Taming The Wilderness - detail

Or, in my case, make a quilt!

I should be in the middle of a busy teaching schedule here in the studio but I’ve find myself with two ‘empty’ weeks. I have been isolating for the last week and have had to cancel next weeks workshop due to students having problems.

Why isolating? Well it’s a bit complicated. Our grandson lives part time with us and his dad, our son Joe, and part time with his mum and her parents. Last weekend a person in his mums household tested positive for Covid so everyone in the household was contacted by track and trace and told to isolate. Including our grandson who had just switched to our house and so was told to spend his isolation period with us. Isolation is tough on adults and would be totally cruel on an 11 year old who is pretty worried and upset. So we have been isolating as a household …. hence I had to cancel the workshop. The students have been wonderfully understanding, the family member with Covid has recovered and we’ve all been testing negative on our daily lateral flow tests. Panic over.

Some people might see two ‘empty’ weeks as an opportunity to relax, chill out, watch some TV etc etc. Hmmm …. so I have done a little bit of that but I just don’t have it in me to not find something ‘productive’ to fill the gap. Hence the quilt. It’s only a little one (30cm by 196cm high) but I’m rather pleased with it. I’ve called it Taming The Wilderness (detail above) and I will be entering it into a Contemporary Quilt exhibition called ‘Uncharted’. If you’ve been reading my blog for a while you’ll know that I work in series and don’t make my quilts with entry to themed exhibition in mind. But if the theme fits with a series that I’m working on then I will make a piece that fits a specific size requirement. Which is the case with this one.

My current series is called Cadence and is about the joy of process; the joy of making. I’m using my favourite colours and my favourite techniques …. I’m making comfort art in an uncertain world. Cadence is a musical term and I used a specific type of cadence to determine the layout of Cadence 7 and plan to use another type of cadence for my next ‘big’ quilt. So musical connections are generally buzzing around in my head.

During the pandemic I have found myself listening to more and more instrumental CDs and have been playing a lot of music by a band called Explosions In The Sky. One of their CDs that I brought a couple of months ago is called The Wilderness. It has the most fabulous cover art by visual artist Jacob van Loon that I could loose myself in for hours. In my head Uncharted = Wilderness = my new quilt. The jurors will probably consider the connection too tenuous but making this quilt has filled my empty week and made me happy.

And happy is good.

Taming The Wilderness (detail of backface)

After a couple of weeks break due to teaching I have spent the last few days finishing my latest art quilt. It is called Cadence 7 and I’m sharing a detail from the piece. Yes it is made from breakdown printed fabrics. Yes turquoise features heavily. And yes there is lots and lots of straight line quilting. But it needed something more.

The addition of a thin strip of complementary colour and some curved lines have helped to bring the piece alive. I absolutely love it and hope that some of you will get to see it in the Art Quilt section at Festival of Quilts at the end of July. Because the quilt is big (297cm wide and 101cm high) it should get displayed on a white wall …. I design my pieces to be exhibited on white walls and don’t enter them into shows where they would be displayed against black cloth. My art, my choice!

The next couple of months are super busy. As well as teaching my own workshops I’m delighted that Christine Chester and Ruth Brown will also be teaching in my studio. There are a few places left if you fancy a fun packed staycation in (hopefully sunny) Manchester. Details on my workshops page. And then there is Festival of Quilts where I will be demonstrating breakdown printing on my stand in the Quilt in Action area. I have everything crossed that it goes ahead - it will be such a boost in so many ways!

And whilst I like to fool my husband that I can bend time to get a couple of extra hours out of every day the reality is that teaching is all absorbing (and knackering) so I’m unlikely to get much ‘art’ time. I certainly won’t have the time to start the next Cadence quilt but I might find time to do a little sampling of some new ideas ……..

Being an artist is more than just making art. At least it is for me as I believe showing work to others is an important part of calling myself an artist with a capital A. In a perfect world exhibition organisers, curators and galleries would somehow know that I had just finished a piece of fantastic art and would be beating down my door to get at it …..

Unfortunately it doesn’t work like that and so a significant part of most artists life is self-promotion, filling out calls for entry, submitting exhibition proposals and, if successful, shipping pieces across the world (which is increasingly difficult and worthy of a post in itself). As you may have noticed I’m pretty active on the self promotion front but I have to admit that I’ve let some things drift whilst I have focussed on teaching and writing.

Before I got distracted I kept a file of potential ‘calls for entry’ that looked at least 18 months ahead so that I could identify ‘targets’ and work to have suitable quilts ready for specific dates. I work in series and have found trying to respond to other peoples themes rather disappointing. I discard many opportunities to exhibit because of that and only keep a list of those that don’t have specific themes or have themes, such as ‘Structures’ that might fit with my work. Or I did. Having a few scraps of paper in a random pile does not count as a proper list. I have put that right and now have a well organised file of ‘calls for entry’. Most are in the quilt world but I’ve also decided that now is the time to venture out in the bigger textile world. Having a list doesn’t mean success. The more you submit work, the more rejections you get. But, as the saying goes, you have to be in it to win it’!

The other thing I used to be very disciplined about was submitting proposals for exhibition, either on my own or with others. Curators are often working one or two years ahead. Some artists prepare a collection of work and then submit proposals but most, myself included, submit proposals when they only have ‘work in progress’ and maybe one or two finished pieces. I haven’t done that for a long time and I could kick myself as there is almost certainly a back log due to Covid. And the success rate is even lower than ‘calls for entry’. I don’t have anything in the pipeline and realistically can’t expect to having a solo exhibition for at least two or three years. Ho hum!!

The good news though is that I am now feeling very happy with the work that I’m creating. To the extent that I’ve submitted a couple of pieces to a couple of calls for entry. I can’t share images of the full quilts but have included a photo of the detail in one piece above. And, more importantly, I know that I have a new series. By that I mean that I have an inspiration / set of ideas that has enough breadth and has engaged me so deeply that I know I can produce more pieces of art exploring the same theme. I am calling this new series Cadence as its inspiration has come from the regular and repeated process of making breakdown screens, printing fabric, washing fabric, cutting fabric, arranging and piecing fabric, layering and stitching. And because I think it is a lovely word.

Feeling connected to my process again is wonderful and means that I have the confidence to write new proposals for exhibition. To look further ahead on days when the present is so dark. So watch this space!

To say 2020 hasn’t gone as planned would be a bit of an understatement. At the beginning of this year my focus was on making art and on teaching. I had intentionally delayed plans to grow my online shop and to write my second book as I wanted to slow down a bit after a hectic 2019 and spend more time with my family.

But in March everything changed. With no income from teaching I quickly switched gears and spent time developing my online shop. Like many people I really struggled to focus on anything but found comfort in printing fabric to sell.

As my focus returned I decided to take a few weeks ‘off’ to make art. The pieces that I had been working on before March felt completely irrelevant. I had zero desire to work on that series so, like many other artists, I decided to use my response to the corona virus as my inspiration. I followed my usual creative process - I chose my colours first then printed fabric before thinking about composition. Whilst I enjoyed the process the two quilts I created were a bit disappointing. In fact one of them is just plain ugly. Under normal times I would have thrown those in the bin and kept going. I felt frustrated but didn’t have the emotional strength to figure out why they weren’t ‘right’.

Instead I threw myself into writing my second book. I took breaks to teach when restrictions allowed but I can honestly say that I stopped thinking about making art. I did enter a quilt I had made at the beginning of the year into several juried exhibitions but it was rejected over and over again. Normally this would really upset me but it didn’t. I like the quilt and would happily hang it on a wall in my home but just don’t feel as connected to it as I do my earlier work.

Eventually the book was finished. Having seriously over worked myself I was forced to really slow down for a few weeks. My mind turned to making art. And I realised that I have lost my way. I have lost the sense of connection with my work and I have lost the habit of making art. My life has changed completely in recent years. I no longer work in industry, based in an old cotton mill, surrounded by heavy machinery. I work in my studio. I no longer travel around the world with my job. Even before the pandemic I barely travelled anywhere and now I spend 99% of my time inside the boundaries of our property. I no longer have a clean separation between my art and my day job. My art is, or at least should be, part of my day job.

When I changed career and started teaching it was so that I could combine being an artist, cope with the increasing care responsibilities I have and still pay the bills. I was adamant that I wanted to be an artist who taught rather than a teacher who makes the odd bit of art. It was inevitable that there would be periods when my focus was 100% on growing my teaching practice and writing books but I failed to recognise that the connection I felt to my art was in part driven by the fact that previously I worked on my art everyday not in chunks of a week here and a week there.

Local restrictions currently prevent me teaching and I fear that this will continue into the new year. I could spend this time starting my next book, creating more thermofax designs for my shop, or developing online workshops but I’m not. I’m spending the time looking inwards, trying to reconnect with my art and figuring out how I sustain this once I am able to teach.

I will write about this in more detail next time but I will share something I have done that is helping me. It is a little thing but I have, temporarily, removed the big plastic ‘Covid safe’ screens from the studio and have rearranged the tables. Whilst those screens are necessary they just make me want to cry. By removing them I feel like I am reclaiming my creative space. A little step towards reconnecting.

Still 3 (Rest)

I have a few things to share. All of them warm my heart.

Firstly, I am delighted to tell you that I have a virtual gallery, called From There to Now, at Beyond the Festival of Quilts from Thursday 30th July to Sunday 2nd August. Because we can’t all meet in person the organisers have put together a collection of online workshops and lectures, virtual galleries and an online shopping hub to entertain us when we would normally be enjoying the biggest quilt show in Europe. The links aren’t live yet but you can check out the workshops and other offerings here.

The gallery features some of my favourite quilts from the last seven years, including Still 3 (Rest) shown above. Some pieces you will have seen before, but some may be new to you. I even recorded an audio track that should play as you look at the quilts. Which was rather terrifying.

Secondly, if you live in Manchester, you can see a few of my smaller pieces at The Oystercatcher restaurant in Chorlton. They contacted me at the beginning of the year to ask if I could lend them some art as they like to show (and hopefully sell) interesting pieces by local artists. I was really rather chuffed … but then lockdown happened. Thankfully things are better and the restaurant is open again. The photo below shows three of my smaller ‘Kilns’ pieces, each displayed in shadow box frames. I miss having them on show in my studio but it is kind of cool to think that lots of people will get to seem them.

And finally, a big thank you to everyone that has brought one of my charity bookmarks. And to Ruth Brown for donating some books to the cause. We have raised another £90 which I have just transferred to The Trussell Trust. Their work is so important. Nobody should go hungry in the UK but sadly many do. Please have a look at their website if you want to know more about their work. Or maybe buy on of my bookmarks. There are still some left. £5 each and I pay the postage. .

Well maybe not quite as busy as 2019! A full teaching schedule, writing and publishing my first book, an absolutely amazing solo gallery at Festival of Quilts and unexpected drama on the home front meant 2019 was a bit of a roller-coaster ride. No wonder that I have spent a lot of the Christmas break sleeping!

However I did get into the studio most days even if only for an hour or two and spent my time working on the first two full pieces in my new series. I have given the series a working title of ‘Democracy’. I could have called the series Brexit but I want to make pieces that express my broader concerns about politics, the proliferation of lies and fake news and the way our political leadership is changing. And although the individual quilts may reference events in the UK I hope they will resonated with people in other countries. Despite the rather gloomy subject matter I am thoroughly enjoying working on a series. And, as per usual, I am spending lots of time machine stitching straight lines!

But the holidays are over and it is back to work for me. 2020 got off to a flying start - yesterday I gave a talk to the Manchester Branch of the Embroiderer’s Guild. This was the first of 8 talks I’ll be giving this year and the first of 4 that I’ll be giving to branches of the Embroiderer’s Guild. I arrived with a car boot full of quilts including some of the pieces I’ve exhibited in recent years. And, as you will already know, most of my pieces are big. Really big. Which means that some are quite heavy. So a big thank you to the ladies and gentleman who volunteered to hold them up! The difference in scale between my work and some of the pieces being worked on in the room could not be greater.

I also took along some older quilts and some sketchbooks from the City & Guild’s Diploma I did with the lovely and talented Linda Kemshall many years ago. Whilst doing my diploma I figured out that if you work onto separate sheets rather than directly into a sketchbook you can choose what you share. And you can back engineer a lovely looking sketchbook after you have finished making a quilt. OK, so I learnt that you could cheat. But much, much more importantly I learnt that I didn’t need to work into sketchbooks to produce art. It might not have been the intention of the course but this learning was an big step forward for me.

As well as talks I have a full teaching schedule this year. Most of my classes for the first half of the year are sold out but I still have odd places on my Simply Screen Printing workshop and my Print Your Palette workshop. I will also be welcoming my first three guest tutors into the studio. The workshops with Alice Fox and Christine Chester are sold out but there is still one place left on Ruth Browns Books for Textile Artists.

I will be demonstrating at The Creative Craft shows in Glasgow and Birmingham in March and will have a stand at this summers Festival of Quilts. And I am delighted to have a gallery at the West Country Quilt and Textile Show in August. Phew! There was me thinking it wouldn’t be as busy as 2019!

Understanding and embracing your own creative process is incredibly powerful. It takes away that ‘where do I start moment’. It helps you ride out those days when everything you print looks like a disappointing fuzzy, mucky mess. It increases the chances of printing a fuzzy, mucky mess when that is just what you want. And it allows you to wrap yourself in the gentle warmth that comes from creating. Just what I need right now!

There is no ‘one size fits all’ when it comes to creative process. It’s a deeply personal thing. How many articles have you seen that proclaim that working in a messy, chaotic studio increases creativity? I saw one this week and sighed (again). If you can work in a mess then why would you stop to tidy up? But if a mess distracts you then cleaning up before you move on doesn’t make you less creative. It means you understand your creative process. Some people like to work through their ideas thoroughly in a sketchbook, others just jump straight in and accept that they may make some ugly ducklings before they successfully transfer what is in their head to their cloth. Some artists like to complete one piece of work before starting another; others find it more productive to have multiple pieces on the go. We’re all different.

Those that have been reading this blog for a while will know that once the ideas rattling around in my head have reached ‘critical mass’ and are demanding to find expression I start by experimenting with colour. Once I think I have blended the right colours I print a few metres of fabric using marks that sort of fit with my ideas. I don’t really stress about what I actually print - I am using the process to decide if my colours are good. Colours which look OK as small squares scraped onto white fabric don’t always look OK when used in large areas alongside other colours. More often than not I will then adjust my colours and print some more fabric. In the series that I am currently developing I did this a couple of times before having a big rethink and starting again with a different colour family. My subject / inspiration is the current state of UK politics. Irrespective of where you stand politically this is a pretty dark and depressing subject so my initial colours featured drab blacks and brown colours. Hmmm. Turns out that I just can’t work with dark, depressing and drab colours. And why would I keep working on a series if I’m working with colours that make me miserable? Tortured artist? No thanks.

Fortunately I had found the right colours before our recent domestic hiccup. I don’t think I could have got back into the studio if I was making myself work with colours I didn’t like. Instead, with my colour family selected, I have been able to spend a few hours here and a few hours there printing cloth. I warmed up by just adding colour to cloth using an open screen and some thermofax screens I had already made using newspaper headings from the day after the illegal prorogation of parliament. As I printed I got more ideas. Using block text to create positive and negative shapes. Combing breakdown printing and text. Using my new Brother Scan N Cut to scale up and make stencils of scribbled patterns. Varying scale. Utilising different parts of my colour family to create ‘light’ and ‘dark’ cloth. Using different fabrics such as linen to introduce slightly different textures. Some pieces went through just one process but most had two or three layers of mark. I love every part of this process, even washing out my fabrics and washing up my screens. Happy hands, happy heart. Fabulous!

As I was printed I started to think about construction. I’m a piecer. Although I used wholecloth for my series inspired by coal mining, piecing is my comfort zone. And comfort zone feels good right now. I cut some different size apertures from paper to help me decide what size pieces to work with. I like the idea of letters, words and sentences being partially seen so opted for narrow, long pieces. I cut up about a quarter of each piece of fabric then laid the pieces out on my design table in a random way. No cherry picking allowed!

At this stage I often decide that I need to print more fabric - maybe to adjust the colour balance but not this time. Although I did think it needed the addition of a complimentary colour to help draw the eye in. I found a reel of red thread and experimented stitching letters and words onto some pieces. The text wasn’t visible enough but I loved the colour - a good, solid, socialist red! So I mixed some textile inks to match the thread colour and printed onto some of my ‘white’ fabric pieces. I still want to play around with this but decided to go ahead and stitch my fabrics together.

And I am really happy. I trusted my creative process and it has got me from white fabric to a layered sample that (just!) needs quilting. My lovely husband is doing well; I’m still tired but, once again, my studio and my art practice is helping my heal.

Just 14 days until this years Festival of Quilts opens at the NEC, Birmingham and along with it my gallery Deconstruction-Reconstruction-Evolution. I’ve just started work on the final three pieces and am reasonably comfortable that I will be ready with a few days to spare. A few days to catch up on sleep and recharge my batteries! I need it. I have really pushed myself for the last few weeks - I have dug deep as the saying goes.

But isn’t it easy to find that extra level of energy when you are doing something you love? Tired but happy sums me up right now.

Of course there have had to be some sacrifices in the name of art. I can confirm that not cleaning the bathroom for 8 days does not lead to an outbreak of plague. That having toast and jam for breakfast and lunch each day saves time. Especially if you leave the bread, butter and jam next to the toaster. And use the same plate. That my family showed a deep level of empathy by not commenting on the fact that I wore the same top for four days. Actually they are all male so probably didn’t even notice. Which also makes not cleaning the bathroom easier to get away with ….

As well as making art I have been busy doing lots of other stuff in preparation for the exhibition. I have a delivery of more books arriving tomorrow, new flyers are also on route and the fabulous Moo Printing are busy printing postcards. And I have been very honoured to takeover the Festival of Quilts Instagram account for three days this week. If you ‘do’ instagram have a look at @thefestivalofquilts.

And now I need to get back to work ….

Time to get real ….. I’ve auditioned fabrics and stitched some samples but now I need to commit to a ‘proper’ piece. And for me that inevitably means a large scale piece. Time for a quick drawing on a scrap of paper to work out exactly what size and I’m off!

First I take all my beautiful breakdown printed fabrics and cut them into rectangles. I don’t ‘cherry pick’, I just cut everything up. I take the cut pieces and jumble them up then close my eyes and pull them out one by one ready to lay them down in rows on my big print bench. I try to make this process as random as I can. The control freak in me would agonise over this part of the process and would inevitable produce a background that would not be as interesting as when I let serendipity happen.

I sew the pieces together into long rows and put them up on my design wall. I like to leave the rows up there for a while and allow myself to change a handful of pieces to balance the colour and composition of the background. Just a handful - I do not give in to the temptation to change too many pieces!

I then prepare my backing fabric and my wadding (I use acrylic felt as I like how flat it is). Having cut them to size I use an adhesive spray to stick them together. I draw parallel lines, 2 inches apart, on my wadding and use a ‘stitch and flip’ process to sew my rows together and to the backing in a single process. This way I can ensure that my rows are sewn together accurately. Yes, I fully embrace my inner control freak for this part of my process! And it has the advantage that I don’t have a separate basting stage. I have always hated basting quilts!

I now have my background. It is ready for me to add what I call my top structures and to add stitch. As with my Ruins series I am stitching lots and lots of parallel lines in my new Print series. I can’t image not adding stitch but at the same time I don’t want the stitching to distract from the fabrics. Simple lines seems to work well with fabrics that contain so much detail. In one of my samples for this series I stitched a word as my top structure. I’ll probably use this idea for one or more of the pieces I will make in this series but for this first piece I had a light bulb moment and have gone in a different direction. And it is a direction that could not be sampled on a small scale piece. Yes my ‘sample’ is 290cm wide by 100cm high and is going to have a prime position in my upcoming exhibition so you only get see these work in progress shots!

There is a saying that fortune favours the brave …. I’m certainly hoping so!