The poetic ceramics of Bisila Noha are stirringly deceiving. At first glance, hand-crafted patterns form beautiful, abstract shapes on what seem to be familiar crockery objects. In reality, she creates ceramic paintings, which tell the story of nature’s ever-changing landscapes through a combination of ancient and modern marbling techniques.

Her art brings to question the very core beliefs of academic art history, defying the traditional, hierarchical and confining division between Fine and Decorative Arts. An important member of Create’s team of professional artists, Bisila’s bravely modern yet acutely technical practice invites us to reconsider our society’s value systems, and thus rethink how our own personal values affect our wellbeing and creativity.

Bisila confesses that what she loves most about making art is storytelling, a skill she powerfully showcases in one of her latest projects Brumas (2019). “I am mainly inspired by nature and its phenomena. Zaragoza, the city I come from in Spain, is known for how windy it is. Besides, I grew up going to Panticosa, a small village in the Pyrenees, from where I have strong memories of the summer storms and how the sky can change in minutes: darkness, the storm and then clear skies as if nothing had happened. Thus, my abstract ceramic paintings – as I now like to call them – are mostly about that: skies, storms, wind, clouds. With an increasing control of the marbling technique, I now can express artistically what I visualise. And so I have started making triptychs, so that I can tell the entire story as I imagine it in my head: the storm in progress, the clouds moving and a clear sky.”

“through creativity, humans can find their own selves, their true voice and their value.”

Bisila Noha

Brumas demonstrates Bisila’s virtuoso ability to capture the sky’s broody scenery, the hand-created heavens seeming to breathe with life within their porcelain world. The project, however, is also a powerful statement about our society’s increasingly stormy status quo. “We live in a world and a time where we – as a society – tend to value more those things we can use; those of us who do and produce the most. Capitalism is all about productivity and functionality.”

“Therefore, when I started making, I was obsessed with making things that people could use; and the more functions those pots could have, the better. So cups could be used for coffee, spices, candles; bottles could also be vases; and plates could also be trays. At some point while doing some tests, I realised that my marbling, actually looked amazing when raw, with no glaze on top. Sadly for my multi-functional personal crusade, though, that meant that the pieces ‘could not be used’. It took me a long while to find peace within and start appreciating the value of these decorative pieces – that of visual delight and aesthetic pleasure. This is what I mean when I say that Brumas is about leaving the ‘doing’ behind, and embracing the ‘being’. I at last gave my pots a break and let them be.”

“My first conceptual project with ceramics is called Los Noha (2015), and it is very special to me as it was the first time I connected myself and who I am with what I make. It started with me thinking of how I could create something very unique for my family for Christmas, and I came up with the idea for this project: one pot for each one of the members of my family – dad, mum, sister and brother, each one decorated in order to match their skin colour. Coming from a mixed-race background has resulted in me being interested in mixing in general. With this project I started to investigate how different glazes combined would come out by adding different layers.”

“With Los Noha I discovered that I was not interested in making things for the sake of it, but in telling stories. These concepts or stories may or may not be relevant for some customers, but certainly make my practice deeper and more meaningful to me. Since 2015 on a more technical level, my practice has improved so much in the last four years. Those pots were so tiny! I love looking at them when I’m home, as they help me reflect upon how far I’ve come and how much my life has changed since then.”

“the combination of craftwomanship and ‘traditional’ artistic input that Decorative Arts require is mad.”

Bisila Noha

Bisila’s ability to elevate the medium of ceramics to fine art has been celebrated by both the academics and art dealers. “I had so many thoughts around this topic earlier this year, as I had the chance to exhibit at London Art Fair with Thrown Contemporary, the gallery in Highgate that I work with. We were there because London Art Fair launched ‘Platform’, a new section that focuses on different disciplines each year, and they had chosen ceramics for their first year ever. I think that probably is a very good sign of a change. Traditionally, ceramics were considered Fine Art only if they had been made by an already Fine Art artist, such as Picasso.

“However, I have the feeling that at least in London today, pottery is experiencing a renaissance that is bringing it to the spotlight. Luckily there are galleries, such as Thrown, that are well aware of this change and championing artists leaving traditional constrains of what is and what isn’t art. I think that the combination of craftwomanship and ‘traditional’ artistic input that Decorative Arts require is mad and it’s high time they stopped being seen as second class citizens in the ‘Arts’ world.”

The artist is an eloquent contributor to the current conversation about the definitions of art mediums – but at the heart of her practice is her determination to make the world a better place through creativity. As an important member of Create’s team of professional artists, Bisila works on our projects to engage the most disadvantaged and vulnerable children and adults with the art of ceramics. “It is an honour to be part of Create! I have mostly worked with children so far and it is beautiful to see them making together and having a respite from their lives. I believe that the way Create programmes and designs the workshops is amazing, as participants learn many different skills at once in a fun way – from creative thinking, communication or teamwork, to the extremely rich range of disciplines the charity offers. I think it’s fantastic, especially as creativity and the arts have been forgotten at schools and in society as a whole. And it also benefits us, the workshop facilitators!”

“I believe that through creativity, humans can find their own selves, their true voice and their value. Creativity and creative thinking also make people more resourceful and independent and less afraid of changes. And on top of that, it can have an incredibly positive impact on people’s mental and physical health as a result. So if the world was filled with people whose brains were well oiled and fed through creativity, who knew who they were and consequently were more at peace with others, I think we could live in a pretty amazing place”.

Please visit Bisila Noha’s website to view more of her beautiful work here.

Create’s Nurturing Talent programme, which takes place over a year, gives emerging artists the opportunity to work as supporting artists on a range of Create projects, attend professional development training days and design and deliver their own Create workshop in a community setting. Each artist receives a bursary and commits to around 25 days across the year.

After a successful pilot programme between April 2016 and March 2017, made possible with a grant from The Queen’s Trust, Nurturing Talent has just kicked off its second year with a new group of six young artists.

Last year’s five Nurturing Talent artists told us about their experiences of working with Create’s participant groups, learning from Create’s professional artists and growing in confidence through the programme:

Christian Adofo, writer

“Nurturing Talent has helped me to think about leadership, flexibility and patience when running workshops. I am now taking ownership of what I’m doing and finding a ‘workshop persona’. The skills I’ve developed on Nurturing Talent are helping me to build my own workshop practice where I can help people find a sense of identity through writing.”

Camilla Greenwell, photographer

“It’s been such a wonderful year. I really trusted the group and we bonded immediately. I felt really supported by Create: the team is organised and everyone listens.

“It was helpful learning from other artists. They had varied workshop styles and were insightful and generous in sharing their ideas. I feel so much more confident and calm now when delivering workshops.

“Nurturing Talent has helped me to say ‘yes’ to opportunities and to know I can succeed when taking them.”

Cecilia Knapp, writer, performer and poet

“It’s great to be part of a community in the arts world as a freelancer and meet new artists – I’ve struck up friendships and built a support network. I felt comfortable enough to ask questions and all the artists made space for me to try things out and lead when it felt safe to do so.

“Working with the groups that Create works with over a chunk of time helped me understand the challenges they face in more depth and the variety of projects I was involved with meant I learned how to prepare different activities. It’s been an enormous learning experience and all the Create artists are amazing! I wouldn’t have gained access to those experiences and opportunities without Nurturing Talent.

“I’ve developed confidence and learnt about planning projects from Create’s meticulous planning meetings. I could plan a workshop and not be afraid to run it now.

Sara Macqueen, dancer and choreographer

“Nurturing Talent was an eye-opener. The people we worked with changed the way I teach. I learnt how to be sensitive to everyone in the room and how to change the way I facilitate and make a journey for participants, who come at learning in a different way from the people I’ve taught before. I now have more patience and a versatile approach to what is possible.

“My confidence in myself as an artist improved and my perspective on what success is has broadened. I learnt that small achievements, like someone joining in sitting in a circle, can be massive.”

Jack Pryor, theatre director

“Through Nurturing Talent I’ve learnt new ways of working and collaborated with new people. I’m now more confident in adapting to new situations and working in different ways with different groups. My comfort zone has been expanded and I’ve learnt about how to care for participants to make them feel safe and comfortable.

“I’ve learnt new facilitation skills that I use daily and have incorporated into my current job. These ideas keep my practice fresh and give me the confidence to develop my writing.”

The 2017/18 Nurturing Talent programme has been supported by Charles Lloyd-Jones, The National Association of Decorative & Fine Arts Societies and The Queen’s Trust.

For eight years, jewellery designer Hayley Kruger has used her expertise and experience to inspire, motivate and encourage our participants to explore their creativity through jewellery design.

She has shared her knowledge with a diverse range of children and adults during this time including young and adult carers, vulnerable women and frail older people. Hayley has been working with a group of adult carers in Newham, as part of Create’s multi-artform project creative:release (this article is from 2015).

The carers, who all provide support for family members with long-term illnesses or disabilities, went with Hayley to visit the Victoria & Albert Museum’s “What is Luxury” exhibition, where they drew inspiration for their own jewellery designs. We recently sat down with Hayley, whose work has been exhibited at the V&A and featured in fashion magazines Vogue and Tatler, and asked her about her creative process, how she gets the most out of our participants, and the role the arts can play in society.

How old were you when you first started making jewellery? Could you talk a bit about your relationship to jewellery making when you were growing up and how it made you feel?

I have always been creative, from making clothes for my dolls to making clay beads from the soil that our house was built on, so I can’t remember the exact age, but I can remember doing this from about 10 years old. I was fortunate to have grown up in Southern Africa, so my influences in jewellery making come from the rich cultural jewellery that was worn and sold in the craft markets and on the beach front. I used to love these outings and still collect pieces made mostly by local women, which include woven grass bangles, vibrant seed beads collars and pendants, and brightly coloured wires being woven into rings, bowls and clothing panels.

What does jewellery making mean to you? Is there a therapeutic element?

Being a jewellery maker is part of my identity. From the first time I worked with silver and tools, I felt an elemental connection to the craft and the materials. There is very much a sense of being “in the moment” and escapism when you are creating jewellery. In moments when life is a bit chaotic, it is necessary to schedule in some making time, which is important for personal growth and as a form of meditation.

As a designer, where do you draw your inspiration from?

As mentioned previously, growing up in such a vibrant region as Southern Africa, the colours, culture and nature have subliminally been inspiring. I have lived in London for 20 years now, however, and the vibe, bustle, buildings old and new and of course the dynamic people who inhabit it are endless sources of inspiration.

For people who haven’t seen your work, could you describe your jewellery and the aesthetic of the types of things you like to make?

My designs have evolved rather a lot over the years. My most striking collections consisted of bold, statement costume jewellery made using vibrant suede and were designed to be worn by confident and sassy women making their own path in the world. I have now gone back to traditional jewellery making and work mostly on bespoke commission pieces in gold, silver and precious stones. I find this far more rewarding as it is less “fashion” orientated and more sentimental.

Why do you think engagement in the arts is important? What do you think the carers who take part in Create’s workshops get from creativity?

As discussed, there is definitely as sense of escapism when making and creating and it can allow the carers to transport themselves into a world beyond their daily lives. I can also give carers a way of expressing how they are feeling and give them ownership of something that is unique to them.

Do you think accessibility to the arts is an issue? What barriers make it difficult for adult carers to access the arts?

Many people find it hard to ask for help and may feel guilty for taking part in activities that take them away from caring. That is why carer organisations are vital local resources that can connect them to arts projects that they may not have been able to access.

How do you approach your creative:release workshops? How do you get the most out of the participants?

I try to teach the participants jewellery making skills that they can use to create “professional”, well finished pieces. This gives them a sense of achievement and pride as well as giving them a skill that they can inexpensively continue to use at home, either as a hobby or as a way of generating a little extra income for themselves or their communities.

Do you have memories of Create projects that particularly stand out for you?

Having had the pleasure of being involved in many projects with carers, I love seeing how their enthusiasm grows as they realise just what they can achieve. This has particularly been the case with the Newham adult carers who have been so responsive and came back for a second follow up project. I also saw a particularly good response when working with a group of mostly teenage boys, which is unusual as boys can be hard to reach. Whilst the group responded well to having access to metal working tools and copper, one participant evolved from a shy, quiet guy to the most chatty and enthusiastic maker in the space of a few hours. On the feedback form, he commented that we had got him to talk. That is the true power of creative expression.

What is it about working with Create that appeals to you?

You have a fantastic and organised team of project planners who are endlessly enthusiastic about all the groups and communities that you work with. You are also great at encouraging development and communication between the artists by running interactive sharing workshops that are always informative and fun. I have worked with Create for many years and hope to do so for many more.

Could you talk about any upcoming Create projects and what you’re most looking forward to?

Although we are yet to finalise plans for this project, I am particularly looking forward to working with carers in Kingston on designing and making fascinators and textiles jewellery pieces. I expect a riot of colour.

This article is from 2015.

Since 2014, professional filmmaker Aoife Twomey has been working with Create to bring film and animation workshops to a wide range of disadvantaged participants, from young people with disabilities to adults who are homeless. She’s enabled participants to boost their confidence, learn collaborative skills and express themselves through film.

Aoife talked to us about the power of everyday stories, how filmmaking can help build community and a special note she received from a young carer:

“Having access to creativity and play is so important for both young people and adults. Creativity provides much needed respite in people’s lives, and also an outlet to tell their stories in a safe place. Often the films we make on Create projects seem unconnected to participants’ stories, but through the workshops there are many opportunities for them to express themselves and this always makes it into the final cut in some way.

“One of the main barriers to people accessing the arts is confidence. Somewhere earlier on in life, people are receiving the message that they aren’t good at art – they can’t draw, for example. I love it when someone creates something amazing in my sessions and they say they never thought they could be creative.

“Creativity also brings people together. I always love lunchtime on my projects because, after all the ice breakers and working in teams, people seem more open and it’s here they feel most safe to share their story and find healing in being heard and accepted.

“Filmmaking is an incredible medium to work with in a community setting. It cuts straight to the heart of storytelling. People already know so much about filmmaking just by having watched films before and this creates a wonderful springboard into building confidence and positive learning experiences. With access to resources becoming easier, more people have the ability to make really good films. I love this about my work because I know people can transfer the skills they learn with me to making films on their phones and at home.

“I recently worked on an incredible project for Create, making a documentary with adults who are homeless and attend a drop-in centre in Deptford called 999 Club. I was so humbled by the experience of working with these men and women. We made sure there was space for their stories to reach completion fully and to show them that we were here to listen to their ideas, not to tell them what to do. I loved welcoming everyone as they returned each day (something we didn’t necessarily expect given their circumstances). I remember the day I didn’t even have to introduce the workshop; everyone just sat down at the computers and continued work from the day before. I think the participants gained a lot from the sense of achievement, from group work, from being valued within the group and from hearing each other’s stories.

“Create is an amazing charity to work for. The emphasis on getting it right for the participants is really special. As an artist I feel valued within the Create team, which is fairly unique. I love the Artist Sharing [Create’s six-monthly artist training event] and when asked to lead a session one year I felt honoured. As a freelancer it’s rare to find an organisation to feel so a part of and I feel really supported.

“I took an unusual path to working as a filmmaker. While doing a Masters in Community Arts Education, I completed a module on Digital Media for Social Change that introduced me to the power of film in storytelling and working in communities. I most admire the people working as self-shooting directors on a mission to uncover a human story, usually people I am working with on a project with or a director I’ve met at a small community screening. I believe in the power of storytelling from the bottom up, so I admire anyone who’s put the contributor in the driver’s seat and made an engaging film out of an everyday story.

“I have a card that young carers wrote for me after a Create project. One of them wrote: ‘Thanks for letting me in’. That made me realise the importance of the simple act of opening the door to people, welcoming them in, asking their opinion, giving them ownership. Some people struggle to find a place they fit, and I love that by the end of a filmmaking project people find somewhere within the process that they fit best.”

This article is from 2015.

Musician Sam Glazer has been working with Create since 2008. Here, he tells us what inspired him to do community work, and what he loves about Create.

“I started playing the cello aged 9. My grandfather had also played the cello, and I now play his old instrument. At secondary school I joined two orchestras, which was a fantastic experience for me. I was quite shy, the orchestra was really the first place where I was able to develop more confidence socially. After university, I worked in arts admin for a bit before starting as a volunteer on some community music projects. I loved it and soon realised that this was what I wanted to do. Within a few months I’d quit my job to freelance as a musician. That was eight years ago and I haven’t once regretted my decision. My work nowadays is varied – I work with a colourful mix of people, or perform with my band – but there’s always a creative element, scuh as composition or improvisation. I love working with people of different ages and backgrounds; it’s a privilege to make music with them. Music can be hugely life- enhancing, I believe everyone should be able to experience this. There’s a real risk that such opportunities will soon only be open to the advantaged few, and it’s great that organisations like Create are working to ensure that access to the arts remains broad and diverse.

“My favourite Create project is called creative:space, which are interactive concerts for disabled children and their families. I’m the presenter, bridging the gap between audience and performers; finding ways for people to join in. Create always books top-whack bands for this gig – most often, I’ve worked with a funked-up New Orleans jazz band (Bad Ass Brass): the musicians are great performers, interacting brilliantly with people. It’s by far the most exhausting of all the jobs I do, but extremely rewarding and inspiring as a model of how people with varying needs can be engaged with music. The project is successful because Create does not compromise on artistic standards.

“Create has recently given me the opportunity to work in a new way. Following a series of school workshops, I’m now working on a score for a new piece of music, based on the stories of four child characters from the novels of Charles Dickens. (Create’s writer, Jo Ingham has worked with young people to create a fantastic libretto). Watch this space!”

This piece was written in 2011.

Create’s Indian dancer Shalini Bhalla relishes opportunities to share dance with people who have little access to the arts.

Shalini grew up in Kenya, where she began dancing at just three years old. Her mother had always wanted to dance but never had the opportunity, so she was quick to enrol her daughter in lessons. Shalini started with Indian folk dancing and began learning the art of Bharata Natyam (a form of South Indian classical dance) aged twelve. For her graduation performance, musicians were flown in from India to accompany her. After her GCSEs, Shalini travelled to India to learn more about her craft. Pursuit of a “formal education” meant that dance was put on the backburner for the next few years. It was only when Shalini came to England to complete a Masters in Tourism and Education that she began taking dance to schools. After her degree, she worked in a variety of hospitality roles, but none of these felt right. Her sense of fulfilment came from her dance workshops.

“When a teacher tells me that she has seen one of her quietest pupils in a whole new light, I know I’ve done a good job.”

Shalini’s own work focuses on making dance accessible. She wants her movements to speak to the people who have never seen dance before. Working with Create, she has a chance to apply this ethos to her education work. For the past two summers, she has engaged people of all ages, from all walks of life, in Create’s free More Creative dance workshops at The Scoop, More London, SE1. Most recently, Shalini led Create’s East Meets West project, which brought together children from Muslim and Catholic backgrounds in Poplar, East London, to create Bollywood dance. For Shalini, the highlight was watching some of the shyest children gain in confidence and become active members of the group.

“Moments that stick out for me include three white teenagers from the local area dancing alongside a group of Brazilian internationals; and one man who, too shy to join in at first, was enjoying himself so much at the end he wouldn’t leave!”

East Meets West was particularly close to Shalini’s heart because the relationship between what she refers to as her own “East” and “West” sides is something that she explores in her own work. Her cultural identity is the subject of a piece Asmakan – The Quest, which she premièred at Cranleigh Arts Centre last year. She is currently seeking funding to revive, develop and take the piece on tour.

This piece was written in 2011.

Professional musician and Create workshop leader, Mike Poyser, reflects on his passion for music and the power to transform lives.

“I started playing the tuba when I was 10 years old after a brass teacher came into school and asked if anyone fancied playing one. I was enticed by the shiny brass and the incredible sound the instrument made. I was allowed one because I was the biggest in the school! I went on to a unique school called Wardle High where there were 500 brass players and six brass bands! There I joined the National Youth Brass Band of Great Britain.

“I then studied ‘Physics with studies in Musical Performance’ at Imperial College and a Masters in Orchestral Performance at the Royal College of Music. As a musician I have been lucky enough to play all over the world. As a physicist, I have done very little!! Music is a huge part of my life. I have a very varied career, currently combining my work with Create with teaching at the Royal College of Music and at a primary school, playing in three of my own groups and in orchestras and other ensembles. Every day is different – I love the variety and I love performing and making fantastic music. From an education side of things I enjoy seeing children discover the magic of music making and having lots of fun. Whilst at college, I joined a group called The Elastic Band, which tours the country giving fun concerts for all ages. The conductor is an incredible person and an absolute inspiration. I was so amazed by what he and his group do that I decided I wanted to be involved in community settings myself.

“Music can mean so much to so many people, from evoking distant memories in residential homes for older people, to the eye popping excitement of young children seeing live music for the first time, to the relaxing qualities in hospitals and hospices. I like being involved in this.

“I started working with Create when I got a call asking me to cover for another tuba player on a music and maths workshop. I love maths (prime numbers are ace) as much as I love music so I was very pleased to be involved! I was just out of college and was looking to develop my community work so I was really excited about getting the call. Since then I have been involved with all kinds of projects and I have enjoyed them all. One of my favourites has been that first project, Count the Beat. Seeing Create’s workshop leader coordinate such great music and informative maths sessions for the students was amazing. But the most special projects for me have been those bringing together disabled and non-disabled children at two schools in Kent.

“Seeing the autistic students come out of their shells and forge real and meaningful friendships with the non-disabled students has been great.

“Working for Create is very easy, because the charity is really well organised: from planning sessions, to Create staff being present, to the evaluation processes. It is always a pleasure. Also, it’s great working with other professionals and I have worked with some truly incredible musicians. I also love meeting people from other disciplines and it’s been fascinating collaborating with one of Create’s dancers and with a performance poet.”

This piece was written in 2011.