gardening spirit

As this is the start of National Gardening Week it seems appropriate that I reflect on how important gardening is to me. Growing up in a gardening family, with a self-sufficient attitude to growing vegetables I suppose it was inevitable that one day I’d have a garden of my own to tend. For years I’d visit mum and be walked around the garden having updates on the state of things, nodding but never knowing the names of things, but seeing the pleasure the process of gardening gives to her. Now I understand.

Here in Birmingham we have an allotment to grow the vegetables and fruit in, and we grow flowers in our garden. We have spent over a decade digging and harvesting plot 8; learning to respect weeds for their various ways of making their presence known – I still want to try weaving couch grass. The feeling of success when we pick the first strawberries of the year, or fill the rucksack with runner beans that can be filling the freezer for wintertime is certainly worth the hours of graft. Last weekend I picked over a kilo of purple sprouting, and we commented that the harvest would probably cost well over £10 in the shops, as organic produce – but with no plastic wrapping or air miles included. Of course our food tastes so much better too! Gardening spells out the seasons as we check for frosts, or pick the first fruits, and enjoy the harvest and flowers of each changing month. The beds of wallflowers make me so happy this time each year, signalling the excitement of the growing year getting underway.

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It was at the allotment plot that I first developed my pattern collection ‘Plot to Plate‘, launched in 2012. I had been drawing the allotment beds on the site, as well as National Trust kitchen gardens for a while, and a language of graphic pattern made from lino cuts evolved, firstly as limited edition prints, and secondly as motifs to explore repeat pattern with (for example: Plot to Plate VVV textile design – final image with the Auricula). The title design is slightly different in the fact that it was hand drawn, and is an over-sized dog tooth check featuring tools of growing, cooking and eating, such as garden rakes, spades, whisks, wooden spoons and cutlery as a visual narrative up the tea towel, celebrating the journey from plot to plate – available in Brassica green or Brassica purple. plottoplate_ttowels_katefarley150

This collection has evolved to incorporate more formal pattern compositions such as Parterre (below) and Hanbury, inspired by National Trust’s Hanbury Hall and Gardens in Worcestershire, featured on hand screen printed cushions and wallpaper, where I make links between pattern design for textiles and formal garden design.

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These days my design practice has moved away from the inspiration of the formal gardens but I continue to dig. Our potatoes are in the ground for this year and the greenhouse is working some magic. Gardening provides me with not only creative inspiration but also head-space – a highly valuable asset in today’s world. As a designer and an academic, juggling a young family too, things can be frantic and I’m often running for trains. Faced with two hours of hard clay to dig I’m actually very happy. I can focus on the job in hand while chatting to the friendly robins, making myself physically tired, seeing the result of the work, and at the same time having time to think and mull over some of the other stuff of life. There’s also the sense of community with other allotmenteers; we share the same weather and battles but also share the excess harvests. Every time we get to the point of questioning ourselves about the allotment and if we have time, I remember all that it does for me, how my hard work there actually keeps me well; gives me a sense of well-being I can’t imagine getting from anything else. I shall keep digging, and knowing, for so many reasons, why I do!  Happy National Gardening Week!

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whites in paint

Having enjoyed putting the red palette together I have made a more neutral one using the white end of the Farrow & Ball paint chart and a number of ‘finds’ I have in the studio, reminding me of happy times away from the city. The subtlety of the shades and hues of white are beautiful. The textures of the grasses and feathers work really well with the paint and paper qualities too.

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seeing red

My world is pretty colourful; on a daily basis I’m in contact with colourful textures, materials and surfaces from fashion, interior and architectural contexts. Not only do I work with hard and soft surfaces in my design practice, I also teach undergraduates to work with colour in relation to textile design. It’s important to see beyond the broad definition of colour by name and to think about the context of colour; the surface qualities in that colour, the effect the material has on colour, such as gloss, matt and opaque for example.

Last week I managed to update some colour charts in my studio resources and it made me think about how we tend to have particular favourites when it comes to colour. I certainly have a comfort zone in sections of the colour charts and other areas I’d have to be persuaded to go near. Commissions often include discussions with clients about the intended colours of products, and I enjoy the challenges of pushing the boundaries of my comfort zone – within reason! I have a different palette I’m happy to wear compared with what I’d live with, and I certainly dress in colour relating to the mood. I remember many years ago dressing in very colourful clothes only to receive a rejection for something that mattered. I felt gutted I’d dressed for the wrong outcome!

Here are some REDs… I love the border colours between red and orange.

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a fine line

Once again, and not a surprise, a trip back to my homeland of Norfolk this Christmas resulted in me taking many photos of the beautiful horizon lines, across fields, marshes, the broads and beach.  Stunning light resulted in ever-changing colours that really showed the landscape off at its best.

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season’s colour

A beautiful pocket of Norfolk provided this colour palette for us at the weekend. Surrounded by greying reeds and rotting down leaves the bright sunshine lit up the sulphur-yellow lichens, orange shooting willow whips and mauve feathery seed heads of the reeds. The more we looked the more colour we saw. I took several photos and as I focused the lens on details the overall variety of colour and tones were lost, hence the palette I’ve made here.

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If you ever get the chance to visit, I strongly recommend this place. Wheatfen is a nature reserve in Norfolk, managed by the Ted Ellis Trust, founded to continue his valuable work in raising awareness of this fragile environment and to make accessible this landscape for others to learn about and to enjoy. It doesn’t feature dramatic mountain passes or high waterfalls, but for me it is perfect. If you are lucky, as we have been over the years, you might spot an otter, a heron or a Swallowtail butterfly, and lots of reeds! It’s a pocket of tranquility that I could lose myself in for hours.

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building aesthetics

For the last few years, I’ve been lecturing on the subject of design history to first year students of Textile Design at Birmingham City University as part of a module aimed at introducing historical design considerations. Styles specific to an era, the influence of globalisation, the role of Fine Art, architecture, film and graphic design in shaping textile design, and where we are now, in context to where we have come from are presented alongside social commentary, introductions to colourful characters, controversy and a spot of light entertainment! It’s a huge ask to expect students to remember all the information I share, but my main focus is showing them how much it matters that what has gone before are the results of the times in which things were designed, whether it be superfluous decoration or trailblazing technology. From contemporary trends in fashion, to why we don’t choose certain colours for our bedrooms, I think it vital that our students have a working knowledge of design history as a foundation of understanding, as designers themselves. This knowledge feeds back in to their studio projects in the working knowledge of aesthetics, linking the look of something with the connotations that others might bring to a piece. Is it beautiful? Now there’s a rather complex question!

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Last week I shared my ‘interest’ in forks, and more can be read on that matter here. As I move towards the present day, bit by bit each week – Arts & Crafts, Morris et al, Art Nouveau etc this Friday, I introduce words to help grow their critical vocabulary, and help them to see and read this history that remains around us. Walking through Birmingham demonstrates how different styles of ornamentation jostle for attention. Arts and Crafts flourishes appear fussy in contrast to the rather robust Deco motifs. Twenty first century obsession with flimsy superficial solutions such as the facade of New Street station’s mirror panels, and other examples not far away, are put to shame by the care and craftsmanship of carved stone, worked iron, and intricate tile work of over a century ago – still intact. Now as the wrong library remains standing (in my opinion) I dread the day I hear that the concertina signal box loses the fight to stand. I digress…

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I’m fascinated in how something can contain the belonging of a time, a style, a movement, just in the detail of a line, or a point in a curve – I’m specifically referring to pattern and decoration here but this observation can also be made with architectural detail. The shape of a leaf, the ‘stylisation’ of a flower, has the ability to communicate its belonging or differences in a glance. As a designer it’s important to know these references, especially in relation to a client’s brief – you wouldn’t want to offer Baroque when Neo-Classical is required! This knowledge of visual language crosses design disciplines and it’s fascinating to identify the same aesthetic approach on printed cloth that is also worked in silver with a terrine.

I enjoy the challenge of creating design motifs that tell the story, the unwritten references in the pattern, making a statement to belong. My recent commission for the Barbican shop illustrates this point; that architectural styles, in this case Brutalism, and the approach in which I take to the design process is fundamental in demonstrating through the aesthetic, the design language of the project.

It’s difficult for me to imagine not being able to hear the jazz age when spying an Art Deco border, or to think of Athens with the hint of the Greek key pattern. Despite not exactly loving history at school I now see the importance of it in adulthood. It’s a sad week as it’s announced we lose Art History A-Level as a subject in school, making it harder still for those with an interest in art and design to learn their passion. In Birmingham we have examples of Pugin’s design work in St. Chads cathedral and the hand of the Pre-Raphaelites in St. Phillips.  I hope my lectures feed the students’ imagination to want to know more, to feel proud when they differentiate the Deco from the Nouveau, and to go on to be informed designers, telling the right stories with the curve of a line and the style of a flower.

All photos taken in Birmingham by ©Kate Farley 2016

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threads of an idea

It’s perfectly normal for me to begin a project by looking back at work I have made but not quite resolved. I keep sketchbooks of ideas and samples of constructions that will never see the light of day but somewhere among the pages there will be inklings of ideas that appear to connect and weave in to something right for now.

I wanted to get back to printing so I took the opportunity to explore a number of processes, including mono printing and lino printing to explore line qualities I’d sampled before, and soon I was back on the idea of woven yarns, linking my construct collection launched in 2015. This was a collection inspired by woven cloth, with drawings using hand-made tools dipped in ink that were used to create a series of repeating patterns I went on to collaborate with Formica with. I wanted to challenge the abundance of ‘faux’ material surfaces on the market, digitally printed wood-effect pattern, for example. Ideas were still left open…

Running in parallel to this has been a long term paper project I have been toying with since about 2002; paper constructions that explore the depth of space beyond the page, a sculpture, but also a book. The build series grew to explore woven space of over and under. You can see some of the pieces below.

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I see the threads collection as an extension to construct, but is equally quite able to stand on it’s own. I have produced several editions of prints and paper constructions that led to where I have come and I enjoyed printing in Payne’s Grey to not be distracted by colour.  All of a sudden I’m working with clear, colourless window film – it all makes sense. I am delighted to have worked with The Window Film Company to develop the patterns for windows. They have been an amazing company to work with. Cheerful, prompt, generous and supportive in all aspects of working with the team – a big thanks to you guys!

I was also pleased to return to laminate and Formica to enable bespoke production and am delighted with the results. I’m enjoying working on designs for harder surfaces but I still can’t help but sample other materials, so the collection I shall show at London Design Festival includes a new rug sample, screen printed cloth, and hand-made notebooks featuring patterns from the collection as well as vinyl and laminate.
If you are visiting London Design Festival I hope you will come and say hello at Tent at London Design Fair. Hall T1 stand G18

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