Knowing that I have two major exhibitions with Helen Conway in 2018 is amazing. Although I've worked in series for the last few years this will be the first time that I get to create a cohesive body of work knowing the pieces will be hung together. And knowing the spaces where they will hang. Yes Helen and I need to make sure that our work will work together in each space but otherwise the sky is the limit!

And we have well over a year to prepare. We will have about 15m each of wall at World of Glass and a massive 30m each at Stockport Wall Memorial Art Gallery. And we only have just over a year to prepare!! Thank goodness Stockport will be in the autumn.

My hope is to create two completely separate bodies of work albeit both stemming from three parallel series inspired by the urban and industrial landscape in and around both venues. But I have to also be realistic. I had an amazingly productive year in 2016 but my output still fell short of what I need to achieve in the next year or so. I blame my very loud and bossy 'voice'. It wants to work big. It insists on piecing lots of small pieces of fabric. And then it absolutely throws a tantrum if I don't complete the work with hundreds and hundreds of parallel lines of stitch. And, much to Helen's amusement, it even demands that I sew in all my ends.

Something has to change. I have to find a way to make smaller (and more affordable) works that I, but more importantly, my 'voice' can be happy with. So I have set aside the month of April to try new things. Can I make art that can be framed? Can I print onto paper? What happens if I print onto rough linen? Can I fuse my brick walls? Time will tell.

I've written before about how creating a dedicated studio was a big part of my personal development as an artist. We did the original build just over 3 years ago (Story of my Studio) at which point I shared the space with my son Cal who was starting his own picture framing business. When he moved into his own studio in May 2015 I was able to add an additional print bench and another small design wall. At the time I wanted it to be a space that was attractive and inviting as well as practical and that definitely influenced the layout. We built a lovely bench along the back wall that sat in between two small design walls. My sewing table sat between the two print benches because I liked the symmetry of the layout. But over that last couple of years my work has evolved. My pieces are bigger than my design walls. When I print now I make 4 - 6 breakdown screens at a time and have multiple pieces of cloth on my benches. Having to constantly walk past my sewing table to get to one of the benches is good exercise but a disaster waiting to happen with dripping screens. And I've now got a lot more finished pieces that need to be stored carefully.

So it is time for change. Phase 1 has involved removing the bench from the back wall and building a new installation along one of the short walls. The old deep shelving designed for Cal's wood and tools have gone. The garden chair cushions have gone into a new store in the garden. The separate desk used for my computer has gone. Instead Cal reused the bench and built new shelving that is a better size for my needs. We have moved the sewing table and print benches around so that my 'dry' area and 'wet' areas are now separate.

My new 7.5 metre long design wall will be built in 'phase 2' over the Easter weekend and I am open to suggestions on the best way to do this. I'm also going to change some of the lighting. And, if we get time build a book case.

But for now the studio is clean and tidy (enough) that I can get back to stitching. And the sun is shining. Life is good.

It is with very great pleasure that I announce my second exhibition with Helen Conway. It will take place in early summer 2018 in the fanatastic Gallery One at The World of Glass in St Helens. Helen has written a great blog with photos of the gallery and insight into her inspirations and intent for the exhibition. Helen was brought up in St Helens; her family has lived there for several generation. It has provided the backdrop to her development as an artist. In her work she will trace her families lives and tell their stories. She will also explore her own history and the development of her creative process.

My art will continue to explore the urban and industrial landscape. St Helens has a strong industrial heritage. From the glass works which still exist today to the coal mines that now only exist in the towns collective memory. I want to build a collection of works that, whilst abstract, contain traces of man-made structures that the people of St Helens will recognise. Drawing them into the work, triggering memories.

Helen and I have set an ambitious schedule. Gallery One is a big space. As is the gallery at Stockport War Memorial Art Gallery where we will exhibit in autumn 2018. We are committed to creating work specifically for each venue. We are also determined to create exhibitions that are cohesive; where there are links between each others art. It is both terrifying and exciting. I hope you'll enjoy the journey!

I make a mean lasagne. I could eat it every day but hate washing saucepans so guess what - I don't want to make lasagne every day. But I love all aspects of breakdown printing and I could very happily spend every day making beautiful fabric. I love mixing the dyes and preparing the screens. I love pinning out my cloth and pulling the screens. I even love washing my screens, washing the objects I use on my screens and washing my printed cloth. Because I love it I have spent hundreds of hours learning to  sort of control the outcomes and it now forms the foundation for all of my art. I made my first breakdown screens during a Committed to Cloth workshop in 2010. I wasn't really aiming for anything - I just picked a couple of colours and made two screens.

I printed the golden yellow screen first by pulling through with more golden yellow. I wasn't that impressed. Then I pulled the petrol green screen on top. I was worried that I had lost all the first layer. And then I washed the cloth and feel in love.

The joy of breakdown printing for me is in the detail. Those tiny areas of texture that are impossible to create in any other way. When I made that first piece of printed fabric into a piece of finished art I added stitch that mirrored some of that detail. Today I use breakdown in a very different way but thought you might like to see how I started!

If you heard a strange noise yesterday afternoon that was me, breathing one massive sigh of relief! Although I know that the way I develop new ideas has worked in the past there is always an element of uncertainty, a whispering voice of doubt. Combine that with a measure of performance anxiety (last year was too successful, what if I have already peaked etc, etc) and it is maybe not surprising that I have felt rather nervous and hestitant in the studio these last couple of months.

But yesterday everything came together and I made the first panel in what will be a five panel piece inspired by an old gas works in Salford. Creating something that 'works', that makes me smile, that I love is a wonderfully energising feeling. Of course it will be good if other people like it too but for now I am doing a happy dance!

Earlier this week US art quilter Sue Bleiweiss posted a 'call for entry' called Threads of Resistance on the SAQA members site and publicised it on the SAQA yahoo group page. There followed a vitriolic exchange of views in which Sue and others were verbally abused. She broke no rules - SAQA is an organisation that promotes quilt as an art form and encourages it's members to share information on exhibiting opportunities. The bitter exchange of views moved onto Facebook.

The debate (and I use that word loosely as debate requires respecting others right to have an opinion) seemed to split in two. Much of it was between two sides of the US political rift. But much of it was also about whether it was OK to post 'political' stuff on social media. There was a suggestion to flood Facebook with art rather than angst.

Which struck me as odd. Art is an expression of the individual, their insprations, their beliefs, their politics. It can be filled with angst. It can be brutal and it can be uncomfortable to view. It can be beautiful and it can fill the viewer with joy.

And you can walk away from it if it offends you. Just like you can ignore a 'call for entry' on a subject you don't agree with. Just like you can unfriend that person whose views you find hateful. But if all that hatred means we become afraid to express ourselves. Well then we are truly f*!k*d.

I started sampling ideas for my new series using a selection of dyed fabrics pulled from my stash. Early outcomes did not exactly grab me so I also tried using stencils to take colour out (discharge) and to add colour. Interesting but still not right. I added back colour. And got rather depressed until I decided to change the scale and to add stitch. Bingo!

The sample above is definitely a step in the right direction. However looking at it I realised that the colours of the appliqued strips were not really 'me'. Being dyed fabric, they lacked the texture I usually work with. Pieces from this new series will be shown alongside pieces from my Ruins series in the exhibition I am doing with Helen Conway at Stockport War Memorial Art Gallery in Autumn 2018. So I pulled out my colour diary and compared my little sample with the colour family used in Ruins. The background for the new series uses a colour family made from black and petrol green. In my Ruins series I use petrol green and a colour family made from rust and black. Doh ... it seems so obvious now!

Wall building is getting a LOT of bad press right now but not all walls are a pathetic attempt to pander to a small misguided minority. (OK - political rant over). My walls are going to be things of beauty that invite people in for a closer look and, hopefully, make them smile!

I am in the middle of making my first, full scale wall / background for my new series. I have given the series the tentative title 'The View From Here' or View for short. The advantage of working in series is that once I get going I have idea after idea that I know will 'work'. And I can often create new pieces in the series in what is for me a relatively short period of time. The disadvantage is the hours and hours I put in up front and figuring out what that means when it comes to planning and pricing my work.

I have been tracking my total studio hours for a couple of years but as I started to work on View I decided to collect data on how those hours were spent. So here are the stats so far ....

• Printing = 50 hours (made approx 15 square metres of cloth which, based on experience, could convert to about 10 square metres of finished art. However I can already tell that I have too high a proportion of light pieces so will need to print more medium and dark fabrics to 'balance' my palette)
• Research and sampling = 17 hours (and still more questions than answers!)
• Cutting bricks = 7 hours (yes I cut all the printed fabric into pieces 2.5 x 6.5inches)
• Building my first wall = 11 hours (layout complete and about half way through joining the bricks into long strips)

So that is a total of 85 hours and still a long way from even knowing what the first piece will look like. I am making an investment in time (and money) doing something I love and I hope will give pleasure to others. Not building a wall on borrowed money that divides people and makes the world a scarier place. (Rant definitely over, sorry).

None of us arrive where we are fully formed. When our first child was born my husband and I barely knew how to change a nappy. We learnt how to be parents 'on the job'. Didn't always get it right (sorry kids!) but we had no choice but to keep 'practicing', to keep learning.

My development as an artist has come from a mixture of intentional education and 'on the job' learning. Many years ago, I decided that I wanted to learn more about design and how to take the step from using commercial fabrics to using my own fabrics. So I took a City& Guilds Certificate at South Trafford College followed by a C&G Diploma with the lovely Linda Kemshall. I learnt a lot about design, and got to sample many different media and techniques. But my biggest 'take away' was that I'm not a sketchbook person and that fully designing a piece upfront is not for me.

Studying with Linda gave me the confidence to sign up for masterclasses mostly with Committed to Cloth (C2C). This was a significant investment in time and money over a period of a few years but worth every penny. Some classes were technique based but all included an element looking at how to develop ideas when working directly on cloth. The best class was Colour Families with Leslie Morgan at C2C - a simple idea that bears fruit every time.

But my deepest, most effective learning has been 'on the job'. My decision to stop taking classes, to spend 20 hours a week in my studio and to work in series was the best I've made. It has given me the time and the framework to take the techniques I learnt in class and make them my own. To develop my own style, to find my own voice.

I guess I may take another class at some stage but right now the art I am making is being built with my own bricks.