and rows of glass vessels, fine silver jewellery and printed cushions, there were some hidden gems to be found, the first to catch my eye was the work of Anna Collette Hunt.

She is a contemporary fine ceramicist, who creates sensual and emotive subliminal reference, through both a visual and kinaesthetic experience. Instantly recognisable to me, I recently discovered her insect installations at the Yorkshire sculpture park, where swarms of individually and uniquely sculpted bugs infested the interior walls and stairways. Her work retains the "one of a kind" factor you might expect from a crafts person, yet the scale and overall aesthetic lends itself to repeats and memorable impact. This is also true of her new decorative plate ranges which present with a wildly eclectic mix of the wild, obscure and overlooked. Graphically, somehow her combinations of traditional motif combined with iconic symbology, work on a level which both captures the imagination and provides the eyes with a visual feast. 

Infestation, manifestation, rich imagery and metaphor seem to be some of the stronger design elements that merge to form a growing, revolutionary aesthetic trend of late. These themes occur heavily in my own recently launched interior collections, Weather Pattern wallpaper, Emperor lighting and Taming The Wild silk cushions.

There is a dark graphic edginess to such work which both intrigues and disturbs. In a practical sense, there is little invention to report, yet emotively, through visual narrative and subliminal reference the formations speak to a place deeper within us. Aligning with the iconic prints of Timorous Beasties and the eclectic darkness of Fornasetti, the same approach to disruptive detailing can be noted in the work on show by Swarm Design, also exhibiting at GNCCF. 

Director Adam Slade describes his work as:"An eclectic mix of flora, fauna, antiques, anatomy and statuary, which in a bizarre and slightly surreal way, all connect together to form beautiful and unusually enchanting narrative scenes."Subtle repeats, relating to creatures and objects that feel sacred yet slightly creepy, combine to create an opulent and overtly indulgent aesthetic. The prints feel bold and brave featuring a startling visual contrast and just the right balance between the ethereal and the corrupt. 

Eerie... Yet acutely alluring, another designer to project a contemporary twist on objects embodying historical charm, can be found in the new work of Eleanora Edlavich. An MA ceramics graduate from Staffordshire University, she has created delicate vessels with ornate detailing including three dimensional cameos, which project fresh appeal and appear reborn through the fresh pastel colouring. Thus, perceptible  innovation is born of intervention, sensual, subtle twists, that warp our perception of tradition, project exciting possibilities for a new aesthetic in both design and craft. 

Much of the output described thus far has a clear emphasis on the reconstruction of visual language, through colour, image and interpretation thereof. The work makes no claims to add creative practical value, but could still be deemed as inventive as an evolutionary visual shift which heightens user awareness of their own engagement with their surroundings. Two other makers with a more physical approach to decadence and disruption are Eluned Glyn (ceramicist) and Olly from Madmade (fine artist / designer craftsman). Both their stands stood out instantly to me, in the reconfiguration of what we may perceive to be proper and correct.

Eluned Glyn takes existing vessels, deconstructing the forms and recreating from fragments. The resulting objects appear distorted and dislocated. A sort of "controlled chaos" that dislodges our prior understanding of the purpose of geometry in three dimensional form. 

The same can be said of Olly's work, yet his motivation for creation derives from a very different source: "Putting time and energy into saving precious materials through reuse and repurposing, I can save artifacts from deterioration and elevate their status to valued artifact." Whatever the driving force behind production, the outcomes are daring, forcing the us to question both our expectations and our acceptance of the unconventional. Perhaps we could describe the resulting impact as intellectually innovative? 

The idea of decadence in design, celebrating decay, moral decline or that which disturbs, could be said to be the key element in the growing trend behind inventive approaches to emotive response. 

Emilie Taylor builds large scale ceramic vessels immortalising modern day urban icons. In sharp contrast to early European sgraffiti and frescoes which tend to glorify the gods and the gentry in all their divinity, the resulting artifacts bear a more meaningful relationship to our everyday experience. The images prompt us to form a deeper affinity with the work as a direct reflection of first hand encounter.  

All these examples are brave. Some might call it degenerate, I prefer to think of them as inventive responses to the very concept of what constitutes innovation. 

In a time when technological advancement seems to be the benchmark for creative value, I ask, are we forgetting human response and relatability in favour of the machine?

These designers have all a conceptual focus which visually taps into our inner psyche forcing a mental shift. This perhaps, it could be argued, is fundamentally more valuable as innovation than a shorter term practical advancement which relies heavily on current technological capabilities... 

All views are my own. Email your thoughts to ilsa@ilsaparry.com