Tag: Makers

WATCH: Breakwater Studios’ Life’s Work Video Series, ‘Turns’

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The following is the final video in a four-part series hosted in partnership with and created by Breakwater Studios. Each piece is part of a larger series, Life’s Work: Six Conversations with Makers, that chronicles the lives and artistic pursuits of makers living on Canada’s Eastern seaboard. 

“Turns,” featuring Steven Kennard of Canning, Nova Scotia

When did you first begin working on your craft?

It’s been kind of always, really. I don’t really so much remember a beginning at all. I guess, if you really want to date it, it’s been [since] about 1974 or 1975. As a turner, I’ve always been immersed in woodworking in one way or another from childhood, really. I was excited to beginning turning, to make pieces for furniture which is what I started out doing.

Do you have another profession? If so, what do you do? If not, what did you do prior to beginning your artistic work?

I was a musician, prior to everything. I mean, I had been sharing my time as a turner with being a photographer. I still do it, but more emphasis has been on turning now. I was a musician back in the ’70s, so woodworking became a part of that because I made a lot of stage props and things at the time. English folk music. Button accordion.

How long did it take you to master? What new skills did you have to learn?

That’s a tricky one. I’m not sure that you ever really … it depends whether you decide you’ve become a master or not. I never really feel I’ve ever got there, actually. As far as learning new skills, it wasn’t just a case of, “Oh yeah, I’ve gotta do this, this, and this.” It was a case of acquiring skills over a period of time, you know, making the usual mistakes. It wasn’t like I went off to school or did a course or anything like that because, in those days, there really was no such thing available anyway. It’s a continual growth. There are always aspects of it that you really still feel like you can improve on, I suppose. It’s an accumulation of skills built up over, really, a lifetime, to be fair.

What do you feel you contribute to your community with the pieces you create?

Very little, actually. I’d like to think it was different, but if you look at the community as a worldwide community of woodturners, then I think I’ve made a contribution with my work for sure. I know that I’ve influenced a lot of people’s direction in what they’re doing, but as far as I would imagine, there are very few people that even know that I’m here. It’s really an artistic community rather than a community in Nova Scotia. It’s just too far out in nowhere, if you know what I mean. Culturally, it’s quite different from being in a bigger, larger city or whatever. Population’s low, agricultural-type community where art doesn’t really figure in most people’s lives. As a result of the Turns movie, it really opened up a community to me in a way. A lot of people related to that story.

What have you learned about yourself as you’ve grown as an artist?

There’s never an end to it; there’s always something else you want to go on to. I’ve learned a level of patience, I imagine. And knowing that it’s really a case of practice, practice, practice. Keep doing it, keep doing it, keep doing it. You know, it’s not really one of those things you can just jump in and jump out, really. Obviously, not everything turns out the way you want it to be, but being adaptable, as well, to see all possibilities in a situation. Maybe a thing didn’t work out, or how you find a way around a problem, as well. Problem-solving is a good answer to that, in a way. Constantly trying to work its way through the process by solving problems.

WATCH: Breakwater Studios’ Life’s Work Video Series, ‘Rust’

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The following is the third in a four-part video series hosted in partnership with and created by Breakwater Studios. Each piece is part of a larger series, Life’s Work: Six Conversations with Makers, that chronicles the lives and artistic pursuits of makers living on Canada’s Eastern seaboard. Look for a new video each Tuesday.

“Rust,” featuring Gordon Kennedy of Baddeck, Nova Scotia

When did you first begin working on your craft?

I basically started as a kid, in elementary school. I was always kind of putzing around — drawing and stuff — and I guess you could say I took it seriously when I went to art school. Early 1970s, that’s when I got serious about it, but I was always interested in it and always thought I might do it. Interestingly enough, it was “The Walking Man” by Giacometti. I was looking at, I don’t know, in the basement or something, looking through some magazines and there was a picture of this “Walking Man” and it was like a punch in the stomach, sort of. It really worked for me and that got my interest. I went and started fooling around with wire — got some wire and twisted it all up. Of course, I had no resources or anything. I bought what was that sort of metal colored glue. I don’t know how old I was, maybe 12 or 13, something like that. I actually found it, that wire, the other day. It’s actually not that bad — I don’t know if I got better or worse!

Do you have another profession? If so, what do you do? If not, what did you do prior to beginning your artistic work?

I was a kid prior to beginning my artistic work. [Laughs] But I worked as a deckhand on a lobster boat for 13 years to make money when I moved to Cape Breton because, you know, art is notoriously non-profitable unless you’re one of the lucky chosen few. So, I did many other things, but that’s the one I did the longest. It was 12 weeks of work, basically, in the spring. So it wasn’t too bad and it wasn’t really hard work but I was in good shape and you saw the sun rise out of the ocean everyday and that was cool. I didn’t mind it. I worked construction going through art school, and I did some layout for a newspaper once, and that was kind of okay — it was an inside thing. Part-time work is perfect, if you’re trying to do artwork so you have a bit of an income. Basically, I did whatever people did in the area I was at. I was big and in pretty good shape, so I just took on physical labor.

How long did it take you to master? What new skills did you have to learn?

Well, I’m still mastering it; I’m still working on it. The skills basically were … just getting better at it and figuring out maybe more intelligent ways of approaching some things and that sort of thing. Figuring out what tools work was a big deal. See, for me, I kind of knew what I wanted to do so I invented ways of doing it — for me, I mean. In the industry, I’m sure there are way easier ways of doing it, but they also have huge budgets. I did build a power hammer to do my metal forging, and that was probably the most useful moneymaking tool on the craft side of town and it helped in the art, too. I had never really seen one. That would be the tool that definitely saved [me]. It’s like a carpenter getting a circular saw. It took a couple of weeks to build. I’m still making adjustments and tweaking it. I have ideas that outreach my technical ability, at the moment, and that can be annoying in one way. I don’t have the process to bend and shape giant sheets so I cut them into little strips and weld them all together. It’s very time consuming, but it allows me to make complex shapes. It’s a lot more work, but I can do it, which is the point.

What do you feel you contribute to your community with the pieces you create?

I think, hopefully, it makes the place more visually interesting. People’s yards, public parks … hopefully makes it a more interesting place to be. There are people interested. I did do a big piece and the community really got into that one, and I finished it outside in the summer. People came to watch it leave, get put in the truck and go away. They’re always curious. Frankly, I think, in the beginning, they thought I was kinda nuts. But they do get that I’m surviving and, here, that’s a big deal. I have stuff outside and people always tell me they like this one or that one.

What have you learned about yourself as you’ve grown as an artist?

What have you learned about yourself as a human being would be an equally good question. You get to be older, be careful what you get yourself into. If you try to figure it out, if you wanna do it … you probably can do it. It’s also one of the only things that keeps my interest, because it’s always a bit different. I’ve had tough spots and everything but the problem solving generally keeps it interesting. What you learn is, you’re constantly learning. I also learned not to worry so much about it. Worrying doesn’t accomplish much. That’s a life thing for me. I’ve spent a lot of time worrying about shit that’s not necessary to worry about. In the end, it’s not really that important. You know what’s important. Make the time for it. You have to realize it’s worth doing, so … you do it. It’s wonderful if you can spend more time doing the things that you’re passionate about than less, I guess is what I’m trying to say, but I do understand it doesn’t always work.

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WATCH: Breakwater Studios’ Life’s Work Video Series, ‘Stone’

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The following is the second in a four-part video series hosted in partnership with and created by Breakwater Studios. Each piece is part of a larger series, Life’s Work: Six Conversations with Makers, that chronicles the lives and artistic pursuits of makers living on Canada’s Eastern seaboard. Look for a new video each Tuesday.

“Stone,” featuring Heather Lawson of Bass River, Nova Scotia

When did you first begin working on your craft?

When I was 24 — so that would be almost 32 years. Oh my God. Getting old.

Do you have another profession? If so, what do you do? If not, what did you do prior to beginning your artistic work?

All I do is beat on rocks. Before I did that, I studied recreation and I was a director of a boys and girls club. I loved it. It was as far as I could go by the time I was 24.

How long did it take you to master? What new skills did you have to learn?

Well, I wouldn’t say I mastered. In the stone craft, to become a master, there are actually things you have to do. It’s your peers who tell you you are a master. You don’t decide that yourself, and you have to have taught, and you have to have successfully run your own business to be a master, as far as stone masons are concerned. I know people who have never done any of those things and they call themselves a master. It’s more, nowadays, if you’ve been here long enough, you can call yourself a master.

As far as mastering your craft, I will never master this craft. There is way too much to it. You could cut every single day of your life and never have experienced it at all.

With stone stuff, especially, because there are so many different things. If you go away from the artistic part, the sculptural part, and you get into the stone masonry part, as far as making, like, cathedral windows, I’ve done that but not all stonemasons are good enough to do that. They are very difficult. Or to do a spiral staircase: You may not, in your whole career, get to do that. It’s not so much the cutting; it’s being able to figure out how to do it. How to set it out. It’s the setting out. The geometrics of it all.

What do you feel you contribute to your community with the pieces you create?

I was going to say my community couldn’t care less. I’ve brought notice to the craft in my community, as far as enriching my community, and I’ve inspired people to pick it up as a hobby craft. Actually, when I do my workshops, it’s pretty much 50/50 [in terms of women]. There are two women that I know of who do it more than a hobby. They work away at it, and I just got an email from a gentleman who took my course twice now, and he sent me pictures of his work and he’s really coming along. And now he wants to learn how to do lettering and I suggested he take my next workshop. [Laughs]

It’s great seeing someone progress like that. Takes me back to my boys club days. Same idea where, back then, you got to share enthusiasm with youth and, here, I get to share the enthusiasm of adults. It’s the same thing; it’s identical. They don’t squeal as much.

What have you learned about yourself as you’ve grown as an artist?

That I still have lots to learn. It’s frustrating when you want to do something, but you still haven’t got the skills to make your hands do what your head is thinking. I could make the same stuff over and over again and get really good at it, but I would be bored out of my mind. I have ideas and I have absolutely no skills to do them because I do work now that has stuff besides stone in them. So trying to figure out how to put the two together or how to make the stone do what I want it to do is challenging, but that’s why I keep doing it. I’d be bored out of my mind if it was the same thing every day.

WATCH: Breakwater Studios’ Life’s Work Video Series, ‘Fibre and Wood’

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The following is the first in a four-part video series hosted in partnership with and created by Breakwater Studios. Each piece is part of a larger series, Life’s Work: Six Conversations with Makers, that chronicles the lives and artistic pursuits of makers living on Canada’s Eastern seaboard. Look for a new video each Tuesday.

“Fibre and Wood,” featuring Douglas Drdul and Sanna Rahola of Walton, Nova Scotia

When did you first begin working on your craft?

Douglas Drdul: Well, I was first introduced to wood chisels, the crafting of woodcarving, while learning the craft of building acoustic guitars. It was soon after that that I felt the desire to do more with my chisels, and that would be roughly 18 years ago.

Sanna Rahola: I began working on becoming a textile artist at a very young age (without knowing it, of course). I received my first loom at the age of four and was already crocheting and had learned how to knit.

Do you have another profession? If so, what do you do? If not, what did you do prior to beginning your artistic work?

DD: I’m a woodworker, but I also have a full-time profession which is as a school bus driver. I have the school bus. I drive it out the house in the morning and it resides here overnight. I do a run that’s basically in my vicinity. When you’re a full-timer, you have a run, so to speak. You work in the morning and you work in the afternoon, and you have to make sure your run is as close as possible to where you live and have the bus at home. It’s just more convenient for everyone that way.

SR: Before becoming a full-time textile artist I was at university studying to become a dietitian. I loved biology, nature, and the human body. In between classes, I would knit, crotchet, sketch ideas, et cetera. After classes, I would design and screen print. On weekends, I would sell my screen-printed t-shirts, bags, brooches, et cetera at a farmers’ market in Halifax. Prior to university, I was a certified ski instructor.

How long did it take you to master? What new skills did you have to learn?

DD: Well, what I would say to that is I would never dare to call myself a master. And, in terms of the skills, I would say that, as ideas and projects evolve over time, so do my skills.

SR: I feel very uncomfortable with the word master. I do not feel that is up to me to decide. I will never call myself a master of my craft. I feel, the more I learn, the more there is to learn. I love to be challenged and figuring things out, always experimenting and pushing my boundaries. I feel very comfortable with my hands and will continue to learn and improve.

What do you feel you contribute to your community with the pieces you create?

DD: At times, they are reflecting of the national surroundings, to the area that we live here in Nova Scotia. We also donate to certain charities and organizations from time to time, help there, give them workshops, give them demonstrations, and this would all be here in Nova Scotia within our community, that sort of thing.

SR: I always hope to promote awareness for the beauty and importance of nature. To inspire people to observe, appreciate, and care for nature. I do not want to assume anything. This is what people who see my work in public places tell me — connection to nature, calming, memories of positive experiences in nature, good feelings, joy, inspirational. Annually, I donate a few pieces of work to support causes such as health care, women’s shelters, playgrounds, youth groups, et cetera.

What have you learned about yourself, as you’ve grown as an artist?

DD: I have learned that you are always learning. Pursuing the creative path and expressing it through artistic means, it’s really a lifelong journey process. It really is. They always say you are always learning as you go through life, but I suppose you appreciate a creative kind of expression that way and that’s something you really find passionate. And that’s what I’ve realized: You’re always learning and you’re always changing and evolving and pursuing that process. The process is what’s important and, from the process, comes all that learning.

SR: I have learned that I am usually able to accomplish anything I set my mind to. I always say “yes” and figure it out after. I have learned that I enjoy the process more than the finished work. I have learned that I make people feel good. Colors and textures really speak to me. I feel agitated when something is visually off-balance to my eye (color, composition). I have learned to turn on my creative fountain when necessary, even if I feel mentally exhausted; I guess I work well under pressure. I have learned that I rely on my work to keep me sane through emotionally difficult times. It is a beautiful calm place to escape to. I have learned that I need to balance my gentle, soft medium by working outdoors on a large scale, landscaping, creating spaces in nature.

7 Holiday Maker Markets to Up Your Gift Game

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Thanksgiving is about to rear its tiny, turkey-shaped head, and you know what that means: It's time to tackle that nagging holiday gift list. While it might be tempting to say, "Screw it, you're getting a gift card and you're getting a gift card!" like a maniacal, Scrooged-out Oprah, there's no denying that folks love a unique, thoughtful gift. Luckily, the growing popularity of holiday "maker markets (the Artist Formerly Known as "Craft Markets") makes finding one-of-a-kind gifts for everyone on your list far easier than actually sitting through a holiday meal with them, especially with that big, orange elephant currently taking up residence in all of our families' dining rooms.

To help you out, we've rounded up a few of our favorite upcoming markets. Now get to shopping!

Austin — Renegade Craft Fair — November 26-27

This free event at Austin's Fair Market features over 125 makers. Go for the holiday shopping, stay for live music, local food and drink, and a photo booth.

Brooklyn — Brooklyn Holiday Bazaar — November 26-27

The fourth installment of Brooklyn's free, annual Holiday Bazaar is its biggest yet, with 40+ makers on site at 501 Union. Sip a craft beverage while you browse handmade jewlery and home decor and, if you have little ones, be sure to stop by the Kids Craft Corner.

Chicago — Made in Chicago Holiday Market — December 18

As if a free event with dozens of makers, local food, and local drinks weren't enough, this holiday market at Chicago's Plumbers Hall also allows guests (while supplies last) to create their own free terrarium ornaments. 

Los Angeles — Artisanal L.A. Holiday Market — December 3

A $10 admission gets you unlimited re-entry into this weekend-long event at Los Angeles's CMC Penthouse. More than 150 makers will be on-hand, with 30+ opportunities for attendees to indulge in little on-site DIY of their own.

Louisville — Made Market — December 16-17

This holiday market at Louisville's Frazier History Museum is free, but if you want to check out all the goods before the general public, you can buy a ticket to a special preview event the evening before the big day. And, with vendors like BGS pals 1767 Designs in attendance, getting there early may not be a bad idea!

Nashville — Porter Flea Holiday Market — December 10

Nashville's Porter Flea gets bigger and bigger each year, and the holiday market is not to be missed. Held at Skyway Studios this year, admission is free, although, as with Louisville's market, there is a ticketed preview market the night prior.

Seattle — Fremont Foundry Holiday Makers Market — December 18

Seattle has a strong maker community, with markets popping up across town throughout the year. This particular holiday market happens later in the season than most, so it's perfect for all your last-minute shopping needs.

Lede photo via Porter Flea/Garner Blue

1767 Designs Repurpose the Rubble of Old Nashville

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Thanks to TV shows, New York Times articles, and a resulting boom in new people moving to the city, Nashville has changed a lot over the last five years. Buildings have gone up — and so has rent — and many Nashville businesses have been forced under in the process. Nashville woodworker Patrick Hayes, of 1767 Designs — a company that uses wood and materials from homes and buildings destroyed in the city — has made it his mission to create furniture and art "from Nashville's urban decay."

"As with most things in my life, I cannot say that I had some grand plan–I more or less fall into things–the same is true about 1767," Hayes explains. "I moved to TN in the winter of 2014 with only my clothes and my laptop. SO when I finally got an apartment situation figured out, I needed to furnish the place. I could have gone the Ikea route and bought a bunch of cheaply made stuff, but I decided that since I had an excess of time, and did not have a job, that I would make the furniture myself. In the midst of sending out tons of applications for potential jobs, I worked on my first piece: a coffee table. Since I had not yet found a job, my budget was small. I started to look for materials I could use that were relatively inexpensive but still had a lot of character. I found a guy who had collected wood from old homes down the street from where I lived, and he just so happened to have a small pile of lath that he was planning to burn. I purchased the small pile of wood and got to work. I had little to no tools when starting out, so I mostly worked with a small handsaw, a hammer, and nails. It took me a while, but I had made a pretty unique piece of furniture that I was proud of."

As development in Nashville has taken off like wildfire, Hayes has had no shortage of materials to work with. "It is a bittersweet situation happening in Nashville right now," he says. "On one hand I am so excited to call Nashville home, and see it grow in the ways that it has being here for as short of a time as I have. On the other hand it is really sad to see some beautiful homes being torn down to make room for shotgun houses with little to no unique qualities. I am trying my best to create a positive from something seemingly negative. Nashville is going to grow, and change whether we like it or not. Homes are going to continue to be torn down to make room for more homes, and there isn't much that can be done to stop it in the immediate future. But, if I can take apart a home, transform it into something new and unique, and let its history live on in another form, I think that is a pretty powerful thing."

Check out a few of our favorite pieces from Hayes.

Wall hanging made from materials found in a 12 South home built in 1926.

Coffee table made from materials found in a West End home built in 1900.

Barn wood wall installed in East Nashville.

Door made from materials from two 12 South homes.

Fireplace cover made from materials from a 1940s home in the Nations.

Go Behind-the-Scenes of Jonny Fritz’s Leathermaking Side Hustle

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Jonny Fritz is one of the more singular voices in the Americana community. Formerly Jonny Corndawg, the singer/songwriter is known for his humor, sure, but he can also pen a poignant tune with the best of them. His most recent album, Dad Country, earned him critical acclaim and a broader audience. What Fritz's fans may not know, though, is that he's also a talented leathermaker, adorning bags and guitars with cacti, desert scenes, and, of course, naked yoga.

While on the road in Austin, Texas, Fritz gave BGS photographer Sandra DahDah a glimpse into the renaissance man's mobile workshop, which you can check out below. And don't miss the man himself at the L.A. Bluegrass Situation this weekend, where he'll be performing and making custom leatherworks for fans.


Putting the finishing touches on this cool new Southwestern themed tote


Bag and koozie


Naked yoga bag


America's Sweet Creep


I know how to do it


Words to live by


What dreams are made of


"…AND STAY OUT!"

All photos by the talented Sandra Dahdah