Catalyst

Catalyst explores the pivotal role that the Craft Setting Up Grant has played in the development of the Applied Art in Wales by reflecting on eight individual makers’ profiles – chosen from a comprehensive overview of three decades in order to reflect the diversity, longevity and generational span of the scheme.David Colwell is a designer of well-considered, sustainable and comfortable seating and other furniture. Simon Hulbert makes functional garden vessels based on traditional designs with a high level of finish. Cefyn Burgess is a highly prolific designer of woven textiles, rugs, embroidered pictorial works, as well as various roles designing for industry. Claire Curneen is acclaimed for her highly individual, hand-built, large scale figurative ceramics which take their visual inspiration from her Irish Catholic heritage. John Neilson’s practice combines craft and literature, manipulating the recognisability of letterforms whilst retaining their individual character and integrity. Lowri Davies makes slip cast ceramics in white earthenware, drawing upon personal memories, inherited artefacts and Welsh culture. Claudia Lis makes a range of highly finished ceramics, primarily wheel thrown in small batches using porcelain or white stoneware. Laura Thomas, who has just recently received a Creative Wales Award from the Arts Council of Wales, uses computerised sampling looms and software to develop her woven textiles for a multiplicity of applications.The Crafts Council Setting Up Grant Scheme was initiated in 1973 by the Crafts Committee of Great Britain and devolved to the Arts Council of Wales in 1999. As well as the eight named above, some of the country’s most acclaimed makers have been beneficiaries, contributing enormously to the strength of professional craft practice in Wales. All acknowledge the huge benefits of the business support and mentoring that accompanied the grants which they received.Over thirty years, this very special support has contributed to a vibrant craft community in Wales. This exhibition comes at a time when many of the key structures which make up the contemporary craft world would have been in flux, a time when it is appropriate in the face of changing bureaucratic priorities, to celebrate an enlightened funding strategy and argue for its continued development