I am a Printmaker and a Watercolour artist Inspired by the natural world and the Welsh coast. I make Collagraph prints (Which are made from textured, collaged, card and foil plates) Etchings, made from Zinc plates and Watercolour paintings. I also make Giclée (digital) prints of my paintings and Gift cards.
J W Henderson are handcrafted furniture makers who pride themselves in producing unique/bespoke items of furniture made using traditional woodworking skills with locally and ethically sourced timbers and materials.
Jeff is skilled in engineering, boat building, furniture making and cabinet making. Sally was an IT lecturer for 14 years. She qualified in furniture making in 2014 and brings a blend of creativity and administration into the mix.
We are based close to the Teifi river and take inspiration from it. We have a respect for traditionally made furniture and enjoy facing challenges.
We welcome commissions and although traditionally inspired, we have the ability to provide a contemporary twist to your design ideas.
Knitwear Accessories and Natural Welsh Woven Blankets.
All knits are handmade by Marissa on her vintage knitting machines in Pembrokeshire. Each collection has been made using 100% Lambswool – Merino in contemporary designs which are felted to finish. Her sumptuous knits extend into cosy colourful hot water bottle covers and cushions.
Popular with both men and women her textiles remain a wardrobe stable which transcend the seasons with a particular focus on quality and bold colour palettes.
Her current collections are inspired by the coastline which envelopes her home of Cardigan Bay – Wales – ‘The Year Of The Sea’. Woven blankets have been designed and made here in Wales from a mix of wool and alpaca in 100% natural colours making them not only beautifully soft but sustainable and ethically sourced.
Member of Creative Breaks, Artsite Three Studios and Make it in Wales.
I’m a ceramic artist, and am still exploring the medium and how different clays and glazes change the nature of the object.
Currently working and exploiting the anthropomorphic nature of jugs. Some of the most ancient ceramics in the world took the form of birds or women. Nobody knows why. I like to think that since these items were found in tombs they were somehow connected to the journey to the other world or spirit world. Descendants of this idea, that we all know are the holy dove and the phoenix, but there are many examples of bird’s connection to death or the prophesy of death in folk lore. Bran’s crows sat on his shoulders during battle, the Romans said that the Britons had crows that foretold the outcome of a battle and we all know that when the Ravens leave the Tower of London it will be the end of us all.
The anthropomorphic jug was a symbol of re-generation, of being re-born. My lady jugs usually have an ample shape, and are symbols of fecundity and fertility. The crow jugs are less optimistic, possibly contain some deadly elixir, are not meant as milk jugs but more as vases that should contain flowers to contemplate and connect you to the spirit world. Owls are ghostly spirits that fly silently through the night or… watch and wait. I’m working on the idea of a night light using translucent porcelain or bone china.
‘Seven ages of me,’ is one piece that depicts my journey through life so far. What comes next?
Pam took up working in various media after moving to Wales.
She started making painted glass pieces and cards for in the Collective some years ago.
Recently, she and her husband began creating their own distinctive style of jewellery, working with silver, copper and brass.
painter, sculptor & curator
The subject matter of my work is as much rooted in the natural world as it is in the art of the past, occasionally my pictures are completely abstract but mostly figurative, predominately landscapes, inspired by where I live in Wales and what I see around me.
I am particularly fond of the period in European art around 1900, and the work of my grandfather, Martin Bloch (1883-1954) remains a prime influence.
If you look at my work hoping for stylistic integrity or any one single ideology you might be confused as I pursue several different approaches simultaneously, what unites my work is a feeling for colour. Self taught as a painter, I aim to achieve a consistent freshness of approach.
I began making jewellery as a small child, and have pursued this craft in various forms ever since. As a teenager I experimented mainly with wirework, but in recent years I have focused more on learning beadweaving techniques. This wonderful craft appeals to my love of pattern, my love of vibrant colour, and my love of dainty, precise details. One of the things I enjoy most about working with seed beads is that they can be used to make three-dimensional shapes that are either geometric or curved or both. I also love the tactile element of beadwork – it can be quite slinky and smooth to the touch, and feels lovely to wear.
Beadweaving generally requires hundreds, if not thousands, of tiny glass ‘seed’ beads. Usually, they will be stitched one by one – this requires many, many hours, much patience and very good lighting!
I love the technical aspect within printmaking, sculpture and metal casting- but it has only been in the last couple of years that I have had the opportunity for ‘play’. I inherited an etching press which at first gave me new incentives to explore once again the medium, having studied sculpture and printmaking as a degree in 1990.
Having created The Metal Press, which casts things made into sculpture and jewelery, it has expanded my ideas in so many directions – but always it leads me back to simple enjoyment and engagement with things I love, a wonder with the natural world and a love of objects.
I would like to explore some reproductions of objects next year – or parts of them that I can create sculptures with. What was it about ‘ a machine that can make lace’, just something to marvel at and I hope it never stops. The metal casting is really about printmaking for me too – editions.
Ian is a frustrated cartoonist who mistakenly trained as an architect and practised in the UK and abroad before returning to graphic artwork. He now lives in Solva, north Pembrokeshire.
Despite recanting, Ian’s architect’s eye is evident in the subjects of his black-and-white prints, produced from his pen-and-ink drawings – the composition of buildings and their strong forms in natural and man-altered landscapes.
He first developed an interest in screenprinting whilst working for a firm of architects in India who produced prints of their buildings using traditional miniature-style techniques, such as flattening-out of perspective and deep, pungent colours. In this spirit, his most recent images are vivid, hand-printed screenprints of Pembrokeshire’s coastline.
I have over 10 years experience in woodland work and working with wood. After watching too many nice pieces of timber ending up in firewood piles I purchased a chain saw sawmill system and began using this wood in a more creative and satisfying way. All the timber I use has come from local woodland management programs or is a buy product from local tree surgery work and would otherwise have ended up as firewood.
Trading as wholegrain woodness, I make hand crafted rustic and bespoke furniture and furnishings utilizing the natural form of the wood. I work from my workshop in the bowl of the Preseli hills in north Pembrokeshire, within the Pembrokeshire Coast National Park and take my inspitation from nature, my surroundings and by using the materials in interesting and unusual ways. I like to keep the design simple and let the wood do the talking and bring out the “wholegrain woodness” in all my work.
Howi Steed is a Welsh artist who specialises in seascape and coastal landscape.
He uses traditional oil painting techniques to evocatively capture the moods of the sea around the coasts of south and west Wales with a unique and vibrant realism.