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              <text>Aged practitioners,Diminishing participation,Diminishing youth interest,Halted transmission between generations,Reduced practice</text>
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          <name>Loss Threats</name>
          <description/>
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              <text>Good Health and Wellbeing,Responsible Consumption and Production,Life On Land</text>
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              <text>To shear a sheep requires practise and stamina. The way in which the sheep is handled determines whetehr they will stay still so a sequence of movments are followed to guide the animal into certain posiitons as the shearer cuts away the fleece in certain directions. When carried out correctly a whole fleece is removed from a sheep in one piece with a calm and un-stressed animal. </text>
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          <name>Knowledge Transfer</name>
          <description/>
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              <text>In Ness some commuinal shearing still takes place using hand shears but this is decreasing, as such so too are the opportunities for the younger generations to learn those skills. It is also similar for machine shearing, but because you can earn money from machien shearing it is more attractive for younger people to learn. </text>
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          <description/>
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              <text>There are two well known shears that operate commericially across the Isle of Lewis and Harris. Therew ill be more across the rest of Scotland, but due to geographical boundaries they do not travel over to the islands to work. </text>
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              <text>Shearing as a village community at the village fank does still occur sometimes, normally if all of the livestock are gathered from the common grazing on a day that  the machine shearer has been booked. This becomes a social occasion,  gaelic is spoken in these scenarios and stories or 'yarns' are told. </text>
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              <text>Sheep need to be shaered once a year for their welfare - this has not altered since humans began to rear and keep them. </text>
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          <name>Organisations</name>
          <description/>
          <elementTextContainer>
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              <text>The Wool Board: https://www.britishwool.org.uk    The Crofters Commission: https://www.crofting.scotland.gov.uk</text>
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              <text>Each village in the area of Ness has a 'Fank.' A dedicated, outdoor handling facility to pen sheep in and handle them for shearing, dosing and dipping. </text>
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          <name>Artefacts</name>
          <description/>
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              <text>Woven Tweed Fabric. </text>
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          <name>Climate Threats Description</name>
          <description/>
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              <text>As the climate changes and becomes warmer the time at which the wool rises i.e the old fleeces is ready to cut away has altered. Over the peast couple of years some Crofters have sheared as early as May</text>
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          <name>Economic Threats Description</name>
          <description/>
          <elementTextContainer>
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              <text>The price the woolboard pays the crofter fro each fleece is less than the crofter has to pay for the sheep to be sheared. </text>
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          <name>Weakened Practice Description</name>
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              <text>In Ness some commuinal shearing still takes place using hand shears but this is decreasing, as such so too are the opportunities for the younger generations to learn those skills. It is also similar for machine shearing, but because you can earn money from machien shearing it is more attractive for younger people to learn. </text>
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          <name>State of the practice</name>
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              <text>declining</text>
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              <text>It contributes to social cohesions when the viallge athers livestock at the fank in preparation for the shearing to commence. </text>
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          <name>Environmental sustainability</name>
          <description/>
          <elementTextContainer>
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              <text>Wool is a sustainable resource. </text>
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          <name>Economic sustainability</name>
          <description/>
          <elementTextContainer>
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              <text>It supports the self-sufficient lifestyle of crofting and has to take place foe the welfare of the animal. </text>
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          <name>Place</name>
          <description>The town or city</description>
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              <text>Habost, Port of Ness </text>
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              <text>Habost is a vilage that sits within Galson Estate which consists of 56,000 acres of coast, agricultural land and moor in the North West of the Isle of Lewis in the Outer Hebrides of Scotland. The estate comprises of 22 villages running from Upper Barvas to Port of Ness with a population of nearly 2,000 people. The estate passed into community ownership on 12 January 2007, to be managed on their behalf by Urras Oighreachd Ghabhsainn (https://www.galsontrust.com) The area is rural, with a strong cultural heritage centered around the gaelic language, traditional music and crofting.</text>
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                <text>Sheep Shearing </text>
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                <text>Sheep Shearing is a process used by crofters in the hebrides to remove the old wool or 'fleeces' from their sheep when the new groeth starts to 'rise' in the late summer. The traditional method of shearing is to use hand-held shears – this is till practised by some crofters in Ness, but there  is also travelling shearer who can be paid per sheep to shear using elctric clippers. Tradiotnally the shearing process would have been conducted at the village 'fanks' – commnical handling areas for  livestock that sit on the common grazing land. As the sheep are sheared a team of usually woemn, would clean off, roll up and bag the fleeces ready for the wool board to collect. Alternatively, the wool can be kept and processed at micro mills on behalf of the crofter but this is very rare and an expensive process to complete. </text>
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            <description>A language of the resource</description>
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                <text>English,Scottish Gaelic</text>
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            <description>The size or duration of the resource.</description>
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            <description>An entity responsible for making contributions to the resource</description>
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            <description>A related resource from which the described resource is derived</description>
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                <text>highlandandislands</text>
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            <name>Date Submitted</name>
            <description>Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal).</description>
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                <text>05/01/2026</text>
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            <name>Alternative Title</name>
            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
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                <text>Clipping </text>
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            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
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                <text>current,58,-6;</text>
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            <name>Date Modified</name>
            <description>Date on which the resource was changed.</description>
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                <text>05/01/2026</text>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <description>The Europeana material type of the resource.</description>
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            <name>Europeana Data Provider</name>
            <description>The name or identifier of the organisation that contributes data to Europeana.</description>
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              <elementText elementTextId="26871">
                <text>University of St Andrews</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Sheepskin with fleece</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2025-06-06</text>
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            <description>Spatial characteristics of the resource.</description>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <description>The Europeana material type of the resource.</description>
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            <description>Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal.</description>
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                <text>Santiago Rodríguez Pérez</text>
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            <name>Country</name>
            <description>The name of the country of the data provider or “Europe” in the case of Europe-wide projects.</description>
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                <text>Spain</text>
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      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
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          <name>External ID</name>
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            <description>A name given to the resource</description>
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                <text>Sheepskin with fleece</text>
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                <text>2025-06-06</text>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <description>The Europeana material type of the resource.</description>
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            <description>Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal.</description>
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                <text>Santiago Rodríguez Pérez</text>
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            <description>The name of the country of the data provider or “Europe” in the case of Europe-wide projects.</description>
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                <text>Spain</text>
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      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
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          <name>Prim Media</name>
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              <text>1770</text>
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              <text>Sheepskin from Xalda breed</text>
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          <name>Function</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23131">
              <text>Decoration, rug, baby cradle base, cushion lining, bag material, among others.</text>
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          <name>Creation Purpose</name>
          <description/>
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              <text>Direct sale to customers.</text>
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              <text>To create this piece, the lamb must be slaughtered at around six months of age, or once it reaches the appropriate size. After slaughter, the hide is removed through a series of precise cuts along the animal’s body.  The tanning process is carried out naturally using salt. This traditional method removes excess moisture and preserves the fleece. Unlike industrial tanning, which involves harsh chemical treatments, salt tanning maintains the wool’s original properties. If conventional chemicals used in the leather industry were applied, the fleece would detach completely, resulting in the loss of one of the material’s key qualities.  Once tanned and dehydrated with salt, the hide is hung to dry. Traditionally, in rural villages, hides were hung on the outer walls of hórreos—elevated granaries typical of northern Spain—where they were protected from direct sunlight to prevent damage to the fleece. Marina and Rodrigo use drying frames for this process, which allows for even drying.  Once dry, the hide becomes stiff and cardboard-like in texture, but gradually softens with use. To accelerate this process, moisturizing creams can be applied to improve its flexibility. Lambs of the Xalda breed, native to Asturias, produce small-sized hides that are highly valued for their quality and unique characteristics.  Today, this activity represents a promising business opportunity, as it allows for the reuse of a by-product that is typically discarded in the meat industry. In Spain, there are factories dedicated to hide production, although most operate on an industrial scale, and even large multinational furniture companies use this type of material.  On a semi-artisanal level, there are tanneries that produce conventional hides without fleece, especially in the neighboring region of Galicia, where small factories still exist. However, in Asturias, there are no traditional tanneries available to process the hides. Marina and Rodrigo could increase their production if they had acce</text>
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          <name>Material Source</name>
          <description/>
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              <text>These sheepskins originate from lambs raised and processed at Marina and Rodrigo’s livestock farm.</text>
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          <name>Conecept</name>
          <description/>
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              <text>This object has practically disappeared in Asturias, as it is rarely used today for cradles or saddles. Nevertheless, for many people it holds a value beyond decoration, as it is made from the hide of a native sheep breed and serves as a way to connect with rural life through an item that, although now primarily decorative, carries strong cultural and symbolic significance.</text>
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          <name>Production Quality</name>
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              <text>Produced in batches of 40 to 50 units, depending on the flock size and slaughter schedule.</text>
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          <name>External ID</name>
          <description/>
          <elementTextContainer>
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              <text>UNIOVI_AR_41</text>
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          <name>Field Worker</name>
          <description/>
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Fajardo Hernández, R. M. (2020, enero 23). Más de un Siglo de Carneros en El Hierro, 1920-2020. Gaceta del Meridiano. https://www.gacetadelmeridiano.com/index.php/la-isla/156-cultura/6209-mas-de-un-siglo-de-carneros-en-el-hierro-1920-2020&#13;
Rodríguez Rodríguez, A. (1997). La tecnología de la piel y el cuero en la prehistoria de Canarias. Una aproximación etnoarqueológica. El Museo Canario, 52, 11-31. https://accedacris.ulpgc.es/jspui/handle/10553/24250</text>
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                <text>Barbara Ivančič Kutin</text>
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                <text>https://culturality.museum/galleries/upload/ZRCSAZU_CP_02_03_.mp4</text>
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              <text>The orignal pot was probably a purely decorative object. It's cut geometical shapes are a commonly found way of decorating older, peasant objects. Lonnfors has also said: “I think a fascination with these objects is deeply rooted within us. Jars, boxes, urns and pots have been so important to us for so long, from the storing of food to the final resting place in the burial urn. Sometimes I toy with the idea that the pots standing there are like small temple buildings or reliquaries, ready to hold all sorts of secrets… or perhaps simply coffee.” </text>
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              <text>When the museum has sold out their pots, a new batch is made. Usually every five years. </text>
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              <text>Ulrika Jäger, Kajsa Stinnerbom</text>
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https://butiken.sormlandsmuseum.se/duka-forvara/burk-med-skuren-dekor-stor.html&#13;
https://www.svenskttenn.com/se/en/designers/designer-frej-lonnfors/</text>
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                <text>Agnes Csenki</text>
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        <element elementId="152">
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          <description>The social media links.</description>
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&#13;
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&#13;
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Asbjørnsen, P. Chr. (Peter Christen): Skarvene fra Utrøst. Cappelen, 1974&#13;
Gansum, Terje: Fra jern til stål : mytologiske og rituelle aspekter i teknologiske prosesser. Borre, Midgard historisk senter, 2002.&#13;
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&#13;
Making Process: A series of thin slabs of porcelain are rolled out and decorated with bands of coloured porcelain that is inlaid into the top surface.  The pattern is then cut into smaller sections and the slabs are reformed into the shape of the bottle.  While still soft the bottle is hand formed by wrapping the slab around a porcelain base.   </text>
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                <text>18</text>
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            <description>Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal).</description>
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              <elementText elementTextId="425">
                <text>04/04/2024</text>
              </elementText>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="789">
                <text>May 2022</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="790">
                <text>18</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="791">
                <text>craftedobjects,exampleobjects,examples</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="61">
            <name>Date Modified</name>
            <description>Date on which the resource was changed.</description>
            <elementTextContainer>
              <elementText elementTextId="794">
                <text>24/07/2025</text>
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            <name>Language</name>
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                <text>English</text>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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      <name>Artisan</name>
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          <name>Biographical Text</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2642">
              <text>Sue first arrived on the Hebridean islands in 1973 and founded the pottery in Lewis a year later with her partner and husband, Alex, who worked alongside Sue until his death in 2013. She holds a degree in Ceramics from Aberdeen’s Gray’s School of Art. Sue says: "Borgh Pottery as it is now, evolved through and from our partnership."</text>
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        <element elementId="109">
          <name>Social Media</name>
          <description>The social media links.</description>
          <elementTextContainer>
            <elementText elementTextId="2644">
              <text>facebook,https://www.facebook.com/BorghPottery/;</text>
            </elementText>
          </elementTextContainer>
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        <element elementId="108">
          <name>Wiki</name>
          <description>A link to a wiki entry about this item.</description>
          <elementTextContainer>
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              <text>https://culturality.museum/wiki/index.php/Sue_Blair</text>
            </elementText>
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        <element elementId="153">
          <name>Phone</name>
          <description>The phone number</description>
          <elementTextContainer>
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              <text>+44 01851 850345</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="152">
          <name>Email</name>
          <description>The email address of the museum.</description>
          <elementTextContainer>
            <elementText elementTextId="3763">
              <text>borghpottery@yahoo.co.uk</text>
            </elementText>
          </elementTextContainer>
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        <element elementId="155">
          <name>Place</name>
          <description>The town or city</description>
          <elementTextContainer>
            <elementText elementTextId="14128">
              <text>Borve Pottery, Borve, Isle of Lewis </text>
            </elementText>
          </elementTextContainer>
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        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="14129">
              <text>AAS_PR_01</text>
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          </elementTextContainer>
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        <element elementId="130">
          <name>Prim Media</name>
          <description/>
          <elementTextContainer>
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              <text>1068</text>
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          <name>Knowledge Acquisition</name>
          <description/>
          <elementTextContainer>
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              <text>Prior tomoving to the Isle of lewis, Sue attended art college and studied Graphic Design. It was through evening classes that she learnt how to throw pots, but never thought she would end up doing it as a career. After running Borgh Pottery for a number of years she returned to study a Ceramics Degree Course at Gray's School of Art in Aberdeen. She particualry wanted to focus on studying different types of glazes as part of this course. In the 1990s after completing her degree and returning to work full-time at the pottery they mixed all their own glazes. </text>
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          <name>Knowledge Transfer</name>
          <description/>
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              <text>No. It is something Sue is ware of doing but is keen to do so with people who are serious about pottery as a career, rather than a hobby. Just prior to the interview Sue had received a enquiry about an internship form a student in Germany as part of the ERASMUS programme. She was keen to explore whether this would work and is concious that she does want to share her expereince and knowledge she has acculmulaed over the decades. </text>
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          <description/>
          <elementTextContainer>
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              <text>Netty Sopata</text>
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          <description/>
          <elementTextContainer>
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              <text>female</text>
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        <element elementId="248">
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          <elementTextContainer>
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              <text>incomer</text>
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          <elementTextContainer>
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              <text>Sue moved to Stornoway in the 1970s. She moved here to be able to be able to work as a potter and afford to live.  Along with five others she founded  ‘Stornoway Pottery’ in Benside. She had never been to the Isle of Lewis before, but had seen an advert in ‘The Ceramicist’ by the Highlands and Islands Development Board (HIDB). They were  advertising for craftspeople to move to the HIghlands and Islands  and  set up businesses. Sue and her late husband Alec Balir, then moved to Borve in 1974. By 1978 they had closed down Stornoway Pottery and set up Borve Pottery.</text>
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          <name>Occupation</name>
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              <text>ceramics</text>
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          <name>Involvment</name>
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              <text>full-time paid job</text>
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        <element elementId="251">
          <name>knowledge1</name>
          <description/>
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              <text>Extensive. An understanding of the techniques required to shape clay and ability to apply them through thousands of hours of practice. The sequence in which the techniques need to applied and how to mix and apply glazes whilst  working to accomplish the highest quality. There is an aesthetic quality to the work Sue creates to meet the demands of the retail market place, but  thay are also a functional item used by people to consume food and drink. As such, health and safety considerations have to be taken into account.  Sue also has excellent business skills. Her studio and shop continues to run to this day, providing her with an income, despite the number of challenges she has navigated through.</text>
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            <elementText elementTextId="14140">
              <text>Clay. Predominantly high firing stoneware clay but has also worked in porcelin over the years. The clay comes pre-packed from a supplier in Stoke on Trent – white stoneware clay (AAS_AR_02), the use of this clay and products made from it pays the bills. For one-off pieces, Sue uses different types of clay that are a lot more textured. </text>
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              <text>Stoke on Trent, England </text>
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              <text>Sue has number of ideas about this. At the mommnet she makes one off tiles. This also gives a method of trialing glazes. </text>
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          <name>production1</name>
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          <elementTextContainer>
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              <text>Mixing clay by hand and processing it through the 'Pugmill' which forms a long length of clay, sausage like in form. Cutting the clay into sections and 'throwing' them with the potter's wheel. Using wire to 'cut' the partially dried clay from boards. Sue uses a 'pulling the handles' technique to make the handles for mugs (this is expored in more detail in AAS_CP_01). Sue's work is fired twice in a kiln and she has in-depth working knowledge of using both a gas and electric kiln (explored in more detail in AAS_AR_04 and 05). Glazing: The glazes for the pottery Sue makes  are made from powdered rock and mixed frm scratch.  Sue's work is fired at  'Kiln 9' which is 1260 - 1280 degrees centigrade  (known as a yellow heat).</text>
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="14144">
              <text>Sue believes her hands are her most valuable tools but also the Potters Wheel (AAS_AR_01),  the 'Pug Mill' (AAS_AR_02 and the Kilns (AAS_AR_04)(AAS_AR_05) </text>
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          <description/>
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              <text>Sue's hands do everything: "Well. My hands are my  favourite tool …hand thown..hand built… and the potter’s wheel." The kilns also have a meaning  attached to  them with each one representing the possibilty to apply different glazing techniques. </text>
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        <element elementId="258">
          <name>production4</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="14146">
              <text>Gas and electricity </text>
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          <name>production5</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="14147">
              <text>Waste clay is used to create tiles that Sue then uses as test samples to trial glazes on. </text>
            </elementText>
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          <name>workshop</name>
          <description/>
          <elementTextContainer>
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              <text>Sue's studio / making space and retail space are within one building on the same piece of land as her home. The Pottery is situated just off the main road through the North of Lewis. It is surrounded by a well established garden designed by Sue to create a pleasant environemnt for people when they visit the shop. The Pottery also has sea views. </text>
            </elementText>
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          <name>products1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="14149">
              <text>Lamp bases, plates, mugs, goblets, vases, jugs. A selction of tableware that has been tried and tested on the local and tourist consumer base. This year, mugs have been Sue's most successful item for reatil in her shop. Last year Sue focused on exhbition work as part of a joint show with Fine Artist Dave Greenall. As much as she enjoys pushing her self creatively with this work she acknowledges that it does not pay the bills. </text>
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          <name>products2</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="14150">
              <text>Tableware is  for eating and drinking from. Sues exhibiton pieces are for decorative purposes only. </text>
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              <text>In the Borgh Pottery Shop which forms part of the studio space. This is the only place Borgh Pottery can be bought from. </text>
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              <text>Sue will work to commission and make full dinner services. She has in the past also made ornamental commssions. </text>
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          <description/>
          <elementTextContainer>
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              <text>No. </text>
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          <description/>
          <elementTextContainer>
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              <text>Local members of the community and tourists. </text>
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        <element elementId="267">
          <name>products7</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="14155">
              <text>A Borgh Pottery stamp </text>
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        <element elementId="268">
          <name>tourism1</name>
          <description/>
          <elementTextContainer>
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              <text>Yes. Sue has been selling to tourists ever since they started to arrive in the Isle of Lewis. In the 1970s tourism did not exist. Visitors would frequent the island in the summer, but these were people with familial connections, wh came home to vist parents and help o nthe family croft. As the decades passed tourism increased but it was not unitl the 1990s that Sue and her late husband Alec chose to swith from supplying shops on the mainland and sell directly to tourists in Lewis. This tourist trade remained consistent until the covid pandemic, during and after which the 'type' of tourist altered. Tourism has now increased but there is little benefit that Sue sees from the new 'Crusieship Tourism.' </text>
            </elementText>
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          <description/>
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              <text>The products Sue designs and makes are honed to the tourist market: " The stuff that pays the bills is domestic stoneware which involves a lot of mugs…people have coffee machines now, so they want expresso cups, latte cups...americano cups, cappuccino cups…all different shapes and sizes of mugs basically. They’ve been a mainstay for the past eight  months.....Theres a lot of pleasure in making things that people enjoy using and that that will go in the dishwasher…and we have lovely customers."</text>
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          <name>partnership</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="14158">
              <text>Sue is a member of Applied Arts Scotland and attended the AAS RS I held in Borgh in Ocotber 2024. She used to be a member of the Scottish Potter's Association, but can no longer travel easily to the meetings on the mainland so is no longer a member. </text>
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        <element elementId="271">
          <name>challenges1</name>
          <description/>
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              <text>The current energy and living costs are challenging, as are the short tourist seasons and restitive transport links to the mainland. </text>
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          <description/>
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              <text>"You can’t sit on your laurels..its tough. Its hard to make a living here..it looks simple and idylic but we have a seven month off-season...at least.  It might be busy for a brief time..but that has to carry you through to nothing coming in, and the expense of winter…so its tough. Usually its middle of July before you see the light of day in your accounts....." When asked if Sue would change anything she commented:  " You’ve just got to live with what you’ve got, you’ve got to adapt …you’ve got to be pragmatic and adapt as best you can. And I think so far I’ve been lucky because we’ve managed to stick in there. … you’ve got to be clear about what you’re doing…It’s not an easy place to live. Its beautiful, its wonderful, the community is fantastic. People are very supportive. But it’s still not easy….But I just love where I am …I know it would break my heart (is she was to leave)..and if I don’t do what I do I’d have to sell up… because I can't afford to keep a house and this building going..so I have to work…but its not an arm twister..its my decision..but if I chose not to…I'd have make live changing decisions…I can't just sit here ….and live on past successes….you’ve just got to keep going…I’m a thrown fighter. "</text>
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                <text>Sue Blair is a ceramics maker, creating pottery on the Isle of Lewis.</text>
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                <text>Born in the 1950s</text>
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                <text>Sue Blair</text>
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            <name>Object</name>
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                <text>https://www.borghpottery.co.uk/index.php/</text>
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      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
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          <name>Material</name>
          <description/>
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            <elementText elementTextId="24337">
              <text>Black clay of Molelos</text>
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              <text>To place the sugar to be used on the tea or coffee table.</text>
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          <name>Creation Purpose</name>
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              <text>For sale.</text>
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                <text>https://uniaodasfreguesiastondelanandufe.pt/2022/01/18/museu-terras-de-besteiros/&#13;
https://www.patrimoniocultural.gov.pt/wp-content/uploads/2025/01/Ficha-MatrizPCI.pdf</text>
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            <name>Alternative Title</name>
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                <text>Açucareiro</text>
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                <text>27/10/2025</text>
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              <text>The cimbreira was originally designed to store food, keeping it protected and hermetically sealed to guard against insects and temperature, helping it last longer. In this case, it is a variation where the lid and the bowl still fit together (which is the most difficult part), but a hole has been left to insert a wooden spoon, also hand-carved. This allows the piece to function as a modern sugar bowl, or as we understand a sugar bowl today.</text>
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              <text>Pedal lathe and Hand-carved with gouges. It takes about 4 hours to make the piece, in addition to the time required for felling and drying.</text>
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              <text>A free, personal, and artistic variation within the concept of tixela and the domestic use of the pieces, creating a piece with a more contemporary style. It speaks to the creative freedom of the practitioner while respecting the logic of the craft, as he himself explained in the interview.</text>
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                <text>A wooden bowl with a lid, the lid has a hole to allow the wooden spoon to come out. It is a variation of the cimbreira (which served as a hermetic container) for a different use. In this case, the lid still fits, but it is no longer hermetic due to the hole for the spoon to come out.</text>
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              <text>Collagraph is currently my main medium of choice. It is an endlessly versatile and exciting printmaking medium which can be printed either in relief, or intaglio, or as a combination of both, and is an environmentally-friendly way of making prints which are pulled from textured, collaged plates. Mountboard is used as the basis for the plate. The board is incised using a scalpel, and areas of the top layer peeled off to reveal the underlying surface. Artists’ mediums are added to create further areas of texture and occasionally other elements are also glued onto the plate. Once completed the plate is sealed and left to dry before prints are taken from it using an etching press. Many of my prints combine this traditional printmaking method with the use of digitally-prepared coloured chine colle papers, printed using archival inks on mulberry paper and applied during the intaglio printing process.&#13;
&#13;
Most of the prints are in limited editions, never greater than thirty; I often make 'varied editions' where the same plate is used to print from, but each image is unique because changes are made perhaps in colour, the way the plate is wiped, or by added chine colle elements.</text>
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              <text>facebook,https://www.facebook.com/mackenziefineart;instagram,https://www.instagram.com/suzie.mackenzie.printmaker;</text>
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                <text>Suzie MacKenzie studied Fine Art as a mature student at the University of Loughborough, before returning to the northern Highlands of Scotland where she now lives and works. In 2013 she attended a series of workshops at the Highland Print Studio in Inverness which rekindled her interest in collagraph, and since that time has predominantly worked in the medium. Suzie draws on her previous career as a teacher as well as her printmaking experience to teach occasional workshops, and has been involved in delivering projects to local community groups. She has described her process for Jackson's Art blog and AccessArt, and has written a book on the subject entitled Making Collagraph Prints, published by The Crowood Press in May 2019. She is a member of the Society of Scottish Artists and has recently completed a Master of Arts degree with Distinction in Contemporary Art and Archaeology at the University of the Highlands and Islands.&#13;
&#13;
Suzie’s work has been exhibited nationally and internationally and can be seen in exhibitions, galleries and at print fairs across Scotland and the north of England. She has had collagraph prints selected for the Center for Contemporary Printmaking's Tenth Biennial International Miniature Print Exhibition in 2015, Royal Birmingham Society of Artists’ biennial Print Prize Exhibition in 2014 and 2016, the Society of Scottish Artists’ 118th and 119th Annual Exhibitions, and was invited to exhibit in the Master Printmakers show at Leeds Craft Centre and Design Gallery in 2017. In 2022 she was awarded a commission by the Royal Society of Antiquaries of Scotland, working with Archaeology Shetland to create an artwork on the theme of climate change archaeology. Her work is held in private collections in UK, Europe, North America and Australasia.</text>
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            <name>Country</name>
            <description>The name of the country of the data provider or “Europe” in the case of Europe-wide projects.</description>
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                <text>Sweater Inspired by the historical photo of the North-Norwegian fisherman Johanner Folgerø. The pattern desing became popular from the charismatic photo of the fisherman. These photos were taken on the occasion of the fishing exhibition in Bodø in 1904. The organizers wanted a photograph of a typical northern Norwegian fisherman, for use in marketing. The photographer Louise Engen from Bodø took the photos with Johannes Folgerø from Sandnessjøen as a model. He was 52 years old at the time, a fisherman and a well-known seiner, originally from Finnås in Hordaland. Folgerø had probably moved to Helgeland around 1870, in connection with the rich herring fishery. After a period on Dønna, where he also married, the family settled in Sandnes in Sandnessjøen. Around 1893, Folgerø bought a seiner together with merchant Otto Koch in Bodø. The photos belong to the museum's Lillegaard collection. Lofoten wool has taken this traditional knitting pattern and transformed into its own design, giving a new ligth to the emblematic design. The origin of the pattern is probably from the Feroe islands, since it was from there where many Norwegian fisherman got their sweaters at the end of the 19th and beginning of the 20th centuries. The Faroe Islands where great exporters of knitted goods to Scandinavia, but the history of this sweater needs to be researched in depth, something Ranghild is looking forward to do. </text>
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                <text>https://lofoten-wool.no/en&#13;
https://www.nibio.no/prosjekter/amazing-grazing-baerekraftig-kjott-og-ull-fra-sau-som-beiter-i-norsk-utmark?locationfilter=true&#13;
https://www.smabrukarlaget.no/aktuelt/bonde-og-smaabruker/,&#13;
https://www.norskekunsthandverkere.no/kunstnerregister/ragnhild-lie&#13;
https://husflid.no/&#13;
https://www.utdanningsforbundet.no/&#13;
https://www.bondelaget.no/&#13;
Esther Haukeland, Innføring til plantefarging. Cappellen, 1982.&#13;
Animalia: Norwegian wool Standard. https://www.animalia.no/no/Dyr/ull-og-ullklassifisering/norsk-ullstandard/ &#13;
Beder, Nicolina J., Seyður Ull Tøting. SPF. Sprotin, 2010.&#13;
Flååt, Inger. Votter i Namdalen. Nauma Husflidslag, 2010.&#13;
Grimstad, Ingun K. and Sårdal, Tone t. Norsk Strikkehistorie. Vormedal Forlag. 2018.&#13;
Grimstad, Ingun K. and Sårdal, Tone T. Ren ull. Aschehoug, 2013.&#13;
Hrútaskrá. https://www.rml.is/is/kynbotastarf/saudfjarraekt/hrutaskra&#13;
Joensen, Robert. Seyðabókin. SPF. Sprotin, 2015.&#13;
Johnston, Elizabeth and Juuhl, Marta K. The warp-weighted loom. Kljásteinavefstadurinn: kljásteinar klingja. Oppstadveven: klingande steinar. Skald, 2016.&#13;
Kjellmo, Ellen. Båtrya i gammel og nyt tid. Orkana, 1996.&#13;
Sundbø, Annemor. Usynlege Trådar i Strikkekunsten. Samlaget, 2006.&#13;
https://www.norskebilledkunstnere.no/</text>
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