‘Out of the Fire’ Report: Skill, Art and Experimentation

Autumn 2007

At the time of writing, the current BSOE exhibition ‘Out ofthe Fire’ is still running at the Garden Gallery, OxfordMuseum, in Woodstock. This is a splendid looking show ofwork, with 24 members exhibiting a total of 188 pieces,completely filling both of the gallery’s rooms.

The Private View was very well attended and attractedcommendable sales for the exhibitors. Since then, anarticle about ‘Out of the Fire’ has appeared in the OxfordTimes, and the exhibition has been mentioned on theradio, during a program featuring the Oxford Museum. Thestaff at the gallery comment that the numbers of visitors hasbeen exceptionally high. Results like this show us that thereis interest in and appreciation of enamelling by the publicand that we have somewhat of a following. Such aresponse is a great encouragement for the BSOE to stagesuch events in the future.

In addition to the standard of work that members wouldnormally send to an exhibition of this importance, theexhibitors were also asked to submit experimental pieces –to take a risk in the interests of developing their own profileand that of the BSOE. Ten of the twenty four exhibitorsresponded and sent work that they considered to fall intothis category, but which is also of the highest quality.

Originally the committee intended to show theexperimental pieces as a group, but Penny Davis, PennyGildea and Nike de Bellaigue, who set up the displays inthe cases, moved away from the usual practice of keepingeverything belonging to each exhibitor in one place andinstead distributed the work of those members, who wererepresented with a relatively large number of pieces,throughout the gallery. The intermingling added an elementof variety and excitement to the show, and the integratingof the experimental and establishedwork increased theliveliness of the exhibition.

The images that accompany this article are the bestphotographs taken at the exhibition. Although the gallerywas very well lit, some areas responded better than othersto the camera. Additional images from exhibition can beseen on the BSOE website, www.enamellers.org.

Five exhibitors especially have taken steps in completelynew directions. Hali Baykov sent two brooches featuringexciting, boldly coloured triangles, a complete departurefrom her usual, nature based jewellery. Janine Greenberg,in addition to showing two handsome champlevénecklaces, also exhibited three collages, featuring enamelpainted nude figures, one with a comment to make about

by Pat Johnson

The view that met the eye of the vistors entering the Garden Gallery at the Oxford Museum.

the relationship between men and women. RosemaryZeeman experimented with using screens to produce imageson small copper panels. Five of these, showing variationsthat could be achieved using just one image, were mountedin a row and inset near the bottom of a 1 metre square black,wooden panel. An image of this handsome piece could notbe included in its entirety in the newsletter, but a detail isshown at the top of page 3. Rosemary incorporated some ofthe enamelling effects she discovered when making thesepanels in a handsome set of pendants, which were also inthe exhibition (see the middle image of page 3). Ruth Ballsent a set of delightful brooches, showing very smallscreened images of urban scenes, and Sheila Macdonaldexhibited a stunning collection of neck pieces, brooches,and earrings, unusual both in colour and form (page 3).

Why did the executive committee decide to ask themembers to produce experimental work for this exhibition?The answer to this is that all producers who want to attractattention must continuously evolve in order to keep theircustomers coming back – think of the Paris fashion showsand the new models of cars that appear every year. Acertain amount of development is essential to every maker’scareer although, in order to maintain the maker’s position,it is important that changes are seen to relate to previouswork.. For the committee, asking exhibitors to showexperimental pieces was their way of encouraging theexpression of excitement in enamelling.

The experimental work shown at ‘Out of the Fire’ wasinnovative rather than boundary breaking. In most cases it

Brooch by Phil BarnesSilver champlevé enamel with darkamethyst drop5.5 x 3.5cm

Brooches by Bonnie Mackintosh and Louise O’NeillEnamel on silverThe largest brooch is 10cm long

Arrow Brooch/Necklace by Hali BaykovSilver, silver and gold foil, enamel, and gold backedcarnelians9cm long

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was a matter of each individual enameller’s personal moveforward within the context of their previous work. This isto be expected because we have all worked hard, and fora substantial period of time, to be able to make enamelsthat are admired, desirable, and successful in attractingcustomers. Its not possible to be both ground-breaking, inthe sense of finding ways of using enamel that have notbeen thought of before, and to have spent time workingwith the incredible potential that enamel offers makers todevelop their own way of expressing their individualityand artistic insight. ‘Develop’ is the key word here.Boundary breaking is an opening step, but when the neweffect is taken forward, the goals become the same asestablished enamellers.

Over the years this newsletter has contained many articlesabout groundbreaking enamelling, many of the examplesbeing technically and artistically fascinating indeed. Butthese works are invariably produced very early on in thecareer of a particular artist, before the battle betweenenamel and maker has been truly joined. Once theopening skirmishes are over, the relationship between thetwo begins to settle down and grow into a partnership.

Practical realities have to be taken into account, and acertain amount of control, both aesthetic and technical,becomes desirable. The intention– to create somethingbeautiful, whether in the most austere or in the mostexpressive way - becomes the same for new innovators aswell as for experienced enamellers. Of course, aren’t allmakers, by definition, in a quest for beauty? We might haveto ask the fine artists for the answer to that.

This is not to say that the contribution of new enamellers isunimportant. Theirs has the virtue of causing excitementand surprise and is the work that will get enamellingnoticed by the forces for progress in the arts and crafts. It isa privilege to be able to write about new enamellers and topublish the articles in this newsletter. For more experiencedenamellers, however, the value of experimentation andinnovation, within the confines of their practice and levelof skill, is to bring new life and vitality to their work. ‘Outof the Fire’ has benefited from contributions ofexperimenters which accompanied the stunningaccomplishments of the exhibitors in general. The effort tostage this exhibition has certainly been worthwhile and itis hoped that we can stage more events like this in the future.

A detail from ‘Sequence’ by Rosemary ZeemanEnamel on copperEach panel is 14 x 10cm

Pendant by Rosemary ZeemanEnamel on copper10cm long

Brooch by Sheila McdonaldCopper, silver, fine gold, fine gold leaf and enamel5 x 6cm

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On the evening of 16 June, in the open-air courtyard ofthe Torre Vella in Salou, the inauguration of the VIIth‘World of Enamelling International Exhibition’ wasunder way. The event followed the Catalan tradition ofa gathering of invited guests attending a ceremony ofspeeches and presentation awards for the biennialcompetition. It had been preceded by a brief previewof the works and, after the ceremony, refreshmentswere served, Catalan music was played and theexhibits could be viewed once more.

The exhibition set the theme of ‘The Nude’ andspecified that the entries must be unframed panels only,with one dimension at least being 10cm. Selected by ajury of four, representing the Corporation of Salou incollaboration with the Spanish enamelling organisationCIDAE and the Museum of Contemporary Enamel

(MECS, located in Salou), 125enamellers from 22 countries showed175 works.

The organisers are to be complimentedon their choice of theme ‘The Nude’,for it proved to be a most challengingyet rewarding subject with less of aconstraining influence than itspredecessor of 2005, ‘The Plate’. Inselecting 2007 theme, the organisershad in mind the long history of thepresentation of the nude figure, assome of the earliest art objects knownto us refer to the human form. In hisaddress, Andreu vilasis (Director ofMECS, President of CIDAE and curatorof the competition) referred to timespast, often in Spain, when many nudeworks remained hidden due to‘exaggerated chastity’ or timorousthought’.

I would echo Jean Tudor’s thoughtsabout themed shows. She wrote in theprevious newsletter (Summer 2007, p10,11, asnd 12) ‘A theme provides thepublic with an idea on which to hangwhat they see.’ But additionally, atheme means setting a boundary,making a restriction. When confrontedby this challenge, it seems to me that aricher seam can be mined: the

artist/maker is both tested and stimulated at thesame time and the outcome can become more,not less original and inventive. One couldtherefore have predicted that this show would bediverse and very personal in response.

Some enamellers presented their work in 3-Dform, some in relief, and the majority in 2-Dwithin the dimensions stipulated. The mainprize-winning piece by Rafael Arroyo wastechnically outstanding and very expressive withits beautifully formed parts attached by copperwire, which itself became hair where required.Its jewelled collar, gravitational bosoms, slightlycoy stare, and incongruously casual pose, lent ita sort of humour and very much a presence.

‘The Nude’: A Report from Salouby Evangeline Long

Princess by Rafael ArroyoCopper, enamel, glass eyes and beads, iron wire, paper30 x 26cm

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Most enamellers’ works wererecognisable for the employment oftheir known styles, but the diversity ofthe show was enhanced by thesituations in which the figures werepresented (there were a large number ofnarrative works) and by the methodsemployed - cloisonné, cut forms,screened images, high-fired effects,painted - the full gamut of enamelhandling seemed to be present. It waseasy to pick out the enamellers lessfamiliar with the life class and theinexperienced in drawing skills. Yetsome of these exhibitors werenevertheless able to make convincingstatements by their dramatic use ofcolour, line, tone and texture, or byclever use of decoration or pattern, withthe figure referred to only as animpression. Some pieces moved fromthe realm of realism to the abstract. Weare all familiar with pictures of the‘ideal’ female form, sometimes withattendant flowers, and these were inevidence too, some more or lessconvincing. The least interestingexhibits were straight drawings withlittle or no recognition of the fact that anenamel medium was being employed.

Torso by Evangeline LongCopper and jewellery enamel22 x 25cm

Six members of the British Society of Enamellers were represented:Evangeline Long, Jean Tudor, Pat Johnson, Janine Greenberg,Emma Fernandez, and Louise Richards. Evangeline Long and JeanTudor were awarded Special Mention by the Jury and Pat Johnsonreceived Honourable Mention. More images from this interestingand thought-provoking exhibition can be seen on the BSOE blog:www.bsoenews.blogspot.com.

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Granny On the Beach by Jean TudorCopper, silver cloisonné wire, cut out figrue bolted to a raku-fired background, with metallic wire stitching8 x 8”

An enamel image can be screened ontop of a fired layer of gold leaf; the leafwill not burn out before the enamelvitrifies. Applying several layers ofleaves, one on top of another with nofiring in between, will ensure that thegold is thick enough to withstand therelatively high heat required to get theenamel to melt.

Basic information: Gold leaf for jewellers can be applied to anenamelled surface by first wetting the surface lightly, either with wateror a thin coating of diluted Klyr-fire or wallpaper paste, and thenlaying the enamelled piece face down on top of the leaf, which isresting on its page in a book of leaf squares. This removes the need tohandle the leaf by removing it from its paper support. To get a thickerapplication of gold, the layer of leaf that is already adhering to theenamelled surface is carefully re-wetted and the process repeatedwith another section of leaf. Once the gummed leaf has been dried,shapes or lines can be produced by scraping away the gold.

A student discovered that gold transfer leaf, normally used for gilding.can also be applied to enamel. This foil cannot be separated from itspaper backing, which makes it possible to cut out precise shapes forapplication to enamel. The leaf and paper backing are fired togetheronto the enamel surface, A very thick paste (wallpaper paste) isrequired to hold the hold the paper in place when the work is firstplaced into the kiln and the paper burns away. Very small cut shapesdo not have enough surface be held in place by gum. The fired leafwill retain its shape if not left in the kiln too long. Otherwisefragmentation occurs.

Here is the basic effect of applying onelayer of gold leaf to a transparent redenamelled background and firing itfive or ten seconds longer than wouldbe required to get the leaf to adhere tothe enamel. This produces the crazing.The solid form on the upper left handside was probably caused by a fold inthe leaf.

Working With Gold LeafRuth Ball and Pat Johnson shared a Summer School course at West DeanCollege which featured working with gold leaf and foil. Much experimentationwas needed to establish the correct firing times and temperatures for the varietyof kilns available, and during this process a great deal was learned about thebehaviour of gold leaf and enamel. Guided by Ruth Ball, the class producedmany interesting test pieces and discovered new techniques.

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Ruth Ball produced this bowl by applying transparent red over transparentyellow Soyer 30 (two firings) to the inside and an opaque dark grey to theoutside. She then applied white gold leaf to the outside and yellow gold leafto the inside and fired both applications together. The thicker layers of goldare where the sheets of leaf have overlapped on application.

This handsome test piece was made by screening andfiring opaque cream dots on to copper, firing a layer offlux over the top, then gumming and firing on a largeragged piece of gold leaf. The heart was applied at thefourth firing, with the heart shaped scraped out of a severallayers of applied leaf before firing.

Wonderful affects can be achieved by texturing theenamelled surface before applying the leaf. Carefulfiring is required to ensure that the texturing does notflatten out. This piece was created by firing on a baselayer, a dark turquoise blue, and then stencilling on alight turquoise design, and firing very carefully to leavethe stencilled layer raised. After the firing, gold leaf isapplied over the whole piece, and fired when dry.Then the surface was lightly stoned back to reveal thestencilled pattern in relief.

This sample shows the effect ofdrawing through gold leaf to createdesign details. The red and blue dotswere first screened and lightly firedon to a black enamelled base layer;then the leaf was applied. The leafwas scraped off of the dots andcircular accents drawn in.

The interaction with thin gold leaf and itsenamelled background is shown in this sample byRuth Ball. Here the leaf is applied to a screenedand fired white enamel, which has produced acopper oxide pattern. When the leaf is fired on,the oxide pattern can be seen through the gold.

A damp paper stencil which masks the shape ofthe figure was laid down over the fired gold leafand a fine layer of flux sifted over the whole piece.With the stencil removed, the flux layer was thenintentionally underfired. Interestingly this seemedto brighten up the gold leaf, except where thestencilled form of the figure protected the leaf fromthe flux.

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Beryl Turpin: The Enameller To WhomSo Many of Us Are Indebted

Evacuated to rural Kent with her school, Beryl Turpin returned toLondon in early 1940, when the city was in complete chaos. By sheergood fortune, the art mistress from her original school was there andmade it possible for Beryl, age 13, to enrol at St Martins School of Artwith a Junior Scholarship. Here she received a general education, butalso learned painting and, particularly important for her future,drawing, and studied under, amongst others, Ruskin Spear. Trips to theV&A allowed Beryl to become familiar with enamelling.

At 18 Beryl left art college to get married and spent the next fifteenyears raising her family. Once the children were all in school, she tookup painting again, but found that her style was dated. Looking tochange direction, she found that there was a local class in enamelling.Here, after a very brief introduction to the basic techniques, Berylrealised that enamelling was going to be important to her and shebought her own kiln. Assisted by the book The Techniques ofEnamelling by Geoffrey Clarke, her period of experimentation began.Because of her background in drawing, Beryl was drawn to the sgrafittotechnique, realising her designs in transparent gold and turquoise

Thanks to the developmentof enamelling as a leisurepursuit in the second half ofthe 20th century (due to theready availability of kilnsand enamels) many peoplediscovered for themselvesthe delights of working withenamel, leading to anexpansion of the knowledgeabout the medium.Particularly new to this post-war period, at least as far asI know, was the emergenceof enamelled piecesemploying transparent goldson copper and copper oxide.Beryl Turpin completelyindependently discoveredthese effects, best revealedby the ‘sliding’ of enamel onsurfaces that were not flat,and she has influencedcountless enamellers eversince she began showing herwork. Generous in teaching,Beryl allowed her dis-coveries to be passed on tomany others, resulting innumerous handsome ena-melled vessels beingproduced in the UK, but thework of Beryl Turpin, theoriginator of the techniqueof working with transparentgold enamels and copperoxide lines, has remainedunsurpassed.

by Pat Johnson

Dish by Beryl Turpin, ca 1960Enamel on copper20cm diameter

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Ram by Beryl Turpin, ca 1973Enamel on copper28 x 18cm

enamels and the black and red of the copper oxide line. Shehad never previously seen work like she was producing butreached her established style after a year of development.

Beryl’s early work was done on tiny copper dishes, which sheeventually started to sell in order to recoup her expenses. Shealso began to take part in private exhibitions and to produceenamel designs on larger dishes. But literally just a year afterstarting to learn to enamel, Beryl decided to go straight to thetop. She made appointments to show her work to buyers inHarrods, Heals, Liberty and Co. and the Peter Jones group, andshe received orders from them all.

Bowl by Beryl Turpin, ca 1960Enamel on copper8 x 8cm

Geese by Beryl Turpin; 2007Enamel on copper23 x 25cm

On her dishes, Beryl frequently drew birdsand other stylised but realistic subjects,which she was able to depict in very finedetail with the sgrafitto technique. She alsoextended her range by developingtechniques for enamelling bowls and goblets.On these vessels, her designs, usuallypatterns, were hugely enhanced by thewonderful effect of the enamel sliding downthe steep sides. This was probably the firsttime that enamel was allowed to behave sofreely, revealing the true wonders of thecolours and the interactions between enameland copper oxide.

It was her use of subjects on the dishes thatled Beryl to the next stage of her work. Afterseveral years of producing dishes and bowls,she wanted to return to painting in order toaddress a broader range of subjects. Beryl

began to enamel panels using the full range ofcolours, working with opaques as well astransparent enamels. With more painterlyconcepts in mind, she depicted, domesticscenes, animals, and life in in the Englishcountryside. At this point she began exhibitingher work at the Peter Dingley gallery and hasbeen showing her enamels galleries in Englandand abroad ever since. Latterly, Beryl and herhusband spent twenty years living in ruralSpain. This influenced her colour palette anddesigns, which are now bold and colourful, incontrast to the more gentle tones of herprevious work. She continues to exhibit inseveral galleries in the UK; her enamels can beseen at the Alexander Gallery in Brighton,Primavera in Cambridge, Workshop Wales inManoren, Fishguard, and Euston Rooms inRye, East Sussex.

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With the background of a first career as an interiordesigner, Liana Pattihis began her four year JewelleryDesign course at Middlesex University with an openmind as to the kind of work she would make; at thatpoint she had had no more to do with enamellingthan to collect Chinese vases, including somecloisonné. In Liana’s second year, Ros Conway, atutor at Middlesex University, gave a one weekintroduction to enamelling, focusing on traditionaljewellery methods. Although Liana found enamellingto be a beautiful and intriguing process she was aperfectionist by nature and felt frustrated that she wasunable to get this method of enamelling quite right inthe short period of time allocated. But whenElizabeth Turrell, a visiting lecturer, introduced thetechnique of sifting, Liana found that this was thearea of enamelling that suited her.

Interested but not yet committed, it was a workshopwith Bettina Dittlman, (see the Summer 2006newsletter, pages 1,2, and 3), that opened up the way

of making jewellery that Liana wanted to pursue.Bettina brought in a bunch of fresh flowers as a pointof reference and directed the students to reproduceorganic forms using copper foil and enamel. Therewas a ‘lightness and a sense of freedom’ in Bettina’swork which really intrigued Liana and inspired her tocontinue experimenting with fine copper mesh andenamel for the following six weeks. A particularfeature of Bettina’s own practice, where enamellingtakes hours and hours and time flies quickly, alsoexerted a great appeal. The result of all the hard workwas a display of 38 enamelling samples arranged asan Imaginary Necklace in a group exhibition ‘WearIt?’ at the Museum of Domestic Design andArchitecture, in Hertfordshire, in May 2005.

Liana was not able to immediately begin developingher own approach to enamel because the third yearof her course was devoted to work placement, andonly in the final six weeks of her fourth year couldenamelling become her main point of focus. This did

Kandinsky Reversible Brooch by Liana PattihisCopper mesh, silver, enamel, stainless steelDiameter is 8cm

New Graduate: Liana Pattihis

Having evolved her own style of enamelling right fromthe beginning, Liana Pattihis describes the processesinvolved in discovering her new techniques.

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not cause a problem because Liana had approachin her work that enabled her to produce finishedpieces in time for New Designers. Her main pre-occupation at this point was to make wearablejewellery. This meant developing ways ofincorporating fixings for the pins on brooches thatwere simple to use and, at the same time, did notinterfere in any way with the design. Althoughinitial sources of inspiration guided Liana, for herthe aim was not replication. Each piece wastreated as a ‘final’ - what started out as anexperiment kept on evolving until somethingsatisfying was achieved. The possibility of failurewas not considered; discovery was the goal.Although Liana kept detailed notes and

photographic references, she had no intention torepeat any of her pieces. Of her approach, Lianasays ‘The appeal to me is that each is unique. Thenew discovery in one piece is the starting point forthe next. This enables my work to progress.’

Continuing from her earlier experiments, for herfinal year’s work Liana used two layers of coppermesh to create The Grey Kandinsky Brooch, (seeabove right) inspired by Wassily Kandinsky’spainting ‘Yellow, Red, and Blue’ (1925). A layerof fine mesh was folded over the edges of a layerof medium mesh, with the two being bondedtogether to create a border. Through herexperimenting Liana discovered that when two

layers of copper mesh were put through a rolling mill,a different mesh surface was created that affected thetexture and appearance of the enamelled surface andeven the resulting colour. This accounts for the greycolour which is, in fact, black enamel. Sifting blueflux over the surface produced the variations in the

grey. The layers of enamel were applied thinly inorder to allow the texture of the mesh to show.

Also through experimentation, Liana found a way ofproducing thin sheets of enamel, which she refers toas ‘leaves’. These she applies, using Klyr-fire, to apreviously enamelled surface The orange areas of thebrooch were made by the use of such ‘leaves’.

The ‘Kandinsky Reversible Brooch’ (see previouspage) was inspired by the same painting. Here Lianaapplied layer after layer of enamel, sometimesbrushing on the grains like watercolour on paper andsometimes using enamel ‘leaves’. She doesn’t knowprecisely what caused the distinctive cracks to appearon the surface. As it was a very complicated piece tomake; one can only assume that the cracks were

The Grey Kandinsky Brooch by Liana PattihisCopper mesh and enamel8 cm wide

Mesh Link Necklace (detail) by Liana PattihisCopper mesh and enamelEach link is 8 cm diametre; length of necklace is 128cm

Iris Stamens by Liana PattihisCopper, enamel, stainless steelLength 23 cm

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ChairmanHilary BoltonThe Mead70 Long Ashton RoadBristol BS41 9LE01275 540256hiilarybolton@blueyonder.co.uk

EditorPat Johnson51 Webbs RoadLondon SW11 6RX020 7228 0011pat.johnson@enamel.demon.co.uk

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SecretaryRuth Ball74 Easedale DriveAinsdaleSouthportMerseyside PR8 3TS01704 577585bsoe@designden.plus.com

caused either by the thickness of the enamel or byshrinking or movement of the mesh.

After finishing the brooches, Liana began work onneckpieces. Initially she made two-dimensional,interlinked, circular mesh forms (see previous page, left).The necklace was then enamelledin its entirety (usually by sifting butat one point by rolling thenecklace into dry enamel) andfired in the kiln in one piece, acomplicated and difficult process.The results, however, were moreinteresting than if the links wereenamelled separately becausethere was a uniformity in texture,colour and pattern in the finisheditem.

For another necklace, Liana madelinks by twisting silver wire andthen covering parts of thenecklace with copper mesh.When the enamel was fired on tothis piece, it appeared to her as ifthe whole surface of the necklacehad once been covered in mesh,and that somehow the mesh hadrusted and fallen off to reveal, inplaces, the silver underneath. Thiswas a turning point. From then onLiana’s interest switched to beingconcerned with what was underthe enamel and she began workon a series of pieces entitled‘Hidden Treasure’.

The first of these was made from 6.5 metres of continuoussilver Snake Chain, which was twisted and covered inplaces with copper wire until it was reduced in length to1.2 metres. It was then enamelled in its entirety. Othernecklaces followed, starting from different lengths of

continuous Snake Chain as she tried to see how muchsilver she could hide under the enamel.

Following her Hidden Treasure series, Liana addressedthe fact that her enamelling had an earthy quality thatcaused her neckpieces look as if they were made of

stones. In particular, before theywere enamelled, the necklacesreminded her of the appearanceof excavated jewellery, dug upduring the explorations ofHeinrich Schliemann andpictured in the book ‘The Gold ofTroy: Searching for Homer’sFabled City’ by VladimirTolstikov and Mikhail Treister.This inspired another series ofnecklaces, entitled ‘Unearthed’.Here, Liana reproduced thenecklaces from Troy, but thencovered them with enamel sothat they would look as if theyhad just come out of the ground.

In her final six weeks of hercourse at Middlesex, Lianacreated 25 pieces, fourteen ofwhich were exhibited at NewDesigners in July. They attracteda great deal of interest, withGalerie Marzee choosing to takenearly all of her brooches, as wellas some of the necklaces, for theInternational Graduation Show2007, at their gallery in Nijmegenin the Netherlands. Eight of her

pieces were sent to Studio Fusion in London which willbe part of their exhibition Rising Stars.

Before graduation, Liana had already set up anenamelling studio in her home, and will, after NewDesigners, immediately begin to produce new work.lianapattihis@aol.com

Hidden Treasure Necklace 4 (detail) by Liana PattihisSilver, copper mesh, enamelTotal length of necklace is 122cm