Last week the Knitting & Stitching Show at Alexandra Palace was full-on and tiring but a great experience. It was an honour to be amongst some really high quality exhibitions at the show and in such an amazing venue. After so long making the work for Findings it all came together on display for the first time and it was really good to see how the many visitors to the show reacted to the work. It was lovely to watch people working their way around the walls of the gallery space and breaking into smiles when they realised that what they were looking at were stitched acorns or shells.
The way I presented my Findings was as if they were part of a natural history collection or a group of archaeological artefacts. Perspex boxes, rows, grids and entomology pins helped give a flavour of a museum collection. My visit to Manchester Museum last year helped me plan for this. Once the work was up and lit in the gallery there were all sorts of interesting shadows cast by the both the pieces and the perspex boxes. I think the best views were looking through the side of the boxes seeing the work inside surrounded by reflections of other pieces and the work on the walls beyond.
Now I’m looking forward to doing it all again in Dublin next week.
The autumn Knitting and Stitching Shows are upon us, with the Alexandra Palace show opening on Wednesday 5th October. My front room is full of Findings in boxes waiting to be loaded into the car and taken down to London tomorrow. There are still some unknowns about exactly how the work will fit in the space: it is impossible to test it out fully and the actual space may well feel very different to the imagined one. But careful planning means that I hope it will come together successfully over the next couple of days. As I was making the final fixings and preparations I got really quite excited about how this collection of objects will come together next week. I’m looking forward to seeing it all together on display rather than in and out of boxes in the studio.
My Findings book, published to accompany the exhibition, arrived a few days ago and this will be available at the show along with my other titles. The new book is now on the shop and will be available to order in the next few days. I have put a page with the work list of all the items in the exhibition here. This lists titles and prices and is intended for reference whilst viewing the show or as a reminder afterwards. It isn’t possible to post images of all the work but I hope to be able to show how the exhibition looks once it is up.
So we’re back in the old routine now term has started again and the kids are back at school. Our holiday seems a long way off but my head is still full of the sights, sounds and smells of the Outer Hebrides and my sketchbook is full of moments captured in one way or another. Those empty white shell-sand beaches that turn the sea the most wonderful turquoise greens and stretch for miles are just fantastic – the stuff of dreams (mine anyway!). I have been to the outer isles before but not the Uists and this trip took me to places I’ve wanted to visit for a very long time. It takes quite an effort to get to these remote parts and I love a good ferry journey, which is necessary (made even more special by the dolphins and porpoise we saw from the boat). This is the very edge or Europe, and apart from the tantalising St Kilda, which we saw on a particularly clear day, when you look out across the sea the next land is Canada. Highly recommended: this fascinating exhibition, which is based on St Kilda but also deals with amnesia, was on in Lochmaddy. It will be moving to London soon here.
I spent last week in a quiet part of Cumbria. It was a working week but in a beautiful location away form home and studio. We made time to explore a bit as well, enjoying the sweeping views across the valley and the changing weather patterns.
Almost exactly a year ago I had a similar week working here and came across an old lime kiln that had been used recently as a bonfire site; a place to dispose of various bits of agricultural rubbish. You can see this structure on the picture above, in the middle near the bottom. What remained amongst the ash and nettles were various bits of metal, rusty and burnt. Some of these objects formed the starting points for a section of my Findings project. I brought this group of work back with me, intending to photograph them ‘on location’. So last Friday, with good light conditions and a pleasant breeze, the pieces accompanied me on a walk up onto the edge of the fell until I found a suitable limestone rock. This was within view of the old lime kiln and made a very suitable foil for my line of Findings.
I’m now in the midst of putting together the book to accompany the exhibition. This publication, like my previous self-published books, tells the story of the project. Images and words are gathered together from the places that sparked off the ideas, the making of the work and the finished pieces.
I’m busy in the studio at the moment making work that will be shown in the autumn as Findings. You can read a bit more about the exhibition on the Knitting and Stitching Show website here. Findings is made up of a series of collections of objects. Some are forms that I have made, incorporating a found object within their structure. Once constructed, the form is then either soaked or dyed to allow the fibres to be stained by the embedded object; the detail of how the stain develops and ends up is unpredictable. Some are structures that I have made and then coated in gathered mud or ground-up stone, changing the colour of my woven, knotted or looped surface but also changing the character of it, transforming it into an almost ceramic-like surface. Other pieces are objects that I have gathered and then altered or added to, stitching or weaving into or onto the object itself.
Most of the pieces are made using neutral thread, allowing the staining to develop at the end after construction is complete. It can be quite difficult to make the leap from a fairly pristine surface where the contrast between clean fibre and rusty metal, weathered wood or hard stone is stark. But once the fibres are stained or marked the relationship between fibre and object becomes much closer, more complete. There are images of how some of the pieces are developing on here.
Each piece is an experiment, a trial, a question: what happens if I do this? There are variations on themes within the collections, some forming a series of developments, others being more individual because of their particular characteristics.
I have recently taken a new studio, just round the corner from home, which means I can make better use of my working day. It is above The Butterfly Rooms in Saltaire and there are a few of us with studios, which are open to visit during shop opening hours and when the residents are there.
I still have a space at the Keighley Art Studios but this is mainly to store things (as the new place isn’t very big) and I am now working day to day out of the Saltaire studio.
This weekend Keighley Art Studios are opening the doors to visitors between 10am and 4pm, Saturday and Sunday. I will be there on Saturday afternoon and all day Sunday with my studio open and it will be lovely to welcome visitors there. I have lots of framed work up and there will be a variety of studio holders’ work to see: paintings, upholstery, ceramics, sculpture, prints . . . and no doubt there will be plenty of tea and cake.
The studios are in:
Unit G8, Keighley Business Centre, Knowle Mill, South Street, Keighley, BD21 1SY.
Anyone who has followed my work for a while may remember that I have collaborated on occasion in cross-discipline projects bringing music and visuals together.Fifteen Imageswas the first of these projects in 2010, which resulted in a kind of graphic score based on colours and textures from a garden, which the performer could use for improvisation (along with defined ‘tonalities’ and a conventional score). This week sees the first performance of a group of works called Fresh Yorkshire Aires. Four different composers/artists have produced graphic scores to be performed by piano duet.
Mapping Yorkshire, with composer Nigel Morgan, takes photographs from four locations in Yorkshire as starting points for our four scores. You can find out more about the scores we produced here. All the Fresh Yorkshire Aires scores are on show in Leeds 14-17th June and the first performance is on Thursday 16th June in the gallery. Later in the month the scores and performance will be in Sheffield. Information and tickets to the performances are available at Fresh Yorkshire Aires.
When I was in Italy a few weeks ago we explored the nearby lanes and land, collecting plant material and objects that we could make use of in the studio through various printing, mark making and construction techniques. Most of what we used then went to the tip when we’d finished with it. There was a lot of rubbish on the lanes, so I feel that we did quite a good litter-picking job, making use of things before they went in the bin.
There was charred wooden debris amongst the olive trees, presumably as a result of tree pruning, the brash being burnt on site. I used a piece to draw with on my first walk around the fields. There was also the smell of bonfires in the air all week as neighbouring farms and small holdings cleared the land ready for the growing season ahead.
There were a few objects that I picked up in the olive grove around the Masseria and these came home with me to the studio. I have since been playing with them and forming new structures and surfaces in response. These will form part of Findings, which I will be showing later in the year. There were various nut shells: walnut, almond and acorn cups. The acorns from the majestic Macedonian Oak, which we saw in various places are huge in comparison to the ones I’m used to here in the UK.
I’ve been making small vessel structures from paper yarn and once the surface of these is rubbed with mud they take on a really interesting quality. These structures are made with a looping stitch, sewing with a needle but building up a three-dimensional form. I used the same looping stitch but with a pliable linen thread on the burnt olive wood, encasing and wrapping the forms, getting to know each line, crack or subtle change in the surface as I work my way round and round the wood. And as I handle the wood the aroma of smoke takes me back to the place that they were found.
I’ve been back to Spurn for the first time since my residency ended 3 1/2 years ago. It felt so good walking the whole peninsula again, some parts very familiar and some bits significantly changed by the elements since my last visit. Some great wildlife encounters made the day really special too: a dolphin (sadly dead, but fascinating to see), a short-eared owl, a lizard, curlew, deer, butterflies…
The lighthouse is now spick and span in its newly re-furbished state, with a new coat of paint inside and out. It is now open to the public regularly and there is some sensitive interpretation inside to help the visitor understand the history of this wonderful heritage building and the unique location it overlooks.
Luckily it was a beautiful day, although with a cold wind, so the views were long-ranging and at their very best. As ever there was all sorts of weird and wonderful (and not so wonderful) stuff washed up on the beach, including various balls of fishing line caught up into bundles with other debris attached, like un-natural tumble-weeds.
I took along some of the work I made during my residency and have donated a piece to The Wildlife Trust, who manage Spurn. This will go up either in the lighthouse or in one of the other visitor spaces. The other pieces I took with me are now on display in the Bluebell Cafe in Kilnsea. It’s lovely to have some of my work back there, where it came from and where it belongs.
Earlier this month I was fortunate to be in Southern Italy, teaching at the wonderful Masseria della Zingara. We had a great week exploring the land around the Masseria, walking the lanes, collecting things to use in the studio and using various techniques to record our experience. We collected, printed, stained, wrote, stitched, wove, folded . . . and ate!
Spring was in full swing (which it certainly isn’t yet here in the UK!) and we were surrounded by fruit trees in blossom, beautiful wild flowers and a green lushness that I’m sure will have gone once the temperatures rise later in the year. The wonderful red earth in that part of Italy provides a striking foil for the colours of growth. And of course my travel reading had to be The Enchanted April by Elizabeth von Arnim, which provides the story for one of my favourite films, a must-see at this time of year.