I collected Unknown Book from Newcastle Library last weekend, taking my piece off the shelves up on level 6, where it had shared the space with the local interest collection during the Love Big Books Exhibition.
Gary Chaplin, one of the participants in the Fifth-Sized Book Adventure has made a great little film using interviews with some of the artists explaining their contributions to the project. You can see the film here.
Next Sunday (26th November) I will be at the Knitting and Stitching Show in Harrogate, demonstrating in the Artists in Action studio all day. I will have part of Unknown Book with me, as well as lots of samples and examples of book structures, with which I will be playing and demonstrating. The show is also another chance to see Page 17, the Embroiderers’ Guild exhibition in which I have a piece connected to my Unknown Book project. If you’re at the show do come along to the ‘studio’ and say hello.
The experiments I’ve been doing recently in the studio are my way of exploring 3D structures and trying out different ways to form them. This shot from earlier in the week shows some of these experiments alongside some of the objects that live on my studio wall, which I described a couple of posts ago. I am not necessarily trying to re-create the forms of these objects but there are often similarities between the ones I’ve got pinned up there (for instance, the ones included here on their own or incorporated into a a new structure are either circular, have holes or form vessels) so they gently influence my making in different ways.
I am well and truly in a weave phase at the moment. My studio wall has a growing number of samples pinned up and I’m enjoying exploring a variety of (mostly) linen yarns and the surfaces and structures that they produce when held under tension on a warp. I am constantly delighted by the simplicity of plain weave and the simplicity of the technology that produces it. I’ve been working on my table loom, but even then I have tended to beat things hard so that the warp is covered, producing a surface almost like tapestry weave.
This warp is now off the loom and the samples separated. I did enjoy them as a strip though, and it was tempting not to separate them. The linen formed these lovely curved bridges between the weave.
Most of the samples will be dyed, dipped or stained in some way. I have also been weaving on a frame and this piece is growing a little each time I get to the studio.
This, too, won’t stay white all over. I have plans for it to meet some walnut ink. but more on that another time.
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.
I’ve been asked about the frame I’m using for my weave samples. Here is the full frame. The late-autumn light is not good for photographing things successfully at the moment and we’ve had some particularly grey days. My samples haven’t progressed as I’d have liked due to many other things happening but my frame and its narrow warps are slowly being populated by little investigations.
I’ve been using some of the string that bound previous rust bundles. These are variously dyed themselves so when they are woven they produce random stripes and mottles.
I am enjoying the discipline of weaving again. I have also put a first warp on the four shaft table loom I rescued earlier in the year so I’m switching between loom and frame. In both I feel that plain weave offers so much potential. I love the simplicity of it and the focus on the action, the repetitiveness, the discipline of achieving evenness and a straight edge. There is so much scope for exploring subtle texture and colour that I’m not sure I will ever tire of it. I admire complex weave patterns in others’ work but for now plain weave has enough to hold my attention.
I’ve started something new this week. So often I make resolutions about doing something creative every day, sketching more often etc. Somehow they always get interrupted before they become established so I’m trying to address that. With a period of planning this has become even more necessary.
This is my new little project. By making it online I hope that I will be more disciplined about keeping to it! Each entry is either the result of me making the time to spend a few minutes in my studio rather than at my computer desk or a snippet of something I’m working on anyway.
I follow various other people documenting similar daily projects; here and here for example.
I’m experimenting with the marks that can be achieved by laying items on to paper that have either been soaked in the remains of a dye bath, or rusty items that are laid onto wet paper (in this case wet with tea or with vinegar). It takes time, but as the moisture dries I am left with some exquisite marks that are a curious mixture of planning and randomness – something I feel underlies so much of my work.
This one isn’t strictly printing, more dyeing, as the paper had been submerged in a dye bath with clamps to resist. I love the randomness of the rust marks next to the straight line created by the clamp.
>It feels like I’ve been flitting between lots of different things all week. I have a number of projects at the planning stage and, while I wait to be in a position to get stuck into any of them, I fiddle about in a slightly disjointed way.
I finished off the warp I’d had on my loom since January, when I wove scarves for late Christmas presents. I had hoped that there would be enough left to weave one more scarf, but I came to the end sooner than I thought. It has made a (very) short scarf length. I was then eager to get another warp on the loom. I wanted to see how some British wool yarn I have would fare as a warp. In my impatience I decided to try and make my warp using the old chairs-upside-down-on-on-the-table method.
Things didn’t go quite to plan and I regretted my haste. The warp was a nightmare from here on in and I now know that this wool yarn is not really suited to being a warp, as I had suspected. I’ve also been fiddling about with some of the leftover bits of printed felt I have from my degree project.
> I sat and stitched in between sales at the Makers Fair last weekend. I played about with some of my rust/seaweed dyed silk and found that little seeding stitches helped to keep the crumpled structure that the silk has and which I want to retain.
The wool felt I have left from my degree project makes a lovely base to stitch into and I find that I keep coming back to the square units that I used through out my final project, derived from ideas in architecture. There is something so pleasing about the square format.
I started off with a larger piece of felt and an even larger piece of silk and played about, but without direction. As soon as I cut off small squares I was happier with what I was doing, finding ways to vary the repetition subtly.
I’ve also been experimenting with ideas for a commission I have. I’m hoping that I can use some of the leftover materials from my degree work, as well as some left over ideas.