Having made certain decisions about what I was going to concentrate on (book structures as ‘units’, exposed stitching, split sections, fragments of cover, staining, page edges) it was now time to experiment with those details. I sampled different possibilities, identifying exact scale and dimensions and finalising how the work would be presented. These areas were explored alongside each other to some extent. I identified a type of acrylic box divided into units that would sit well within the standard library shelves. I wanted my work to be shown on the shelves, whether that was in amongst the normal book collection or in a gallery space within the library. This acrylic unit (about the scale of a large book) would encase my little books, keeping them safe from disruption by library visitors, whilst enabling viewing from both sides. That containment would also echo the string-bound big book, which cannot be opened: my little books will not be open-able either. The divided acrylic unit had a suggestion of the exposed spine of the big book, which is divided into an uneven grid by the lines of stitching in one direction and the split sections that make up the thick volume in the other. I could fill one of these gridded boxes, or 3, or any number, depending on how long it would take me to make the book units to go within.
Anyone who follows me on Instagram (where I post images almost daily) will know that I am starting to develop new work based on a series of collections of objects. Ultimately I am working towards an exhibition at the Knitting and Stitching Shows 2016, which I’m really pleased to have been selected for. My working title is Findings. I have been developing ideas for this over some months now, thoughts whirring away in the background while other things happen. Findings will be a series of responses to objects I have collected in different locations.
1. the action of finding someone or something.
2. information discovered as the result of an inquiry or investigation.
The first group of objects I am exploring are a collection of limpet shells I brought back from Anglesey in the summer. I didn’t collect the complete shells: it was the ones with holes in that I was drawn to and I came back with a couple of hundred of these. I love the subtle variation in a series of items like this: they’re similar but all unique. Some are really worn down and smooth; others are rough and intricately mottled; some have a jagged broken top; others are almost perfectly smooth rings. I’ve been experimenting with replacing the broken section with a stitched/woven ‘patch’. Some of them end up mended completely, others partially filled. Some are being filled in across the inside, leaving them with a sort of woven plate across that reminds me of the limpet’s ‘foot’.
As I work away at these experiments (inquiries, investigations. . . ) the results are starting to form a new collection: a collection of my Findings.
I was thrilled to be invited to be part of Meticulous Stitchers at Unit Twelve Gallery, Stafford, alongside artists whose work I really admire. The two pieces I have made for the exhibition are part of my Rust Diaries series and have involved hours and hours (and more) of stitching.
The exhibition opens on 4th June and runs through until 29th August. I will be teaching a couple of day workshops at the gallery in July and there is a ‘stitchers soiree’ on 27th June, a mid-exhibition event (open to all) instead of a private view. You can find more details here and on the Unit Twelve website.
I don’t drink a lot of beer but I seem to find a lot of beer bottle tops when I’m out and about. On a recent walk along the nearby canal I came home with a little stash in my pocket. I love the way they get squashed by cars and their crinkled edges go in different directions. They are all at slightly different stages of going rusty. After completing 25 Beer Bottle Tops I decided to make a scaled up version and am now part way through its making.
This time there are 49 Beer Bottle Tops. The number isn’t significant, but these fit nicely into the dimensions that I decided to work on, four times larger than the first piece. They are arranged in a grid, again, not for any specific reason, but I find the arrangement pleasing. I often arrange things I find in lines like this in the studio. It is a way of sorting, of getting to know the objects, cataloguing them almost: they are like collected specimens laid out for inspection. Once trapped and stitched around and then allowed to stain their surroundings their regimented lines will contrast with the random stitching and the marks that they make.
The stitching is now in progress. This is slow and repetitive. This kind of stitching marks out the passage of time. Each stitch is similar to the one before but unique in its detail.