Inches Carr Trust

Dovecot Studios are unique among Edinburgh exhibition spaces in that they are devoted solely to crafts; prescribing the label ‘makers’ to its exhibitors instead of ‘artists’. This is shown clearly in this exhibition celebrating craftspeople from all over Scotland, each a recipient of an Inches Carr Bursary.

When visiting the exhibition what is first noticeable is the fantastic space of Dovecot Studios: white, open plan, and wholly accessible. Next, when viewing the work for the first time, one cannot help but be struck by the variety of contemporary craft on show, including glass, sculpture, ceramics, stone carving and tapestry.

From Archie McCall’s traditional bowl making to Peter Chang’s quirky modern jewellery, one cannot help but enthuse at the quality of skill present here. Not only this but the innovation (perhaps fostered by the financial security that the Inches Carr award provides) shown is fascinating. Take, for example, Ann Marie Shillto’s user-friendly design software.

Assortment is, however, perhaps the shows weakness. Whilst those makers that present their work simply as craft are successful, those makers that attempt to ‘make a point’ appear somewhat weaker. This is seen in Susan Mowatt’s scribble, Making Not Faking, drawn directly onto the wall or Jane Kelly’s leaf instillation. It seems that these makers feel the urge, perhaps due to the gallery context of the exhibition, to almost dress up what they create. It takes more confidence to present craft as it is, and produce a more interesting body of work.