I will be teaching a workshop in March at West Dean College in West Sussex. As a new tutor to this renowned centre for the creative arts I have been invited to show some of my work in the College foyer in the run up to my course there. I have sent a variety of work to show in this exhibition, including: Spurn Cloth #1, the large art quilt piece I made during my 2012 residency at Spurn; 49 Beer Bottle Tops (shown above) and 76 Hair Grips (both incorporating found metal with hand stitch and natural staining); a selection of paper-based pieces incorporating rust prints, collagraph and stitch. The exhibition runs form 10th January to 10th March.
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.
I’m part way through teaching a workshop at Committed to Cloth in Surrey. We’ve been blessed with beautiful weather this week: it has actually felt like summer! This has made a real difference to how we have been able to get out and explore the area around the studio.
We have recorded walks in a variety of ways and used what we found along the way in a range of print and mark making techniques.
We worked out in the meadow, and at the edge of woods, a short walk from the studio; yesterday printing outside, today manipulating grass and leaves and other gathered materials.
Tomorrow we finish, bringing things together in some simple book forms and whatever else appears out of the mix of ideas and starting-points we’ve explored.
Now that the Shirt Collar Project exhibition is open and the final pieces have been revealed I can share a few images of my finished work. There is a full explanation of the process and decisions that led to these pieces over on the project blog. I ended up making three small book forms using the prints I made from my collar. I find the 3D nature of these pieces very pleasing. I often feel drawn to working in a more three-dimensional way and perhaps this project has taught me to go with that impulse. I really allowed the experimentation with the materials to lead me this time, with no particular outcome in mind: a really useful challenge.
I’ve been working on my contribution to the Shirt Collar Project and it has taken me in a direction I didn’t expect. Pictures of the final pieces from all ten artists will be revealed over on the project blog but here are a few images of my process as it unfolded (or folded!). I didn’t expect to make book forms but having printed from my collar on to both paper and fabric I then tested various routes and this was the one that I ended up following.
A few months ago I was invited by Kathleen to be part of a group project involving some vintage shirt collars. The brief and some of the developments can be found on the project blog here. So this is what arrived back in the summer and has been pinned to my studio board while I considered what to do with it.
Last week I finally got round to playing with this item that is sort of a ‘found object’ except it is someone else’s find. I studied it as if it were some sort of specimen, investigating its make-up, structure and features. I drew it, photographed it, took prints from it and slowly took it apart, documenting the process. At each stage I took a print, initially blind embossing (putting it through the press with damp paper and no ink). The marks it made became slowly more ragged and dis-shevelled as the edges were un-done.
It was so pristine and white that I daren’t mark it with ink initially, knowing that once I did there would be no going back. Eventually I plucked up the courage to do so and now the collar lies in its dissected state, flattened and black with printing ink. The prints it made have wonderful detail where the loose threads caught the ink.
I like it as an object. It has a history and a story that I can never know. I don’t know yet what I’ll do to it next but I’m looking forward to finding out…
Last year I was commissioned to make a special record of a garden. This record was for the occupants of the garden (and its house) for over 20 years to take with them when they move on to pastures new. There is more information about the project here and there are some images of how things developed in an album here. The final set of prints were chosen over Christmas and are now with the framer. I’m looking forward to seeing how they look as a finished series. Meanwhile, I will be bringing the experiments and developments together in a special book to go with the framed prints.
This is a section of my studio wall at the moment. I’m really enjoying the routine of working in the studio and at home. My diary is relatively sensible at the moment so I’m making the most of it. I’m working on a number of small projects, although they are all linked in some way (perhaps the link is me!) and some may grow to be much bigger: one thing really does lead on to the next idea. I enjoy the experimenting stage of any project, probably more than making the final work, which can be daunting for various reasons. Sometimes I can’t keep up with the ideas and all the things I want to try – the sketchbook becomes incredibly precious as a repository for thoughts and ideas. These are some of the things going on at the moment:
I’ve been playing about with the wool felt I use and some of my collagraph plates. I’ve also been playing with some 3D forms. I often have a desire to work more 3 dimensionally and I know this is partly satisfied by making book forms. This time the forms are vessels and I’ve been intrigued to watch people see them for the first time and assume they’re ceramic, until they touch them.
They work well as a group and I’ve enjoyed building up a line of them and seeing how they interact with one another. There are some for sale here in case you know of a shelf that would look good with a few residing on it!
I’ve been working on some small textile pieces that are part of the series of works called Gifts from the Pavement. These compliment the paper based prints that formed the original exhibition. They are made in the same way, building up layers of rust print, collagraph print (both using found objects from the Saltaire streets) and stitch, but this time on silk.
These ones have just gone off to the framers and I have a little stack to work on through the holidays.