Meet the Fellowship duos taking a responsible approach to craftsmanship

Most craftsmanship techniques can be traced back to many centuries ago, when the only means of production was handmade. Today, they offer a sustainable way of consumption that promotes slow making and conscious production as an antidote to mass production and irresponsible over consumption. For crafts to keep moving with the times, they need not only to respond to the design aesthetic of clients but to be aware of the changing face of the planet and its climate. With this in mind, the selection jury looked for duos who are showing a conscious approach to their crafts. Here below, we get an insight into three duos who seek to be responsible in the way they practise their cherished crafts, from a guardian of an ancient felting technique in France which uses eco-friendly materials to a ceramicist in Norway reimagining kiln firing.

Using wood firing to reduce pollution in ceramics

Ole Morten Rokvam & Line Blom Salvesen, Ceramics, Norway

Ole Morten Rokvam is a ceramicist from the small town of Risør in southern Norway. His work is primarily high fired in a self-built wood kiln, during his career he has built over 60 of them. Best known for his sculptural teapots, he works with terra cotta, stoneware and porcelain. Ole is very conscious on the impact production has on the planet and as such has explored and investigated a new way of wood firing that reduces the amount of fuel and pollution by up to 90 percent, making wood firing the clean way to fire his work. “We, as artists are responsible to help and do what we can in our production to reduce the impact on our climate through our work process,” he explains of his approach. This year he is building a new kiln to introduce to the Norwegian crafts community by building two more at different locations in Norway and probably one in China by 2026.

His fellow Line Blom Salvesen is an aspiring ceramicist from Oslo. She fell in love with the craft when she tried wheel throwing during her exchange studies in South Korea. This experience inspired her to change her career path from industrial design to ceramics. She recently finished her craft studies which included a two-year apprenticeship at a pottery studio. She is excited to work with Ole Morten Rokvam, as an acknowledged wood firing ceramicist, he can teach Line how to build and use wood fire kilns, an ancient knowledge that is very rare even among professional potters. “With Line's keen interest in wood firing I am giving her an insight into a «new» world within firing of ceramics, a field we will need years to explore and perfect,” says Ole. “I am very motivated to learn the craft of wood firing because it brings outstandingly beautiful results to the ceramic ware and connects the user to the materials, the process of making and to nature. These are important factors to create engagement and interest in crafted items and craft culture,” says Line of her aspirations. ‘

Speaking of her home country, Line expresses that it is “a great place to excel in the craft of wood fired ceramics as wood is a climate-neutral and renewable resource which is abundant in Norway.” Line wants to create useful objects that have a history and speak to people. “I believe that great craft is important to the future because it has the power to combat throwaway mentality, a key contributor to sustainability,” Line explains. This is echoed by Ole’s desire to make “sculptures inspired by our past architecture and machines looking for clues about where we come from and where our world is going.” Above all, Line wishes to connect the public to the process of making, “I want to be able to facilitate public wood firings, inviting and teaching other potters and artists, engaging the local society and keeping the tradition alive and the foundation of the craft strong.” In this way, Line hopes to help people be less distanced from the production of items, to evoke curiosity and appreciation for what is human made and tied to the Earth.

Eco-responsible materials to contemporary tapestries

Laurine Malengreau & Emma Fardeau, Textile creation, France

Laurine Malengreau lives in Aubusson and is strongly influenced by the region’s heritage of tapestry making. Laurine creates large-scale wall hangings from silk and wool using the Nuno Silk technique which she learned from her Spanish master 15 years ago. "I dress walls, starting from the traditional French wall hanging of ancient bourgeois residences, I reinterpret it according to my technique and my taste," Laurine explains. Nuno Silk is a rare and unknown branch of felting, an ancient technique from Asia that involves no sewing, weaving or glue to combine merino wool and natural silk. It binds loose fibre into a sheer fabric such as silk gauze, creating a lightweight felt. “Felting is booming, especially with the growing recognition of its naturally eco-responsible material of choice: wool. Despite all this, in the collective imagination felting is still a long way from where I want to take it, to be recognised as a masterpiece of art.”

Passionate about hands-on activities since early childhood, fellow Emma Fardeau studied applied art, design, and textile crafts at École Européenne supérieure d’art de Bretagne. She has recently completed a master’s specialising in eco-responsible, ethical, prospective and innovative textile design. As part of her studies, she embarked on a tour around France to meet textile designers and creators. “My ambition is to combine creativity, innovation and tradition, thereby contributing to the development of arts and crafts today and for future generations,” she says. Emma is looking forward to the placement in Laurine’s to get to know each material, the techniques and the appropriate tools used to master Nuno Silk, from the bamboo mats to the felting machine.

Laurine hopes to show her how she is working to modernise and revitalise the concept of felting and to give her the opportunity to explore the surrounding rural region known for the high quality of its wool industry in depth. Laurine plans to organise weekly meetings with local craftspeople to stimulate Emma's approach to Nuno Silk, enriched by different points of view from the famous Aubusson textile world: dyers, weavers, upholsterers, restorers, sheep farmers, spinning mills, Lainamac and the City of Tapestry. “I would like to take advantage of Emma’s presence and fresh perspective to research new materials, suppliers, shapes and natural dyeing which is extremely rare for unspun worsted wool,” expresses Laurine.

Creating contemporary furniture from a natural material

Navid Gholipour & Natali Touloupou, Woodworking, Cyprus

Navid Gholipour was born in Iran, and is now based in Limassol, Cyprus where he runs Lovenlight studio with his brother Sahand. Previously a graphic designer, Navid taught himself woodworking. The challenges and details presented by wood led him to become a professional woodworker, alongside his brother. Their designs merge the diversity of Eastern forms with Western modern design and seek innovation while respecting tradition both in functionality and form. As a result what emerges through their objects is a sensitive and joyful approach to creativity. “Mass production and irresponsible consumption are the main challenges for the survival of craftspeople. Yet, we believe that artisans can raise public awareness. They can also influence culture by doing what they love,” says Navid of their shared philosophy.

Navid’s fellow, Australian Cypriot Natali Touloupou is a versatile graphic designer with a background in tapestry weaving and book design. As a talented designer with a passion for hand crafting and woodwork, she is looking forward to incorporating craftsmanship into her career path. Her aim is to increase her knowledge and enhance her skills while also incorporating everything she learned so far in her design process. “During the Fellowship I want to expand my knowledge on the whole process of designing with wood, to be offered hands-on experience and useful tips, so that I can create innovative solutions to creating functional pieces with the environment in mind,” explains Natali of her hopes for the placement at Lovenlight studio.

Speaking of their shared goals for the Fellowship, Navid and Sahand explain that they are eager to pass on the woodworking, design and business knowledge they have accumulated over the years but they also equally look forward to welcoming fresh ideas which will help their practise to evolve and adjust to the demands of an ever-changing environment. “Our aim as craftsmen is to continue our journey of growth by designing and creating beautiful, timeless pieces that combine traditional techniques with striking, contemporary design and natural materials.”

homofaber.com

@homofaber

Homo Faber Fellowship is a 7-month sponsored professional integration programme designed for duos of master artisans and craft graduates, proposed by Homo Faber NextGen. The second edition begins for the fellows in September 2024 with a one-month creative and entrepreneurial masterclass taught by ESSEC Business School and Passa Ao Futuro at the International University of Art in Venice. The participating fellows will then spend six months in the workshops of their paired master artisans across Europe. During these months spent in the workshop together, the 23 duos will be challenged to design and handcraft a co-creation inspired by a theme chosen by the programme’s supporting partner Jaeger-LeCoultre. The Fellowship is developed in partnership with local members of the Foundation’s network. homofaber.com

The Michelangelo Foundation for Creativity and Craftsmanship is a non-profit institution based in Geneva, which champions contemporary craftspeople worldwide with the aim of promoting a more human, inclusive and sustainable future. The Foundation seeks to highlight the connections between craft and the wider arts and the design world. Its mission is to both celebrate and preserve craftsmanship and its diversity of makers, materials and techniques, by increasing craft’s everyday recognition and its viability as a professional path for the next generations. The Foundation presents Homo Faber, a cultural movement centred on creative artisans worldwide. Its signature projects are education programmes for the next generations, an international biennial celebration and an online guide. homofaber.com

michelangelofoundation.org

Supporting partner of Homo Faber Fellowship:

Jaeger-LeCoultre: The Watchmaker of Watchmakers™

Since 1833, driven by an unquenchable thirst for innovation and creativity, and inspired by the peaceful natural surroundings of its home in the Vallée de Joux, Jaeger-LeCoultre has been distinguished by its mastery of complications and the precision of its mechanisms. Known as the Watchmaker of Watchmakers™, the Manufacture has expressed its relentlessly inventive spirit through the creation of more than 1,400 different calibres and the award of more than 430 patents. Harnessing 190 years of accumulated expertise, La Grande Maison’s watchmakers design, produce, finish and ornament the most advanced and precise mechanisms, blending passion with centuries-old savoir-faire, linking the past to the future, timeless but always up with the times. With 180 skills brought together under one roof, the Manufacture creates fine timepieces that combine technical ingenuity with aesthetic beauty and a distinctively understated sophistication.jaeger-lecoultre.com

Institutional partners:

Asociación Contemporanea de Artes y Oficios (ACAO) is an association that promotes both traditional and contemporary Spanish crafts. They seek to protect Spanish craftsmanship, and use it to foster the development of culture, history and art and boost its economic benefits on the environment and tourism industry. Their main targets are to ensure an environment in which Spanish craftspeople can thrive and to aid them in having further commercial reach in Spain and internationally espanaartesana.com

The B&M Theocharakis Foundation for the Fine Arts and Music aims to encourage the public to enter into a wide-ranging and interdisciplinary dialogue with music and the visual arts. Founded in 2004, this non-profit organisation promotes the work of Greek artists at home and abroad, with support for networking, and maintains a directory of artisans. The foundation sponsors educational and academic research, and its cultural centre in the heart of Athens hosts exhibitions, concerts, lectures and educational activities as well as a café and art shop. thf.gr

Established in 1986, the Centro de Formação Profissional para o Artesanato e Património (CEARTE), is a vocational training centre in the craft sector, with its headquarters based in Coimbra. CEARTE masterminds training projects all over Portugal, supporting creativity, skills and talent development. Respecting and upholding time-honoured techniques and heritage skills, the organisation also places a focus on restoration and patrimony, as well as innovation. cearte.pt

The Cyprus Handicraft Service (CHS) is the Republic of Cyprus governmental body under the Deputy Ministry of Culture, responsible for promoting and preserving the rich heritage of Cypriot craftsmanship while enhancing its competitiveness through research and design innovation. The CHS designs and implements policies, to ensure that the local know-how in craft making will be preserved and passed on to the new generation of artisans. cyprushandicraft.gov.cy

Design & Crafts Council Ireland is the national agency for craft and design in Ireland, we support designers and makers to develop their businesses in a sustainable way, and advocate for the societal benefits of craft and design. DCCI's activities are funded by the Department of Enterprise, Trade and Employment via Enterprise Ireland. DCCI currently has 64 member organisations and over 3,500 registered clients. dcci.ie

Institut pour les Savoir-Faire Français (The French Savoir-Faire Institute) is a non-profit association founded in 1889. Their work is recognized by the French Ministry of Economics, Finance and Industrial and Digital Sovereignty, the French Ministry of Culture, and the French Ministry of National Education, and Youth. They conduct a support policy for fine crafts as well as Living Heritage Companies. The Institute actively participates in the promotion of French savoir-faire at national and international levels institut-savoirfaire.fr

The Norwegian Folk Art and Craft Association is a non-governmental organization that has over 350 local member groups across Norway. Since its inception in 1910, the association has been steadfast in its mission to champion traditional Norwegian handicrafts, perpetuate craft skills, and spread the joy of creating. In 2014, it achieved UNESCO accreditation. A core aspect of their work involves teaching craft skills, with numerous courses offered by local member groups nationwide. husflid.no

Nów. New Craft Poland is an association of original craft studios from all over Poland. The unique pieces created by their members are of the highest quality of workmanship. Their objective is to spread knowledge about contemporary Polish craft and promote it at home and abroad. They represent the interests of their members while dealing with public institutions and business. nownowerzemioslo.pl

The Queen Elizabeth Scholarship Trust (QEST) is a charity that transforms the careers of talented and aspiring makers by funding their training and education, creating pathways to excellence and strengthening the future of the UK’s craft sector. To date, QEST has awarded more than £6million to almost 800 individuals working across the UK in 130 different craft disciplines. While their Crafting Tomorrow programme inspires a new generation of makers through key partnerships. qest.org.uk

Academic partners:

ESSEC Business School, founded in 1907, is one of the world’s top management schools and holds the “triple crown” accreditation from EQUIS, AACSB and AMBA. With 7,221 students; a faculty comprised of 169 full-time professors, 23 of which are emeritus professors, in France and Singapore, recognized for both the quality and influence of their research; a wide range of management training programmes; partnerships with the world’s best universities; and a network of 65,000 alumni, ESSEC continues to foster a tradition of academic excellence and a spirit of openness in the fields of economics, social sciences and innovation. In 2005, ESSEC opened a campus in Asia. ESSEC’s operations in Asia Pacific, strategically located in Singapore, present the perfect foothold for ESSEC to be part of the vibrant growth of Asia and to bring its expertise to the expanding region. Additionally, in 2017 ESSEC opened a new campus in Rabat, Morocco. ESSEC’s international expansion allows students and professors to study and understand the economic forces at work in the different regions of the world. essec.edu

Passa Ao Futuro founded in 2016 by Astrid Suzano and Fatima Durkee, is a cultural initiative non-profit association that seeks out craftspeople in Portugal working with traditional techniques. It strives to support these communities and people through the documentation and preservation of their tacit knowledge, the development of case specific social, environmental and economic sustainability programmes, with a focus on the celebration and passing on of skills. The association activates this network through several initiatives including residencies, summer schools, exhibitions, social innovation and sustainability training. It supports the crafts as a catalyst for a regenerative future. passaaofuturo.com

Creative residency:

Since 1969, UIA Università Internazionale dell’Arte (International University of Art), located at Villa Hériot, is the most prestigious professional training centre in the field of cultural heritage restoration and conservation in Venice. Since its foundation, UIA has been a point of reference for education and training in the field of art, and a place of experimentation between the world of academia and the world of work. uiavenezia.com

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