Tuesday, 17 April 2018

a musical interlude

Woodstock, hippies, peace and love - you've got to be a certain generation to even know what I'm talking about. I remember commenting on a "hippie bus" some years ago and my dear heart's older grandson asked "what's a hippie?" How do you answer that one?
One of my favourite songs, and the source of one of my favourite quotes “life is for learning” is Joni Mitchell's Woodstock. I love it for its sense of celebration and idealism (though in the real world, I’m not sure butterflies would have been much use against the Luftwaffe) but which version?
Joni’s – she wrote it, though I didn't hear this version until I sought it out on YouTube some years ago
CSN&Y – she wrote it for them, and theirs was the first version I knew on their wonderful album Deja Vu - here accompanied by hippies and hippie buses

Or Richie Havens' lovely mellow version

Which is your favourite?

Monday, 19 February 2018

very slow Homage

I was rather taken aback to see that I have been stitching this piece, albeit very intermittently, for more than years now. That seems to be taking slow stitch to a new level entirely! I have started, and sometimes finished, several other things in between, and have begun a new phase at Studio 11, having had a rather unproductive year last year for a variety of reasons. Christine and I discussed working to a theme, and seeing how I can express that theme in cloth and stitch. So, something I have had as an interest, and read around for many years - Mesopotamia. I will, hopefully, talk more about that later, but for now, just a few images of my little homage cloth, which still needs a few more stitches to feel complete, but has progressed since my last post.

raindrops - or are they tears?

those extra seeds drifting in the breeze

Nearly there

I hope life is being generous to you.

Thursday, 14 September 2017

Well restored

Many moons ago some strong men built a well so that they and the people living nearby had access to fresh water. The well was marked on the local map, along with one just a little bit down the road, and for a long time that was the only water they had to use – for drinking; for washing; for laundry unless they had a means of storing rainwater; for all those things that water gives to us. 

Time passed, technology improved, we got mains water supply in our houses and the need for a well passed. Some were covered over completely, buried under gardens or house extensions. Ours was given a lovely wellhead and then, at some stage, capped with concrete. It sits at the top of the garden, near the house, just where I can see it as I sit in the sitting room. When we moved in my first thought was to know how deep the well was, and what would be involved in opening it up again. It felt wrong to have it covered. 

In the past people believed that all things were animated by some sort of spirit; water, the earth, thunder, wind, trees, all life was part of a whole that vibrated with unseen energies. All across the world, myths and legends grew up around the powers associated with water. Terri Windling has written a beautiful post about this; as with all of her posts, illustrated with the loveliest images.

I’m not sure about the presence of spirits, I am sure that we have lost that element of respect and reverence for this earth who sustains us and, if there are spirits of land and water, then they should be free. So, this week a nice man called Jo, who comes from the same county where my grandmother was born, brought his tools, strength and expertise and opened up the well again for us, straightening up well head which was going a bit awry, and creating a temporary cover, until such time as a proper one with steel mesh can be fabricated to leave the well open for us to gaze down in wonderment, and for those spirits, if they are there, to rise and fall freely with the rising and falling of the water.

In the meantime, the well guardians are still doing their job. The old stone ones take their ease,

and the furry ones will still be able to perch there, out of the way of the badgers, who come bumbling up in the Autumn to inspect the hazelnuts, from the tree by the well, for ripeness; food to increase their wisdom.

Sunday, 25 June 2017

Alice Fox at Studio 11

We had the pleasure of Alice Fox teaching at Studio 11 last weekend at one of the studio's "Re-Treats". It was the hottest weekend of the year, but that didn't stop us from enjoying ourselves.

We were 8 students plus Alice, and Christine was there to greet us, and to provide us with a lovely lunch each day. The participants ranged widely in experience and practice from my still very novice, to artists who exhibit nationally and internationally. We were asked to talk about ourselves and what "our thing" was to start with. It was really interesting to hear different people's paths to textiles, though I had to confess that I was still trying to find my "thing". Alice talked to us about the way she looks on using found materials as deeply bound up with her desire to tread lightly on the earth and work with the places and things that life brings her.

We spent some time on each of the first three days wandering by the seaside picking up items that could be used for rust printing, eco printing or monoprinting, hence the title of the workshop "Printing the Coast". The first day was spent on Eastbourne beach, on day two it was off to Cuckmere Haven, and day three was foraging at Birling Gap - where I inadvertently discovered the nudist part of the beach. I felt very overdressed! The weather each day was wonderful, the sky pure blue and the sea gentle on the shoreline.

Each trip involved collecting; collecting objects, impressions, marks, feelings, sensations. Alice encouraged us to just sit and be with the place we were exploring, and it was such a delight to do this; to walk and absorb the locality, looking closely, asking ourselves how this place feels, and collecting things to work with later. We took little folded books, which Alice showed us how to make, and used these to record thoughts and impressions; using local materials to colour the paper, making quick sketches, noting down marks on the landscape.

These, along with the things we collected, and other papers and fabrics we had brought, were what we worked with back in the studio. A period of each day was spent with a different process, and with preparing materials for the following day's foraging.

On the first day we explored rust dyeing. Alice noted that although lots of instructions online suggest using vinegar for this, you can also use tea of all sorts - the tannic acid being a more sympathetic catalyst on the collected metals. Vinegar tends to just give you tones of orange, whereas tea will bring all sorts of other greys and deep tones to the mix.

An important element is serendipity - different fabrics will take the marks differently - here a slik noil above, and a dupion silk below show quite a variation in the type and colour in the impression from rusty nails and "stuff"

On the second day we were taught eco printing, using the plant materials we had collected, bundled with fabrics, pressed between the leaves of our books, and placed in the steamer to do its magic. I experimented a bit more this at home. The colours here slightly more subtle than in real life, on a fine weave silk cotton mix whihc really shows the detail from maple and hawthorn

and silk noil again with ash leaves from the Cuckmere walk over rust prints from the beach

The third day was spent monoprinting with the objects we had collected. Mine were mostly made using plant materials and feathers. Other used the printing press in the studio to create collagraphs.

On day four we brought all these things together, using our fabrics, booklets and printed materials to create slightly bigger books. In my case one of them turned into a bit of a monster, albeit a small monster, since each signature is only 7.5x10 cm, but there are twelve of them bound together.

You can see pictures of all our work here, though you may have to scroll down a bit if it's been a while since the course.

As with all previous courses I've been on, along with the teaching, one of the great pleasures is meeting others, seeing what inspires them and enjoying the company of like minded souls. One of the things we commented on during one lunch break was the prevalence of women on this sort of course. Alice said she'd only had a couple of male participants on her previous courses. Something to ponder I think - are we women more willing to integrate creativity into our "ordinary" lives, rather than needing the kudos of being part of a bigger commercial artistic (or sporting) movement? Do we enjoy the participatory and non competitive nature of this sort of artistic expression, or are we simply a self-selected group whose minds and lives move with and are moved by this sort of making? I think a long conversation could ensue - perhaps I'll suggest it to Christine for one of our studio discussions.

So, a wonderful four days, some great fun, many new ideas to absorb and work with, all mediated by Alice's generous teaching and willingness to share. If you want to know more, I recommend her book Natural Processes in Textile Art. It is one of those books I will read and re-read to glean ideas and inspiration.

Thank you Alice and Christine for such a lovely Re-Treat.