Didn't I used to have hobbies?

Vamps for the "Walking with our Sisters" Project

 

For "Primp my Nest", an auction at Eastern Edge Gallery

In articles I read on the "entrepreneurial life", the trending phrase seems to be emphasized is the "importance of the work-life balance".  This refers to the struggle, when you work for yourself, to also have time to and for yourself that is not spent on work-related activities.  I get it.  In theory.  In reality however, if I'm not making jewellery, I have immense trouble allowing myself to work on other projects.  Some projects cause me no grief at all.  The computer, for example, very slyly sucks up my time and does not cause me guilt.  It probably should more than it does.  I can also settle into a good book for hours, and nary a guilty thought crosses my mind.  But, if I should ponder that unfinished knitting project, or the table loom that's gathering dust; the clay that is hardening from neglect, or any other of a myriad of hands-on activities, I just can't commit to tackling them.  It feels to me that my creative energy should be exerted solely on working on my jewellery, lest it be wasted or somehow run out if misused.  For some time, this guilt has felt all right; I should be spending lots of time making jewellery.  But as I find a balance in my production level that satisfies my current market demand, I'm realizing that if I continue to resist the urge to create other things, that are not jewellery, that there is a nugget of resentment that I fear will only grow, towards my jewellery practice.  So recently, I've found a compromise that satisfies, for now.  I've made a couple of projects in what I will call my "non-professional materials", for auctions or exhibitions in support of causes I feel strongly about.  This has alleviated my "makers-guilt" in two ways.  Firstly, I do like to feel I can support certain causes, but as an entrepreneur, I just don't have the financial means to satisfy that desire to the degree that I would like.  Secondly, I have other skills beyond jewellery-making that I like to explore, and these projects give me an outlet to do so.

Underlying this solution is a whole other can of worms that I won't get into extensively here, surrounding the requests that craftspeople and artists often receive for donations of their work in support of a charitable or fundraising, activity or group.  Some of the worms in the aforementioned "can" advocate for the donating of the talents we have for the greater good, no holds (worms?) barred.  Some other worms hold firmly to the belief that nobody's skills (or the resulting product of those skills) should be expected, or therefore given, for free.  In between these two viewpoints are the rest of the worms that hold a range of opinions accommodating one viewpoint or the other to greater or lesser degree.  I'm of the belief that everyone's entitled to arrive at their own solution to the "donation conundrum", to the best that the allocation of their time, and means, allows.

Last year's humpback whales for the annual Clay Studio Beach Firing

The viewpoint that I am currently selecting to embrace from all of this, is the option of submitting my work for charitable or fundraising purposes in a medium of my choosing.  I feel that this is still an indirect way of broadening my professional (read: "jewellery") network, and I get to spend time creating something I'm proud of without it feeling like "work".  The spin-off benefit I've found from this, (which is not all-together unexpected, since I am a self-confessed workshop-junkie in most any media), is that by working in different materials and pursuing different themes according to the project I'm submitting work to, lends itself to new inspirations that I can bring back to my jewellery bench.  And that is refreshing!

Craft Council of Newfoundland & Labrador: Shaping my story.

This past weekend, on Fogo and Change Islands, the AGM for the Craft Council of Newfoundland & Labrador was held.  Outgoing chair, Jason Holley, spoke eloquently about how the trajectory of his career in craft (and art) has been shaped by his involvement with our local Craft Council.  It spurred me to consider how my current life's work has also been influenced by the services of the Craft Council.

When I moved to Newfoundland, the only craft of my own creation that I had sold was a few pieces of pottery at a Yellowknife Guild of Crafts sale.  I remember being shocked that people had bought them.  Upon arriving in St. John's, I registered for a clay class at the Craft Council Clay Studio with Isabella St. John of Blue Moon Pottery.  Even without having ever sold anything, I know I would always feel compelled to keep making craft.  But I never forgot that feeling of amazement that someone would pay for something I'd made.  Taking the 2 year Textile Studies program at the Anna Templeton Centre, while I was wait-listed to get into the welding program, I learned new craft skills.  That's also when I learned about the process of submitting work to the Craft Council Gallery when they had open calls-for-entry.  Wow!  That was really the beginning of my craft career!  I love the challenge of making work to suit a theme.  I love seeing how other artists and craftspeople have interpreted the same theme once the exhibit opens.  And again, it's always rewarding when in buying something I've made, a customer lets me know that I've touched a nerve with them, in a good way.  The pieces I submitted to the Gallery were in a variety of media.  It's only since I've returned from my training at Haliburton School of The Arts that I've narrowed my focus to metal, primarily jewellery.  But in the years before that I made primarily textile pieces, both sculptural and functional, I also went through a "lamp phase" incorporating clay and fabric and metal, and I also made jewellery in silver for some shows.  In showing work in the Gallery I learned what ideas appealed to an audience beyond myself, and what ideas didn't (I have a small collection of "eclectic" lamps to remind me of this!).  But my craft practice wasn't my "real" job - I was a welder!  But as the years slipped by and my obsession with taking workshops led me time and again to further my jewellery skills, I developed more focus in my designs.  The Shop at the Craft Council approached me about selling my work there on a regular basis.  That was another eye-opening moment - that my creations were seen as having legitimate value in a retail setting where the customer isn't necessarily coming in for an "artistic experience" as they would be in a gallery.  As I made and sold more jewellery, and found that industrial welding wasn't very fulfilling creatively, I was motivated to make the shift to full-time craft practice.  And I'm still loving it.  It's an ongoing learning process, and luckily there are Craft Council members here who are generous with their knowledge and personal experience to help me when I'm stuck.  It's a reassuring touchstone, knowing the Craft Council exists to serve craftspeople like me.  I think it's also a phenomenon particularly relevant in Newfoundland & Labrador where craft has always been highly valued.  Other provinces value craft in varying degrees too of course, and knowing that there's a network of craft councils across the country is a good feeling.  The skills of craftspeople should be valued and our provincial and territorial craft councils exist to promote the integrity of the handmade object as well as preserve and develop the skills of the craftsperson.

CCNL AGM on Fogo, hosted by The Shorefast Foundation and Wind & Waves Artisans' Guild (top: Fogo Island Inn, l-r: Tower Studio, a room at Fogo Island Inn, Squish Studio)

Studio visits.  (At left, top to bottom: Wind & Waves Artisans' Guild, Adam Young - painter, Linda Lewis of Baynoddy (CCNL board member) demonstrates spinning for Wind & Waves Guild members.  Center: Clem Dwyer - woodturner and husband of talented rughooker and our generous guide - Lillian Dwyer.  At Right, top to bottom: Stages and Stores Economusee, Heather White of Seal Harbour Gallery, Winston Osmond of Herring Cove Art)

Clockwise from top left: Caribou on Fogo Island, a view from Seal Harbour Gallery, Studio companions of Clem Dwyer - woodturner, Sea grasses in Sandy Cove, View from Stages & Stores Economusee, Root cellar in Seal Harbour, Stage that is Seal Harbour Gallery, "Stay-in-your-boot" socks at Stages & Stores Economusee, Caribou footprint, Restored heritage home - now museum - in Tilting, Sheep in the cemetery in Tilting, The only seashell sculpture I've ever spent money on - by Winston Osmond of Herring Cove Art .  Center: Display at Stages & Stores Economusee.

Patterns, Repetition, & MayDay Open Studio!

I love making big complicated one-of-a-kind brooches and pendants.  Above is my newest Crystalline Collaborative brooch.  I'm pleased with how it turned out.  However, one-of-a-kind pieces are very time consuming, and I sometimes find myself overwhelmed with one piece of jewellery when I know I should be making more efficient use of my time.  So I've also been looking for inspiration in repeated patterns.  My thought is that if I can find inspiring shapes that would translate well into repeated elements, then I might find some efficiencies in my process, and still come up with an end product that has an involved and complex appearance that draws people in to look a little closer.  So, no surprise, I'm turning to nature to find these patterns.  Here are some images that I've collected out and about recently, as well as some experiments with arranging metal into different collectives of shape and form.

I will be working on these at my open studio event next weekend as part of the broader May Day Craft Weekend.  I'm planning some wire earrings in patterns that might find themselves enameled at a later date.  I hope you'll drop by Saturday or Sunday, 11am - 6pm and say hello.  I'll also have a raffle to win a pair of my bronze-with-copper-rivet earrings.  The rivets vary on each pair, and the winner can choose from my selection the pair that they wish.

Notes from Growing a Creative Economy: A Conference for Creativity Collaboration and Change, Cape Breton March, 2013

   

Inside the Joan Harriss Pavilion.

I feel a bit like a projectile in a slingshot, coming home to Newfoundland, where the creative community here is collectively holding its breath as we wait to assess the total fallout from the latest provincial budget.  In contrast, just across the water in Cape Breton, I was taking part in such a forward-looking, and inspirational conference on the immense value of the creative sector to the local economy.  I'm struggling to hang on to that vibe.


Growing a Creative Economy: A Conference for Creativity, Collaboration, and Change was hosted by the Cape Breton Centre for Craft and Design.  The list of speakers and artistic presenters was bogglingly impressive.  From internationally recognizable names in the arts to local representatives from the department of education, the range of speakers gave macro and micro perspectives on what works and what doesn't in developing an economy that supports its creative people.  There were musicians, visual artists, spoken-word artists, educators, film makers, craftspeople, innovators, writers and dancers in attendance or giving presentations.  From Newfoundland I was the only delegate to attend the conference, and David Hayashida from King's Point Pottery attended as one of the speakers.  It was too bad there weren't more representatives from other organizations here in Newfoundland & Labrador who could attend.  Perhaps next year.  I attended both out of a personal interest, as well as as a representative for the Craft Council of Newfoundland & Labrador.

I took a massive amount of notes, but here, along with some photos, is some of what I gleaned from the 3 day event.  Any errors in the accuracy of this information should be construed as my own, having occurred in transcribing.  If you find any please let me know.

DAY ONE

Leslie Groves - Trends in Craft

•  Staying on top of trends keeps your product relevant to a customer that is seeing the lifestyle they want (in contrast to need) depicted in magazines and media.  Be aware of trends and find ways to tie your product into what's happening currently.
• Keep your shop fresh.  Customers notice change.  Rearrange product frequently.  The experience of visiting your shop should not be a predictable one for them - there should be new surprises to catch their attention.  Make it a sensory experience - thinking beyond just the visual.
• The customer should feel comfortable in the shop.  Give them the information they need (price, purpose of product should be visible to them), and make the product accessible to them if they wish to touch it.  If they're unsure of what something is used for, or of it's price point, or whether or not they're allowed to touch it, they feel intimidated and may not return.

David Hayashida - Product Development & Innovation

• High risk can lead to high reward.  Failures will happen.  We must choose to use them as learning opportunities.  Examples of "failures" in material manipulation that have been turned into valuable successes are the spalting found in wood, the oxidation of metals, or shino glazes in pottery.
• Innovation is something we are all capable of.  It is simply a way of using existing things in new ways.
• Finding the success can take time.  Embrace the "slow-cooker experience": allow ideas time to simmer.  Get them recorded somewhere and return to them later.
• The Pareto principle: 80% of the profit will come from 20% of the product line.  Work smarter on the right things.

Suzanne Scott - Social Crafting

• Four Steps to Success with Social Media: 1. Find Interested People, 2. Deliver Quality Content, 3. Capture Information, and 4. Stay in Touch.
• Get the greatest impact from your social media marketing by posting in the morning or evening.  Avoid the hours of 2-5 pm.
• Content should be genuine.  Provide a variety (photos, video, articles), and focus on the relationship (80%), not just the selling (20% - see "Pareto principle" above!).
• Measure impact: know how to read your analytics.
• Share content on other local sites whose customer base would be interested in your work (ie: share an event, or spring opening date, on the local tourism site).

Presenting your Creative Side through the Media - Panel Discussion
Tracey Boutilier - Vibe Creative Group
Suzanne Rent - East Coast Living Magazine
Nicole Maclennan - CBC

• A press kit is a resume for your business.
• Customize your kit depending on your pitch.
• Professional photos are essential.
• Be concise!
• Follow up.
• Be bold.

DAY TWO

Bill Strickland - The Art of Leadership

•  Beautiful environments create beautiful people.  Prisons create prisoners.
• How people are treated drives their behavior.
• Art is a tool that engages kids in all aspects of learning.
• You can take one room and make the whole world out of it.  Don't get hung up on the adequacy or lack thereof of the physical facility you have to work with.

Creative Nova Scotia Address
Laura Lee Langley - Deputy Minister, Dept. of Communication, Culture, & Heritage
Ron Bourgeois - Chair, Creative Nova Scotia Leadership Council

•  In consultation with the creative community four key areas were identified as needing attention: 1. Greater recognition and appreciation for the contribution the creative sector contributes to the economy, 2. Listening and communicating better with government, 3. Making it easier to interact with government, and 4. Investing in the creative community.
• Out of this came the Creative Nova Scotia Leadership Council (which is composed of 2 government representatives, 1 member of ArtsNS, and 12 representatives from the broader creative community), as well as the creation of Film & Creative Industries Nova Scotia which encompasses the creative industries of film, music, publishing, craft, and design.

Matthew Richter - Storefront Art Activation

•  Creating a permeability to the built environment.  Everyone should feel welcome no matter the space.
• Seizing the current trend of "pop-up" art galleries.
• Empty storefronts are transformed by artists for the revitalization of the community.
• Property owners benefit from having a vibrant appearance to the spaces they are looking to lease.  The spaces are leased to artists for $1 per month (yes, one dollar), and they are given 30 days notice in the event a permanent (full-price) tenant is found.
• Besides the artist and the property owner, a community partner is involved to help assess the project's suitability for the proposed space (to mitigate the level of inappropriate or controversial content visible from the street, in the chosen venue).

Municipal and Community Partnerships
Rose Zack - Nocturne: Art at Night
Jamie MacLellan - Public Art Facilitator, Halifax Regional Municipality

• 85 - 100 art experiences throughout 5 "zones" in the city, at night.
• free event
• free transportation provided
• funding available to artists based on the budgets of their individual projects
• Attendance: 2008: 4000, 2009: 9000, 2010: 14,000, 2011: 20,000+, 2012: 24,000+
• (Predictable) Challenges: 1. Sustainability of funding, 2. Human resources/volunteers, 3. Maintaining quality of programming.

Culture as an Economic Engine - Panel
Keith Brown - Vice Pres. external, Cape Breton University

• "Artistic labour has the attitudes and skills conducive to innovation." R.Florida, cultural writer.
• The paradox is that cultural enterprises must be commercialized to be measurable in terms of economic impact.  Yet the culture must exist as a a stand-alone entity in a vibrant way in order for sustainable and meaningful economic growth to occur from it.

Carol Beaton - Executive Director, Cape Breton Centre for Craft & Design

• CBCCD represents 70 local artisans
• Their 5 year old building houses conference/exhibition space, craft studios and classes in the disciplines of jewellery, weaving, quilting, oil painting, and stained glass, a shop as well as a  gallery.
• This year they have had a 15% increase in revenue over last year, and a 40% increase in gallery sales over last year.
• They have initiated the Artisan Trail Map as well as an accompanying app.
• Their goal is to become a member of The Creative Cities Network.

Joella Foulds - Executive Director, Celtic Colours

• Festival has grown beyond including just local musicians to include other creative disciplines, as well as musicians from afar.
• The focus remains on Celtic Colours being a festival for the local population, but the added attention from outside NS has enabled more local artists to make a living within the province.

Don Beamish - Larchwood Designs

• Began in 2004 as flooring supplier, but quickly switched to the new product line of cutting boards.
• Joined the CBCCD, and attended the Atlantic Craft Trade Show, and by 2010 were up to 13 employees.
• With a loan from ECBC, traveled to tradeshows across the US.
• Product is now carried by William Sonoma, and Saks.
• Their goal is to have their wood FSC certified.

Joe Manchefski - Billdidit

• Found a solution to a problem.
• Developed, created and patented the High Hat Drop Clutch.
• Sought endorsements from reputable drummers.

Doug Milburn - Protocase

•  Found a gap in the local supply chain.
• Amassed the knowledge, hired the right people, and filled the gap.
• Passionate about partnering within the local community.

Darren Gallop - Marcato Digital

• Encountered a problem as a musician in staying organized.
• Found a solution in partnering with a local software guy.
• Saw the potential to offer the product more widely.
• Sought out local festivals to pitch to.
• Worked out the kinks locally.
• Now supplying product to international festival organizers.

DAY THREE

Gavin Sheppard - Creative Education for the Next Generation

• The Remix Project: a recording studio, business incubator, graphic design incubator, and health centre for at-risk youth in Toronto.
• Embracing the baggage the kids come into the program with - inviting them to unpack it all, make it into art.
• Every applicant gets an interview.  For two reasons: 1. They deserve one, simply for putting themselves out there, and 2. in an area with high literacy challenges, it gives a broader perspective on the kid's abilities.
• The program is 9 months long, and steers participants towards post-secondary education.  They are committed to work on their art a minimum of 10 hours per week and take a course-load composed of (mandatory) Transferable Work Skills and Interest Specific Classes, as well as being partnered with a mentor.
• Upon completion of the program, they may find employment with one of the Centre's two social enterprise businesses (on a contract basis only - with the goal of carrying on into the wider community), and they will be followed up with one year after graduation.
• There is a scholarship program established with Humber College, as well as a partnership with the local Board of Education to reintegrate suitable students back into the school systems as part of a co-op program.
• Funding for the space and administration of the program has been through corporate sponsorship, and for the programming itself through grass-roots fundraising initiatives.

Shauntay Grant - Creative Presentation 

• Shauntay Grant performed three powerful spoken word pieces. 
• She coordinates a spoken word showcase and charitable poetry slam series called CommUNITY.
• Participants write a poem about their chosen charity and present it at the the poetry slam.  Three judges from the audience choose a winner, and the money raised from admission to the event is given to the winning poet's charity.
• She has also partnered with a children's book illustrator, (Susan Tooke) to publish two of her spoken word compositions, Up Home, and The City Speaks in Drums with Nimbus Publishers.

Creativity as Innovation - Panel
Shane Perley-Dutcher - Aboriginal & International Recruiter, New Brunswick College of Craft & Design

• Facilitates the Ancestor's Project in collaboration with Beaverbrook Gallery:  aboriginal artists return to their reserve to mentor youth.

David Hayashida - King's Point Pottery

•  Solutions to the problem of finding employment in the creative sector: 1. Demonstrate to government the economic value of the creative economy.  2. Involving the private sector in master classes and intern opportunities.  3. Focus on arts education at an early age.  4. Increased accessibility to DIY and digital resources.  5. Encouraging the adoption of technology early in the process.

Brian Geary - Nova Scotia Community College

•  Barriers to recruitment in the cultural industries are the competitive nature of the environment, as well as the necessity of being a self-starter.  It is necessary to have a willingness to create one's own job - to have a strong entrepreneurial sense.
• A solution that can help creative people find/thrive within their niche in a creative economy is for educational institutions to offer courses in business skills.

Ardith Haley - Nova Scotia Dept. of Education

•   Public educational institutions can step up by engaging students in all curriculum areas in ways that promote creativity and innovation.  
• Solutions that are in place in Nova Scotia's schools are the Artslinks and Artists in Schools programs.  These programs are eligible for grant money.

Leslie Ann Andrews - Cape Breton Victoria Regional School Board

•  To provide support to young creative youth, communities can: 1. facilitate positive conversation around the economic benefits of a creative community.  2. recognize that art for art's sake is ok too.  3. support small grass roots venues.  4. offer mentorship opportunities.  5. have co-op programs in schools.

Leah Noble - Nova Scotia Community College

•  Leah gave a moving stream-of-consciousness presentation of her experiences and challenges as a first year graphic design student.

Brenda Porter - The Next Steps Cafe

• The conference concluded with an activity called The Next Steps Cafe.  We brainstormed commitments to action that could be taken immediately upon our return to our communities that would help to grow and foster the ideas behind the creative economy model.  The ideas from each group were collected and will be emailed out to every participant. 
• My commitment was to compile all this info I've gathered and pass it along to other arts and education organizations in my community, with the hope that at next year's conference (for which there is great enthusiasm at the CBCCD) there will be a larger Newfoundland contingent. 

If you've read this far, you certainly deserve to see those photos I promised!

Carol Beaton, Exec.Dir. CBCCD

David Hayshida, King's Point Pottery

Weaving Studio, CBCCD

Pottery Studio, CBCCD

Jewellery Studio, CBCCD

Shop, Cape Breton Centre for Craft & Design

Well fed, everyday @ CBCCD

Day One @ the phenomenal centre for craft: CBCCD

Bill Strickland, Keynote speaker

Days Two & Three @ Joan Harriss Pavilion, beautiful building.

A collaborative activity during the conference.

The Big Fiddle @ the Joan Harriss Pavilion

 An art installation by Aaron Acosta.

Painting by Kenny Boone, as part of his LIVE Paint by music project.  Painting shown done at the studio of Otis Tomas.

A fabulous young band from Cape Breton, Bella Rebellion.

Shauntay Grant, spoken word artist extraordinaire.

What I learned at ACTS

This year was my first time participating in the Gallery @ ACTS (part of the Atlantic Craft Trade Show).  It was a hasty decision, and one I'm so glad to have made.  The jewellery I most enjoy making are the one-of-a-kind pieces, and that's what Gallery @ ACTS is tailored towards.  The art that was exhibited alongside my work in the gallery was incredible!  I have a whole new plan for the type of pieces I will bring next year.  The phrase "upping my game" springs to mind!

Essentially ACTS is a three day event, but with all the information that was packed into the weekend it felt like we were there much longer, (in a good way).  I traveled with other emerging craftspeople from Newfoundland, and it was great to have the moral support of other "newbies" at the show.

There were presentations from each gallery rep that came to the show, and we had scheduled 15-minute interviews with most of them (based on a prioritized list that had been sent out before we arrived).  Some galleries represented clay and glass artists primarily, while others were more mixed media, paintings, or jewellery galleries.  I learned so much, I thought I would summarize here a bit of the information I gleaned:

• There is no single correct way to assemble a portfolio.  It really must be tailored to your specific audience.  Most everyone wanted to see the emphasis on current work, rather than an overview of how the work has evolved.  There seemed to be different opinions, however, on the order of the images.  I had learned to list them in chronological order, but I think some reps would have preferred to see them arranged according to theme.  I can see how that would give a more cohesive appearance to the collection of images.
• Every gallery likes to be approached in a different way.  While none of them want you to arrive unannounced with your portfolio and/or samples of your work, they varied in what approach they did prefer.  Some reps liked a preliminary phone call requesting an appointment, while others appreciated just an introductory email with a link to a website.  One big no-no was to send unsolicited large files of images.  Obviously it is important to make sure you've researched the gallery ahead of time to ensure your work is appropriate to their mandate.  It is crucial that the gallery feel that you have sought them out with purpose and intent.
• Talk to everyone!  At an event like Gallery @ ACTS, the visiting gallery reps understood (for the most part), that some of us are new to this process of finding suitable exhibition opportunities, so I spoke to reps even though they did not necessarily carry jewellery in their galleries.  They had valuable insights that are often transferable between disciplines.  Don't take time away from other artists, however, who do work in the medium they feature, as the weekend is short.  Be clear that you're not expecting that your work will be the first that they'll decide to carry in a medium that they simply don't exhibit.  (It can also help to ease the nerves, when you are able to have a casual chat with a gallery rep, knowing that the discussion doesn't hinge on the potential of having them represent you or not!)  
• Listen, and make notes.  You may think you'll remember who said what, but it does become overwhelming to remember it all.  It seems only respectful to the reps who have taken the time to travel to the show and to give presentations, to not ask the same questions they've already answered a dozen times.
• Be honest.  The gallery reps are human too, and as intimidating as it may seem to forge that relationship, it was my feeling that they'd much sooner openly discuss the areas in which you may feel uncertain, as well as the inspirations that you're really excited about.  An arrogance over your own artistic merit doesn't hold much water if you're not able to sell your work.  (Assuming of course, because you're seeking out gallery reps, that selling your work is your goal.)

I think I'll wrap this up here.  The weekend was unforgettable, and even the weather delays were fortuitous since they enabled us to visit some gallery exhibitions in the Halifax area that we would otherwise have missed.  The whole experience has lit a fire under me, and I'm eagerly anticipating next year's event.  I'd welcome anyone's feedback on their own experiences approaching galleries and finding exhibition opportunities, if you want to share.

I'm so honoured to have Gloria Hickey ask to do a blog post on my collaborative series with Alexis Templeton.
Read her post HERE.
Thank you so much Gloria!

A Seasonal Recipe

Wishing everyone a festive season with family, friends, and good food.  For a treat I thought I'd share this decadent cranberry chutney recipe with you.  We just enjoyed it with our Christmas dinner, but I think it would be very fine on scones too!:

two 12oz bags fresh cranberries
zest & juice of 1 large orange
1 tbsp balsamic vinegar
1 cup port wine
1 cup sugar
1 cup dried apricots, chopped
1 cup dried cherries
pinch of salt
1/4 tsp nutmeg
1/4 tsp ground cloves
1 tsp cinnamon

Bring first 5 ingredients (through sugar) to a boil.  Reduce heat to simmer.  Add apricots, cherries, salt.  Cook over med/low heat about 10 min. stirring occasionally, until cranberries begin to burst.  Add spices and stir well.  Continue cooking on low until thickened (5-7 min.)  Taste and adjust seasonings as necessary.  (Recipe credit: Elizabeth Karmel, Associated Press)