Hampson Woods

I had always thought that the best chopping boards were very simple, angular ones, but Hampson Woods have proved me wrong as I am now hooked on their distinctive handles. Chances are that you've seen the elegant curving wooden handle of a Hampson Woods chopping board in a photoshoot or shop lately. Their work is popping up all over the place, and I love that they have come up with a design that is instantly recognisable as their own, yet still very timeless and classic. Hampson Woods evolved as a pairing of woodworker, Jonty Hampson and artist and designer, Sascha Gravenstein. Together they design and create hand made, small-batch products using wood sourced from their own woodland in Cumbria. This is a rare treat, meaning they can know exactly where each product originally had its roots.

Tell us about what you do? We are small-­batch producers of wooden products for the home - serving boards, porridge spoons and hanging racks. All of our work is designed, made by hand and finished in our Hackney workshop. What materials do you use and why? We predominantly work with London Plane, a hardwood with an incredible depth of colour and variation in grain. It has been little used these past decades, and visually always keeps you guessing. As it’s not grown commercially, it is only really available when a tree comes down or has to be removed, so it's not the easiest to source. We also work with Elm, Ash, Oak and Sycamore, all also sourced from within Britain. We only acquire timber if we know its provenance; where it once stood. What is your favourite wood to work with? My current favourite is Ash. It is almost buttery in its consistency, yet so versatile and strong. Sycamore is growing on me too, it finishes like glass and has a real sheen to it. Wood is such a beautiful and giving material. ­Even years after it stood, it never seems to lose its energy. As it is worked, and especially when oiled, new shades and subtle pleasing variations in colour will appear. As it ages, its texture and character will change, ­ and whatsmore, no two pieces are ever the same. What techniques do you use? The majority of our work is sanding, from shaping right down to finish. We always work with the piece in hand, and with patience, ­taking it, bit by bit, to a comfortable and smooth form. We're ­ always ensuring a very high quality of finish. What/who inspires you to make your work? The world around us, friends, family, Henry Moore, David Nash. Rebirth of timbers that have ended their previous life ­and the simple pleasures of working by hand. Can you recommend a good book? I’m an admirer of Ruskin ­but only in small doses. For reference, The Wood Book and for fun, The Treehouse Book. Where can we buy your work? From several shops across London, and the UK and also from our website. What are your plans/ideas for the future? Collaboration with craftsmen of other materials to see­ how beautiful timbers and grains can sit alongside other naturally­ occurring, texturally­ contrasting materials. Also to take on more hands, and branch out into other parts of the home.

Thank you Jonty!

Workshop photographs by Robin Sinha.

Akiko Hirai

I love the beautiful contrasts in Akiko Hirai's Kohiki ware, it looks strong yet delicate and I was fascinated to learn that it is inspired by face powder. Two worlds collide - make-up and ceramics - I hadn't thought about glaze like that before. Trust me, Akiko's combination of white on black clay is difficult to pull off. It's a look that I've been trying to emulate recently and I've been far off the mark! Perhaps I can pass it off as adolescent experimentation? Akiko's work is available is several great shops and galleries, including The Cold Store, Maud & Mabel, and Mint, and I am delighted that she agreed to be next-up in my series of Q&A's with inspirational makers.

Tell us a little about what you make? I make tableware and large decorative jars that are inspired by antique storage jars. What materials do you use and why? I use coarse stoneware clay. I like the texture and feel of it. I also mix in very coarse grog which appears on the surface of the pots when thrown thinly. What techniques do you use and why? I use white slip on a dark body. It is called Kohiki ware. The direct translation from Japanese is ‘powder blown ware’, the metaphor of women wearing white powder make-up. It has the beauty of ‘whiteness’ but is less harsh than sharp cold white porcelain. That was my intial inspiration and I tested a few materials to create suitable ‘slips’ and then developed it in my own way. I also often use wood ash for the subtle colours and tones on the surface of my pots. How do you fire your work? Most of the pots are fired in my gas kiln for reduction firing to give a feeling of movement on the surface. What/who inspires you to make your work? Mostly antique pots. Some are wood fired and have lots of marks of ‘accidents’. I am also inspired by novels and poems. I like the idea of ‘reading between lines.’ I have been trying to apply this to my pots. How/where do you sell your pieces? Various galleries mostly in the UK, and a few retailers abroad. Please recommend a good book? Linda Bloomfield wrote several good glaze books. These are very practical and contain lots of useful information. I always recommend them to my students. Also, Besstatsu - Taiyo, a Japanese magazine. It no longer published but you can obtain back copies. The editor's selections are excellent and each issue features topics that are very interesting. It also contains many good photos so even you do not understand the Japanese language, you can enjoy looking at these. What are your plans/ideas for the future? I have signed up for the Elle decoration online shop. I have not produced enough work for it yet, but plan to be up and running on there in the near future. I also have solo shows at the New Ashgate Gallery, Oxford Ceramic Gallery, and Slader’s Yard up until March. Each gallery will have something unique and details are on my website. Will you be running any workshops this year? I am doing 3 days masterclass at the beginning of August at Maze Hill Pottery in Greenwich this summer. I am also teaching ceramics at Kensington and Chelsea College. I teach BTEC level 2 and 3 depending on the level of people starting from September. For enquiries or to be added to the waiting list, please email a.hirai@kcc.ac.uk

Thank you Akiko!

Catarina Riccabona

Catarina Riccabona weaves wonderful, colourful, slubby linen textiles, the kind that call out to be stroked and explored. The cloth is handwoven in small, limited editions with different weave structures and combinations which keep your eyes gently dancing over the fabric. Catarina also has an admirable ecological philosophy, using a lot of undyed, plant-dyed and recycled yarns. She was kind enough to answer a few questions about her work below.

Tell us a little about what you make? I’m a textile designer and hand-weaver. I make functional pieces such as throws and blankets, sometimes also scarves and cushions. But my focus is definitely on throws and blankets. What materials do you use? Linen is practically in every piece I make (there are only a few exceptions). I love to work with it and I love the aesthetic of linen. It tends to become more beautiful with use. My practice is based on an ecological philosophy, so I use a lot of undyed yarns like linen, hemp, wool and alpaca (from the UK and Europe) as well as plant-dyed, second-hand and recycled yarns for colour. What techniques do you use and why? Weaving by hand (as opposed to working with a mill) gives me a great deal of flexibility in terms of weave structure combinations, irregularity and yarn types. I use this fact in my throws that could be described as whole compositions rather than repeat designs. One of my favourite techniques is block threading. During weaving you can separate out certain groups of threads and make them do something different to the rest. I like to play with this kind of juxtaposition of colour and texture. What/who inspires you to make your work? I admire the quality and feel of many tribal textiles. That trace that’s left from the making process by the human hand… small variations, irregularities, imperfections. There is something honest or even innocent about such pieces. Sometimes they seem to have been made quite intuitively. For me it’s a kind of timeless beauty that is also warming and comforting. How/where do you sell your pieces? I sell directly from my studio at Cockpit Arts, Deptford, (by appointment) or during our twice yearly Open Studios. I also sell through places like The New Craftsmen and other independent shops/galleries. From SS15 Liberty will have my work too. And I work to commission. Please recommend a good book? ‘Colour: Travels Through the Paintbox’, by Victoria Finlay. My first year tutor at Central Saint Martins who taught us colour theory recommended it. Each chapter is dedicated to one colour and lots of peculiar facts about it… Any plans/ideas for the future? From 26th to 28th February I will be in residence at ‘Atelier’ run by The New Craftsmen. During London Craft Week I will be weaving in St James’ church (Piccadilly, 7th & 8th May)! I also look forward to the opening of Field Gallery in Bruton, Somerset, in April 2015. In the more distant future there could be a very exciting collaboration project on the horizon but I’m afraid it’s much too early to say anything about it.

Thank you Catarina!