#shop selling ceramic clay vessels | Explore Tumblr posts and blogs

jeremystrele · 4 years ago

Text

Behind-The-Scenes Of The Online Store With ALL Our Favourite Makers!

Studio Visit

by Sally Tabart

Kelly Thompson is the founder of Makers’ Mrkt – s full-time title as of 2020! Photo – Amelia Stanwix for The Design Files.

Her luscious Ivanhoe pad also doubles as a studio. Photo – Amelia Stanwix for The Design Files.

Photo – Amelia Stanwix for The Design Files.

Photo – Kelly Thompson.

A wall full of makers! At a glance, we can spot ceramics by Ella Reweti, twisted glassware by Thomas Maxam and knotted clay candle-holders by Arowm. Photo – Amelia Stanwix for The Design Files.

Every piece is wrapped in Beci Orpin-designed graphic! Photo – Amelia Stanwix for The Design Files.

Beci Orpin wrapping paper on some Makers’ Mrkt goodies. Photo – Amelia Stanwix for The Design Files.

Kelly’s favourite part of her job is the creative community she gets to support and surround herself with every day! Photo – Amelia Stanwix for The Design Files.

A lineup of makers including Kerryn Levy, Andrej Urem candles, Drew Spanenberg glass bowl, Asobimasu Clay ceramics and brass incense burners from Subtle Bodies. Photo – Kelly Thompson

Wundaire incense holders, Ovum vase, Kura Studio garlic grater and Deborah Sweeney candle-stick holders. Photo – Kelly Thompson

Kelly’s coffee table decked out with a vessel from Clae Studio and a Kura Studio incense holder. Photo – Amelia Stanwix for The Design Files.

A pocket of well-curated heaven. Photo – Amelia Stanwix for The Design Files.

A picture of style and grace! Kelly at her home base. Photo – Amelia Stanwix for The Design Files.

A perfect burnt orange corner is complete with a giant Gidon vase. Photo – Amelia Stanwix for The Design Files.

What a lineup! Ceramics from Deborah Sweeney, Kerryn Levy and Eun Ceramics beside a Kura Studios incense holder, Andre Urem candle and glassware from Drew Spanenberg – all from Makers’ Mrkt. Photo – Kelly Thompson

If you’ve ever thought you’ve discovered a little-known maker on Instagram, chances are Kelly Thompson is already all over it. There’s nothing she loves more than finding and nurturing new talent, providing a platform and a place to sell their wares in her online store, Makers’ Mrkt.

But this isn’t just any ordinary web-shop! Kelly invests a huge amount of time and energy in curating an exceptional stable of artists and makers who she works with closely to develop a tight edit of wares from Australia, New Zealand (where she’s from) and beyond. She’s the kind of person who will send you an impeccably wrapped gift out of the blue, just because she sees you working your butt off. To put it simply, her taste is on point, and her vibes are high!

Kelly has had a winding career path that has taken her from photography and styling, to commercial illustration, to artist management – and all roads have led to Makers’ Mrkt. The multifaceted creative takes us through her journey, what she looks for in a maker, and how her business has grown over the last three years!

Hey Kelly! When did you start Makers’ Mrkt, and why?

Kelly: I started Mrkt as a hobby. I just wanted to do something without any pressure, that was outside of my own creative work, and would benefit the talented creatives I know and admire. As a freelancer, I was sick of my work being all about my individual skills, and I just wanted to do something positive outside of me for my creative community.

As an illustrator, I know how hard it can be to sell a print or product on my own personal folio site. It soon dawned on me that it must be so much harder to find that product if you’re not lucky to be surrounded by creative community and know plenty of talented makers like I do. What does John the accountant even Google if he wants to shop from independent talent? And would said talent even appear on Google? I officially launched my site exactly three years ago, but until this year it was just on the side and very much a hobby. It’s really only this year that I’ve dug my teeth in so I almost count this as year 1.

You stock brands from overseas as well as Australian makers. What are you looking for in a Makers’ Mrkt brand?

Good personalities are key, just as much as the product!

Initially it started as a pool of people I either knew or had shopped with or just swooned over anytime I saw their work, but the main criteria was that they had to be genuine, nice, positive, productive people – there’s no room for dicks on Mrkt! When looking for makers now I have a few more criteria: Are their products made by hand and/or ethically and sustainably? Do I look at their work and just think “WANT!”? Is there something about them as a person that resonates with me or can I see potential in their work that I’d like to nurture?

I also really want the store to be unique, whenever I find a new maker, I check around to see who else they’re stocked with, are there too many cross-overs? I even contact stores sometimes to see if they mind if I stock a Maker I know they’ve nurtured from the start. As someone who spends a lot of time building an edit and researching I really want my edit to be mine. I love nothing more than finding someone talented who only has a small following on IG and hasn’t even considered having a stockist.

The Makers Mrkt identity expands beyond the brands – you have created such a nice world with interviews and incredibly strong campaign photography. What was your vision for the overall direction?

Oh thank you! I think that’s because Mrkt wasn’t launched for the sake of launching a shop to make money, Mrkt was launched because of my love for the amazing people in my community. It’s easy to create a world when it comes from inside rather than from a box-ticking marketing plan.

My ongoing vision for Mrkt and the driver is really to educate the consumers about the makers products, but also share why the products are so special, who makes the products, how are they made? Why is it important to choose these items over a mass-produced product?

Is it just you running Makers Mrkt? If so, what’s that like?

Pretty much! But I am genuinely fuelled by it and obsessed with it – it energises me. I grew it by investing any illustration money or consulting money into it, and that’s how I’ve got it off the ground. Even though that’s really hard, it’s also very satisfying and rewarding to think “Hey, I did all of this”. I feel like the makers are also all so supportive with sharing my content too, they’ve been integral to the growth, I feel like they want it as much as I do. It’s a team effort so shout out to them for saying yes to me when I was just starting!

I run all the admin, packing, budgeting, buying, styling, shooting, retouching, site, socials, but I do have a new freelancer Kate who writes my newsletters and does my Facebook ads, thank goodness for her! I have also have Tully who’s taking over my blog now… she also saved me with Xmas wrapping this week! Just recently I got my first mentor, Dan, why didn’t I have a mentor when I was 20!?

what is the most rewarding part of your job?

The relationships that I’m building with the makers, I just feel like a proud mum watching them grow. It’s also so heartwarming to receive emails from customers about their orders, or have people tell me how they discovered a brand through the site and love it.

Overall though, I think one of the main rewards is seeing and hearing that people have started to think differently about the way they shop.

Check out Makers’ Mrkt here!

Every Christmas order from Makers’ Mrkt is hand-wrapped by Kelly, and is available for IRL pick-up for all those last-minute buyers!

0 notes

mtairyartgarage-blog · 4 years ago

Photo

Nathalie Borozny— [email protected]

Vineyard Leeks, print on handmade paper, $150

Nathalie Borozny attended the Rhode Island School of Design and the School of Design, Architecture and Art at the University of Cincinnati. She has spent most of her professional life as a teacher and program director with three and four year old children and their families where she tried to make it possible for them to make art. In addition, she has and continues to study the art of paper and handmade books with Sandy Bernat in Martha’s Vineyard. In Philadelphia she is a student and admirer of Winnie Radalon and also continues to learn from the women with whom she makes paper. Nathalie’s work has been shown in exhibits by the Guild of Papermakers, Mt. Airy Art Garage and the Philadelphia Sketch Club.

Nathalie lives in the Germantown section of Philadelphia with her retired husband, Jim, near Rittenhouse Town where paper was first made in the United States and where she walks along the Wissahickon Creek amassing another amazing collection of twigs, stones, bark. She occasionally makes forays into Ridley Creek State Park, and every autumn she photographs Martha’s Vineyard. Her photographs are printed on her handmade paper; cotton/abaca, gampi and kozu.

Bill Brookover — [email protected]; billbrookover.com

Rotating Triangles, Constructed Collage, $260

This piece is a demonstration of my love of making. It starts with designing an intriguing pattern that is then transformed through printmaking into layers of paper. These are then cut apart and collaged together to create this dynamic image.

Bill Brookover is a printmaker whose work is based in his training in design and architecture. Born in West Texas, he studied art and architecture at Rice University, historic preservation at Columbia University, and printmaking at Fleisher Art Memorial. His prints explore design, color, texture, and geometric structure.

Brookover is a teaching artist at Fleisher Art Memorial, a community art center in South Philadelphia, where he has taught printmaking since 2010. In 2014 he began leading tours of Hidden Print Collections for Fleisher printmaking students. He volunteers at the Print & Picture Collection of the Free Library of Philadelphia building a digital catalog of the Fine Art Print collection. In 2014 he served as Independent Curator for Eugene Feldman Offset Lithographs, Print & Picture Hallway Gallery, at the Parkway Central Library. He is a member of Second State Press, Mt Airy Art Garage, and The Print Center in Philadelphia.

Sheila and Debbie Brown — [email protected]

Kumhimino Braid Necklace & Earrings, Glass seed beads with Sterling Silver Clasps & Ear Wire — $46

Jeanne Z. Bustard — [email protected], (215) 242-4529

Enchanted Garden, Acrylic on Canvas, $75

In these paintings, I experiment with a variety of tools for applying paint to canvas in order to create texture and motion. I thoroughly enjoy the process of painting, the tactile quality of the paint itself, and the physical sensation of applying paint to canvas.

I am fascinated by the constant surprises that occur as I paint the world through the filter of my internal vision, and by the responses of viewers who look through a lens of their own.

George Bustard — [email protected], (215) 242-4529

Graying Sky, Acrylic on Canvas, $150

There is, you see, this loop:

I look. I feel. I reflect. I remember.

So, when the time comes to face another empty canvas,

And look with fresh and newer eyes,

I dip into those remembered meanings.

Then, through muscle and medium, ground and detail,

Shadow and substance,

mountains and mist emerge,

Sea and sky and evening shadow.

Or, simply, form and color, standing alone. Standing together.

Do I paint what I see with my outer eye? Sometimes.

Do I paint what I see with my inner eye? Always.

So… an invitation: You look. You feel. You reflect. You remember.

Do you see what I see?

Do you feel what I feel?

You do?

May the loop continue.

Jackie Clifton — [email protected]

Ceramic Plates, Set of three, $75

I’ve been making wheel-thrown and hand-built pottery since 1996 and currently own and work from a studio in Philadelphia, PA. In addition to my Etsy store, I sell my work through galleries, gift shops and shows.

For many years I lived in the southwest and much of my work reflects the colors, culture and dramatic landscape of that area. I also love the beautiful changing seasons in Southeastern Pennsylvania and am working to incorporate that beauty into my newer pieces.

I produce functional and decorative pieces intended for use in daily life. Home and garden decor as well as functional dishware, bird houses and feeders, garden markers, indoor or outdoor wall pieces are among my most popular work.

Kenneth Crimaldi — [email protected]

Red Leaf, print, $75

Many of my images are of signs or remnants of signs or other objects on surfaces, and also other types of abstract and/or minimalist scenes. Another photographer once told me I was “obsessed” with this subject matter – he meant it in the best possible way (I like to think). Images of this type are intended to be abstract, not necessarily in the sense that one can’t tell what was photographed, but in the sense that they were not made to depict what was in front of the lens, but instead to present patterns, textures and compositions for their own sake. One might consider them “semi-abstract” or some other term, but I don’t believe categorization is really helpful.

This interest in patterns, textures, etc. carries over somewhat when I’m photographing nature as well. A lot of what I do with natural subjects is macro work emphasizing their more abstract qualities over literal depiction. The images often end up being about pattern, texture, color, composition or some combination of these.

Laura Demme, laurademme.com

Raku Vessel, $150

Raku is a form that offers endless ephemeral possibilities. Consistently surprised by the results, somehow the Raku surface speaks to me most eloquently. The glaze sits lightly on the surface of the clay, enhancing the texture, rather than concealing it. When I describe to my students what the results will be, I tell them the range of possibilities, not the definite outcome. If you are not pleased with a piece, put it away for a week, a month, a year. Then look at it with fresh eyes!

Too many times as artists we try to control the results, leaving us closed to other possibilities. Raku firing frees me from that, giving new ways to look at art, the mysterious ways of fire and glaze, the accidental happenings, the gifts of the kiln goddess!

I teach Hand Building, Sculpture and Raku and Alternative Firing at Cheltenham Center for the Art, Wayne Art Center and Community Arts Center in Wallingford, Pa. I also teach Encaustic Painting, Concrete Sculpture and Doll Making.

We are on a voyage, trying to see and learn the most possible in our short time here. Don’t Stop!! Keep Moving!!!

Laura shows her work regionally and nationally, a juried member of the Pa Guild of Craftsmen in Ceramics and a Potters Guild Member. You can see more work on www.thepottersguild.com.

Robert Finch — [email protected]

Figure Drawing, Mixed Media, $600

Wissahickon, Hand Colored Lithograph, $400

#2015

0 notes

connorrenwick · 6 years ago

Text

Where I Work: Zai Divecha

Zai Divecha is a Bay Area native artist based in San Francisco, California, whose creative explorations began with metal. After graduating from Yale (both undergrad and grad), the cycling enthusiast became a metalworker who just recently transitioned into working with paper. Now she’s creating small and large scale geometric works made from paper featuring repetitive pleat patterns. For this month’s Where I Work, Divecha opens the door to her shared studio space in the Dogpatch neighborhood for a look at her process.

What is your typical work style?

I’m a morning person, so I like to get my day started early. A few days a week, I get up at 5am to do a 30-mile bike ride before going into the studio. There are few things I love more than cycling. And going out at dawn — when the fog is still thick and the light is a cool, grayish blue — is the absolute best.

I usually get into the studio by 10am, and work until 7 or 8pm, taking breaks to chat with my studiomate or take Simi out for a walk. Some days end up being more computer- or admin-heavy; other days are more focused on making. Unless I’m really in the zone, my brain typically shuts off around 8pm, and I’m useless after that.

What’s your studio/work environment like?

The studio is bright, cozy, and clean. A huge skylight lets tons of light in. When we moved into this space, my studiomate and I laid the flooring ourselves, and we chose a pale gray color in order to bounce as much light as possible into the room. We mop the floors regularly to keep the dust under control. Lots of plants, candles, and furs make it feel cozy and welcoming. I’m a neat freak, so I need the surfaces around me to be clean in order to think clearly and feel creative. The less clutter I have in sight, the more focused and creative I am.

My studiomate Emi Grannis is a big part of my daily life. She’s a metalsmith who makes fine jewelry, and she’s also one of my very closest friends. Even though we each run our own separate businesses, Emi and I help each other out constantly throughout the day: she’ll take photos or videos of me working for my Instagram; I’ll help her draft tricky client emails. She’ll weigh in on my design decisions; I’ll help her triage her to-do list. We know each other’s strengths and needs, and we’re good at making the other person feel supported, focused, and happy. It’s pretty special. I don’t know where we’d be without each other.

How is your space organized/arranged?

We have a small studio space on the mezzanine level of a shared metal shop called ShopFloor. It’s located in the Dogpatch neighborhood of San Francisco, and it’s three blocks from where I live (best commute I’ve ever had). Our studio is 270 square feet, so it’s pretty compact. I have my little zone at one end of the room, Emi has her workspace in the middle, and at the back, we have a lounge area with a couch and a makeshift kitchen (mini fridge, microwave, tea kettle). The couch was a game-changer — having a soft, comfy place on which to take breaks (or naps!) means that our days can be longer, more productive, and more sustainable.

How long have you been in this space? Where did you work before that?

I’ve been working out of this building for two and a half years, but it’s only the last nine months that I’ve had this cozy studio space on the mezzanine level. Before that, I rented a bay on the ground floor, in the metal shop. I was making welded steel vessels and mosaic steel wall hangings at the time, so it afforded me easy access to the metal shop tools. But I didn’t have walls, private space, or heat, so while it was utilitarian, it was not particularly inspiring or comfortable.

But now that I’m primarily working with paper, a medium that doesn’t require any machinery at all, it’s been lovely to have a contained, quiet space away from the noise and grime of the metal shop. I have walls, heat and air conditioning, a comfy couch, and, of course, one of my best friends nearby, so I’m much happier and more productive now.

If you could change something about your workspace, what would it be?

A teeny bit more space would be nice. I routinely have to downsize my tools, prototypes, and projects in order to make space for everything.

Is there an office pet?

Yes! My dog Simi often comes with me to work. She’s a chill, low-key dog most of the time, but she’s become infamous for starting to hump her dog bed as soon as clients walk in. She can be a liability.

Do you require music in the background? If so, who are some favorites?

I tend to listen to downtempo electronic music when working. It needs to be melodic, hypnotic, and a little edgy. Nicolas Jaar, Chet Faker, Polo & Pan, Glass Animals, Zhu, and Alina Baraz come to mind. Here’s a playlist I made of my favorite songs for work. If I’m doing repetitive measuring, scoring, and folding, I’ll often put on a podcast to keep my brain engaged. The Guilty Feminist, Reply All, The Daily, and Planet Money are current favorites.

How do you record ideas?

I have all kinds of systems. I have a notebook that’s just for my daily to-do lists, I have a separate sketchbook for drawings and diagrams, and I have a series of digital notes that are synced across my devices.

Do you have an inspiration board? What’s on it right now?

All of my inspiration boards are digital at the moment: I have dozens of Pinterest boards, and a number of Instagram collections of saved posts. Lately I’ve been saving things like 3D-printed ceramics, hand-carved wood home goods, geometric murals, blackwork tattoos, installation art, and parametric architecture.

What is your creative process and/or creative workflow like? Does it change every project or do you keep it the same?

I often start by examining prototypes and sample pleats I’ve made in the past. I hold them in my hands, and collapse and expand them. I imagine how they’d look or behave if I made changes to the pattern. What if I altered the angles or spacing of the pleats? What if I pinched it at one end, and let it fan open at the other? What if I made this out of a translucent Mylar instead of paper? What if I made a collage, where I put this pleat next to this other pleat? Then I’ll make a quick mock-up using scrap paper. I love that it’s so easy to prototype with paper. I can test out ideas quickly.

Once I have a plan, and I’ve figured out all the measurements, the execution is a series of repetitive motions: measuring out a grid, scoring lots of lines, and working with my hands to pleat the paper. I love settling into a meditative routine, and making only minor changes with each sheet of paper to optimize my efficiency and precision.

What kind of art/design/objects might you have scattered about the space?

A tiny painting of Point Reyes by Susan Hall, who’s a dear family friend. Ceramic pieces by Two Hands Full, Pinckney Clay, and ShanMan Clay Co. A half-moon shaped serving board I made out of Cocobolo wood. A concrete sculpture of hands by Rheal. Two brass Ganesh statues that my mother gave me when I was little. A sweet note that Emi left me one day. And a handful of items collected from nature: a Cholla cactus branch, an antler, and a dozen potted plants.

Are there tools and/or machinery in your space?

Now that I’m primarily working with paper, my tools have been pared down to just the most unassuming and lightweight ones: pencil, rulers, cutting mat, X-Acto knives, painter’s tape, needle and thread, and bone folder.

What tool(s) do you most enjoy using in the design process? The bone folder. It’s a bookbinding tool made out of bone that’s used to score paper. It lets me make precise, sharp folds. It feels smooth in my hand — so simple and primitive.

Let’s talk about how you’re wired. Tell us about your tech arsenal/devices.

I have an iPhone X, a MacBook Pro, and a Canon 5D Mark II with a few different lenses. I store all my notes, documents, and photos on Box, so they’re accessible from any device (I used to work at Box; old habits die hard). Instagram is my main marketing and sales tool, so I spend a fair amount of time on it.

What design software do you use, if any, and for what?

When I was doing metalworking, I used Illustrator and SketchUp to design wall hangings and prep vector files for lasercutting. Now that I’m working primarily with paper, my creative practice is blessedly analog! The less time I’m on the computer each day, the better.

Is there a favorite project/piece you’ve worked on?

I recently finished up a large hanging paper installation, and my partner Phil Reyneri added subtle light effects to it using Lightform, his company’s tool for projection-mapping. Each edge and facet was illuminated with projected light patterns.

Do you feel like you’ve “made it”? What has made you feel like you’ve become successful? At what moment/circumstances? Or what will it take to get there?

I definitely don’t feel like I’ve “made it.” I have so many things I still want to make, and so many goals I still want to hit. But I suspect I’ll always feel that way, even if I’m making a lot more money. There’s a famous cycling quote by Greg LeMond that I love: “It never gets easier, you just go faster.” I think this is true for running a business, too. I feel like I’m hustling just as much as I was three years ago, but when I compare the work I was making and the types of problems I was solving now, it’s clear that I’ve made a lot of progress.

Tell us about a current project you’re working on. What was the inspiration behind it?

I’m developing a series of smaller paper pieces with stitched red accents. The goal is to sell them framed in shadowboxes with glass fronts, so they’re ready to hang. I’m excited to offer pieces that are elegant but also accessible — at a price point that my friends could afford.

What’s on your desk right now?

I have a cutting mat, some rulers, a mug filled with pencils, pens, and X-Acto knives, a few pieces of pleated paper, my reading glasses, and my laptop. I try to keep it as bare-bones as possible.

Do you have anything in your home that you’ve designed/created?

Just a few random craft projects here and there. I have a set of ceramic fruit bowls I made in high school, and some dog beds that I sewed out of canvas drop cloth and painted (I made one for my studio and one for my home). One day, I’ll do a proper paper installation for our place!

Photos by Zai Divecha, Emi Grannis, Phil Reyneri, and Andy Wong.

via http://design-milk.com/

from WordPress https://connorrenwickblog.wordpress.com/2018/12/18/where-i-work-zai-divecha/

#Uncategorized

0 notes

tebbyclinic11 · 7 years ago

Text

11 Beautiful Kitchen Tools to Bring Back From Your...

New Post has been published on http://kitchengadgetsreviews.com/11-beautiful-kitchen-tools-to-bring-back-from-your/

11 Beautiful Kitchen Tools to Bring Back From Your...

amzn_assoc_placement = "adunit0"; amzn_assoc_tracking_id = "c8415-20"; amzn_assoc_ad_mode = "search"; amzn_assoc_ad_type = "smart"; amzn_assoc_marketplace = "amazon"; amzn_assoc_region = "US"; amzn_assoc_title = "Shop Related Products"; amzn_assoc_default_search_phrase = "cooking"; amzn_assoc_default_category = "Kitchen"; amzn_assoc_linkid = "51fe4d035c7af8dc5928e6f5e5b79c4e"; amzn_assoc_default_browse_node = "284507"; amzn_assoc_rows = "4"; amzn_assoc_design = "text_links";

Lush, biodiverse, and steeped in pre-Hispanic culture, Oaxaca is without a doubt the culinary capital of Mexico. Once you wander through its markets, taste its tetelas, and sniff out its moles, it’s easy to see why. Agriculture is everything here, from the tiny local chiles to the towering agave plants. And for urban and rural populations that still hold tight to their indigenous roots, cooking is a daily form of cultural expression. There’s food in Oaxaca you won’t find anywhere else; the same goes for an astonishing array of home crafts.

In Oaxaca City, where tourism directly and indirectly accounts for about 75% of the economic activity, you’ll see plenty of those crafts on display. Not just the barro negro pottery for which the region is justly famous, but also technicolor textiles, painted wood sculptures, rust-hued clay cooking vessels, elaborate glassworks, and innovative plastic designs.

My best advice: Buy it all. Particularly from a few of the artists and artisans below who, like a growing group of mezcal producers, are using colectivo business models to funnel greater percentages of earnings directly to the people making these pieces of art. These are traditions well worth supporting, and worth weaving into your own.

Studio Xaquixe is a glassworks studio a few kilometers out from the city center, and while you can certainly drive out there to visit, you can also hit up the Christian Thornton gallery in town to see some of their stunning glasswork on display. Weighty and textured, these cups (also blown into 12-ounce water glasses) suggest clay as much as glassware, and they’re even prettier when you fill them with mezcal margaritas.

Xaquixe doesn’t have an e-commerce site per se, but their catalogue is available on their website. Place orders for shipping by phone or email.

Colectivo 1050 is the commercial arm of Innovando la Tradición, a project founded by Kythzia Barrera to support, preserve, and advance Oaxaca’s 35 distinct pottery traditions. In a Oaxaca City storefront and online, 1050 sells a range of pieces made by their artisan partners, including this stunning wood-fired water jug polished with quartz on the exterior to develop a rich, almost metallic sheen. Its swooping curves, shaped by potter Silvia García, won over the curators at the MoMA Design Store, and it’s beautiful enough to keep on the table as a centerpiece.

Oaxaca means masa, including an array of snacks that go way beyond the tacos and quesadillas you may be used to. All these tortilla-like foods cook best on a wide clay comal like this, which heats slowly but evenly and retains that heat well for long griddle sessions. As with cast iron cookware, you have to season your comal with use, but it’ll eventually develop a carbonized patina that’ll add a subtle extra earthy char to your tlayudas.

The molcajete is the Mexican version of one of my favorite cooking tools: the mortar and pestle. It’s the single easiest improvement you can make to all your guacamole, salsa, and pounded sauces: you’ll get a better, more toothsome texture with this than any blender or food processor. And like most of these items, it’s an impressive statement piece.

Another must from Colectivo 1050 is this deep unglazed clay pot, ideal for making Mexican-style beans. Not only does clay just feel right for cooking beans, but its exceptional heat retention makes it perfect for keeping a stew on a low-and-slow bare simmer.

Unglazed clay like this is porous, so don’t go overboard on the soap as you clean it. Over time, it’ll absorb the flavors of what you cook in it, and help bring those background notes to future batches of beans.

In Oaxaca, mezcal is first and foremost for sipping, not shooting or mixing, and you’ll most commonly get it served to you in mass-produced two-ounce fluted glasses with crosses on the bottom. One bartender joked with me, “you know it’s time to stop drinking when you can’t see the cross through your glass anymore.”

Those glasses are cute, but I’m all about these clay cups, which are unglazed and porous, and thus capable of interacting with the mezcal you pour into them. Compared to neutral glass, the clay can smooth out a spirit’s rough edges while supporting its earthy, herbal qualities and thickening its texture. Which is not to say everything’s improved by drinking it in clay, or that your favorite mezcal would even benefit from such a treatment. But it’s a neat experiment to try at home with your Xaquixe glasses as a control.

So remember how I said Oaxaca is all about masa? That’s because everyone, even tiny street operations, makes their own. Yes, it’s worth making your own masa, and while it is a time commitment, it’s not that hard. Step one: Buy a lot of corn and one of these grinders, called molinos de masa.

Once you get a molino, the next (optional) step is to pick up a metate, a stone hand grinder for further processing the masa into a fine mash without blitzing it to a one-dimensional paste. It’ll make your tortillas and tamales all the better, and it’s also useful for grinding nuts and seeds into pastes, a popular technique for thickening sauces in the region.

You saw this coming. Making your own masa for tortillas? Then you’ll need one of these. Cast iron is the most durable material for your press and its weight will help you flatten your masa into even discs.

Okay, not really a tool at all. But it is a noteworthy work by Omar Hernández, one of the city’s most forward-thinking ceramic artists who also supplies dishware to top restaurants like Pitiona. Hernández, who principally sells his work at his gallery in the city center, uses clay to make beautiful (and sometimes beautifully macabre) meditations on Mexican life. His oversized vases in particular are worth looking at for your home.

Like many Oaxacan artists, Hernández doesn’t really have an e-commerce site yet, or even really a website of his own. But his Facebook page is updated with new work regularly, and staff speak some English. Call for orders and shipping details.

Zapotecs are one of the major indigenous groups that call Oaxaca home, and their intricate textile work is nothing short of stunning. So yes, another not-tool, but too good not to mention. Whether you use them as rugs or wall tapestries, they’ll bring incredible color and texture to whatever room they’re in.

!function(f,b,e,v,n,t,s)if(f.fbq)return;n=f.fbq=function()n.callMethod? n.callMethod.apply(n,arguments):n.queue.push(arguments);if(!f._fbq)f._fbq=n; n.push=n;n.loaded=!0;n.version='2.0';n.queue=[];t=b.createElement(e);t.async=!0; t.src=v;s=b.getElementsByTagName(e)[0];s.parentNode.insertBefore(t,s)(window, document,'script','//connect.facebook.net/en_US/fbevents.js');

fbq('init', '1482788748627554'); fbq('track', "PageView"); amzn_assoc_placement = "adunit0"; amzn_assoc_search_bar = "true"; amzn_assoc_search_bar_position = "bottom"; amzn_assoc_tracking_id = "c8415-20"; amzn_assoc_ad_mode = "search"; amzn_assoc_ad_type = "smart"; amzn_assoc_marketplace = "amazon"; amzn_assoc_region = "US"; amzn_assoc_title = "Shop Related Products"; amzn_assoc_default_search_phrase = "cookware"; amzn_assoc_default_category = "All"; amzn_assoc_linkid = "b45319dac495d29e17b5eff312392025"; Source link

0 notes

claystudies · 7 years ago

Photo

Images: Jo Davies / Text: Anke Buchmann, Jo Davies

In the studio with Jo Davies

Last week I was fortunate to visit Jo Davies in her studio at the Chocolate Factory in Stoke Newington, London.

Jo Davies is an award-winning, London based ceramicist, with years of experience and craftsmanship. She graduated from the Royal College of Art in 2007 and has a degree in 3D Design: Ceramics from Bath School of Art and Design. Jo specialises in wheel-thrown and hand-built porcelain. She recently had a solo show "Lines in Porcelain: Vessels and Light” at Circus Gallery on Marylebone High Street.

CS: Thanks so much for having me here today at your studio. What I really like about your work is the combination of craftsmanship and energy. You enhance perfect, regular shapes by embracing irregularity and asymmetry, which leads to pieces that seem to be alive, fluid, full of positive energy.

CS: On a scale from 1 to 10, how happy or satisfied does your job make you?

JD: Well, probably an average of 8.7 most of the time. But occasionally it is more a 2.5. These are the days when you have worked really hard, you have been to a show and sold one thing. Fortunately this mostly doesn’t happen and, for the most part, things go well.

I am happy doing this work. I am happy in this studio. I am happy with my own company. Yeah it’s more good than bad. It’s more 8.7 days than 2.5 days.

‘I quite like the clay looking liquid.’

CS: You describe that you are interested in the ‘exploration of the material qualities of clay’. Can you talk a bit more about the process of this exploration?

JD: Well, when I am throwing there is a lot happening. I am always quite aware of my body and using it as whole to throw the clay – a shift of body weight or standing up to work. The exploration of these physical movements when throwing will change the shape of the clay and so I can explore the possibilities and the boundaries in this way. Ultimately I quite like the clay looking liquid when it’s finished. It should still look quite fluid in the final ceramic, quite soft, as it is when I’m throwing it.

CS: Your work is designed to feel very liquid, satin and tactile. The look is equally important to the feel. What makes your work unique or special? What is it about?

JD: I’m really interested in the clay looking like it’s been handled, like it’s still soft clay, and creating work that doesn’t look like it’s been machined. Often that comes about through the use of exaggerated throwing lines as well as some inefficient making processes to create work that appears to move organically. There’s a balancing act between geometrical forms and organic shapes – too organic and the object starts to feel unwieldy, too geometric and it starts to feel too still or as if it could have been made by a machine.

I use quite a lot of water when I am throwing porcelain, which isn't technically what you are supposed to do, but I know it gives me this liquidity that I’m after . I have arrived at a point where I have mastered using the very wet porcelain in larger quantities so it works for me and gives the work a unique feel.

‘Porcelain was in the air.’

CS: Why did you choose to work with porcelain rather than another clay?

JD: I think when I was at Bath School of Art it was something that was in the air. Porcelain was in the air. So I started dabbling with that. And then I quite liked the idea that you could use a clay that was its own colour and surface finish when it was fired. So that was appealing, of at least having the option of not glazing. Although everything I do now is glazed. It’s also because of the refinement of the material, it’s a smooth and elastic material that’s beautiful to throw. It stretches and moves at every stage.

CS: What artists or designers have inspired you most along the way?

JD: That is always a tricky question to answer actually, because there are so many people. But right at the start I liked Barbara Nanning - a Canadian artist. Her forms seem to defy gravity and she was quite influential on me. Louise Bourgeois was also influential as a character, her attitude, as well as her art, are massively inspiring. These days there are obviously a lot of people whose work I really respect and love but their work doesn't affect me in the same way as the early influences because I am in my own aesthetic trajectory. Plus with age I have found it harder to be as in awe.

CS: What is for you the most favourite part of the process?

JD: Actually working on the wheel. When I am developing something new on the wheel and it is working there is an excitement to seeing it evolve. Quite often I work on new shapes and a lot of things don’t make it because they are heavily edited. However, I also know I sometimes have to let a new object sit there for a while in order to really consider it. This is because I am irrational at the point that I have just made something new and need to give myself time to think about it more logically. Every few weeks I am developing something new, or evolving work in progress, but because of this frequent but slow development there are some designs where it takes me years until I am happy. I might make something and then come back to it a few months later in order to refine it and work into it.

CS: How many hours do you spend on a cup from your collection, from wedging clay to taking it out of the kiln?

JD: For the journey of one cup I suppose, from wedging the clay, handling it, …stamping it, wiping it off, into the kiln, it gets glazed, in the kiln again… so yeah, probably about half an hour for a cup but across the course of about 2-3 weeks.. Other things would take much more time. I normally make cups in medium-sized batches.

‘Because I am here on my own, it can get quite intense.’

CS: How does a typical day look like for you?

JD: Typical days look like me getting into the studio between 9-10am and starting with writing a list of all the things I have to do and then cracking on with it. But, to be honest, there are not many typical days. Sometimes I spend a whole day in design development and sometimes I spend a whole day answering emails. This morning I answered a whole list of questions from a journalist, answered a customer about a possible commission, booked a hotel for the weekend. So sometimes my private life blends into my work life as well. I am quite self-motivated overall but I would usually start the day off with a few emails to keep on top of answering questions from customers, galleries and other enquiries. There are certain things that can’t wait and sometimes not answering within 24 hours looses the work, I can never lose track of the fact that this is both my passion and my livelihood.

CS: Are you good at stopping?

Yeah, I am good at stopping, I don’t really work into the evening and try not to work over the weekends but, because I am here on my own, it can get quite intense. I don’t take breaks a lot through the day but will be quite definite about time off and won’t allow that time to be encroached on. When you work for yourself it can be quite easy to end up without any boundaries, different pressures on your time taking you into the studio or elsewhere at all times through the week but I realized a while ago that I can say ‘no’, or arrange something on a day other than the one that’s being requested, without feeling obligated to give a reason!

CS: Can you talk me through your process when designing new pieces of work or when working on a commission?

JD: Sometimes I quickly sketch an idea. And yes, sometimes there will be research involved. It depends on the project and how technical it is. So my pendant lighting range has involved quite a lot of technical research but then a project from a few years ago with the William Morris Gallery involved a lot of more creative research and drawing prior to the making of the installation I produced. Mainly though I will sit down at the wheel to develop new work. That is like a sketchbook for me, developing 3D sketches.

CS: What do you recommend to an emerging ceramicist?

JD: Don’t give up! Just carry on doing what you love. It is very easy to think ‘I will do this thing on the side, something that people will like in order to make money’ but what sells your work is the fact that you love it. If you can learn to integrate both things, business and creativity, if there is a connection between the two, then that is going to be a success.

—————

Artist Website: http://www.jo-davies.com

Instagram: jo_davies_ceramics Masterclass with Jo Davies: https://vimeo.com/135448079

Upcoming Events for Jo Davies:

Lustre at Nottingham University

4-5 November One of the best mixed craft events in the UK

Future Icons Showcase, 67 York Street, London

6-11 November Future Icons presents the inaugural Winter Showcase of client collections at 67 York Street, Marylebone. For this occasion, Future Icons has selected key pieces from client collections for design savvy buyers to purchase in time for the Christmas shopping season.

Jo Davies Open Studio, Chocolate Factory N16, Farleigh Place, London, N16 7SX

25-26 November The Jo Davies studio is based at the Chocolate Factory when this Open weekend will offer work from 27 studios at this hidden gem in East London. This is also the only time to buy samples and seconds from the Jo Davies Studio.

Porcelain³ Jo Davies . Katharina Klug . Anja Lubach

Contemporary Ceramics Centre, London

15 Feb – 10 March An Exhibition of Vessels by 3 contemporary porcelain ceramicists.

#jodavies #interview #studiovisit #london

0 notes

kojiarakiartworks · 3 months ago

Text

June 2013 KTM Kathmandu Nepal 　Thamel

Daily life and every small thing is the gate to the universe ：）

33 notes · View notes

juliandmouton30 · 7 years ago

Text

Pulpo debuts tableware collection at London Design Festival pop-up

German design brand Pulpo will open a pop-up shop selling a collection of small design accessories during this week's London Design Festival.

Located in Shoreditch Design Triangle between The Tramshed restaurant and The Hoxton Hotel, the pop-up will serve as a launchpad for the the brand's Fabulously Awesome Tablescape, or FAT, collection.

The series of decorative items includes four bronze animals by Frankfurt-based designer Kai Linke, Memphis-style glassware by German designer Meike Harde and "fat lava" glazed ceramic vessels by Rudolph Schelling Webermann.

Frankfurt-based designer Kai Linke – known for playful designs such as his squishy stools shaped like animals – has created four bronze animals. Ranging from a small swan to a weighty rhino, each piece is inspired by his travels and flea-market finds.

Craft-focused designers Marina Dragomirova and Iain Howlett of London-based Studio Furthermore have produced a series of accessories using a new technique whereby foam is dipped in liquified ceramic then baked to solidify.

Known for their experimental design approach, last year the duo injected sponge and foam with porcelain to create a collection of vessels.

Three organically shaped ceramic pieces come courtesy of French designer Ferréol Babin. Each available in two sizes and two colours, the ceramic trio includes a vase that resembles a mountain, lake-like vessels and building-shaped boxes.

German designer Meike Harde, who has previously created a pair of abstract patterned mirrors for Pulpo, has designed four sets of mismatched Memphis-style glassware. Each set contains one playful carafe and three differently shaped glasses.

A series of ceramic vessels, each with different parts covered in a intriguing "fat lava" glaze, are designed by German product design studio, Rudolph Schelling Webermann. The ceramics are presented together with a collection of boxes crafted from wood.

The collection also includes new additions to Sebastian Herkner's popular Containers series. First launched in 2013, the new designs include both high and low sizes and three new colours: cobalt, lagoon and fuchsia with apricot-coloured lids.

Herkner, who has had a long-standing partnership with the German brand, presented his brutalist-inspired Mira collection for Pulpo earlier this year at Maison & Objet.

The new tableware will be showcased alongside the brand's entire current collection of furniture, lighting and design accessories.

On Sunday 24th September, which will mark the store's last day of trading, Pulpo will invite the public to a charity sale where all proceeds will be donated to a cause close to the founders' hearts.

Pulpo, which is headed up by Patrick and Ursula L'hoste, has been producing design products in close collaboration with young and emerging talent since its inception in 2006.

Turner Prize-winning architecture collective Assemble will also be launching a tableware collection at London Design Festival. Called Splatware, the marbled ceramics are made by placing clay into plaster moulds.

Flynn Talbot transforms V&A's former textile room into colourful hall of light

The post Pulpo debuts tableware collection at London Design Festival pop-up appeared first on Dezeen.

from ifttt-furniture https://www.dezeen.com/2017/09/17/pulpo-debuts-accessories-london-design-festival-2017/

0 notes

jeremystrele · 4 years ago

Text

Kerryn Levy’s Wonderfully Wonky Ceramics

Studio Visit

Sasha Gattermayr

Photo – Kerryn Levy.

Photo – Alex Frayne.

Photo – Kerryn Levy.

Photo – Alex Frayne.

Photo – Kerryn Levy.

Photo – Ashlee Hopkins.

Adelaide-based Kerryn Levy’s covetable ceramic vessels are organic and fluid constructions bearing the human marks of their composition. Her forms are made through a slow, manual process of pinching, smoothing and folding clay into a functional shape, meaning they carry impressions of the fingers, nails and muscle that moulded them. Kerryn is inspired by the natural world, the human body and the connection between the two.

Both earthy and sculptural, Kerryn’s��finished pieces look as though they might have been buried in the clay all along, awaiting the right practitioner to come along and reveal their final forms.

We recently spoke with Kerryn about her practice.

Hello Kerryn! It’s so nice to finally chat. To kick things off, what’s been your creative journey so far?

I first started working with clay at UniSA where I completed a Bachelor of Visual Arts in 2014. After graduating I took some time away to live and travel in Canada, where I joined a couple of ceramics studios, and sold functional wares at fortnightly markets. This time of making and selling pots solidified my desire to make ceramics my full-time career, so I came back to Adelaide and undertook the associate program at JamFactory Contemporary Craft and Design.

The program and community at Jam provided me with invaluable experiences, mentorship, the time and space to develop my skills and creative identity, and the opportunity to partake in a Japanese residency in 2018 that helped shaped my design aesthetic and processes.

Can you tell me about the space in which you typically create? How long have you been here?

After completing the associate program in December 2017, I was offered the opportunity to continue renting a studio space at JamFactory (Adelaide) that I now share with my good friend and fellow ceramicist Connie Augoustinos. It’s a beautiful, light-filled studio where you’ll usually find music playing, incense burning, and Connie and I working at any number of activities from building pots, glazing, packing orders, having meetings, or having a cuppa on the couch.

Can you tell me a little about the process of actually creating your works? What materials do you use, and how long do they usually take?

I use a range of Australian hand-building clays; my two favourites at the moment are terracotta stoneware and a sandy white clay. I can create a variety of different surfaces and finishes using just these two clays and a couple of glazes.

I coil-build my vessels, starting with a flat base and slowly building upwards, coil by coil, pinching, smoothing, cutting, folding and shaping as I go until I’m satisfied with the form. Some shapes are as quick as half an hour to make, others I might work on for several days, depending on size and complexity.

I don’t usually work from sketches or plans, I will often make decisions about the shape as its coming to life, but if I’m working on a pair I will often sketch some ideas for the second shape to make sure it ‘fits’ and interacts somehow with its partner.

Do you have any key references or inspirations?

My main influence is the natural environment, the colours and textures of various landscapes and native flora: charcoal blacks, ochre reds, silvery whites, and most recently a range of greens. I also refer to the human body, tracing lines and curves from imagery by Edward Weston, Ruth Bernhard, Prue Stent and Carlota Guerrera to list a few, that inform the silhouettes of some of my pieces.

How has the year that has been 2020 affected your work, or your approach to your work?

This year has actually been really successful for me. I’ve been incredibly lucky to have continued access to my studio all year, and although I stopped teaching classes through the lockdown period, I was able to focus entirely on making stock and developing exhibition work. I was able to refine some of my processes, develop new glazes and add new products to my online shop.

I think as many of us have been forced to spend more time at home, the desire to create special spaces using handmade objects has led many people to invest in objects like mine.

Keen to check out more of Kerryn’s incredible pieces? See her website here.

1 note · View note

micaramel · 8 years ago

Link

Self-taught artist Katie Marks crafts ceramic coffee mugs that transcend their practical use and double as sculptural works of art. Saying that “the world inspires her,” she adorns the vessels with layers of spectacular crystals and swirling galaxy glaze. Though her popular shop Silver Lining Ceramics, she dazzles her fans with her imagination and use of color—so it's no surprise that her work often sells out shortly after it’s listed.

Marks’ venture into a ceramics career seems almost destined. “I have always loved clay,” she explains, “it has been my medium of choice since I was a little girl. Even though college wasn’t an option for me I knew that I wanted to learn the art and craft of clay. I took one class as my local community college and I was hooked.” After finding a pottery wheel on Craigslist, she taught herself how to throw. Eventually, she got a job as a studio assistant to a production potter, and it’s here that she learned everything from glaze chemistry to kiln firing.

“I love the fact that I can take a lump of dirt and turn it into something unique and beautiful from my brain,” Marks says. To create these pieces, she first throws a piece on the wheel and then spends hours “hand forming each crystal.” The results are custom ceramic coffee mugs that are truly one of a kind.

You can elevate your everyday cup of coffee by visiting the Silver Lining Ceramics Etsy shop. To see what Marks is currently working on (and soon selling), follow her on Instagram.

Artist Katie Marks handcrafts custom ceramic coffee mugs that are inspired by the world at large. Much of her work features crystals…

… as well as the brilliant swirls of the galaxy.

Silver Lining Ceramics: Etsy | Instagram

My Modern Met granted permission to use photos by Katie Marks.

The post Self-Taught Artist Crafts Spectacular Coffee Mugs That Double as Sculptural Art appeared first on My Modern Met.

from My Modern Met http://bit.ly/2pzLsMZ

#micaramel

0 notes

nofomoartworld · 8 years ago

Text

If You're Not Smoking Out of a Unicorn Bowl, You're Doing It Wrong

Who here hasn't smoked weed out of some questionable makeshift vessels in their youth? Luckily for our dignity and our lungs, the modern cannabis connoisseur has more options than ever when it comes to choosing how they consume. Though many state legislatures are still pretty square, makers in weed-friendly states are reinventing the lowly bowl, and Seattle ceramics artist Katie Marks has invented the ultimate means of getting high in the form of smokable unicorn, kitten, and geode pipes.

Marks's practice isn't exclusively limited to fantastical ceramic bowls, either; she also sells mesmerizing marbled mugs and other pottery on her Etsy site. Each creation is painstakingly hand-molded out of clay and glazed with gold and pastel pigments. The artist has a robust Instagram following and uses her online platform to showcase her process and update customers on new products.

Check out her heart- (and lung-) warming pieces below:

To peruse and purchase Katie Marks's ceramic wares, follow her on Instagram and visit her Etsy page.

Stimulating Photos of a New Campaign for Pot Products

Snoop Dogg's Weed Brand Looks Dope

The By-Women-For-Women Head Shop Burning Weed Bro Culture Down

from creators http://ift.tt/2o3B67n via IFTTT

#IFTTT #creators

0 notes

benjaminkipus · 8 years ago

Text

EXHIBITION STAND DESIGN & SETUP FOR CRAFTS-TRADE-SHOWS

Pixelmate Exhibits & Designs caters to the craft industry in the trade fair and stand setup we have unique designs for this industry and we cater to them and provide all kind of support and solution required to make them stand out of the clutter, we cater not only to the fortune 500 but to the start ups and small and medium enterprise.

Craft industry companies can avail Pixelmate Exhibits & Design service by writing to them at [email protected] or logging on to their website www.pixelmateindia.com.

One stop solution to all your exhibition and trade fair needs.

A craft is a profession or a pastime that needs a particular knowledge or skills of skilled work. In a historical sense, especially as relevant to the middle ages and earlier, the word is typically relevant to individual engaged in small-scale manufacturing of goods, or their maintenance, The word crafts is usually used to examine the field of artistic practices within the family ornamental arts that is traditionally describes by their association to utilitarian or functional products (such as sculptural types in the vessel tradition) or by their use of such usual media as clay, glass, metal, ceramics, and textiles.

The commencement of crafts in the region like the Ottoman Empire demand the governing bodies and requiring people of the town who were expert at producing goods to open stores in the center of city. This member slowly quit acting as subsistence farmers (who produced goods in their own house to sell to their neighbors) and started to portray what we think of a “craftsman” today.

In the past, craftsmen inclined to focus on city and formed guilds. The talent necessary by their professions and the requirement to be permanently engaged in the exchange of goods also required a generally higher level of education, and craftsmen were frequently in a more advantaged position than the peasantry in societal hierarchy.

Once a learner of a craft had completed his learning process, he would become a journeyman looking for a location to organize his own shop and make a living. after he organizes his own shop, he could then regard himself a boss of his craft.

This structure of a stepwise undertakes to proficiency of a craft, which involves the acquiring of a specific amount of learning and educational skills, has continued in some nations of the world until present. But crafts have experienced deep structural changes during and since the period of the industrial revolution. The mass manufacturing of product by large-scale industry has restricted crafts to market sections in which industry’s way of operating or its mass-manufactured product cannot or would not suit the liking of potential customers. Furthermore, the result of these changes, craftsman today increasingly make use of semi-finished material or components and adapt these to their buyer demands or requirements, if essential, to the surroundings of their buyers. Therefore, they partake in a certain division of labor between craft and industry.

There are three areas to human creativity – Craft, Art, and Science. Approximately ascertained, art depends upon vision, expression and intuitive, crafts upon sophisticated technique and science upon knowledge.

The post EXHIBITION STAND DESIGN & SETUP FOR CRAFTS-TRADE-SHOWS appeared first on Pixelmate Exhibits & Designs.

from Pixelmate Exhibits & Designs http://www.pixelmateindia.com/exhibition-stand-design-setup-crafts-trade-shows/ from Pixel Mate Exhibits & Designs https://pixelmateind.tumblr.com/post/159278369183

0 notes

promestruce · 8 years ago

Text

EXHIBITION STAND DESIGN & SETUP FOR CRAFTS-TRADE-SHOWS

Craft industry companies can avail Pixelmate Exhibits & Design service by writing to them at [email protected] or logging on to their website www.pixelmateindia.com.

One stop solution to all your exhibition and trade fair needs.

The post EXHIBITION STAND DESIGN & SETUP FOR CRAFTS-TRADE-SHOWS appeared first on Pixelmate Exhibits & Designs.

source http://www.pixelmateindia.com/exhibition-stand-design-setup-crafts-trade-shows/ from Pixel Mate India http://pixelmateind.blogspot.com/2017/04/exhibition-stand-design-setup-for_81.html

0 notes

pixelmateind · 8 years ago

Text

EXHIBITION STAND DESIGN & SETUP FOR CRAFTS-TRADE-SHOWS

Craft industry companies can avail Pixelmate Exhibits & Design service by writing to them at [email protected] or logging on to their website www.pixelmateindia.com.

One stop solution to all your exhibition and trade fair needs.

The post EXHIBITION STAND DESIGN & SETUP FOR CRAFTS-TRADE-SHOWS appeared first on Pixelmate Exhibits & Designs.

from Pixelmate Exhibits & Designs http://www.pixelmateindia.com/exhibition-stand-design-setup-crafts-trade-shows/

0 notes