Thoughts.......

Light

Shadow

Human Form

Viewer questioning what they see, and what they know........

A. Balasubramaniam 2

A. Balasubramaniam

"I like to be called a person who creates art, and not merely a painter, printmaker or a sculptor."

Balasubramaniam’s latest works are a play of shadows through which he questions the viewer’s belief in the unseen and the unknown – encouraging them to query their own consciousness. After stripping down a form to its bare minimum, Balasubramaniam allows it to grow again through a series of shadows – although seen, intangible to the sense of touch. Each form and its multiple shadows share their own camaraderie with the element of light. With some appearing darker and deeper than others, the notion of transcendental infinity is also established.

“Despite the strong visual affirmation involved in witnessing Bala’s works, we are nevertheless challenged to believe what we see. Our sense of perception, of reality, is questioned and at times evokes a contradictory realization” says Deepak Talwar of Talwar Gallery, Delhi and New York.

Born in Tamil Nadu in 1971, Balasubramaniam received his Bachelor’s degree in fine arts from the Government College of Arts, Chennai, in 1995. In 1998, he studied printmaking at EPW Edinburgh, UK, after which he pursued his love for the genre at the Universitat fur Angewandte Kunste in Wien, Austria. He has travelled extensively and exhibited in France, Spain, Egypt, Japan, Malaysia, Finland, Norway and USA. Amongst his solo shows are ‘(In)Visible’ at Talwar Gallery, New Delhi, in 2007; Talwar Gallery, New York, in 2007; ‘(Desi)re’ at Talwar Gallery, New York, in 2005; ‘Transition and Transformation’ at the Fine Arts Museum, University of Massachusetts, Amherst, also in 2005; and Talwar Gallery, New York, in 2004. His most recent group endeavors include ‘Freedom 2008 – Sixty Years after Indian Independence’ at the Centre for International Modern Art (CIMA), Kolkata, in 2008; ‘The Inverted Tree’ at Gallery Threshold, New Delhi, in 2005; ‘Indian Summer’ at the Ecole des Beaux Arts, Paris, also in 2005; and ‘Solitude’ at the India Habitat Centre, New Delhi, in 2003.

The artist lives and works in Bangalore.

Nick Veasey

25 March 2010: From a Boeing 777 to a Mini Cooper and a even a fruit bat, Brit artist and X-ray boffin Nick Veasey has captured them all. Veasey uses a cargo scanner to make the images, some of which cost thousands of pounds to produce

for Brulafu - Art Dubai 2010 Art Fair

Art Dubai, Courtesy Art Dubai
Now in its fourth year, Art Dubai has become a defining platform for contemporary art practice across the Middle East region. Highlights of Art Dubai 2010 will include the return of the acclaimed Global Art Forum, the second annual Abraaj Capital Art Prize; “The Poetry of Time”, a museum quality exhibition curated by Van Cleef & Arpels; Art Park and Contemparabia 2010. In addition, Art Dubai has invited not-for-profit arts organization Bidoun Projects to curate its program of special projects highlighting the importance of collaboration in the region.

Earlier this year, Art Dubai’s third edition attracted an audience of more than 14,000 visitors from across the Middle East, South Asia and beyond, including leading curators, museum directors, artists, 80 museum groups and more than 300 international journalists. Online video and multimedia content showcasing highlights of Art Dubai’s successful 2009 fair, including the Abraaj Capital Art Prize and key panels of the Global Art Forum are now available for viewing.

Art Dubai 2010 is held in partnership with private equity group Abraaj Capital and continues to enjoy support from its sponsors Van Cleef & Arpels and Jumeirah Hotels & Resorts. Based at the stunning beachside Madinat Jumeirah Resort, Art Dubai 2010 offers visitors the most extensive program of contemporary art exhibitions and events to date.

John Martin, Director and Co-Founder of Art Dubai said, “Over the past three years, Art Dubai has created a critical platform for current art practice in the Middle East, setting the business of art within a context that is intelligent, stimulating and relevant. Through innovative collaborations with world-class galleries and arts organizations we have established Art Dubai as an date not to be missed on the international art calendar, offering a unique vantage point for collectors to discover the most innovative younger galleries and artists alongside established names from around the world.

RAJESH RAM,RAJESH RAM - The Saatchi Gallery

Ram’s work suggests a complex culture, reorganising and rebranding itself as a thriving new superpower. Lofty ambitions and purposeful intentions introduce a wealth of opportunity for many in India while creating dreadful anxieties for the people that are detracted by their circumstances. The artist’s bronze sculpture Heavy Load has the figure almost bent double with two arms to his right, one hand desperately trying to hold up his cotton trousers while the other pushes a wire netted sack over his shoulder. On his left side, the bronze figure appears to be holding his ear, listening to the earth with a second hand coming out from behind his head. The weight appears to be overbearing. Ram’s figure, elevated to the statuesque, appears to be crippled by the weight of the consequences of the global food crisis. Objects such as vegetables are stuffed into a flimsy wire sack, representing the need for sustenance as global trade. This work celebrates the ordinary person entrenched in a country that is suffocating for its numbers.

Yamini Nayar, Underfoot And Overhead - The Saatchi Gallery

Yamini Nayar works with installation and architecture as photography, creating imagined, psychologically laden interiors from found and discarded materials. These installations are destroyed after the work is photographed, so that the photographic image serves as a stand-in for the original work. In representing invented spaces as still images, any sense of scale is concealed from the audience. The interiors appear destroyed by acts of nature. In Underfoot and Overhead a dishevelled staircase falls precariously from a doorway with a thread of foliage hanging over the darkened entrance. Once inside, a single light-bulb appears to illuminate a darkened room. The work takes its name from a Rudyard Kipling poem.

Liu Bolin and the art of concealment

Culture from chaos: where next for Iraqi art? We know about the devastation and looting – but what impact has war had on Iraq's artistic heritage?

http://www.guardian.co.uk/artanddesign/2010/mar/12/iraq-war-art-heritage

Spoils of war ... two US marines photograph themselves in the Iraq Museum, Baghdad. Photograph: Thomas Coex/AFP/Getty Images

We hear plenty about the horror of Iraq. There are bombs in market places, at hotels and official buildings. There are sectarian rifts, dozens of militias and politicians who claim to be fighting terror yet who have their own private armies. Fifty-three billion dollars has been spent on post-invasion aid, and yet 40% of Iraqis are without drinking water. Iraq is currently ranked the fifth most corrupt country in the world by Transparency International.

Freedom isn't, perhaps, the first word that springs to mind when you think about Iraq. But it is the word used by Haydar Daffar, an Iraqi film-maker in his late 30s, whose 2005 documentary The Dreams of Sparrows recounts the chaos and tragedy of post-invasion Iraq through the eyes of its artists. He supports himself – like film-makers everywhere – by making commercials. "There is freedom here today," he smiles when I meet him on a late February afternoon at the Hewar Gallery, one of the beleaguered city of Waziriya's remaining few. "Freedom of expression and freedom to kill."

I returned to Iraq after seven years away, a few days before last weekend's election. The last time I was here, it was in the wake of the 2003 invasion; I was researching my book Dancing in the No Fly Zone. Now I'm here as a co-editor at New Internationalist planning our May issue on Iraq. As gangs of journalists in full body armour roam the streets of Baghdad looking for stories on the election, I'm on a different mission entirely: to find signs of cultural life in a place that was once called the City of Peace.

As Daffar and I drive through Baghdad's toxic traffic in our beaten-up old car – it can now take two hours to cross town, if you don't die of exhaust inhalation en route – he tells me his story. He was threatened by both Sunni and Shia militias and forced to flee. He's not sure why, but suspects it's because The Dreams of Sparrows contained references to Baghdad's thriving underground drinking culture (one that he thoroughly enjoys, he lets slip). Admittedly, that was back in the bad old days of sectarian militia terror – days that, depending on who you ask, lasted anywhere from 2004 until very recently.

As we drive past a plethora of election posters depicting candidates promising peace, prosperity and even national unity, those ideas seem very far away. Pistols with silencers are big these days in Baghdad, as are mortar rounds lobbed at the green zone, car bombs and police violence. A whole family was recently beheaded here by an unknown hit squad, and a university professor gunned down in the street.

But at an old Ottoman villa on the banks of the Tigris – apparently once inhabited by Gertrude Bell, who was here with TE Lawrence in the 1920s and, amazing as it sounds, helped draw up the borders of present-day Iraq – I encounter a parallel world. The building has recently been converted into a theatre, and a group of young actors and dancers are rehearsing for a new play – a fusion of dance, drama and film – about Iraqi poet Mudaffer al-Nawab. Imprisoned after the 1963 CIA-backed Ba'athist coup, al Nawab, a communist writer, now makes strident statements against both American occupation and the Iraqi government from his home in Syria. The play's choreography carries echoes of the jazzy yet balletic style of diva Twyla Tharp, as well as break dancing, and even the Iraqi folk circle dance called chobi.

Their enthusiasm is so infectious that I put down my notebook and join in. Afterwards, I get talking to the cast. A 21-year-old from a poor Shia neighbourhood says that he was threatened by Mahdi militia a few years ago for "having long hair" and "being an actor", but that now the situation has improved. One of his colleagues, an 18-year-old named Ali from the same neighbourhood, who does a mean moonwalk, tells me that his father was killed by Saddam Hussein for belonging to the Dawa party. He says his two brothers – both religious – disapprove of his theatre work, but his mother comes to all his performances.

Another actor, Bushra Ismail, is a veteran of the Iraqi theatre scene and recently won the award for best Arab actress in Cairo. "Under Saddam we suffered from censorship," she recounts, "but now it's the religious parties we have to be careful about offending. There are a whole new set of red lines that we can't cross." Still, everyone is excited about opening night.

In the nearby neighbourhood of Karradeh, the National Theatre (a once-grand, now slightly derelict building, built during the Iran–Iraq war) is closed for restoration when I visit. Now surrounded by colourful election posters, the theatre began evening performances again at the end of 2008 (safer daytime performances were the norm following the invasion).

The National's information director Nabeel Taher, a serious-looking man in his 40s, tells me that although there is still insufficient arts funding from the government, he feels hopeful about the future of Iraqi culture. "We feel much freer than before," he says, citing a recent political satire by Iraqi playwright–director Haider Monather that lampooned the then head of parliament Mahmoud al-Mashhadani. "[Al-Mashhadani] sent the actors flowers and a congratulatory card," he explains. Such a thing would have been unimaginable a decade ago.

The theatre, which under the Ba'ath party provided much-needed relief from the twin terrors of sanctions and Saddam, met with hardships after the 2003 invasion. It was bombed twice in 2008; the first time during a production of an anti-militia play, and the second when the organisation's celebrations for International Theatre Day 2008 clashed with a huge anti-occupation demonstration lead by Shia leader Moqtada al-Sadr just across the street.

"Some militiamen crossed over and threatened to hang us from a pole unless we stopped our celebrations," says Taher. "But I tried to reason with them, saying: 'Look, we are just artists, not politicians, and we are all Iraqis after all.'" The result was a National Theatre-sponsored play about the life of the Shia Imam Hossein, produced on location in Sadr City with a mixture of professionals and local amateurs – including a few militia. One even left the army to become an actor, Taher reveals, but won't talk to us about it because he doesn't want to dwell on his past.

Dwelling on the past is a big deal at the Iraq Museum in Karkh, an area of Baghdad that shares borders with an old quarter of the city and is now a tough innercity neighbourhood. The museum was famously looted after the invasion – as US tanks stood by – although several of the artefacts stolen were allegedly part of an inside job. It officially re-opened last year after extensive repairs and renovations, with at least half of the objects yet to be found.

Making my way past security checkpoints flying Shia banners, I meet up with Muwafaq al-Taei, an architect and town planner who was both lionised and terrorised by the old regime. He was the designer of some of Saddam's more grandiose public projects, but also an unrepentant and spied-upon communist. He walks with a limp after being shot by US forces a few years ago while working on a housing project for Marsh Arabs in the south. Now 68, he possesses an unbridled enthusiasm for his country's heritage.

As it turns out, Taei is to be my guide around the museum – valiantly stepping in when the official curator refuses to do the job without a $500 fee. What follows is a fascinating two-hour lecture on Iraqi history, from the Babylonian queen Semiramis, who successfully dammed the Euphrates for both irrigation and defence purposes, through to caliphs who made deals with various sects and factions to stay in power. "You have to understand the past to make sense of the present," Taei says.

Sadly, the glories of Iraq's civilisation are displayed for a lonely few. Any hopes of a surge in cultural tourism have been quashed by the precarious security situation. There are far more people working at the museum – including a swarm of middle-age men smoking and chatting in the lobby – than there are visitors.

Later, Taei takes me to Sheikh Ma'rouf, a tough neighbourhood only 500 metres from the museum, to see the tomb of Zumurrud Khatun, a caliph's wife. This exquisite example of Seljuk-style Abbasid architecture should be, by rights, a Unesco world heritage site. Instead, it lies derelict in a neighbourhood full of guns and garbage. When the keeper of the tomb makes threatening noises, Taei saves the day through sheer charm.

Iraqis always seem to find a way of rising to the occasion. The next day, as I made my way through the seven circles of security hell at Baghdad airport (the same day that bombs ripped through Baquba), the Iraqi National Symphony Orchestra performed a triumphant concert of Beethoven and Brahms at the Institute of Fine Arts in the Mansour neighbourhood, attended by several hundred people, mainly students and families. An excited young music student Skyped me. "It was amazing," he said. "It made me feel proud to be Iraqi."

• Hadani Ditmars is an editor at New Internationalist and the author of Dancing in the No Fly Zone. She was in Baghdad researching the May issue of NI on Iraq, seven years after the invasion

Demakersvan

The Lace Fence designed by Demakersvan is a security fence unique in its design by its craft and assembled patterns. The patterns come in a variety of themes, showing how something which was meant purely functional can also be decorative.

Strength of Character - Gladiolus

Meaning of the flower

Flower power

Sajeewani Hewawitharana

VPA Studio Colombo Sri Lanka

Jason deCaires Taylor

Mexico

The first 100 sculptures of the installation “The Silent Evolution” are now nearing completion. The life-size figurative casts taken from various members of the local community are planned to form a monumental artificial reef, aiming to draw both visitors and marine life to an uninhabited area of the national marine park. The first installation of 200 sculptures is scheduled for deployment in June 2010 with the remainder of the 400 by the end of the year. Jason is still searching for people to cast and become immortalized within the installation. To apply please send a picture and be available to travel to Cancun.



Since November 09 the first 3 underwater pieces installed in the; Museo Subaquatico de Cancun have been a great success, drawing much interest from tourists and already showing exponential coral growth in only 3 months. The flames on the “Man on Fire” have truly been lit.

Projects : Canterbury, Kent, UK
Alluvia Set in the historic city of Canterbury, in association with Canterbury City Council, Alluvia is a sculpture consisting of two female figures, cast in cement and recycled glass resin. Positioned within sight of the Westgate Bridge and its adjoining gardens, the underwater sculptures lie along the river flow, submerged and fixed to the bed of the river Stour. At night the works are internally illuminated. The title Alluvia relates to the alluvial deposits of sand left by the rise and fall of the rivers water levels. The Stour cuts through Canterbury, informing what could be described as a division between the past and present, between the old and the new city. The two contrasting figures are made from silica, an oxide of silicon, found in sand and quartz, the natural process of erosion questions the material properties of this widely used substance both highlighting and documenting the passage of time. The pieces also act as environmental barometers, algae accumulated on their surfaces are indicators of pollution within the county’s waterways from chemicals and phosphates used in modern agricultural farming. The work draws reference to Sir John Everett Millais’s celebrated painting Ophelia (1851-1852). The pose of the figures and the materials used respond to the flow of water along the river and to the refracted colours of its fauna and substrate. As the surface tension and volume of water changes through the seasons, and the effects of light alter through the day, so what is seen of the sculptures changes. This fluctuation questions the stability of a material perceived to have permanence, and further challenges the recourse of memory, questioning how images and ideas constructed from fragments are presented. The work also encourages people to return to the site to recall and evaluate their altering experience of the work. Depth 1.5m to 80cm (depending on rainfall) Materials: Cement, Glass resin, recycled glass, Size: 2 x 2100mm x 640mm x 350mm. T.A. Marryshow Community College In March 2007, a project was initiated with Helen Hayward of T.A. Marryshow Community College to produce a series of work for the Moliniere sculpture park. Workshops were planned with A-level Art and Design students. Each student was required to produce a life cast of their face, to form an installation two metres deep around the shoreline of Moliniere Bay. The project aimed to encourage local artists to contribute further works to the site and provide a arena for communities to appreciate and highlight the marine processes evident in their local environment. The students were taught a range of skills including life-casting, cement casting and sculpting. The final pieces were installed by Jason on 25th April 2007.

Doris Salcedo

Colombian sculptor Doris Salcedo placed a 167m-long crack in the floor of Tate Modern. The work, entitled Shibboleth, took over a year to construct and had critics and visitors guessing as to how the 'bottomless' fissure was created

Making Spaces - For the future Women's Libary of Scotland

Making Space

for the future Women's Library of Scotland

• About the Project
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    • Fiona Dean
    • Nicky Bird
    • Shauna McMullan
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Making Space: Archive Hour

If you have been to Glasgow Women’s Library you will know that it is a treasure trove of historical, literary, feminist artefacts, and more. Last autumn we had the monstrous task of cleaning and clearing out the library (an ongoing task, I might add), and made some peculiar discoveries. Lurking in the depths of the archives were sealed jars of water, a bag full of clip-on earrings, handbags, musical instruments, curtains, old socks, and a giant inflatable snowman. It just reminded me that GWL is like no other library, and all the better for it.

The Big Tidy

When Nicky Bird, artist-in-residence, came to GWL, she was instantly drawn to the archives. She spent some time with Hannah and the archive volunteers, observing their processes – opening boxes, cataloguing, wrapping, and re-boxing. She became aware of a rhythm in their work: the repeated sounds of paper being folded, cardboard boxes being slashed open and sealed shut. The more time Nicky spent in the space, the more she noticed that there was something unique about the GWL archives – the noise! There is a constant hum of walking, multi-lingual talking, boxes dragging, doors slamming, phones ringing, buzzer buzzing…

When Nicky asked me to help her with her new project – creating a sound archive – I could not wait to start experimenting. In phase one, we practised recording sounds close-up, including paper folding, badge making, water dripping, and the lift. It was interesting to hear how alien these very familiar sounds became when taken out of context; especially the lift, which sounded like some raging mechanical monster lurching after you.

As Nicky is in Australia for a month, she asked me to continue the recordings for her. We decided on set days and times in which to place the Marantz recording device somewhere within the archives and set it to record for an hour at a time. When she returns, Nicky will have hours of material to experiment with, and I cannot wait to see (or hear) what happens next.

If you have been in the library recently, you may have noticed some information posters about the project. If not, here are the details:

MAKING SPACE: ARCHIVE HOUR

We know that the Glasgow Women’s Library is a unique place with a special atmosphere made by the women who work and learn here. Throughout February we want to try to capture this atmosphere by making sound recordings of the library. This poster will tell you when and where the recordings will take place, and also tell you more about what is involved.

When?
The recordings may take place on Wednesdays, Thursdays & Fridays between 10-11 in the morning and 2-3 in the afternoon. Look out for a notice that says “Recording in Progress.”

Do I have to keep quiet?
No: Carry on as normal. If you use your mobile phone when the “Recording in Progress” sign is up, go into the kitchen where you won’t get recorded. Any mobile phone call that is accidentally recorded will be cut from the recording.

Will my voice be identified?
No: As the recording machine is in the archive. If anyone’s voice does come out clearly on the recording, we will ask your permission to keep it in the recording. It will be easy to remove from the recording.

Can I say no to the recording?
Yes: Of course. We don’t want to stop anyone enjoying the library. See Nisha and she will turn the recorder off.

What will the recordings be used for?
The Making Space Project – One of the artists, Nicky Bird, is working with staff and volunteers to create a sound archive of the library. Extracts of the Sound Archive will be played first to the Making Space Focus Group to help decide what happens to the recordings next.

*** What sounds do you notice in GWL? If you could sum up GWL in a sound or object, what would it be? ***

If you would like any more information about this project or Making Space in general, please leave a comment below or phone us on 0141 552 8345.

Posted on 24th February, 2010 by Nisha in News No Comments »

‘Travelling the Distance’ and the Scottish Parliament

After a few weeks of revising plans, pleading emails, panicked phone calls, the Making Space focus group and the Political Literacy group made it to Holyrood…

Travelling the Distance

The aim of the day was to see ‘Travelling the Distance’, an artwork by Shauna McMullan, one of our two wonderful artists-in-residence. It is made up of 3 large slabs of porcelain, inscribed with 100 quotations about inspiring women. Shauna travelled up and down Scotland gathering the quotations, and getting to know the women who wrote them; ‘Travelling the Distance’ takes us on the journey with her. Celebrating stateswomen, artists, workers, activists, teachers, mothers, sisters, friends, it reminds us of the women who have inspired our own lives.

The quotations are inscribed in the handwriting of their various authors. Looking at the sculpture, you feel an intimate connection to the women writing, and the women written about. However disparate the women are, however distinct their stories and achievements, they are all connected within the artwork. Shauna has created a lineage of Scottish women; although she had to stop for practical reasons, the tree of connections does not end with the artwork. It is an open house, no woman is unworthy of inclusion, we are all written in the inscribed words.

Travelling the Distance

I think most of us who have seen the artwork or read it in book format will have a favourite line, that seems to speak directly to us, that sticks in our thoughts. I can still hear Jean Girdwood (GWL media representative) roaring with laughter as she read aloud the quotation: “I’m really very nice inside; it’s just the presentation that’s gone wrong!” It is not my favourite line in the book, but it is now imprinted in my memory, connecting ‘Travelling the Distance’ to a woman I know, to a time, to a place.

The Blue Spine project

Shauna is particularly interested in mapping, and the forthcoming ‘Blue Spine’ project – commissioned by Glasgow Women’s Library – will create a new map of women in Scotland, through a collection of books categorised according to Shauna’s own system. You are invited to participate in this artwork by contributing a book (which will be returned) that meets two requirements: that it has a blue spine; that it is written by a woman. If you are interested in taking part, or would like more information, please email shauna.mcmullan[at]womenslibrary.org.uk or contact the Library.

Blue Spine

Thank You

Thanks to Syma and the Political Literacy ladies, who very kindly allowed us to share their visit (and their bus). Thanks to Laura’s uncle, who booked us a beautiful Committee Room to hold our discussions of ‘Travelling the Distance’ and Shauna’s new ‘Blue Spine’ project. Thanks to the Visitor Services team, who gave us a customised tour of the Parliament – an ark of a building, filled with open spaces and intricate nooks; flushed with light and astonishing views of nature and art; flecked with details and architectural riddles (controversies aside, I loved the mish-mash approach!). Thanks to the Scotland on Sunday for our mention. Thanks to Shauna, Nicky, and Fiona, and to all of the women who attended, who made it such an enjoyable and memorable day!

Say Cheese!

Posted on 18th February, 2010 by Nisha in News and tagged with: Blue Spine project, Focus Group, Scottish Parliament, Shauna McMullan, Travelling the Distance, Trips. 1 Comment »

Introducing Making Space

Did you know there are only 3 statues of women in Glasgow? Find out what GWL is doing to address this imbalance, and how we are contributing to the exciting world of public art, by getting involved with the Making Space project.

Towards a new public artwork for Glasgow

Where are all the statues of women in Scotland? Why are there no street-names commemorating great Scottish heroines? Why are the landmarks of women’s achievements ‘invisible’ in our civic landscape?

Funding from the Scottish Arts Council’s Public Art Fund has enabled the appointment of three new team members to GWL to begin work on the Making Space project, inspired by Glasgow Women’s Library’s planned move to the prestigious Mitchell Library. The team comprises internationally renowned artistsNicky Bird and Shauna McMullan, and Project Co-ordinator and Adviser Fiona Dean.

Over the next 6 months Nicki, Shauna and Fiona will be working with work with Library users and learners, as well as volunteers and staff, to research the possibilities of a new public artwork.

We would love to know what you think about our Making Space project. Please give us your comments here and across the site, or can contact us by phone or email. This project is by, for, and about women in Scotland, so we need you to get involved!

More information in the Making Space Press Release

Posted on 23rd November, 2009 by Helen in News No Comments »

Giant - Children's Arts

http://www.facebook.com/pages/Giant-Childrens-Arts/154788736301?ref=nf

maria ikonomopoulou

Douglas Gordon

Dual identity

The difference between good and bad in humans

Black and white

positive and negative

Jekyll and Hyde

influenced by scottish upbringing -

North/South

East/West

Celtic/Rangers

Growing up in self idea

Good and evil

The Song of Bernadette/The Exorcist

Mastercrafts

Monty Don, a huge fan of traditional crafts, presents Mastercrafts, the programme which celebrates six of the traditional crafts that built our nation and its heritage

PROGRAMMES:

on BBC iPlayer (4)

coming up (3)

PREVIOUS PROGRAMMES:

by year (6)

Available now on BBC iPlayer

1. WATCH THE LATEST PROGRAMME

   Stained Glass

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   (60 minutes)

   Available since Friday with 16 days left.

   4/6. Three hopefuls who want to learn the craft of stained glass are put through their paces.

2. ALSO AVAILABLE

   1. Blacksmithing

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      (60 minutes)

      Available since Fri, 26 Feb 2010 with 16 days left.

      3/6. Three hopefuls who want to learn how to be a blacksmith are put through their paces.

   2. Thatching

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      (60 minutes)

      Available since Fri, 19 Feb 2010 with 16 days left.

      2/6. Three hopefuls who want to learn how to thatch are put through their paces.

   3. Green Wood Craft

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      (60 minutes)

      Available since Sat, 13 Feb 2010 with 16 days left.

      1/6. Three passionate hopefuls learn green wood craft with the skill's leading practitioners.