Crafting Change: Makers of Social Impact

When you think of craft, you often think of decorative objects, meticulously made. But for me, one of the greatest things about my job as a curator is getting to speak to artists and makers about the inspiration behind their pieces.

Back in October 2024, I was delighted to work with The Crafts Council on their Unboxing the Collection initiative, showcasing works that hadn't been seen publicly in recent years and amplifying the makers' stories. As part of this programme, we staged two workshops with Rosa Nguyen and Darren Appiagyei, who not only shared their time and expertise but also discussed the power of craft for introspection. Both artists led participants through an hour of exploration and dedication without any clear objectives, but rather to feel, share, and inspire. And it was during his talk that Darren bravely announced that for the first time, at Collect, he would be making work that tells a deeply personal story.

Appiagyei, a wood artist, is using his practice to honour the memory of his late mother, who sadly passed away due to fibroids. This often-overlooked health condition disproportionately affects women of colour, including some very close to me, and Darren seeks to raise awareness of this critical issue. Known for transforming wood into evocative sculptures, he is now giving tangible form to his grief and channelling his personal loss into a powerful message of advocacy. His work not only serves as a poignant reminder of his mother but also promotes open discussions about women's health and the necessity for greater awareness and support. While Darren's work has always been inspired by nature, drawing from the way things grow around us, this new piece marks a significant moment - his first time turning inward for inspiration.

This powerful work and discussion have inspired an upcoming talk I will moderate at Collect on February 28th. Darren and I will be joined by exhibiting makers Chris Day and El Hoskyns-Abrahall, who, in their own unique ways, demonstrate how craft can serve as a platform for addressing critical issues and fostering meaningful change.

Craft, with its emphasis on the physical act of making, offers a unique form of therapy for artists navigating difficult emotions. Unlike other art forms like film, where the process can feel more abstract or detached, craft often involves a direct and tactile engagement with materials. The act of shaping clay, weaving fibres, or working with wood can be deeply grounding and therapeutic, allowing the artist to channel their emotions and anxieties into a tangible form. This hands-on process can be a powerful way to process trauma, grief, or other difficult experiences, allowing the artist to find solace and healing through the act of creation itself.

In preparing for our talk, I have been reminded of other influential examples where craft has been employed to tell overlooked stories. One that stands out is the response to the AIDS crisis in the 1980s and 1990s. Groups like Gran Fury, an AIDS activist art collective formed within ACT UP (the AIDS Coalition to Unleash Power), utilised letterpress, mural work, graphic design, photography, and public interventions to raise awareness about the epidemic, challenge government inaction, and demand better treatment for people living with AIDS. Their iconic slogans and provocative imagery, such as the "Silence = Death" symbol, became powerful emblems of the movement and galvanised public opinion.

From the quilts made to memorialise those lost to HIV and AIDS, to the grassroots printing of protest posters that gave voice to those silenced, Gran Fury showcased the power of craft in raising awareness globally, even in a pre-internet world.

The accessibility of craft is something that makes it so exciting; the use of found or discarded objects can be an easy way to start. Multidisciplinary artist, Liaqat Rasul, who I worked with last year for his first solo institutional exhibition at Ty Pawb, started making art using receipts left by customers he served at the pub where he worked, transforming them into collages, sculptures, and his signature mobile faces. Following the closure of his fashion label, Ghulam Sakina, Rasul found himself without work and instead of giving up on his creativity, he used his spare time to visit free exhibitions and using whatever he could find to create his often autobiographical work, which details his experiences of being gay, Welsh, and Pakistani, as well as the importance of discussing mental health. The artist cites art as having saved him through the difficult period of his life, and with such a pertinent message, who cares what your canvas is?

Working with Rasul was a powerful reminder of how craft allows us not only to speak up about social issues but also to process and externalise personal struggles. This courage is also found in the work of my fellow Collect panellists, Chris Day and El Hoskyns-Abrahall, who both use their craft to explore individual experiences, the complexities of identity, and how those narratives are perceived by others.

Christopher Day, a glass artist, navigates the intricacies of his biracial identity through his striking and thought-provoking creations. Born to a Black father and a white mother, Day explores the nuances of his mixed-race experience in the UK, grappling with issues of identity, belonging, and representation. His work, characterised by a rich colour palette and fluid forms, mirrors the fluidity of his own identity and challenges preconceived notions of race and belonging. By creating art that embodies his personal journey, Day not only shares his own experiences but also invites viewers to reflect on their perceptions of race and identity. What struck me about Chris’ work is how he beautifully articulates how multifaceted we are as humans. As the son of a father with a similar background to Chris, I can recall conversations I had with him about his upbringing and began to question if his heritage influences his interest in mixed media and in turn my own.

This experience is not only prevalent in discussions around race, gender is another space where a one or two sizes fit all label cannot be applied to everyone. This sentiment is skilfully expressed in the work of El Hoskyns-Abrahall, a sculptor and jeweller who employs their practice to explore themes of gender, identity politics, and queer theory. Through their work, they challenge traditional notions of gender expression and provide a nuanced perspective on the complexities of identity in contemporary society. Their creations, often infused with personal narratives and social commentary, serve as powerful tools for self-expression and a means of questioning societal norms and stereotypes.

These artists, along with many others, demonstrate the power of craft to go beyond mere aesthetics. It is a medium for social commentary, a platform for self-discovery, and a tool for challenging societal norms. By embracing the accessibility of craft and supporting the makers who are using their voices to create meaningful change, we can foster a more inclusive and equitable society.

As we look forward to this year’s Collect, I encourage everyone to engage with as many makers as possible. Speak with them or their gallerists about the stories behind the pieces that capture your attention—and perhaps even those that don’t. Each work has a story waiting to be heard, and in those stories, we may find new perspectives, deeper connections, and, ultimately, the power of craft to shape change.

Crafting a Platform: Cause Related Craft is taking place on 28 February at 2.30pm at Somerset House’s talk theatre. This talk is free with your Collect ticket.

Lewis Dalton Gilbert is an independent curator and the creative director at A Vibe Called Tech; a creative studio and art & design consultancy dedicated to approaching creativity through an intersectional lens. Following his BA in Fine Art at Chelsea College of Art and Design, he coordinated and produced exhibitions and projects for White Cube and Frieze and is currently the associate curator for New Art Centre, where he previously served as creative director. In 2021, he curated the Hackney Windrush Art Commissions with Thomas J Price and Veronica Ryan OBE, for which Ryan won the Turner Prize.

Recent independent curatorial projects include Unboxing the Collection: Exploring the Vessel at Crafts Council (2024), Liaqat Rasul: NAU, NAU, DOH, CHAAR” at Tŷ Pawb (2024), Francis Offman: Notes from the Heart at La Società delle Api (2024), South by Southwest at Gurr Johns (2024), Pictures of Us at Gathering, London (2023), We Share the Same Sky on Vortic Art (2023), Abstract Colour at Marlborough Gallery (2023) and Peripheral Vision at Anna Schwartz Gallery (2021).