Janet Haigh : Her Work

Textiles: ideas, drawing, design, stitching….


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nexus – meetings at the edge: exhibition

 

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The night before the private view I had a dream that a giant version of the work featured on the poster ( see above) was writhing around the gallery walls and flashing strobe lights, while all the other pieces of work in the exhibition were equally massive and glowing while moving to – for want of a better word –  ‘disco’ music: I thought –  oh no! my poor flat patchwork!

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reassuringly  static ‘ Entangle Tiles ‘ by Lynne Maclachlan

The featured work by Lynne Machlachan was on display with her other wonderful constructions in blends of strong colours they undulated around the walls and in the air. A panel of photographs showed them  being worn, I hesitate to call them jewelry…

On reflection I feel that this work set an atmosphere for the exhibition; clear, strong, flat colour, immaculate attention to surface detail, and a definite sense of playfulness were qualities I enjoyed throughout the rooms. The only strobe effects were caused by overlapping patterns on a smaller scale in many exhibits.

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strobe effect in metal in tiny scale by Andrew Lamb

Whether  by intention of the makers or sympathetic lighting on the part of the curators, the play of light and shadow were fascinating.  I constantly returned to view the works of 2 makers who collaborated to show small woven metal constructions, Jonathan Cleaver and David Poston,

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views of the woven metal works from different angles with metal jewelry work by

Even when I viewed  larger scale works that had became almost installations in the way they were exhibited, the same themes of flat brilliant colour and clean elegant construction were apparent – and the use of this singing yellow and metal together.

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Rajesh Gogna metal appliances with attitude

colour and pattern throughout the exhibition links very disparate materials and ideas

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machine embroidered coat by Jacky Puzey echoes the metal sculpture beyond

The machine embroideries of Jacky Puzey echo both colour and form when seen against the metal sculptures. Her large dramatic panel of birds is a real master class in placing together disparate materials and media so that they flow easily one into the another.

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machine embroidered parrots in thread and feathers. Jacky Puzey

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detail of embroidery and fusion with feathers – harder than it looks here!

The degree of skill on view within the exhibition is made apparent in different ways, certainly to change or add new materials to your original practice makes you concentrate on the “joins” and here nearly every piece of work combined either 2 or more materials or the makers had transferred the techniques of one discipline to another…or they made juxtapositions of natural with man made found objects – never easy.

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3 Sea Thimbles by Romilly Saumerez Smith

Ancient bronze thimbles carry coral and sea urchin spines, like tiny offerings to the goddess of stitch! And there were boxes made from a metal shield mount, still with tracings of old patterning mounted with diamonds.

One of the major themes of the exhibition is the transformation of one material to describe another and there were many examples including my own.

One of the advantages of Private Views is to meet up with other exhibitors, I often find that talking to people work who work totally differently to me are always stimulating. I was introduced to Valeria Nascimento and we spent some time together discussing our very different work. as we walked we both stopped and gazed at the work of Anna LorenzannalorenzIt is intriguing; you just can’t guess the material ( well I am a maker and stimulated by materials) It looks like unglazed porcelain or paper porcelain, or unfired porcelain, or paper or felt or…. or….but it is news print; and it is perforated, but how? Valeria and I were looking behind it, inside its layers and I took this image of the gradated shadow it threw – so much a part of its complete and compelling mystery.

Arriving at Valeria’s work I realised that I had photographed it as soon as I walked into the gallery, drawn to the far wall of what looked like bleached shells and sea creatures.

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porcelain ruffs and spirals

Her table of porcelain jewelry in stark blacks and whites really intrigued me, the fluffy neck pendants and the massive rings and brooches are not to my personal taste but their presence and implication of natural forms through simple and sympathetic use of her media, just made me want to hold them – and that’s why we go to exhibitions isn’t it – to extend our imaginations and ideas.

sea creaturesSea creatures emerged as inspiration in the beaded work of Wanshu Li, translucent and iridescent tentacles of colour made up large rings and bracelets.

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photographs of jewellery by Wanshu Li

and accompanying her work were high contrast photographs underlining the quality of deep sea beings… looking at this work made me see a fish in an adjacent vitrine.

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strange fish emerges from the glass work by Kate Haywood

Every once in a while you see work that just makes you jealous and wishing that you could have made  it – the work of Zoe Hillyard really stopped me in my tracks. First it was beautifully thought-through and formed, second it reminded of work that I had made previously, and third – I wished that I could have used it for an exhibition I co-curated some years ago – Mending at the Museum.

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broken ans mended jar using fine fabric.

I had actually tried  a similar exercise when I was working on ‘mending’ ceramics – but it did not look like this; here are elegant breaks, refined textiles wrapped and stitched to perfection and the soft colouring entirely at one with the materials –  it is patch-worked!

I really appreciated this work, especially her dense stitching on the inside of the pieces, used to draw the fabric tight against the curves, she managed to make this as decorative as it was functional. Just so desirable and a perfect transference of materials and ideas – and she made the jars then smashed them herself!!

I cold go on and on about the ideas, images, thoughts and provocations elicited by this exhibition – but now show that finally, after months of work, the Patchwork Enamel was successfully  transported and hung and here it is complete with shadows…

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sleeping in the garden

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the first fabrics chosen for the quilt using the planting story board.

My latest commission is to design and make a patchwork quilt to be placed on a bed in a show garden for this year’s RHS Flower Show at Tatton Park. This is the idea of plants-woman and garden designer, Julie Dunn, And I think that her design is really intriguing – to make a garden for recuperation and healing, full of scented plants and herbs that aid relaxation plus a double bed in which to rest.

When Julie first contacted me, I responded by asking for her ideas for the atmosphere of the garden, particularly her chosen plants, so that I could give her some fabrics to consider.

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original and amusing plants and atmosphere visuals for the garden

She had very definite ideas of the actual fabrics that she wanted – they were by Kaffe Fassett and they featured flowering plants, most notably Brassica – the classic fabric featuring flowers that looks like roses but are in fact cabbages.

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1 co-ordinated fabrics surrounding the favoured Brassica fabric

I pulled together several colour “stories” to choose from. although they are similar they give very different overall tones – I wanted the quilt to reflect and augment the garden, not overwhelm it

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2 grey version of Brassica with co-ordinates

The sheer scale and incongruity of the bed in the small ‘Back to Back” gardens in the show,  means that it will dominate if we are not careful with the pattern and the colours

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3 brighter, green and mauve colourways

The large enveloping quilt needs to give a feeling of comfort and protection as well as being light-weight and warm whilst the sleeper is wrapped up in it. I already knew what the backing fabric would be – Dream, one of my favourite Kaffe Fassett fabrics.

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“Dream” fabric design – which colour to choose for the backing?

Julie and I spent a day in my studio, and with her visuals pinned to the quilt wall, we started to develop a design together. I wanted a very simple quilt design with large scale patches, as although a decent hand-stitcher I am not a happy machine stitcher,  particularly with the precision needed for patchwork.

garden quilt 2Working with the first of the colour-way choices shown above, I cut simple large scale heads from several shades of the Brassica fabric and simply made a chequer-board formation with them. This first attempt look too strongly coloured, but the simple square format was good as it showed the full ‘flower’ heads of the cabbages. But the simple deep pink strips looked too solid and they would dominate the entire quilt, we needed a  more subtle variation.  Cut  into triangular sections, the square becomes a diamond

 

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the next step of the design with the planing plans on quilt wall.

Julie was happier with this softer set of fabrics; strangely adding  more patterns and colours often makes a design more subtle, the secret is to work within a tonal  range – these red triangles dominate here – they may have to go eventually!

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design development with more borders

I tried to balance the deep colour with a strong striped border but the dark blue stripes make the centre even more dominant. Julie wants the magenta red to stay as it is exactly the colour of a chosen Sanguisorba – I take her word for it.

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re-arranging the strips of fabric to build up the medallion design

working on through the afternoon we slowly we start to feel that the colours, although strong, are softened over all and now enough of the quilt is decided for me to carry on developing the design from here.

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the colour balance is better, the flashes of magenta ‘Maple Stream’ leaves help.

The actual quilt needs to very large, Julie’s vision of it is to cover the bed almost to the floor, this useful as I see the bed to be a type of extending couch-  a day bed. Julie sees a four poster!

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the mood board for the bed element

We turn our minds to the application forms and read them extensively  and decide that I will illustrate the envisaged quilt on the envisaged bed in the envisaged garden…this I can do more easily than make the quilt, having illustrated all sorts of ‘envisaged’ designs for gardens, plants, embroideries, fabrics, enamels, clothes…..so I offered to illustrate the whole of the garden application.

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my first rough idea of how the bed will look when dressed.

We discuss the problem of the English weather, even in July, we will need a canopy. I imagine that you would not use the bed when it was raining, but at a pinch could hide under a canopy at the head of it – if we use a day bed. But the vision of a real romantic bed with curtains is still the main aim. This is when as a designer, you have to really listen carefully to the client – and try to find a compromise; a drawing, even a scrappy one often makes your point, the metal sub-structure of the canopy  will dominate the small garden.

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the final illustration for the application.

Of course the one thing I  felt I must do was to inform Kaffe Fassett of our plans. So at our next quilt design meeting I showed him the scribbled design drawing and the other garden plans and asked for his “blessing” for the project and could he sponsor it with his fabrics? His immediate reaction was to offer more suggestions about the design using lots of other fabrics I could use.

I am leaving the next stage of illustrating the garden for the application for another post – watch this space.

 

 

 


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Serendipity – Lillian Delavoryas

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Magnolias – Lillian Delavoryas

My recent meeting with Lillian Delavoryas is, in her words “serendipitous” and in mine “bizarre”. During October 2017 I was visiting various friends who were  taking part in the annual West Bristol Arts Trail . The artist, Anna Christy, recommended that I visit the studio of another friend of hers who, “used to design textiles”; she was sure that we had a lot in common. I recognised the name immediately, but it was late in the day and the studios were all closing, so with 10 minutes to spare I rushed into the signed doorway, and felt that my working life had come full circle.

Paintings hung on the bookshelves – all for sale

I walked into a sitting room full of people and hung with small jewel-like paintings of people, landscapes and flowers. lovely work  but this wasn’t what I was expecting!

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wool tambour work wall hanging

but in an adjoining room I saw a large blue and mauve flowered embroidery, this looked more familiar. then delving further into the exhibition I found a piece of work I recognised, Nicotianas.

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Nicotianas – Lilian Delavoryas

I had just a little time before she closed, and although I had never met her, I realised who she was, sitting on a settee amidst cushions that I also knew were her designs. Thanking her for the opportunity of seeing the exhibition, I introduced myself and explained that I often worked with Kaffe Fassett, organising the production of his patchwork quilts for publication and exhibition. Also that I had worked on the original  “Good Housekeeping Encyclopaedia of Needlecraft, first published in 1979 by Ebury Press and was now delighted to see some of her original work.GHE

2 days later, she emailed me asking that I visit her with the idea of helping to find a home for her collection of textile based books and various pieces of her old work , some half-finished canvases, needle work samples and painted design drawings. She thought it could all go to a school as an aid to design education!

Lillian Delavoryas  and Kaffe Fassett and were leading textile designers in the late 1970’s, when I first left college and became a freelance designer and illustrator in the Fashion industry. Influenced, no doubt, by their work I taught myself to hand embroider onto canvas as a way of the easing the frustration of my hectic working life. But my early works were tiny, so when I saw the scale of these pieces I was deeply impressed. Kaffe and Lillian knew one another when they both lived in America and  he is responsible for bringing her to the UK, in order for her work to be recognised here.

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page of Kaffe Fassett’s and Lillian Delavorayas’ work Good Housekeeping encyclopedia of Needle Work

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Good Housekeeping pages with my tiny work blown out of proportion next to Lillian’s

For the past 3 years I have been working directly with Kaffe Fassett, organising the making of his patchwork quilt designs as well as other stitching projects. I was recommended to him by Susan Berry, the publishing consultant of  his major series of patchwork books. Susan was the first person to commission me in publishing, and I have worked with her on many projects over the intervening years. So now you see the complete circle!

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needlepoint hanging – vase of flowers, the corner of which can be seen on the page above

When I visited, Lillian had organised a whole lot of different books, copies of articles featuring her past textiles and the promised samples.

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various cushion cover designs

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sample stitched bid on large drawn canvas

Also, and this I did not expect, samples and books of fabric and wall paper designs from Designers Guild circa 1980’s , all looking very familiar to me. Lillian assured me that she had ceramics to match somewhere in her flat, and a lot more besides – if I was interested….  designer guild wp

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2 wrapping papers

Designers Guild fabrics

Designers Guild fabric samples

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beautiful water-colour and pencil design drawing

Assessing what I was looking at – a part-archive of an innovative and influential designer of 20th century textiles, I suggested that she collect as much of her work as she could locate and that we try to tell her textile design ‘story’.  I thought that it would eventually become of interest either for a  museum to keep as an archive and a  work-in-progress exhibit, or to students undertaking higher degrees,  to research and catalogue it  all, enabling her to be set within the context of 20th century design.

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Lillian Delavoryas October 2017

This is an ongoing story. My next contact was Hugh Ehrman of “Ehrman Tapestry” for whom Lillian, Kaffe and I have worked. Explaining to him of my serendipitous meeting he at once visited me, bringing  a folder of painted paper designs that his company had held on her behalf…but that will be covered in the next post on this saga.

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Drawing Vintage Fabrics

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first drawing of the day – the eye of the dragon

I have been invited to deliver 3 day drawing classes at the Bristol Drawing School based at the Royal West of England Academy. I was asked to work with my collections of vintage embroidered textiles which include Chinese embroidered robes, Japanese kimono and Indian/Pakistani children’s  clothing and tent hangings.. first I brought in the Chinese robes…

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starting to draw the threadbare theatrical Chinese Dragon robe

the old tattered, ripped and worn fabrics never fail to inspire students; each class is different – although my teaching methods remain basically the same: – take care to tell the truth about what you are seeing, pay close attention to the making processes and most of all the colour.

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the sensitive drawing slowly evolves

As we start to draw using only dry media – pastels, crayon and pencils –  getting the colour correct is always tricky, but I try to get students to develop a colour quality rather than to try to copy the real colours…this teaches awareness of atmospheric colour.

 

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another study of the same fabric – aiming to describe how it is stitched; not painted printed or stencilled…

I gave these students an hour to develop their first studies… they seemed to be engaged immediately – always surprising who picks what to draw. Unfortunately I have a very bad grasp of names – I could describe each student’s appearance perfectly  by looking at their individual drawings but names evade me for this first week – my apologies to all.

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starting out….

 

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trying to get that elusive faded grey/ brown silk ground colour

 

 

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The silk theatrical costume of a dragon is really in a sorry state now but the colours are subtle, faded and very beautiful. The wild cardboard eyes of the dragon still command attention and trying to capture the quality of the threadbare silk really tests the students. For a totally opposite colour experience, the  choice for those who like bold colour is the red and blue silk court skirt…

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starting out with bold geometric colour blocks

working from more decorative sections of the skirt still produces a strong response.

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starting to map out the decoration – in reality a tiny hand stitched red binding on a yellow silk applique

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getting to grips with the colour of the yellow silk

 

 

 

 

 

 

 

 

using the coloured paper grounds with the pastels makes it possible to give an impression of the nuanced colours of the faded and friable silks – blending the colors to achieve the exact shade is difficult but rewarding – and you learn a lot about colour mixing and trying to keep everything clean…

 

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1 hour into the drawing, it takes time to build up this quality of colour in pastels.

The soft grey-blue padded jacket, embroidered with wisteria blossoms, brought out everyone best attention to stitch…and although the colour proved  illusive, many lovely studies were made from it.

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drawing the meandering blossom on the padded and embroidered jacket

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this simple tentative sketch captures the quality of the meandering blossom stalks

 

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well the colour is way off – but what an interesting series of marks to try to capture the nuanced and subtle effect of the silk embroidery

 

 

 

 

 

 

 

 

 

 

 

We ended the morning with a short critical discussion about the work achieved  in the first hours of the morning. In the afternoon session everyone chose different pieces to work with. I had more or less dictated the scope of first drawings (detail, detail, detail) now the students could choose how they wished to interpret the fabrics. The grey silk jacket still held its appeal.

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wriggly line drawing trying to capture the crepe silk and hand stitched appliqued braid.

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detail of the fastenings and braiding of the silk jacket

 

 

 

 

 

 

 

 

 

 

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detail of the the hem of a large embroidered court robe with resplendent dragon

it is always interesting to see different interpretations of the same subject…the drawings below probably say more about the artists than the robe.

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careful but lively study of the embroidered sea.

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flamboyant cloud interpretation from the robe above

 

 

 

 

 

 

 

 

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careful gradation of colours to describe the embroidered flower

My own black modern Chinese embroidered jacket has resulted in these 2 different interpretations…however in the drawing below, the student told us that she had not drawn anything for more than 20 years – so as far as I am concerned this study is a major achievement – for bravery – but had it been on black it would have been even more striking…

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strong drawing of a tiny frogged fastening – a very brave and successful start after 20 years of not drawing!

when studying textiles it is often difficult not to get engrossed by the garment they constitute – here are 2 images of drawing the same skirt – the first is about the skirt, the second about the textile and the fabric manipulation.

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getting engrossed in the bands of stripes made by a shibori technique on a hand woven hemp, Chinese skirt.

 

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more attention to the detail of the dying technique shown in the second study

 

 

 

 

 

 

 

 

 

 

the following drawing is totally different in its approach – the whole folded cloth has become a world of its own..

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this large undulating drawing reminded me of a surreal landscape – fabrics as fold.

who would have guessed it is a study from a wrapped and folded silk skirt…but oh the colours!

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how innovative to fold an old silk skirt and make a colour study .

 

and last of all this simple line drawing of a white hand embroidered black jacket – each line describing the direction of the stitch. How wonderful it would be to see this extended for a whole wall full!

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simple linear drawing – a tiny detail from a Chinese embroidered landscaped jacket.


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Kantha Club

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Susi Bancroft stitching her suspended large Kantha piece in Heart Space Studios

Autumn is here and the new term started for Kantha Club – run by Susi Bancroft for Heart Space Studios. We all wanted to swap summer experiences and stories and show what we had been up to – or not!

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Kay at the back of the Kantha sheet – the light shining though the colour was lovely, showing up the rows of stitches.

Susi had embarked on a very large piece ( I meanwhile had put my first attempt at a large piece aside). She had dyed the fabric in Turmeric and Tea to get this very subtle yellow. She finds it easier to hold the needle at the eye end to keep the cloth steady – so each stitch requires 2 hands on the needle, standing to work on such a large-scale fabric she says ” I am surrounded by beautiful colour with the light behind you, like being cocooned in colour ”

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closed hand with thumb kept into palm = the narrow band

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wide open hand = the wide band of stitches

Explaining how she made decisions for spacing the stitching bands by using simple hand measurements she said “I used the fact that I couldn’t see the whole cloth working so close up so the hand spans were the measurement I adopted”

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hand spans for the gaps between stitching lines

to enable her to keep stitching rhythmically while standing up, she threaded several needles at a time in different colours, using each as she felt that she wanted them – relying on her instinct for the colour striations, she enjoyed  the feeling of  the fabric being “just being out of my reach’ whilst she worked.

Kay Swancutt showed us some dying samples that she had stitched , she had exhibited these recently at Nature in Art and used many natural materials to make the different patterns and colours

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samples of natural dyed fabrics by Kay Swancutt

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more of Kay’s experimental samples

Steph Wooster brought several examples of her earlier drawn textile work that she has now worked with a kantha stitched ground…these were  also exhibited at Nature in Art and I feel that they could lead to even more intricate background stitched patterns – I am thinking animal skin patterns, leaves, grass..

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Steph Wooster’s Biro drawing of animals from the Bristol Museum, augmented with ripples of stitching

I particularly like the combination of the stark elegant drawings and the tone on tone rippled grounds.

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Biro drawing of animals and kantha stitched ground – Steph Wooster

she also brought a new piece fabric that she wanted some feedback from us – it was a parachute silk sheet, very old and damaged,

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choosing coloured threads to mend the fragile silk sheet

she wanted to mend it – we suggested she start with the weakest area.

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carefully searching for the weakest points ot start to mend using Kantha as a technique

Meanwhile Naomi Clarke has been having fun just using Kantha technique to stitch the patterned cloth and also appliqueing it to the tie- dyed ground – as a technique this could really be developed to make lively fabrics

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Naomi Clarke’s Kantha applique

I had started another project in the break – a quilt based on a painting by Alfred Stockham, an old friend and ex colleague, it is a small painting that had always called to me to be made as a patchwork…

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oil painting by Alfred Stockham

starting in the top right hand corner I ripped some pieces of shot cottons into squares and strips and stitched them down onto a red cotton ground…the coours of the threads made for the nuance of his dragged brush marks

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starting the squares of painting patchwork

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completed square of kantha stitched patchwork

 

 

 

 

 

 

during the last few hectic weeks of launching my book it has been a relief to get back to simply stitching these square transitions from paint to cloth

I am interested to see how each square is in itself a small complete composition

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I am fascinated by this work but it may take some time to get finished

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the start of the first row of patches for the painting quilt.

 


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Best in Show – Ally Pally

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Alexander Palace – the Knitting & Stitching Show entrance

And so to Ally Pally for the annual Knitting & Stitching show, attentive readers of this blog will realise that this is where Heart Space Studios headed to advertise our new book at the invitation of The Cotton Patch, the home of all things patchwork and quilting in Birmingham. For a week I worked at this amazing show – and looking at textiles for so long, I now feel well able to select my personal ‘ Best in Show’ awards to several outstanding exhibitions and commercial stands.

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Kate’s Place blackboard

In no particular order – ” Kate’s Plaice the Stitchmongers’ ” was by far the most amusing, the concept or rather – to use a literary term – “the conceit” was completely thought through, it was highly technically proficient  and the most entertaining piece of textile work that I have ever seen at this event.

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the fish stall

The installation was designed specially for the Knitting and Stitching show by Kate Jenkins, Everything on the stand was completely in keeping with the joke…from the dressed shop assistants that like all good fishmongers knew their subject inside out and wanted to share their delight and knowledge with you, to the stunning array of ‘ seafood’ on offer…

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detail of the central fish counter

below are the details of the counter of fish, the use of material and the shapes and colour are perfectly chosen – you really did want to order and eat what was on offer…..

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For those, like me, who prefer their fish cooked and served, rather than making the dish themselves, the fish platters definitely looked good enough to eat.

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fish and seafood supper

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tabasco and oysters

 

 

 

 

 

 

 

 

 

 

 

 

 

 

the hand written sign below, perfectly in keeping with the whole fish shop ethic, was written to deter a fellow exhibitor, an embroiderer, who pawed the little sequined morsels as they were being arranged, and was extremely rude when he was asked to stop! This is such an unusual occurance  – stall holders being rude to anyone, let alone one another that I feel it deserves reporting.

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thee sparkly lobster and the necessary notice!

Among the exhibition, chosen from recent graduates by the Embroiderer’s Guild, was this enigmatic large photographic  hand embroidered panel by Susana Borobia, part of an small body of work called ” Awaken Threads…this spoke ro me on lots of levels – it reminds me of my own work developed through a fascination with White Work techniques and the difficult transition from cloth or fibre to other materials…here is it managed elegantly and artlessly.

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stitched photographic print by Susana Borobia

 

 

 

 

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Detail of the stitched white work on the photograph

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Ihave to admit that I chose to ignore  the notice not to take photographs; it was early in the morning, I couldn’t find the student to ask and thought that she may prefer it to appear on this blog than me to ignore her work.  I have had this problem of no photography before …but it is a odd embargo now in the age of instant imagery and social media and who can possibly copy this ??????…that’s my excuse anyway.

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Robert G Ely, the perfect example of ‘ if you’ve got it flaunt it ‘  wearing his woven silk braces and bow tie

It is difficult to show a range of different work in such a small space as a booth in the fair – but here Robert Ely has managed to do exactly that – he shows his woven ribbon design work, such as braces and book marks  with his more art based weavings of sea and landscapes – the ribbon dimensions are shared but the colour depth and small scale pointilism is also evident in both sets of work – seen below are the 2 types of work on display

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woven ribbon seascape – by Robert G Elybelow are the 2 types of woven work that Robert was exhibiting

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braces, book marks and other finely woven sauciness.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

the seascapes exhibited made me think that he must live near me on the Severn Estuary, in fact these images are taken from much further down the estuary at Devon, Start Point.

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this image I mistook for my local headland and lighthouse, Battery Point in Portishead, Somerset in fact it is form further down the estuary in Devon

what everyone goes to these fairs of is to stock up their stash! So 2 specialists who always show wonderful collection of the real things…first my old favourite importer of real Japanese fabrics, Euro Japan Links, a Japanese husband and English wife team who have been in business for years- long before their was a fashion in Japanese fabrics; their pieces of fabric neatly folded into colour co-ordinated  ranges never fail to fascinate me.

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Japanese patchwork cottons

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Japanese kimono prints

My other favourite company exhibiting and selling mainly tribal Chinese fabrics and clothing is Slow Loris. I  have written about this marvelous collection for sale before but do so again as Martin Conlon the owner is a fund of knowledge and is really enthusiastic to tell you the stories behind the garments. There always new things to see – well old new things.

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The Slow Loris stand of ethnic Chinese /Tibetan textiles

The other exhibition I liked for its sense of space and calm and truly sumptuous colour was ‘The Other’ coloured work by Vivienne Prideaux paired with the white and neutral work of Amanda J Clayton. They made a handsome area of beautiful controlled textile hangings and panels. I thought that these these glowing panels by Vivienne Prideaux were just so desirable, the depth of texture and range of nuanced colour that this artist builds up with her various tie dyed and gilded grounds is so inspiring – makes me yearn to return to my own studio again.

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small dyed panel by Vivien Prodeaux

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shibori dyed and gilded panel – Vivienne Prideaux

 

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the neutral and range of white fabrics shown by Amanda J Clayton were perfect partners

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Shifting sheets of fabrics installation in “The Other” exhibition.

 

So enough of what I like – what about my exhibit…i was given a space on The Cotton Patch stand, to show and sell my new book, Little Ribbon Patchwork and Applique – comprising designs based on Kaffe Fassett’s ribbon collection for Renaissance Ribbons

several people helped me to set up and run the stand during the week …

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Setting up the stand with Cotton Patch ‘s Nik Sewell sorting out the Kaffe Fassett books and Jane- Matie Mahy organising the Heart Space section

several people helped to run the stand with me for the 5 days of the show….

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Ilaria Padovani form Heart Space Studios demonstrating how to make a ribbon yo yo on the stand

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Susan Berry who had the idea of the book in the first place

The Ribbon beads have proved to be most popular things we show how to make in the book, see the next post down!

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Stuart from the Sewing Bee programme and Jane- Marie Mahy  with the ribbon beads – sort of says it all really!