Over two, behind one


Since I started working here at New Brewery Arts I've done a lot of things; I’ve set up exhibitions, manned stalls at festivals, led a kid’s ceramics class, made beds, given talks, cleaned sinks, written reports and sent countless emails. But the thing I hadn’t yet done was take part in a workshop.

I’ve often watched our basket making tutor, Susan Early, carry armfuls of English willow into our studio in the morning, and seen workshop participants leave in the afternoon with a beautiful basket in their hands. And so, determined to try something new, it was the willow workshop I decided to try.


By mid-morning cup-of-tea time we all had a base to our baskets and the next stage was to start to move upwards and form the sides of the baskets. Susan was so kind; every mistake I made was simply smiled at and I was made to feel it didn’t really matter (it's only a basket, after all).

I’m sure if I took part on a longer workshop or regular course these things would have been resolved and corrected – but the aim for the day was to make sure we all went home with something.

I was a bit nervous as the workshop started, unsure of what to expect of the day. But the tutor and the other workshop participants were lovely and, after a brief round of introductions, we got going and made a start with the willow.

So where do you start? At the bottom, of course.

As we progressed, slowly but surely, the willow twigs in my hands started to look more and more like a basket.



After lunch in the café we continued weaving our way upwards - for me, this was a simple weaving pattern of “over two and behind one”. Other members of the group tried different patterns and using different coloured willow to change the design of their basket, but I felt happy just getting to grips with the basics. With an hour until the session ended we made a start on the rim of the basket, which is the part I found the most complicated; others added a quick handle to theirs, but I was happy to finish mine simply.


I remembered that I enjoy making, as well as enabling others to make things. And I was reminded of the astonishing amount of activity happening here in our studios every day.

I was amazed at what I had learned in just a day. I’ll never take baskets for granted again. Whilst I’ve used them all my life, I don’t think I’ve looked hard enough at them - I’ve just taken them for granted. Perhaps, unlike ceramics and glass objects, baskets break and rot away – and you don’t see collections of basketry at the V&A. Now I’ll never look at a basket in the same way again.


If you'd like to make your own basket, Susan Early is running more basket making workshops this summer:

Two Day Willow Basket Making Workshop - 17/18 July
One Day Willow Basket Making Workshop - 17 August


The Textiles of Lucienne Day by Jan Miller

For the past six months I've been working on a project with Beth Alden (CEO at New Brewery Arts), and have been hearing advance snippets about the New Brewery Arts' programming calendar. So I'd been looking forward to visiting Lucienne Day: Living Design for quite some time. It was a curious experience. There was joyous familiarity to some of the exhibits, whilst also so much more to explore and learn about the artist.


With a background and career in fashion, I've always had an appreciation of good design, and so have many of my friends.  Through the exhibition I noted that a few of them are lucky enough to live with a piece of Lucienne Day in their homes and, judging by some of New Brewery Arts' recent social media, a few exhibition visitors also share their homes with Day.  I hadn't thought of Day as such an accessible textile artist before, but for me she definitely scores highly now in that regard.  Her Calyx textile print (on show at New Brewery Arts until 20th May) was designed for the 1951 Festival of Britain and launched her career. It was sold originally through Heal's then - if my memory serves me right - Liberty sold it around 20 years ago (when my friends saved and saved to buy 10 metres for the statement curtains they still own), and now it's available from John Lewis.   Another friend has inherited some of Day's Apex  fabric, passed down from her parents, originally bought from Heal's but - unlike Calyx - isn't currently available. She often gets the piece out from her fabric trunk and it inspires her to talk about the various rooms it has adorned (and events it's seen) over its time in her family. 

 Lucienne Day: Living Design at New Brewery Arts. Photo credit: Rupert Russell

Lucienne Day: Living Design at New Brewery Arts. Photo credit: Rupert Russell

The piece of Day in my home isn't quite so visible, but I knew where to find it as soon as I got back from the exhibition. I collect old fashion and textiles books, and I have a small illustrated reference book by Terence Conran 'Printed Textile Design' published by The Studio Limited in 1957 where he curated the leading textile artists of the time and sources of inspiration. Lucienne and Robin Day are there in this treasured book alongside esteemed designer/artists Piero Fornasetti and Eduardo Paolozzi. In the book Day talks about the thoughtful use of textile print in modern interiors, and this is definitely conveyed in the New Brewery Arts exhibition through the 50 or so photographs of Day in her studio, at home, and working on her various creative projects. My favourite photograph is the one of her display shelves in her Cheyne Walk living room. I think you can learn so much from someone's collected objects and books.

 Lucienne Day with Diabolo wallpaper (1951) in Cheyne Walk studio. Copyright the Robin & Lucienne Day Foundation.

Lucienne Day with Diabolo wallpaper (1951) in Cheyne Walk studio. Copyright the Robin & Lucienne Day Foundation.

If you are lucky enough to visit the exhibition before it closes do tell the New Brewery Arts team if you have a personal Lucienne Day story.


Lucienne Day: Living Design is at New Brewery Arts until 20th May 2018.

Mon-Sat 9am-5pm
Sun & Bank Holiday Mondays 10am-4pm

A visit to see an old friend - Julie Cope

It was a great privilege to present the two Julie Cope tapestries by Grayson Perry at New Brewery Arts in 2017. As the curator I had time in the gallery when it was just me and the work, a very private experience, and one that at the time I didn’t ever think I’d ever have the chance to repeat.

In November I opened an email from Living Architecture who manage A House for Essex, a small private house designed by Grayson Perry which contains the Julie Cope tapestries and much more. The email said ‘congratulations’, my name had come out of the draw for a stay in the house for a weekend.

So, three months later, on a very cold, but bright February afternoon my family and I arrived in Wrabness on the coast of the Stour estuary. We drove down the little lane, lined with semi-detached 1930s cottages, and came face to face with A House for Essex, its brass roof gleaming in the sunshine.

The housekeeper gave us the keys and in we went. It's an assault on the senses; colour and light fill the building. It takes the form of a chapel, dedicated to Julie Cope (an Essex everywoman created by Grayson Perry); half contains the living spaces, a vestry; the other half the chapel, with the two tapestries hung either side, and ceramics, mirrors and images on almost every surface. Once again, I found myself in a room with the works I remembered so well from our exhibition – it was like seeing an old friend.

Julie Cope A House for Essex Grayson Perry

A House for Essex is completely different from an exhibition. At the New Brewery Arts exhibition, stanchions and guides ensured the works were safe; in A House for Essex we could sit back on the sofas and explore the tapestries for hours. After the initial shock and awe of the house, we settled in to life surrounded by Grayson Perry’s work. We chatted over a coffee, sitting under the tapestries, we watched a kid’s DVD, surrounded by powerful ceramics, and art. I had a goodnight cuddle with my daughter whilst being watched by a life-size ceramic portrait of Julie Cope as a mother goddess.

The house is a ‘Gesamtkunstwerk’, a completely encompassing work of artistic concept. Its architecture is unlike any building I know; it’s not a pastiche of a historical period, it is unapologetically itself. Everything from a tiled hall floor to the main light fitting says something about Julie.

We left early on Monday morning, a light dusting of snow had appeared overnight. While I’ll return to Wrabness I’m sure, I doubt if I’ll ever have the opportunity to stay in A House for Essex ever again. Leaving, I felt I was not simply leaving a weekend holiday home, I was saying goodbye to Julie Cope, somebody I’d got to know very well during my weekend at Wrabness. 

A House for Essex Grayson Perry

A Poetic Response to Objects

MV anya miles group.jpg

Our newest Trustee, Melody Vaughan, wrote this post on her blog and we asked if we could share it with you...


Almost all of my adult life has been engaged with thinking about objects: as an archaeologist, museum education officer, maker and now creative consultant working with craft practitioners. Wondering who made them and why, how they were used, what they say about people or the society they lived in. Contemplating how the materials used tell us about where people lived, the environments they found themselves in, how certain materials hold added value or show status. Objects are fascinating receptacles of thoughts and ideas, hopes and aspirations, they can show our true selves to the world. More recently, as my focus shifted from historical objects to contemporary ones, I revelled in the fact that you can ask the maker all the questions you like. Things which we may have to guess at for old objects we can learn easily now. The object is knowable in so many new ways and that is hugely exciting. I love to hear about how objects are made, where the inspiration comes from, how they came into being. These two approaches, historical and contemporary, are two sides of the same coin.

And this is all wonderful stuff. I never tire of pondering and imagining, of asking and listening. But I also think that this can be a somewhat limited view of objects. When we see them as representative of how people lived in the past, or as manifestations of a person’s creative impulses, we are seeing them as somewhat inactive presences in the lives of humans. Always in relation to something else, usually people. But, I also believe that they hold their own unique qualities that don’t necessarily have anything to do with how or why they were made, or the people that made them and used them. These qualities relate to how they make me feel, or the associations they bring for me. It can be aesthetic or emotional. It goes beyond them being merely pleasing to look at, and taps into deeper experiences or memories.

I like to talk about this side of objects. About how they make us feel, what images come to mind, what remembrances. It’s something we encouraged visitors to do in the museum, as a way to foster connections between the, sometimes, otherness of objects and our ordinary lives. Something I’m particularly drawn to, is the possibility for objects to be inspiration for other art work, not just responding to their aesthetic or formal qualities, but the emotional response. I’d love to see more poetry written about pots, paintings inspired by blown glass, photography exploring jewellery. Mostly I’d love to see more people who work with or create objects talk about them in a sensory and emotive way. I’d like to hear beyond the usual materials and techniques, beyond processes and finishes. Beyond, even, the conceptual underpinnings of the work. I’d love to hear how looking at an object makes people feel. How handling it or using it alters them slightly. I’d love to hear about the myriad thoughts that spin off from that object like dominoes out into space. These personal experiences of objects are things no archaeologist can uncover, they are often unvoiced, even now. Ever curious, I would like to know more.


I trace the line of squared silver
around the perimeter of this structure,
aubergine enamel overhangs overlaps
the dry worn green below,
textural planes like walls
and windows and I am picturing it
emerging like an architect’s model
for an abstract modernist building,
from this angle the construction is framed
by an aperture, captured by a frame
and held for a moment, complete.

Written in response to jewellery pieces by Anya Miles.

A Taste of Printmaking

Hello there! I’m Harriet. As the current intern at New Brewery Arts, I was lucky enough to be given the opportunity to do a taster in one of the courses that they had running; I thought I might share my experience with you.

Having never done any printing at all before, I was excited to try out the art of collograph. I joined a class who were coming into their final week of Printmaking with Christine Felce, and who were about to move onto lino printing with another tutor (Beth Jenkins) for the last five weeks of the course.

I was soon acquainted with the friendly class of four and, after a brief introduction, Christine got me to grips with the actual process of collograph, from the different etching techniques employed to create a textured printing plate, to the practicalities of sealing my plate with varnish, and inking it up ready for printing.


I was then left to crack on and, after making the design for a small practice plate, Christine guided me on rolling the ink and then the printing press—getting it moving was a proper workout!

The course was very much run on a “there-if-you-need-me basis”; whilst we were given plenty of leeway to take our project in whatever direction we wished, Christine—and the other tutees—were always at hand to offer advice and help when needed. This was especially great for me, where being an absolute beginner did not affect the rest of the class at all, and vice versa.


What I loved about the workshop was the ability to progress so far in such a short amount of time. Even though I was only printmaking for a couple of hours, the rapidity of collograph meant I was really able to play about and experiment with different methods of inking, and quickly see results despite being a complete novice.

The relaxed setting, and being surrounded by passionate, inspired people meant that I came away with a significant body of work through which I could really see my development, yet at the same time leaving me wanting to do more.

Not bad for a day’s work - thanks, New Brewery Arts!


Christine Felce and Beth Jenkins both run workshops & courses at New Brewery Arts including:

Workshop - Quick Collagraph Printing - 27th March
Workshop - Introduction to Lino Printing - 13th April
Workshop - Relief Printing on Fabric inspired by Lucienne Day - 19th May
Workshop - Lino Print in Colour - 2nd June

They both also run printmaking courses starting in the Summer Term; find full details on the Courses section of our website.


A Jewellery Buyer's Journey

Hello, I work in the Craft Shop at New Brewery Arts and it’s my job to look after all our jewellers and their lovely jewellery. We try and go to as many craft fairs and trade shows around the country as is physically possible to source jewellery; we also have new jewellers approaching us directly as they have either visited us, or heard of us via the craft world grapevine and want to be a part of New Brewery Arts.

Silver bangle a.jpg

As a jeweller myself, I am always interested in seeing new work and finding out what inspires people to create and the different techniques they use. Over the years we have shown an eclectic mix of styles. Some of our jewellers, like Guy Royle, have been making for decades and have a following of very devout collectors. Guy bends, cuts, forms and etches his exquisite pieces, creating designs that have echoes of age old adornments. 

Katherine Campbell Legg, who trained at the Royal College of Art in London, uses the ancient Korean gilding technique of Keum Boo. Each piece is carefully thought out before applying a thin layer of 24ct gold foil to the silver using heat and pressure. The finished effect is sophisticated and stunning, and something that I wish I had the patience (and time) to learn and accomplish myself.

Some of our other jewellers are self-taught, having fallen in love with jewellery making in an evening class. This has led to a career change and for some, quite a dramatic one. Diana Lambert was in Financial Services, but now makes beautiful jewellery for a living. She is inspired by the natural world of trees, rocks and rivers, and uses hand forged chain links in sterling silver to create very simple, yet very effective and wearable pieces. Her multi ring pendants and earrings fly off our shelves and we are constantly asking her for more work.

Carol James of Silverfish Designs, is an Archaeologist by trade but after joining an evening class which led to a 2 year OCN course, she now divides her time between the two, creating jewellery that is inspired by her work. Her latest designs draw particularly on Norwegian and Welsh rock art, leading her to experiment with different decorative techniques to create unique organic, textural jewellery.

All our jewellers use a wide array of materials, colours and techniques which, combined with their inspirations and talent, lead to our wonderful selection of creative work. I could go on writing about them all, from Hazel Atkinson and her colourful, fun anodised aluminium range, to Jessica Sherriff and her landscape-inspired contemporary acrylic range, not to mention Guen Palmer's beautifully made classical silver and 18ct gold jewellery. I am proud to be a part of the Craft Shop team and feel we offer a really diverse range of jewellery which suits all tastes, ages and - of course - purse sizes.

We're always interested in seeing new makers; if you'd like us to see your work, contact us here


We are makers, crafters of things

Book review: Cræft by Alexander Langlands

I’ve always been a fan of archaeology, well, I loved watching Time Team. So, when Alexander Langlands, archaeologist, TV historian (of Victorian Farm, Edwardian Farm and Wartime Farm fame) and Patron of the Heritage Crafts Association published Cræft: How Traditional Crafts Are About More Than Just Making”, I dashed straight for my local bookshop.

In CræftLanglands looks at British historical craft practices (many of them with a land use or agricultural bent), and he argues that “crafts, through their need for raw materials, created patterns in the landscape", for Langland’s craft is inextricably linked with the local environment and it works best when it makes use of the immediate landscape; thatchers use local straw, reeds or bracken, wallers and hedge-layers make use of the materials to hand. The result is that the constructed British landscape we are so familiar with is not just shaped by craftsmanship, but crafts have been shaped by the resources and needs at hand.

If we spent more time individually converting raw materials into useful objects we might be better placed to contextualise the challenges that face a society addicted to excessive and often conspicuous consumption. Perhaps importantly, we might be a little bit happier.
— Alexander Langlands, Craeft

I had never really put my interest in history alongside my interest in craft, this book made me realise that these two things are in fact, two sides of the same coin – material culture.  ‘Material culture’ is a term for the physical aspect of culture we can observe in the objects and architecture that surround people. It includes usage, consumption, creation and trade of objects, and the behaviours, norms and rituals these objects create or take part in. Material culture studies is an interdisciplinary field telling of relationships between people and their things. Anything from buildings and architectural elements to books, jewellery, or toothbrushes can be considered material culture. The term is commonly used in archaeological and anthropological studies, so it’s a familiar term for Langlands; archaeologists work back from the fragments of objects previous cultures have left behind to better understand the needs and desires of the society that produced them. 

  Craeft  by Alexander Langlands is published by Faber and Faber (£20) 

Craeft by Alexander Langlands is published by Faber and Faber (£20) 

Langlands is no neo-Luddite, proposing that we should all live off-grid. Nor is he proffering a historic, romantic, nostalgic view where everybody goes full-Poldark (though he does have a scything moment). Rather he proffers a different possibility where, instead of defaulting to consumerism to meet our daily needs, there is an option to use the materials we have to hand, to find the right tool for the job in our cupboards and sheds, to mend or to make from scratch ourselves. In doing so we might be fitter, happier and more in touch with the local world that surrounds us. Langlands suggests that we could have a deeper, richer, more profound relationship with objects and our locality if we learnt to appreciate and value material culture.

While I may find it a leap too far to think that the fields in my village will return to being ploughed and furrowed by shire horses once again,  I have been surprised that the plastic bag tax hasn’t resulted in a boom in shopping baskets (there’s one for the hipster), and that the environmental argument for having well-made craft objects in our lives rather than cheap plastic versions, or local production winning over goods manufactured half way across the world still seems to be a case not being made forcefully by the contemporary crafts sector. This book has made me all the more curious about the objects we live with, and what they can tell us about our past and about ourselves today. 

Craeft by Alexander Langlands is published by Faber and Faber (£20) 
Alex Langlands

Like crafts? Then let archeologist and broadcaster Alexander Langlands introduce you to crӕft - the art of traditional crafts, almost lost to us today. In this film, Alexander introduces us to the concept of crӕft (as well as a helpful lesson in how to say the word), and he explains why the meaning of crӕft is as important today as it's ever been.

2018 - Top Craft Events

We are delighted to have been invited to be a partner at Made by Hand Cheltenham in March 2018. It's great to be involved with other organisations and over 100 makers. But it's not the only fantastic craft event taking place across the year  - there's so much coming up across the crafts sector, it’s going to be a very busy year for us and craft lovers.

Here’s our round up of events, we look forward to seeing you there...

Collect, Crafts Council
22 - 25 February 2018
Saatchi Gallery, London

Collect brings together 39 galleries from four continents for a celebration of making, extraordinary in both scale and scope. Museum-quality works and installations from hundreds of the most talented makers in the UK, USA, South Korea, Japan, France, Norway, Italy, Belgium, Germany, the Netherlands and Sweden will offer visitors and collectors a multidisciplinary overview of the people, processes, materials and ideas defining international craft in 2018.

From the makers sustaining and enhancing historic craft techniques to experimental artists breaking material boundaries and pioneering new processes, Collect provides an immersive and wide-ranging snapshot of what craft means today, and a glimpse of what it might become in the future.

Made by Hand
10 - 11 March 2018  
Cheltenham Town Hall

In partnership with The Gloucestershire Guild of Craftsmen, New Brewery Arts in Cirencester (yes, us!) and Cheltenham Trust, Period Living, Hereford College of Arts, madebyhandonline.com and craft&design.net, Made by Hand Cheltenham is all set to take place in the iconic location of Cheltenham Town Hall for the first time.

100 of the UK's finest, contemporary makers were selected for Made by Hand Cheltenham

Made by Hand will also host a lively programme of workshops and demonstrations. The event will also be complimented with live music and a lovely cafe on site. Sunday March 11th is Mother's Day so you can make the day extra special with a visit to Made by Hand.

 AHH Design - Made by Hand, Cheltenham

AHH Design - Made by Hand, Cheltenham


London Craft Week
9 - 13 May 2018
Various venues across London

London Craft Week 2018 will take place between 9 - 13 May. This annual event showcases the very best international and British creativity and craftsmanship through a ‘beyond luxury’ journey-of-discovery. In 2017, the curated programme brought together over 230 events from all corners of the globe fusing making, design, fashion, art, luxury, food, culture and shopping. 

From the V&A to The Shard and RADA to The House of Lords, hidden studios to Mayfair stores and bustling workshops to Michelin starred restaurants, London Craft Week is spread across the capital’s iconic buildings, influential institutions and off-the-beaten track side streets, many of which are not normally open to the public. Likewise, the programme spans a broad spectrum from unknown makers to celebrated masters, famous designers, brands and galleries. We have worked with a spectrum of emerging and established makers and artists such as Tom Raffield, Bill Amberg, Felicity Aylieff, Julian Stair and Grayson Perry who have featured alongside luxury brands including: Founding Partner Vacheron Constantin, Princess Yachts, Rolls Royce, Mulberry and Georg Jensen.

Museums and galleries including the V&A, Geffrye Museum, British Museum and Wallace Collection have hosted events as well as fashion designers including Vivienne Westwood, Mary Katrantzou and Hussein Chalayan.

For London Craft Week 2017, international content included wood carvers from Japan, artisans from Korea, wood block printers from China, designer-makers from Hong Kong, ceramists from Taiwan, umbrella and cufflink makers from France, porcelain painters from Germany, glass artists from Sweden, furniture makers from Denmark and a guitar maker from Spain. Alongside makers from the UK’s regions and devolved nations including upholsters from Norfolk, knitwear from Derbyshire, steam bending from Cornwall and a special focus on Scotland’s creativity, with Scottish tailoring, weaving and woodworking demonstrations.

London Craft Week aims to experience beautiful things not just as static objects but in the full context in which they were created, highlighting how imagination and talent combine with the very best materials and techniques. An accessible and immersive cultural experience, you can eat, drink and view performances, meet artists, designers, makers and engineers, get a glimpse behind-the-scenes of famous brands and landmark buildings, see familiar products deconstructed, learn how things are made and even have a go yourselves. 


Handmade Oxford
18 - 20 May 2018
Oxford Town Hall

2018 sees the first edition of Handmade Oxford, the contemporary craft and design fair at the elegant and historic Oxford Town Hall. 

For over a decade, Handmade in Britain’s shows have become the top contemporary craft selling events for designer-makers in the UK. This three-day showcase sees the industry’s biggest talents exhibiting alongside new graduates and emerging designer-makers. With innovative design alongside truly exceptional craftsmanship, you will be treated to a unique event, in the beautiful setting of Oxford Town Hall. Located in the centre of this ancient city, Oxford Town Hall is the centre of local government and houses the Museum of Oxford.

Bringing together the most exciting contemporary designer-makers from the UK and beyond, Handmade Oxford is a fabulous opportunity to shop for gorgeous textiles, jewellery, ceramics, glass, furniture and more! Makers will be on hand throughout the weekend to talk about their work and showcase their collections.


Kirstie Allsopp’s Handmade Fair
22 - 24 June 2018
Bowood House, Wiltshire

The Handmade Fair is brought to you by Kirstie Allsopp and is all about appreciating the beauty of the handmade, and learning the skills to become a maker yourself. Whether your day at the Fair teaches you how to make something yourself, upcycle a piece you already own, or if you buy it from an expert, it’s here to help everyone to make their life a little more beautiful. The Shopping Villages are full to the brim with handmade products of the highest quality, brought to you by hand-picked and incredibly talented makers, along with an enviable range of tools and materials. The Super Theatre, Skills Workshops and Grand Makes are hosted by the UK’s most renowned experts, so you can be sure you’re learning from the best in the business. It’s not only a fun day out, but you’ll also be able to take away a bundle of skills and knowledge that you can use to improve your own life and home.


Christmas is buzzing at New Brewery Arts!


The Cafe is busy in the run-up to Christmas, with visitors to Crafted for Christmas, shoppers and people doing workshops and courses all dropping in for a fab coffee or one of Oi's special lunches (my mango, chicken & chilli salad comes to mind) or one of the Hobbs House Bakery mince pies (which are dashing out of the Cafe at a rate of knots!). Our new Manager, Zoe, has spruced (sorry for the seasonal pun) up the tables with some new enamel canisters for sugar, and added some little pot plants... and she's about to launch a new breakfast menu so, all you beloved of breakfast, keep an eye on our Facebook, Twitter and Instagram feeds for news!

Barrel Store in snow.jpg

Our Education team have just finished arranging workshops for January and February but, with barely a breath, are onto March and April. New workshops, new tutors and a callout for more tutors; if you're an experienced craft tutor we'd love you to get in touch with Clare to talk about we might be able to work with you.

And right now, we've got Children's Holiday Workshops taking place; a great opportunity for the children to try their hand at a variety of crafts (while you get the final bit of shopping done).


Hello, I'm the person who's responsible for getting the Marketing together and as everyone's so busy here I thought I'd take some time out to tell you what's been happening at New Brewery Arts over Christmas, and give you a taste of 2018.

Beth, our CEO, is planning some amazing exhibitions ahead right into 2019 and our next exhibition is Method of Making, starting on 6th January (more about that later). 


James, the Manager of The Barrel Store, is gearing up for a group of 30+ friends who've hired the whole place on an exclusive use basis for New Year.

We've been doing a lot of work on The Barrel Store and groups are finding we're well located and well priced - if you've got a gang who are coming for an event or all the cousins are descending on Granny but her home won't accommodate you, then email him for more info (don't forget to negotiate!).

To grab the best room, check out our bedroom plan here.


This is a time of year when, traditionally, many people give to charity.

Despite appearances, New Brewery Arts struggles to cover its costs whilst maintaining a vibrant and welcoming atmosphere. It costs approximately £50,000 per year to deliver our exhibitions and we regularly need to upgrade our craft equipment (such as our shiny, new kiln).

Many people don't realise we are a charity (registered charity number 900036), everything we do helps support crafts and makers - both professional and learners, and we work hard to keep our exhibitions free and to make bursary places available on our courses and workshops. 

If you feel you'd like to support us, you can learn more here

Many people don’t realise we are a charity... It costs approximately £50,000 per year to deliver our exhibitions and we regularly need to upgrade our craft equipment (such as our shiny, new kiln).
— Beth Alden, CEO

Yes, I did promise more about that new exhibition...Methods of Making is an exploration of contemporary furniture design and the artists behind it, the artists being Sebastian CoxDavid Gates, Nicola Henshaw, Ben Huggins, Gareth NealJim Partridge & Liz WalmsleyEdward Teasdale and Jay Watson. The exhibition examines modern day issues of recycling, waste, economics, architecture, beauty, value and sustainability. There are exhibition pieces from each artist along with films showing them at work. Alice picked up Jay Watson's Newspaper Stool this week and was given a tour of his workshop (and a demo of what happens when you wire up a light incorrectly!!).

 Guy Royle - Silver Bird Pounced Bangle

Guy Royle - Silver Bird Pounced Bangle

And finally, our exhibition - Crafted for Christmas - comes to an end on 31st December; it's been a feast for the eyes, showing crafts from exceptional makers nationwide. Stuart Lamble's lighting sold out very fast, Susan Horth's insects remain ever popular, jewellery has flown out and we've had a lot of interest in the wide range of ceramics available. 

We're still open until 4pm on Sunday (that's Christmas Eve!) for that last-minute present. We're then having a short break; you'll find our full opening times here.