Artefact – QEST

See work by scholars from QEST (the Queen Elizabeth Scholarship Trust), the charity that supports the training and education of talented craftspeople.

JUSTYNA MEDON (Addicted to Patterns)

2022 QEST Scholar, Wallpaper Design & Conservation, Cardiff

Justyna Medon is a surface designer specialising in hand-printed wallpapers and textiles, and historic wallpaper reproductions. Linear and organic motifs express extraordinary language, filled with mystery and symbolism.

She has researched both wallpaper conservation and reproduction for heritage buildings across the UK and, with support of QEST, is undertaking a postgraduate diploma in paper conservation at City & Guilds of London Art School, and one-to-one training with Allyson McDermott in wallpaper conservation, printing, and reproduction methods.

She is creating a new wall hanging featuring her coral reef wallpaper and hand-printed silk fabric which investigates colour, texture, and image.



2022 QEST Scholar, Sculpture, East Sussex

Tom Palmer is a sculptor and designer who practices in the space between the fine and decorative arts. He combines ancient and contemporary materials and techniques to create work ranging from individual pieces for private clients, to bespoke installations for interior designers and architects.

QEST funding will enable Tom to travel to Pietrasanta in Italy to develop his specialist skills in working with marble, training under Kyle Smith.

For Artefact he is carving a large wooden screen in sycamore inlaid with cast pewter planets, and vessels in translucent Iberian alabaster. He will also be showing ‘Lith’ side tables made of crystalline acrylic and palladium.



2022 QEST Garfield Weston Foundation Scholar, Glass work, Surrey

Laura Quinn combines traditional glassmaking techniques with digital design technologies and alternative materials to create interactive glass sculptures which challenge the idea that glass is too fragile to touch.

With support of QEST, Laura is attending a glass blowing masterclass at the Pilchuck Glass School in Washington, USA with master glass blowers Boyd Sugiki and Lisa Zerkowitz, renowned for their precision of form and application of colour.

For Artefact, she is showing new vessels which combine, for her first time, two of her main hot working processes: lampworking and blowing; and works from her Tacit Bodies series of highly tactile sculptural forms and lighting.


[email protected]


2021 QEST Scholar, Paper Artistry & Printmaking, Northumberland

Through hand-papermaking and printmaking using traditional water-based woodblock techniques, Lucy May Schofield seeks a dialogue with the temporal and transient nature of our existence.

Supported by QEST, Lucy has learnt skills related to foraging and creating natural pigments, inks and dyes in the UK, and in Japan will learn to create hyōsō works (hanging scrolls) and expand her skills in washi making. She seeks to create a sustainable practice which is in harmony with nature.

For Artefact, she is creating a large-scale paper piece incorporating her new natural dyeing skills, and a configuration of prints reflecting the colours of the sun, planets and moons.


[email protected]

TOM VAUGHAN (Object Studio)

2018 QEST Howdens Scholar, Metal & Wood Furniture, London

Tom Vaughan is founder of Object Studio, a design and manufacture team who combine traditional craftmanship techniques with contemporary design and processes to create sculptural furniture and objects.

His interest in converging traditional and contemporary was born at the RCA, studying under Ron Arad. Supported by QEST, he investigated casting metals and the surrounding crafts: pattern making, welding, chasing, finishing and patination.

For Artefact, he is showing a ‘Cast Bronze’ coffee table and a new iteration of the knotted ‘Bhadra’ side table, featuring a cast glass top with texture from a 1000-year-old yew tree, made in collaboration with glass artist Max Jacquard.


[email protected]


2022 QEST Scholar, Woven & Constructed Textiles, Surrey

As an artist and weaver, Hannah White has a fascination with how constructed textiles can create organic sculptural forms, and the interplay between structure, materials and light.

During her PhD in Textiles Innovation at the RCA, she created a hybrid material process which grows a metal skeleton within woven fabrics using electroforming. Supported by QEST, she is training in millinery and specialist pleating techniques with Bridget Bailey, and mould-making and casting with Mike Onslow.

For Artefact, she is showing wall mounted works from her Ammonite Shadow series, inspired by ammonite fossils, and sculptures from her Fluidity and Rigidity series, created using her electroforming technique.


[email protected]


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