articles

AliceFox_unfinished_detail

I have had interviews and articles published in three places this week. One is here on the lovely Textile Curator website. The second is here and is part of a series of articles where Anne Williams discusses ‘unfinished’ work. Number three is an article in The Quilter, which can be viewed here. This appears in Winter 2015 issue (no. 145) of The Quilter, the quarterly membership magazine of The Quilters’ Guild of the British Isles. ‘Moving On’ follows the article I wrote for The Quilter following my bursary from the Quilters’ Guild in 2011.

published

Chaptern 6 Sense of Place

My book is published today! So now it is available to buy from all good bookshops. Of course there are various ways of getting a copy (and various prices on the internet) but if you want to buy one directly from me I have signed copies available in my shop.

I’m really grateful to the contributing artists whose work is also featured in the book, enriching it with their inspirational words and stunning images: Jilly Edwards, India Flint, Claire Wellesley-Smith, Catherine Lewis, Dorothy Caldwell, Joanne B Kaar, Lotta Helleberg, Jennifer Coyne Qudeen, Hannah Lamb, Debbie Lyddon. The practices of these wonderful artists’ are all bound up with their own experience of and respect for the natural world.

I’m just getting ready to go off to the Festival of Quilts at the NEC. I will be demonstrating in the Virtual Studio on Friday afternoon and Saturday morning. Do come and say hello if you’re there. Oh, and I might have some books with me…

the book has landed!

NaturalProcessesCVR

Well almost… The books have arrived at Art Van Go for the launch this Saturday (25th July). Do come along between 12 and 4pm if you are within reach. I will be there with a pen to sign copies and I’m told there will be cake too! On the walls in the gallery space at Art Van Go there are lots of examples of my work featured in the book. The exhibition, called Here & There, will be up until the end of August. The book is officially released on 6th August so the 50 copies we have for the launch really are hot off the press and prior to the publishing date. Once I have some copies in stock myself they will be available to order here. I will be at the Festival of Quilts at the NEC on Friday 7th and Saturday 8th August. I’ll be demonstrating in the Virtual Studio and I will have copies there too.

away

Alice Fox Eastbourne beachcombing

Time flies: I realise I post much less frequently here than I used to and than I would like to. I have been away for much of the last three weeks and seem to have spanned a great deal of the country in the process. I had a wonderful few days teaching in Eastbourne (on the South coast) before Easter. As a group we explored the beach, collecting in different ways and then used what we had collected in a variety of techniques – great fun and a chance to explore an area I didn’t know.

Alice Fox River Axe North Somerset

Easter saw me in North Somerset (in the South West) with my family in the beautiful Mendip Hills. I snatched an opportunity for a bit of mud lurking – more on that another time.

Alice Fox boats in mud sketch

Then we had a few days in the depths of Snowdonia, off grid and off everything else apart from a tent and whatever we could carry. We were blessed with the most amazing weather and managed to get the whole party (youngest 6) up to the top of Snowdon (the highest mountain in England and Wales) in glorious spring sunshine with a dramatic helicopter rescue (not one of us!) to add a bit of drama.

Alice Fox Lliwedd from Snowdon

After a night at home I headed north to give a talk just over the Scottish border. I spent the morning on a windy walk overlooking Lindisfarne and its causeway in Northumberland. Serenaded by skylarks and calling waders the colours and creeks of the salt marsh were brought to life in the clear air.

Alice Fox causeway sketch

Meanwhile, an article by Wendy Feldberg on artists using rust in their work has been published in Fibre Art Now and is available here.

space

Alice Fox studio experiments

I suddenly have some space to start exploring new ideas, or rather ideas that I’ve been having over the last year but not had the time to engage with. The book I’ve been writing is now finished, or at least delivered to the publishers. There will be editing and tweaking to do but the majority of it is complete. The last year has been pretty much focussed on the book and touring Tide Marks, alongside a fairly hectic workshop teaching schedule. Apart from finishing off my report to Arts Council England for Tide Marks, that is now complete too. So, what is next? I have a number of projects to be getting on with. There are various group exhibitions next year that I will be making work for, so what follows is a period of development of new work. This is exciting and daunting. Where to start is always an issue. The best things is to get in the studio and see where things get to. So often we are forced (by time constraints) to commit to an end point before we’ve hardly started. It is a challenge to allow things the space and time to develop without knowing what that end point is going to be.

bookish

Alice Fox book binding experiments

I have books on the brain at the moment – if I’m not writing words for one, I’m playing about with book forms. On a recent workshop I was teaching, where simple book forms was a small part of what we did, I was inspired to try out some new bindings. I used some of the demonstration samples to experiment with and now they have become little books.

Alice Fox making book signatures Alice Fox making book

I recently got a copy of Little Book of Book Making, out in America (and I think a UK version is coming out later in the month under a different name) in which my work is featured alongside some amazing book artists. Making books is just a small part of what I do and I only use very simple structures, so I feel very honoured to have been included in such a collection.

Alice Fox handmade book

sketchy

Alice Fox north sea waves sketch

I’m busy writing, trying to get my book finished for the deadline I have in a few weeks time. I am making the most of a day or two to myself while the kids are off splashing in the sea (she says jealously) and I’m plugging away at it.

Alice Fox people sketch

In between summer holiday parent duties I snatch the odd moment to put something on paper in a sketchbook, recording things I’m seeing or things I’ve found. It doesn’t matter what it is – the act of drawing is the important thing and the discipline of being present in the moment for it to really work. I am reading John Berger’s Bento’s Sketchbook and am reminded of the pleasure and relevance of the practice of drawing – something I often tell myself I should do more of. The problem is fitting it all in to the routine . . .

Alice Fox found items sketch

within sight of the sea

Within Sight Of The Sea cover

A couple of weeks ago I mentioned that I was preparing drawings for a publication. The publication is now live and is available as an e-book. This collaboration brings together poetry by Nigel Morgan (if you have my book Tide Marks you will have come across his beautiful poems already) with my illustrations taken from various sketchbooks. Many of these drawings were done en plain air, attempting to capture something of the experience of these places, although they weren’t done in the knowledge that they would later be publicly viewed – this kind of sketchbook is a very personal record of place.

These images and words blend together as evidence of such visits in each other’s company, and occasionally alone. Some of what you see or read has come into being in situ, others as dream memories. Together they form a record of time spent unconfined, in the opened air and the pressing wind, sighting distance, or observing the close confusion of what lies at the feet, or near at hand.

Having had the very rewarding experience of publishing a small number of books so far, initially with help and then as my own publisher, the concept of the e-book is one I am very interested in. It has to be the ultimate in sustainable publications – no actual materials being used etc. But, being a hands-on craft-orientated artist, the fact that I can’t hold this thing in my hands, turn the pages and feel the surface of the paper is something I have to put aside and accept: this is a different experience. Collaboration pushes you in directions that you might not have taken on your own, provides new possibilities and opportunities to learn as a result.

Alice Fox Llyn sketch 2

 

book marks

Alice Fox Tide Marks woven tide line

After a long and busy summer things have finally returned to the normal routine of term time.  Autumn is in the air and I have a lot to do!  I have work to finish for a number of exhibitions this autumn (there is an updated list on my exhibitions page now), the biggest of which is Tide Marks, which gets its first showing at Gate Gallery in Grimsby towards the end of October.

As with Textures of Spurn and Gifts from the Pavement I am publishing a book to accompany this body of work and I am busy pulling that together to meet the print deadline.  It’s a satisfying process to bring something like this together, to see the images sitting alongside each other and look back at how the work has developed.  I like this documentation of a project, recording the process and bringing that together with elements of inspiration and finished work.  It isn’t a catalogue and it isn’t a description of how I have done what I’ve done.  It is more a commentary on the project and a way to take the viewer deeper into where the work has come from.

This time round I’m doing everything myself: becoming publisher and graphic designer as well as artist.  It’s a steep learning curve but I like a challenge!

>second skin

>When I wrote about India Flint‘s first book Eco Colour here I was asked if I’d like to review the follow up. Great, I thought, then forgot all about it. So when a rather exciting package arrived on my doorstep with this inside I got very excited.


India Flint’s new book Second Skin is a beautiful follow up to her first. It has the same luscious feel, packed with gorgeous photographs and illustrations and has a pleasing mix of practical information, snippets from different cultural traditions and more general anecdotal writing that gives an insight in to India’s colourful life.


Despite its visual appeal some of the content doesn’t make for comfortable reading. India reminds the reader of how poorly informed most of us are about where our clothing is derived from: the fibres and the processes that have gone into the garments that we wrap around our bodies for the majority of our lives. Of course, even if we care about such things it can often be very difficult to find out the history of what we buy and this book highlights the real facts about the systems that our clothes pass through.


There are no straightforward answers and an element of guilt is inevitable in reading parts of chapters 1 to 4. For example, even the fairly well informed may feel they are doing a good thing by buying an organic cotton t-shirt, unaware of the parts of production of that garment that are far from sustainable. Chapter 2, Provenance, is full of cautionary tales and the complicated nature of trying to live in a sustainable way is set out well.


It strikes me that the difficulty of breaking out of the system, stepping off the treadmill, going against the tide means that, even for the well intentioned, practicality means we can’t all do as much as we might hope to. But small changes make a big difference and if this book changes one aspect of behavior in the way each reader sources their clothing those small changes will add up to much more. The all important “have less stuff” is something we all know of as a positive move in living mindfully but how many of us really have the discipline and commitment to live that way? It is always good to be reminded of issues you are already vaguely aware of and have your resolve strengthened periodically.


Chapter 7 gives a short run down of various artists and makers whose work shares principles of sustainability and re-use of materials. This is useful but is almost a starting point for a book in itself.


Chapters 5, 6, 8 and 9 are full of tips and suggestions that I would imagine will give the eco-conscious fashion student much mileage. Chapter 8 on re-purposing is where things got pretty mouth watering for me. All sorts of ideas are given for creating new garments from old and there is scope within these to be really playful. Just like in Eco Colour, there is an undercurrent of useful information that is intended to be used with individuality and in the exploration of personal style. India’s generosity with her experience and skill is huge but she is not prescriptive and it really makes you want to try it all out yourself.


Chapter 10, on dyeing, re-visits the ground covered in Eco Colour but expands on it and, as ever, is a wonderful mix of practical instruction and encouragement to be experimental. The myriad of tips and ideas are ever-useful.


Like the natural dyes that India’s life and work are so wrapped up in, the effect of this book will grow stronger with time: repeated dipping, short periods of immersion, time for absorption are all part of imbuing your life with the sentiments and skills within its pages. It’s certainly re-ignited some slow-burning flames of mine: I’m off to get a few bundles steaming now…

Second Skin, published by Murdoch Books, is available from 1st August.