Maegen Black
An interview with the Director of the Canadian Crafts Federation / Fédération canadienne des métiers d’art (CCF/FCMA)
What is your job title and description?
I am the Director of the Canadian Crafts Federation / Fédération canadienne des métiers d’art (CCF/FCMA), a national arts service organization dedicated to the advancement of contemporary fine craft. Our mission is to “create connections and champion craft,” which covers a lot of ground, but essentially means that we bring people together, online and in person, to learn about, celebrate and fight for craft. My role is to keep all the moving parts of the organization together, from volunteer and staff management, advocacy and project planning, to financials and logistics and everything in between. The CCF/FCMA has a very small staff, so we work together to make big things happen, and it’s all about teamwork.
What does a typical day look like for you?
Before the global pandemic put things into lockdown mode, my typical day was one of two extremes: parked in front of a computer doing research, writing or web meetings, or travelling across the country to participate in craft and culture events. Until now, I don’t think I was in one place for more than a couple of months at a time over the past decade. I consider myself extremely lucky to have had the opportunity to meet so many incredible craft artists and cultural leaders across Canada, and I am forever grateful for the good old internet, which has done an incredible job of keeping us connected in spite of our current restricted reality.
What career/educational path did you take to get here?
I studied jewellery and metalsmithing at OCAD University, with every intention of becoming a craft artist. During and after my studies I worked at 18 Karat, a Toronto-based custom design jewellery shop, still in business today. There I saw behind the scenes of what it takes to run a successful craft business, learning an incredible amount from the shop owners, Dino and Massimo Giannetti. They really gave me my start in craft. At the same time, I began volunteering for the Metal Arts Guild of Canada, joining their board and getting involved in committees. When an internship position with the CCF/FCMA came up, I took a chance, packed my bags and headed east to dip my toes into arts administration. Since then I’ve continued to learn and grow, taking extended learning courses at the University of New Brunswick and the New Brunswick College of Craft and Design, and professional development programs with the Cultural Human Resources Council, Business / Arts and the Banff Centre. Maintaining a healthy curiosity in new approaches has been essential. If you’re not growing, you’re slowing.
What is the most exciting part of your work?
The sometimes unglamorous tasks of arts administration often give me the most excitement. Whether it’s writing a brief to the federal finance committee recommending policies and programs to advance the arts, securing funding for a new project, or even covering an artist’s booth for a few minutes at a craft show. Anything I can do to make it easier for craft artists to succeed—that’s my jam. I never would have dreamed I’d be representing Canada at international conferences or hosting the Citizens of Craft podcast, but nothing riles me up like a good debate about the impact of craft on society and the extensive cultural, social and economical benefits it brings to the table. In a world where digital often reigns supreme, the tactile, personal and tangible connection to craft brings us back to our physical selves. It can entangle your body and ensnare your mind while it challenges your senses and reminds you that home is not only where the heart is — it’s where your ceramics collection is, too.
What is your biggest challenge?
Word counts. I am a fast-talking, opinionated storyteller, and I don’t always stop to breathe, but the podcast helped quite a bit with that. When your role shifts from holding the microphone to opening the floor for others, it becomes more about creating a welcoming space for discussion. And in that space, it is up to all of us to ensure that the true diversity of voices in craft are heard. I think the biggest challenge that faces the arts sector at large right now is one that is long, long overdue – alignment with the Black Lives Matter movement and the parallel experience of Indigenous artists working in Canada. If I am going to continue to fight for craft in society, then that better damn well include space, support and real change for craft artists of diverse backgrounds. Craft is all about transformation — why not challenge the status quo and transform more than the material, but the structures we build with it.
Tell us a brief story about an object you have worked with.
The object I am most intimately engaged with is my keyboard… but I did purchase a piece of art that I can’t get enough of last year: a black-and-white beaded neckpiece of a growling bear made by Isabelle Neeposh. I picked it up at the Northern Lights Conference from the Cree Native Arts & Crafts Association booth, and it hangs in my office as a little kick of daily inspiration, reminding me to be bold.
Anything to add, especially for artists, designers, makers and crafters?
Know that your work is fascinating. That you, are fascinating. I want every craft artist to be proud of what they are contributing to this world, because what they make truly matters.
With over 15 years experience in contemporary fine craft, Maegen Black has built a career from her passion. As the Director of the Canadian Crafts Federation, she works directly with professional craft organizations across the country to tackle collaborative projects, increase networking in the field, and advocate for craft and culture at the provincial, territorial and federal level.
This article was published in the Fall/Winter 2020 issue of Studio Magazine.
