Tag Archives: project

Wild flowers and strange times

It’s been a day of getting on with things – workshops to prepare and exhibition dates looming – but all with the threat of postponement or cancellation as the Corvid19 virus swirls around the globe.

I read a very lovely article by someone who has to stay home most of the time for health reasons, advisng on good practice for people new to self isolation or working from home. My big tip after a stressful weekend is to limit news and social media viewing – so I can get on with making rather than fretting! ( Bimblings by Josie George if you’re interested)

So today I have got all ready for a workshop with 60 children tomorrow (I know- right!) We’re going to be silk painting lovely, colourful scenes that the children have designed. So that’s 60 frames filled with silk, 30 pipettes filled with gutta, silk paints packed, palettes and fine brushes packed, samples made and some of my work packed because I’m also going to do a short presentation to the whole school about my work as an artist – they’re on a two week Arts focus – lovely to see!

This afternoon I’ve been hand stitching different elements of my next (Extended) Urban Efflorescence piece – this is one of the words I’m including

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and of course it took me right back to thinking about the crazy ongoing situation where people maybe aren’t thinking about sharing enough as they stockpile toilet paper and bread flour! Wouldn’t it be lovely if we came out of this crazy period as expert bakers! I like the idea of the nation spending their time in self isolation learning the magic of sour dough and plaited loaves! My street has set up a Whatsapp group so we can help each other out if necessary – I’m sure baking tips will soon be flying about but today’s chat was mainly about whether you cn buy a guillotine in Lidl and who in the street might be up for knitting by said guillotine! Needless to say – I’ve had to mute the conversation so I can get on with some work!

Here’s another word that seems relevant  – trying to be content with the shrinking focus of things, I have lots of books to read, sketchbooks to fill and threads to use so that will keep me content!

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We’ve had to postpone a pretty big event we’d planned for the weekend so we’re trying to remain content with the knowledge that it is just a postponement and not a cancellation – at least I’ve got more time to finish the bunting I’ve been making!

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The work I do in hospitals is being postponed too, understandably hospitals are trying to reduce footfall where possible. So, I’m going to post some project ideas on the Facebook page for the organisation I work for – why don’t you bob over and take a look? Its @RoomforYouArtsinHealth you never know, there might be something you’d like to share or have a go at making to keep you contented as we go through this strange time 🙂

 

Do Your Own Thing..

Tuesday was such a lovely day! My first public workshop of 2020 – held at the lovely Shipley Art Gallery in Gateshead.

I started out early so I could squeeze in my regular Tuesday swim before the workshop and managed a kilometre even though I forgot my goggles 🥽- tried swimming with my eyes shut NOT a good idea when you’re swimming in lanes !

The workshop was designed to share methods to help develop unique and personal approaches to creating art – in textiles or other media. First, a talk about how looking at other artists work can help us to make progress with our own work. Then some practical drawing exercises.

Working with a lovely group,I talked about what is ‘Critical for Creativity’ using a methodology I learnt in my first teaching post  – last century!!  We explored how to follow up when a piece of art catches our attention, using a bit of detective work to find out more about artwork and artist – no stalking! I used an example from my own experience – talking about how my love of Vincent van Gogh’s work influenced the creation of  my piece ‘Shingle and Stars’

Shingle and Stars

Shingle and Stars, the influence of Starry Night by Vincent Van Gogh

Having talked through how to analyse an artwork – and spend longer than 15 seconds looking  at it! We went through to the gallery and everyone chose a piece of work that appealed to then to try the methodology themselves. I then talked a little more about how I continue to use this methodology and how it helps me to develop as an artist – stressing the importance of continuing to ‘feed’ ones creativity and imagination by learning from other artists. I shared the impact that more recent art ‘crushes’ have had on my own work such as Joan Eardley . The power and scale of her work has encouraged me to work bigger, and her use of collage encourages me in my choice of processes.

Then it was time to tackle drawing – now I know from my experience with students and workshop participants that those who stitch often say they can not draw! But I want to encourage drawing as a way of developing ideas, experimenting and… enjoying the process! So, I put together a series of tasks that would encourage the group to engage with their chosen subject matter and think about what exactly they needed to get from a drawing.

We started by working very quickly, with a range of media and NO Rubbers! When there is only a minute to draw, what do you focus on? The form, the texture? Mark making? Working on sketches for a minute or two can be surprising – it’s amazing how much information you can capture and, as you’ve only spent 60 seconds you don’t feel that pressure for it to be ‘good’ or look ‘right’. I encourage participants to make notes about the drawing experience as we go on …. what works, how it feels, what ideas pop into their heads whilst doing the drawing, the process of drawing can help to clarify the ideas of the artwork to come.

We finished the afternoon with a more extended piece – but drawing using collage – a process that really helps me in my applique and free motion embroidery work.

As with any workshop – I wouldn’t ask participants to do anything I haven’t done myself! So here is one of my 5 minute sketches – and the developing textile work. Once again, the magic of drawing has helped me extend the ideas I have for a piece of work and set me off down another creative pathway…lets see where this one leads to!

Weeds

A continuous line drawing – 5 minutes

 

Weeds

Weeds transferred to soluble film and ready to stitch

Weeds - stitched

Free motion embroidery and applique ready to wash off

I think that I will do several fragments in this way to add further layers to my Urban Efflorescence pieces. I only hope the participants got as much out of the workshop as I did!

I will be running more workshops this year, at the Shipley and independantly, please get in touch if you’d be interested in booking a workshop for your group – and head over to my workshop page for upcoming events!

 

 

Work in progress

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At the launch of our exhibition for Room for You I had my photo taken by Bill Peronneau

So here I am engrossed in teaching needlefelting. A workshop I often run for patients I work with in hospitals. We had the great news this week that funding will continue for another year. So I can continue to dream up crazy installation ideas like this recent one…

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Patients wrote on the rainbow to share what or who helped them get through Radiotherapy, we needlefelted rainbow coloured raindrops to add to the pom pom clouds – patients always find needle felting therapeutic 😉

Progress through process

New work is my focus, I’m applying for several, larger shows so I’ll need work to display (& sell!) I’ll let you know which shows if I get accepte!

I would like to make larger pieces but these are obviously time consuming, and more difficult to transport. So, I’ve decided to focus on 40×40 landscapes for a while- my plan is to get 4 done in the next 6 weeks 😱 that’ll keep me out of mischief (but p’raps not too busy for school and national politics 😉)

Our family week in Wales was fantastic- why did none of you tell me sooner how gorgeous West Wales is??

In between sea swimming and ice creams there were cliff walks on the beautiful Pembroke Coastal Path and visits to Tenby and St David’s. My sketchbook didn’t get quite as much use as I’d hoped but my mind is full of experiences and my photo album is full to bursting.

So this week I’m sketching out the four images that I’m hoping to develop. I’m drawing them to the chosen scale and taking a quick tracing of the main composition to help with building up the appliqué.

Then I get the paints out. I’m using watercolour, water based dyes, inktense and some acrylic. When I paint, it is never the final stage- it is very definitely part of my process; painting allows me to assess how I am going to construct a piece. I can think about colour, texture and composition.

When I’m mark making with brush or pencil I’m thinking about how to transfer it to cloth and stitch. When I apply colour I’m thinking about what fabric and threads I’ll need (thanks Oliver Twists for the threads 😉) The process of painting and drawing helps me to develop my composition ideas into textiles and work through any issues.

I’m pleased with the two images I’ve developed so far, now I’m deciding whether to crack on with these in fabric, or to focus on getting the other two designs developed to paint stage. I’m tempted to start the textiles but I think it would be interesting to get the 4 designs done and then work on the four pieces.

What would you do?

Dancing with an Angel

21 years of an Angel Exhibition

Thursday 31 January – Saturday 30 March 2019

The Gallery, Gateshead Central Library

This week sees the opening of the 21 Years of an Angel Exhibition. The show marks the end of Angel20, a yearlong programme of activities in Gateshead which began on the Angel of the North’s 20th anniversary in February.

I delivered a one-day workshop as part of the programme. We made needle felted replica angels. During the workshop, participants learned how to create and felt over, a wire armature.

The basic armature is covered with polyfill – this can be needle felted to build the form, saving the need to use wool fibres at this stage.

The shaping of the Angel was entertaining 😊

It’s important to keep things simple at this stage though as greater definition can be shaped once the wool fibres are added.

We used rust coloured merino tops to match the Angel’s construction materials- it’s made of weather resistant Cor-ten steel, containing a small amount of copper, which forms a patina on the surface that mellows with age.

Details were added with a deeper brown fibre.

Then thread was used to add finer details.

Each angel is mounted on a ‘landscape’ created from a fish tin and fabric

Notes from an exhibition 

Joan Eardley -A Sense of Place

Joan Eardley has become a favourite artist of mine. An exhibition of the Glasgow Girls at the Kirkcudbright Art Gallery introduced me to her paintings of Glasgow children. I was drawn to the use of collage and lettering in the background, and the bold colours. Curious to find out more, I began online research and was struck by the energy Eardley captures in her land and seascapes. I tracked down an exhibition in the Clydebank Gallery  a year later  – and worked a visit into that summer’s holiday itinerary (!)

It was fantastic to be able to observe first hand the work that I had seen on line. The landscape paintings are around a metre square,the seascapes even bigger, as if she was trying to make life-size representations of the scene in front of her, so powerful. Imagine trying to manipulate a canvas or board that size outdoors in Scottish weather – Summer and Winter! The texture and colour were inspiring. As I stood in front of the work I tried to follow through the process; looking at underlying colours, often very strong and dark, the way thicker paint was applied in parts of the composition and, how in places real plant matter was embedded in thick layers of paint. There was a book supporting the exhibition. I bought it and took it home to study.

I started trying to build the ideas I gained from studying Joan Eardley’s work into my own textile art; stronger colours, more consideration of composition, thinking about how and where to build up texture. Learning from another artist is empowering, encouraging creativity. The biggest lesson is that reminder that in working in situ ideas and feelings flow into the work.

Then, in December 2016, I found out that there was to be another, more comprehensive exhibition of Joan Eardley’s work at the Scottish Museum of Modern Art in Edinburgh – it took me til’ the February Half Term break to persuade my family that they really wanted a weekend in Edinburgh! We compromised – I took them to the Camera Obscura, they accompanied me to the gallery. We met up with friends there, it was good to be able to discuss the work with a great pal – and ex art teaching colleague (Hello Linda!)

This exhibition includes work from throughout Eardley’s all too short career. Completed paintings are supported with sketches and studies, photographs and artefacts and a wonderful film of the artist at work. The work is divided into five rooms, themed through chronology and subject matter. Again, I was entranced by process, the use of media, expensive paints used sparingly then splurged or padded out with filler to create texture. Sketchbook pages stuck together to make a big enough surface to draw on. Collage worked into paintings and sketches. Again, I was struck by the sense of life and energy in the work. And there was another book…

I got the chance to return to this exhibition on Saturday. It was a very short follow up visit- only an hour to go through the five rooms. I was on a weekend trip with the 12 year old, ostensibly to visit the Knitting and Stitching Show and hit the shops with her left over Christmas money. So, we negotiated and an hour was what I got! Focus and determination was the plan. In each room, I studied the pieces that most grabbed my interest, standing in front and typing notes directly on my phone (must get faster at touch typing!) So what follows is the transcript of those notes, with images from the books I bought to remind me. Even reading through them now I get that rush of adrenaline and excitement – it is so important to continue to study other artists’ work. It gives me enthusiasm and ideas, a sense of determination to continue with my work so I get to what I want to achieve. The exhibition is on until the 21st May 2017. I don’t think I’ll get another chance to see it but I have my memories – and I hope there’ll be another one soon….

Fields Catterline 

Be bold bright blue and orange ochre in with greens and charcoal

Obvious layers thick rough texture

Brush marks long embroidery stitch

 

Field with wild flowers 1960-2



Dashes and squiggles with patches on top

What happens if I add larger pieces (organza) over small?

Marks go in & out of focus

Turquoise lime green salmon pink

July Fields 1959


Flat patches either side of texture flower wedge

Patchwork raw edges

Thick thread stitching in texture

That blue again

Summer Fields 1961 


Speedy marks texture change direction

Colours layer and smudge together

Small clear details catch the eye

Real plant matter smothered in dripping paint

Harvest 1960-1


T shape composition

One side blurred – yellow ochre

Just fabric- minimal stitch

Centre -green/ochre heavy texture

Right- greens clearer bold marks over thinner paint

Fields under Snow 1958


Many grey and ochres large smooth patches overlap

Charcoal & burnt umber on top

Brush marks unravel like frayed yarn

Beehives Storm Approaching 1961


Sky smooth blended

Green jade under grey umber

Black black house

Rough tweed tea texture field

Aggressive wind whipped marks

Sketches




Pastel on paper in sketch book

Rust marks

Stitch collage on top

So much energy
Winter Day Catterline 1957-60


Turquoise under umber white peach

Smooth sky

Textures land

Mud fest
Gable end of tenement 1955


Charcoal umber terracotta flashes

Big flat fabric patches

Stitched over

Organza
Two Glasgow Lassies


That pinny

Flame over blue grey

Is it torn, faded, dirty?

Lettering emerging

Stained glass colours

Child before a tenement window 1958-60

Illuminated window- lace curtain?

Positive/negative lace/graffiti
Glasgow Corner shop 


Sketchbook collages of local shops

New series collage raw edges mounted on stained white
Children playing in a street 1960


Pen n ink drawings – become machine stitch sketches?
Girl and Chalked Wall 1955-60


Lettering (for Julia)

Texture on dress French knots

Such a Chagall blue
Summer Sea 1962


So big bold and wild

Paint drips and slashes across the wide sea

Shore is dark as peat

Surf crashes desperately on to it

Short thick vertical marks become wide dripping horizontals

Taste the salt spray
Winter Sea III 1958


What was it like to paint in that storm?

Everything crashing rapid direction changes

Difficult to see through pouring rain?
Fishing Nets Catterline 1962


Ochre n khaki beach thin brush texture visible

Cross hatch netting
Seascape 1956


Sunset fire colours in the waves

Sun thick like butter on burnt toast cliffs

What colour!

The Last Shift begins…

Safely back from the excitements of Essex and Carters Steam Fair (more to follow soon!) Monday was the first day of the ‘Last Shift Project’ to make a primary school banner – and what a busy day it was!

Working with toddlers (and their grown ups!), two nursery classes and a reception class, we ‘spiral dyed’ the fabric that will be used to make the banner. I wanted to use spiral dyeing as it produces similar results to Tie Dye -without the need for knots!

As the project is inspired by the time span of the Greenside Pit – from 1906 to 1966, the spiral dyeing linked to the Sixties. I’ll be linking print and design ideas to the other decades, with the help of older children in the school.

On arrival at school I quickly got set up in the hall and added the auxiliaries to the dye powders in the bottles. The dye  becomes ‘active’ once the chemical water and washing soda solutions are added. So for best results the dyes need to be used on the day they’re mixed. Trying to use them a day or two later results in faded colours.

Dye bottles

Ready to add the auxiliaries

Spiral dyeing is a great project to do with little ones as once the dye is mixed in sports cap bottles the children just have to choose colours and add a few drops to the fabric spirals.

I was kept busy ‘spiralling’ the pieces of white cotton throughout the day, I think there are over sixty of them!  But the hardest task was getting little hands into adult sized vinyl gloves! We managed it though, everyone wore gloves and aprons and, as far as I know (!) most of the children kept their hands, and uniforms, free of dye!

Once the children had finished adding the dye to their pieces of cloth, the spirals were carefully placed in clear plastic bags and kept in a plastic crate. The dye needs to ‘cure’ in the fabric for about 24 hours before washing off to ensure bright colours – its also a good idea to prewash the fabric to remove any industrial finish that might impede the uptake of the dye and then to soak the fabric in chemical water before adding the dye. The chemical water helps the fabric stay damp for longer, so the dyes have more time to react with the fabric fibres.

I took all of the fabrics back to my workshop and rinsed them off the following day.

As you can see its important to wear rubber gloves as quite a lot of dye comes off when the fabrics are rinsed. It’s always nerve wracking – will there be any colour left?? Will the spirals look exciting??

Well, take a look…

On the line

lots of different colours

Lovely colours

beautiful colour mixes

pegged out

sky blue pink!

All the squares will be ironed and then I’ll take them back to school next week so the children can see what they made. Then it’ll be time for designing and printing…after a few more days of sketchbook work for me!

 

Fabulous Funfair

I am so excited to be finally paying a visit to the fabulous Carters Steam Fair in June. Given my love of funfairs and vintage style how could i not be drawn to this! I’ll certainly have my sketchbook and camera prepared  as I experience rides like these.

Carters Chair o planeCarters galloper-picCarters Steam yachts-pic

I’ve already stitched some pieces inspired by funfairs, particularly the Hoppings here in Newcastle. I used to visit the funfairs at Scarborough and Blackpool as inspiration for my final degree show back in the day too!

I’m hoping I can put a new sketchbook full of ideas together from my trip to the wonderful Carters Steam Fair. Here’s hoping for sunny weather to capture all those beautiful colours and shining surfaces!

 

Summer Time Workshop

Just to show that it hasn’t ALL been about maps lately!

Back at the end of May I did a One day Workshop with a group of Y9 High School students. They had been given the opportunity to exhibit as part of the Alnmouth Arts Festival 2015 in the lovely Aln Gift Shop . So we had the task of making something appropriate in one day.

After discussion with their teacher, I took the group through my ‘Tin Can Metamorphosis’ workshop, where simple mackerel tins are upcycled to become beautiful miniature works of art. The Y9 group used the technique of needle felting to create seaside and holiday scenes that were then housed in the upcycled tins.

(I should point out that the tins were emptied of their fishy contents, washed and dried before they became artworks – and yes, I eat a lot of mackerel!)

As you will see below, the outcomes were stunning, all reflecting the individuality of their makers and showing great skill and creativity.

Big thanks to all the Y9 pupils and Mrs Brown, I really enjoyed working with you all and hope you had a great day as well!

Many thanks to the Aln Gift Shop for taking the time to display the work so beautifully, staging it with similarly themed gifts and artworks from their stock.

And thank you to the Alnmouth Arts Festival for giving me a name check in their programme:)

Aln 1 Aln 2 Aln 3

Belle Vue Map Workshop

Today’s workshop with the residents of Belle Vue was lovely. We were in their beautiful conservatory, using the big table as a print table for the morning. So along with printing dozens of houses, we made some pennants and MORE pom-poms! (We need a lot so if you fancy making some green ones for us….)

 
We got through a lot of wet wipes as that red printing ink is very sticky! Luckily no one seemed to mind😄

In all, about half a dozen residents were involved with the activities, with several others keeping an eye to make sure we did a good job. It was interesting to find out where people lived before they came to Belle Vue; Second Avenue, King Edward Street and Warwick Street were all mentioned. 

 
We chatted about what we liked to do in and around Heaton too, deciding that it’s a lovely area, with great shops, lots of cafes and all the green spaces. People enjoy shopping, watching the dogs play in the park and stopping in one of the cafes for a nice cuppa!

  Pom Pom earrings anyone?

What has been lovely about this project has been working across ages and abilities. Everyone has enjoyed getting involved with making the maps and I hope that lots of people will come along to see the final outcome on the day of the Festival – JUNE 27 Don’t Forget!!

The final workshop is with St Gabriel’s Brownies on Friday – see you ther Brownies!