AJ WELLS Large-scale Enamel Workshop

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Report From Kate Samules

“This joint venture with the Guild of Enamellers and the British Society of Enamellers was a rare and exciting opportunity to experience enamelling on a different scale”

I was fortunate enough to be able to take part in a unique opportunity, A Large Enamel Scale Workshop at the Vitreous glass enamel factory, A J Wells on the Isle of Wight.

I am an enamel artist who is interested in offering a message within my work, which is a response to a site, or exterior location that also signifies and suggests a juxtaposition of enamel as an art form. My work is an exploration of materials and surface decoration. I create vivid collections of experimental and resolved metal forms. I’m intrigued by the transferal of 2D mark making onto metal surfaces. Comprehensive visual research, film and photography are essential elements to the work. The development and attentive interpretations are reflected in my sketchbooks.

This was an ideal opportunity to refine, develop and extend my work. My aim was to produce a large body of work, which has the potential to be exhibited. This was an excellent opportunity to develop my practice through commercial techniques and skills.

The workshop was a group of enamellers from the BSOE and The Guild of Enamellers. Pat Johnson led the techniques and Carol Griffin organized teaching support and the event. We all had different levels of experience of working with enamels. This led to a diverse range of alternative and innovative outcomes.

We all stayed in a large house near to the Factory. I was slightly anxious about sharing a house with complete strangers for a week but everyone was friendly and everything was very organized. Everyone was focused and enthusiastic about the course.

I arrived during the weekend and I was able to gather imagery and record responses from the Isle of the Wight. It is important for me to have a visual reference and focus to work from. I produced a sketchbook and took many photos. I particularly became interested in maps and paths around the island.

On the Sunday evening we had informal presentations of our own work and also got to talk about what we wanted to experience during the week. We had a presentation from Laura Boswell, Printmaker who created a large-scale public enamel piece for Aylesbury bus station. It was really interesting to hear about her experience and have an introduction and overview of working in a factory.

Day 1: We had a tour of factory and met the staff. We were introduced to the different processes and facilities, including the screen-printing, spray booths and kilns. Everyone was very welcoming and friendly.

Pat Johnson demonstrated using the spray gun and the techniques and processes involved and we were able to produce test pieces. We had a dedicated spray booth for the group and a table each within the studio area.

A small kiln was available in our studio area enabling us to be able to test colours and the ink enamels. We were encouraged to be experimental. We set a production system in order to provide a constant firing process of drying and firing. Everyone was quite reserved and timid at the beginning and anxious to start their larger panels.

Day 2: We prepared the panels and continued to experiment and test colors. Everyone felt more confident and focused and were able to start our larger panels!

Day 3: we continued with our own work within the studio space and in the factory workshop. All the staff were very accommodating and always willing to offer advice and guidance. We were able to extend our working hours in order to prepare for the next day, enabling us to create as much work as possible! Time seemed to fly by!

Day 4: Everybody aimed to complete the majority of their panels. We all produced a diverse range of outcomes that explored a range of techniques and individual processes.

Day 5: we all finalized our work and had a mini exhibition of all our work, which was presented to all staff at the factory; it was excellent opportunity to explain work and have feedback from a commercial perspective. I left the factory at lunchtime, exhilarated from a fantastic week and also quite exhausted!


Overall it was fantastic experience. I produced a refined and marketable body of work, which will be part of an exhibition. The factory staff were very intrigued and really interested in our work. It was an excellent opportunity to meet fellow craft and industry enamellers. I experienced a commercial and wider perspective of enamelling as an industry and an art form. I was able to successfully produce large-scale professional looking final outcomes.

I would be really interested in returning to the factory to take part in future workshops.

A J Wells were very accommodating and had excellent facilities. The workshop was professionally organized and truly enjoyable experience.

www.flickr.com/photos/katiesamuels

AJ WELLS Large-scale Enamel Workshop

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Report from Ruth Ball

In September I spent a very industrious and busy week learning about large scale enamelling on a workshop supported by the BSOE and the Guild of Enamellers. The expert tuition was given by Pat Johnson and the workshop was facilitated with excellence by Carol Griffin.

To start the report I must say that the effort and professionalism of the entire workshop was extremely impressive. The facilities and welcome at A J WELLS a leading manufacturer of enamel products and signage, couldn't have been better. The support and encouragement shown by the team there was truly wonderful.

I was one of eight lucky participants and the week long course went very quickly indeed, each day was action packed. At the start of the workshop on the Monday, we were given a full tour of the enamel facilities. Watching the large scale kiln being operated was one of the first sights. The kiln is quite a leap in scale for enamellists normally used to firing jewellery !

The Large Kiln at A J Wells

Artwork for screen printing

Screens

Above and below are typical signage projects undertaken at the factory. The general process in production involves firstly the spraying of ground coats and then base layers. The panels then go through various firings with screen printed images. Photographic imagery can be applied if required and the quality of work produced is very notable.

Signage

Pat Johnson demonstrating spraying techniques.

Our sessions went underway by first observing Pat's demonstrations on how to spray the liquid enamel and a host of techniques were discussed. The amount of possibilities were inspiring.

Test Piece – Ruth Ball

My first test piece explored a variety of effects. The primary skill to try was using the spray gun. The initial layer I sprayed was white over the black ground coat, in which I also made sgraffito marks to get a feel of what sort of drawings I could achieve. The second spraying of enamel was a fine layer of black which was sprayed from the side. This, although it looks greyish fired, and it is not apparent in my photo, the effect gave a slight relief effect to the image. The final layer on this piece was an application of inks, which I loved. I enjoy using painted enamel, and they are similar, so for me they were great to use as I felt familiar with them as a media. I particularly enjoyed the fact that I could layer the effects and the enamel inks had good colour strength.

My first panel started life as a "Rolf Harris" moment...!

Armed with my sketch book I embarked on an adaptation of my winter birch tree sketches.
I decided to keep my process experimental. I had four panels to work on so I planned to learn something with each one. Rather than drawing each tree as you would on paper, I formulated a plan to create a tree "texture" and then I would cover the layer in the sprayed liquid white and sgraffito through an impression of the trees to create a semi abstract piece.

This was effective in terms of continuing with the series of images I have and it was also conducive to the limitations in time and factory processes. The restrictions of each panel we had to work on were such that we were limited to four colours / four firings. Before I attended the workshop I couldn't get my head around how to do this as I normally just keep firing until I'm happy with something ! But planning work in this way is actually quite interesting, and I never actually got to four firings with any of the pieces.

Drawing through the white layer to reveal the previous firing.

Finished Panel - Winter Birches - Forest Series - 40cm x 120cm

In my second panel I chose to explore more drawing and mark making. The ground coat of the enamel is black so I realised that I could exploit this. I also wanted to see if it was possible to combine a range of mark effects with the sgraffito technique in order to make something illustrative.

Images in this panel are referenced from my series of sketches and photos of cityscapes. I am currently interested in transformations within urban landscapes, building sites and reclaimed areas provide a good source of information for visual research. Again, on this panel instead of copying a specific "scene", I made a selection of images and drew them in several sections, visually blending each image together to form an overall picture.

"Urban Surface" - enamel on steel - 60x60cm

This panel never got its subsequent layers. This was it's one and only firing ! Initially I planned to work over the drawing and add slashes of colour and possibly would have developed more in the image. However, apart from the fact it was a more time consuming process than I had hours for, the response from everyone in the workshop was that it was fine as it was ! The less is more approach seemed to be the order of the day !

On starting panel three, I realised a bit of speeding up was needed, by this time I was well into Wednesday and there was only a couple of days left to finish everything. Apart from this I also had brought my collection of riso screens and wondered if they would work with the inks. Although the inks are oil based and the riso screen is water based (therefore once used I'd have to discard them due to the fact I'd not be able to clean the screens up) I resolved that I would at least be able to pull a few images from each screen.

Keeping to my urban theme, and enjoying the black and white look, I varied the effect on the first layer by only using sgraffito in selected areas in order to leave sections free for printing. The photo above shows the panel in the initial stage of the second layer where I have started screening on the prints. In the sgraffito layer I continued the visual effect of drawing at the edge of the piece, something that I'd become involved in the previous panel, as I wanted to put emphasis on a strong graphic approach. Moreover, developing interest on the outer points of the panel provided a quirky focal point. This breaking away from the confines of a format and thinking about the edge of the work is a process I'm starting on other pieces in my urban series, and I was quite pleased with this more stylised effect.

The sgraffito layer is slightly raised and really adds subtlety to the work.

The final piece - Rebuilding - enamel on steel - 60x60cm

My final panel followed the same process, by now I was into the swing of it all and had found a way of working that I could have expanded upon for another week again. This time I wanted colour back, so my second firing was a layer of ink that I sponged on.

The consequent layer was the riso screen printed images, which were applied in true "Blue Peter" fashion. I worked on different areas of the piece, bit by bit, waiting for the ink to dry before applying the next part of the image. It was a bit like building a jigsaw, and rather than use frames with my screens I found that sticking and stretching the screen down with sellotape tape worked adequately ! I managed to add all the printed images in one firing, though if I'd have had more time I might have done it over two or three instead. Printing can also be done "in house" and this a facility I hope to explore more fully in the future.

The final piece - Urban Changes - enamel on steel 60x60cm

This panel was my favourite piece from my week's endeavour. I really felt as though I'd achieved a lot and had discovered many possibilities, though in reality I have only just touched the surface. The potential for working in enamel on a large scale are very exciting. The resulting artworks are ideal for public and corporate commission work as enamel on steel can boast the fact that it is durable, colourfast, hygienic, easy to maintain and is even fireproof up to 800C!

In conclusion, the opportunity to be able to explore the media in a creative workshop setting within the workings of a busy factory was awesome. I reiterate the credit and much thanks which must be given to Pat and Carol for their unbelievable dedication to making the week work so well. The team at A J Wells were equally fantastic. Their generosity in allowing us into their time, space and excellent facilities was overwhelming and nothing was too much trouble. Additional highlights of the event were also really appreciated. An evening meal out for the whole group was a lovely start to the week, and a great bonus was meeting printmaker/enameller Laura Boswell, who gave an illuminating talk on her recent commission for a large enamel artwork sited in Aylesbury Town Centre.

Put simply, the week was just amazing, and a truly valued experience.

I would like to add my deepest thanks to all involved and to the British Society of Enamellers for their generous bursary award that enabled my participation in this event.

23rd International Cloisonne Jewellery Contest - JAPAN

If anyone is interested in learning more about this competition / exhibition please get in touch with Ruth Ball who has a copy of the forms.

The deadline for submissions is the 15th January 2010.
Each artist can submit up to 5 Entries - no fee.
Work is juried by the actual pieces and not slides.

The Exhibition is to be held at the Ueno Royal Museum Tokyo, from 6th - 12th March 2010.

The contest is organised by the Japan Shippo Conference NPO
If you would like to contact them directly their email is jewelrycontest@nifmail.jp

Goldsmiths Craft & Design Awards

The call for entries for the 2009/10 competition has been released.

Please visit the Goldsmith Craft & Design Awards Website for information.

You can download the application from on the site - click here.

ORIGIN

Check Out Week Two of Origin !

The London Craft Fair at Somerset House, London takes place from 13-18 October 2009

(open daily 10-6, open late on Thursday until 9pm - entrance fee £10 on door).

This second week of 150 makers includes the stands of five makers who use enamel as an integral part of their work: Jane Moore, Grace Girvan, Sally Grant, Honeybourne Jewellery and Janine Partington.

To find out more about this great opportunity to see a wide range of their work visit www.craftscouncil.org.uk.

Posted by Janine Partington

SOME LIKE IT HOT

THE OXFORDSHIRE MUSEUM
Fletchers House Park St Woodstock Oxfordshire OX20 1SN

12th September - 17th October 2009

Open: Tuesday - Saturday 10.00am - 5.00pm Sunday 2.00pm - 5.00pm Closed: Mondays

This selling exhibition is an excellent opportunity to discover contemporary enamel in all its diverse and exciting forms and features the work of some of the country’s leading enamellers.

Work on show will include jewellery, boxes, bowls and panels.

Playing With Fire - Update

The tour schedual continues !

The exhibition is now closed at Rhyl Arts Center, however "Playing with Fire" is now touring to :

25 July - 30 August > CRAFT IN THE BAY, Cardiff

5th September - 31 October > BILSTON CRAFT CENTER, Wolverhampton.

Please check the venues for open times and directions.

Ed Silverton - Cactus Display

Beate Gegenwart - Innenraum 2007 (detail)

Kimberly Scott - Urban Diary 2008 ( detail )

Photos: Taken by Ruth Ball at the Rhyl Exhibition

Emerging Enameller Awards

REPORT by Jilly Morris"The Things We Leave Behind" (detail ) 2008

Photo from Playing with Fire - Rhyl Arts Center Exhibition

I would like to thank you for awarding me the prize of 'emerging enameller' at the 'Playing with Fire Exhibition' it is wonderful to receive recognition in my enamel work.

I have recently accepted an artist residency, which takes place in Highgreen in Northumberland from an organisation called VARC. This stands for 'Visual artists in Rural Communities' and is a yearlong residency starting in October 2009. This is an incredible opportunity for me to spend a whole year devoted to my practice in a beautiful remote location with my own studio and remote converted Dovecote apartment, without the pressures of my usual city life in Bristol. In October my nearest shop will be ten miles away in a village called Bellingham and part of the Pennine Way is my front garden. The scenery is rolling moorland that stretches for miles and miles around me. It is a very exciting opportunity to see what remoteness and isolation does for my creative practice and to myself, I am both excited and slightly scarred by the prospect.

I will be taking my kiln to Northumberland and intend to do some experimental enamel work whilst I am there. Part of my residency contract is to initiate activities that include the local community and schools for a seven-week period; therefore I intend to hold enamel workshops regularly for both adults and children. The rest of the time I get to spend solely on my own practice and at the end of the year I have a solo exhibition and a catalogue printed.

My residency includes a very small income, enough to survive on dhal and rice for a year but I will need extra money to help fund materials and other needs. As it is so isolated I will also have to buy a car for the duration of the residency (I usually bicycle around Bristol). Therefore the money that you have awarded me will go towards my experience of my residency, it will either be spent on materials during the year or go towards buying a car that will help me explore my environment. I was reluctant at first to get a car but have been informed it is essential in such an isolated area. I cannot stress what a wonderful opportunity this is for me to spend such time exploring my art, I currently work part-time as a receptionist to help fund me being an artist and this takes so much time away from doing what I really want to do, that of being a fully-fledged artist.

I am currently conducting some research for some large enamel pieces, which I would like to make. As a child I had major heart surgery and as a 'memory' of the major event I am interested in researching into the development of heart surgery. It all sounds rather gory, yet there are fascinating details and incredible old engravings of anatomy that I may use. It all is at a very early stage at the moment. I am also waiting to here from an interview from a new gallery that has opened in Bristol called 'View' in hope that they will want to exhibit my work. I am also facilitating some enamelling workshops at UWE for children aged 14 - 15 and have recently sent some enamel work to Studio Fusion in London.

You can get updates about my work from my website http://www.jillymorris.co.uk/ and the residency details can be found at http://www.varc.org.uk/

Once again many thanks for the award. Jilly

............................................................................

REPORT / letter from Kimberly Scott

Kimberly Scott - Ubran Diary ( detail )

photo from Rhyl Arts center Exhibition

I am delighted to have won the Emerging Maker prize for my piece "An Urban Diary" in the Playing with Fire exhibition.
I plan to put the prize money towards buying a kiln. Unfortunately my financial situation is not ideal for buying one at the moment and, as I work full time, I am not eligible for most of the funding/grants available. However the prize money is in my savings account (hopefully earning interest!) so once I save up the rest I will purchase one.
I sold my piece from Playing with Fire to a private collector in Devon, to be displayed in his home so when I receive the money late 2009/early 2010 this will go towards it. I am noting my new ideas for when I do get a kiln! I was in particular pleased to see the exhibition review in Crafts Magazine.
I really do want to continue developing and improving my enamelling work and to pursue my passion for enamelling. I always feel so at ease when working next to the kiln and I am missing it very much. I am keeping up to date with all the enamelling news (as much as I can!) with what is happening in the enamelling world and checking the BSOE blog regularly.

Kimberly Scott

UWE Visit

Workshop Report by Ruth Ball

The following photographs were kindly posted to me by Melissa Rigby, Jeanne Crosse, Rachel Gogerly and Rebecca Gouldson, BSOE members who visited the group workshop to UWE in June. The full group also included, Jill Leventon, Jannie Partington, Annie Appleyard, Chis Jorgenson, and myself.

Elizabeth Turrell and Jessica Turrell generously facilitated a day that was very actioned packed and encompassed a range of study which included:

• A talk and viewing of enamel samples and experimental works
• A demonstration of screen printing for enamel transfers
• A demonstration of a panel being fired in the large scale kiln
• A tour of the printmaking department & extended UWE facilities
• A tour of the Illustration BA Hons and MA Design/Printmaking Degree Shows

The day started with an informal talk and the viewing of a cumulative display of samples and experiments, undertaken as part of Elizabeth / Jessica / their student's research projects. The photo here reveals only a small section of what was on show, the amount of work was extraordinary.

A short demonstration was given showing the firing of a panel in the large scale kiln. Here Elizabeth is inserting a panel into the kiln. The process is much the same for firing in a small kiln though obviously a much more industrial kit is required to support the work.

The demonstration of screen printing transfers for enamel was of great interest. The group were lucky enough to be able to view the entire process, from the making of a mark to the final printing of the specially developed transfer sheet (UWET paper available from the paper suppliers John Purcell)

The following photo's give a brief outline of the methods involved:

The artwork was prepared with a variety of products (inks/crayons/torn paper/lace etc)

Next, the artwork and prepared screen was then placed in an exposure unit.

Once exposed to light, the screen is washed to reveal the image.

The following step is to carefully register the transfer paper.

Then a mix of specially formulated enamel ink is screened onto the transfer sheet.

Finally the printed sheets are stacked, to dry off.

Generously, several sheets were printed, enabling us all to take a sheet home to experiment with, so below are some results from Rachel and myself of transfer experiments. These were done after the event in our own workshops.

The process for applying the transfer is relatively simple.

• The printed paper is cut to shape.
• Then it is dipped briefly in a shallow bowl of water, which results in the backing paper becoming loose.
• Next, holding the image over the enamel surface you can then slide off the backing paper.
• The transparent film remaining, which contains the enamel ink, is smoothed over the enamel surface and should be left to dry.
• Additionally the transparent film that the enamel ink is printed onto should be carefully burnt off before a full fire - this smokes a bit so full venation is essential.
• The piece is fired as per requirement to the design / the enamels you are using - firing is much the same I would say as for painted enamels. (ie. don't over fire, otherwise the ink will burn out ! )
  
  

Rachel Gogerly - UWE transfers over transparent colours - fired on silver.

Ruth Ball - UWE transfer over a base of flux & a center strip of opaque black - fired on silver.

Unfortunately, it is not possible to show photos of the degree shows, but needless to to say the standard of work on view was totally amazing. It left a few of us wishing to start a second degree, and enrolment on MA programmes seemed to be a most favourable route! This desire was particularly enforced as the tour from the shows led into room after room of facilities. The departments at UWE on the Bower Ashton Campus boast laser cutting, and mind boggling 3D printmaking technologies, in tandem with an enviable selection of traditional printmaking processes.

To conclude it is needless to say that the visit was a great success and yet another great learning adventure ! Many Thanks to Elisabeth, Jessica and all the staff at UWE for sharing their knowledge and providing an excellent range of inspirational events.

BSOE at The English Bridge Workshop, Shrewsbury

Workshop Report by Jane Ball

The English Bridge Workshop in Shrewsbury, Shropshire hosted two days of BSOE workshops held on May 9th and 10th May 2009.

Day one saw 11 keen enamellers with a range of backgrounds coming together to learn about and take part in “Experiments with high firing and corrugated copper shim” facilitated by Van Long.

Van began by displaying a range of test pieces and final pieces showing how from one enamel it is possible to get a range of colours depending on:
· how high the firing temperature is
· how long you fire for
· how thick the enamel is
· how thick the metal is

Whites and ivory enamels give a wide range of colours such as gold, blue, green, pink and of course white. Enamels Van used on the pieces she had on display were:
SOJE 159 White
SOJE 88 Ivory
SOJE 157 White
SOJE 0141 Hard White
SOJE 625 Super Soft White
LJE 0137 Rose Pink
LJE T214 Ochre
LJE 0100 Soft White

All give different colours at different firing temperatures [820-850 degrees] from those gained at lower temperatures as intended by manufacturers.

Samples of opaque white and ivory enamels, high fired - Van Long

Van showed a range of 2D and 3D pieces using thin copper shim often corrugated to allow a combination of colours to emerge from 1-2 enamel coverings.

Test pieces and experiments - Van Long

The group then spent time crimping and shaping copper shim and experimenting with white and ivory enamels on their own 2D and 3D pieces. Van was on hand to guide and support these personal experiments, sharing her knowledge and expertise with each person in turn. Group members ended this inspiring day with ideas for future “experimentation” and designs.

Samples of experimental shapes - Van Long

Day two saw the group eager to learn from Ruth Ball about how she uses Riso screens and other methods to build layered images in her work. She started by showing a slide show of her work involving Riso screens. She supported this stunning display of work with insights into her thoughts/design process as well as technical information on how the various effects were achieved.

Ruth explained she uses a range of techniques within each project (Riso screens, cloisonné, foils, transfers, painting enamel, sgrafitto, stencils, stamps, etc). Her designs are inspired by a wide range of elements from architectural structures/urban features to nature and textures. Click here to view examples of enamel panels on her website.

A quick ‘run down’ on how ‘Adobe Photoshop’ can be used to create Riso screens followed, though I got the feeling a specific evening course would be required to fully understand the extent of what could be achieved using this software tool. A free version can be downloaded from gimp.com, Ruth explained, which could be used to gain negative and positive images as well as ‘stamp’ and ‘line’ effects. More of a 3D image can be obtained when a series of screens are created from one picture and enamels built up one upon another using these various effects.

Applying riso image with sponge

Then Ruth demonstrated her method of using Riso screens. She uses repositional spray adhesive (the more expensive type she finds better than cheaper versions) sprayed very lightly over the piece, lays the screen in place on the piece and smoothes it down. Enamel is sieved onto the screen and rubbed across using a dry sponge. (Boots make-up sponge wedges were shown to be a valuable part of the enameller’s toolkit!) The screen is then gently removed.

She initially counter-enamels the metal by spraying the back with Klyr-fire or diluted wallpaper paste. A layer of enamel is then sieved over the metal, another spray of Klyr-fire made (the more Klyr-fire, the better the enamel will ‘set’) and left to dry. The piece is then turned over and enamelled on the front before the first firing. When ready to be fired Ruth places her pieces counter-enamel side down on a ceramic fibreboard tile slightly larger than the piece.

The piece made during the workshop demonstrated how Ruth builds her designs layer by layer. It was initially counter-enamelled, two separate Riso screens laid on opposite sides of the bare metal (care was taken not to lay the second screen over the enamel laid by the initial screen) and additional sieving of enamel over the piece, where some pieces were masked, using T6 white only. The fire-scale was used for effect (creating different coppery hues of green) within the second and consecutive firings. Blythe’s T6 Medium White was mostly used with a couple of other colours. The repeated firings and gradual build up of white gave interesting colour effects. Consecutive firings involved building on the Riso screens, using stencils and areas masked off using paper or wet newspaper. A useful tip when using paper stencils was to spray them before use with a fine spray of water. This traps the sieved enamel and allows the enameller to remove the stencil without enamel particles falling unwanted, back onto the piece when the stencil is removed.

An instructive 20 minutes was spent ‘rifling’ through Ruth’s stencil and stamp collection. She has a unique collection of all types of materials and objects, anything which can create a pattern in some way.

It is not necessary to use a frame with the repositional spray adhesive method of working with Riso screens. However if liquid enamel is to be used a framed screen is advised. The spray adhesive is easily rubbed off the screen when dry. Riso screens have a finite life and it is therefore prudent to make additional photocopies of the original images sent to create the screens if you wish to use them for a series of pieces.

A huge thank you needs to be given to both Van and Ruth for such an inspiring weekend.
JANE BALL

Additional Report:

Rosmary & Jill - Veronica & Maureen - Ursula & Melissa

A convivial group of twelve: Ruth Ball, Van Long, Hilary Bolton, Melissa Rigby, Rosemary Zeeman, Carol Griffin, Hilary Lawler, Jill Leventon, Veronica Matthew, Dyana Symonds, Maureen Carswell and Ursula Taylor (recruited from the Guild, together with Jane Ball) gathered together on the Saturday evening for a sumptuous Chinese meal and lively conversation at the popular ‘China Rose’ restaurant. Many thanks to Jill Leventon for organizing this, and to her and Maureen Carswell for so generously giving B&B to members over the weekend (Jill had 5 to stay on the Saturday night!)

Melissa Rigby (workshop organizer)