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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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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seeing things

I’ve been giving a lot of thought to the idea of looking and seeing, and particularly how we evidence what we have seen. I have boxes of photographic prints of things I’ve seen: cracks in pavements, postboxes around the country, vapour trails in the sky, flowers I’ve grown and plants I wish I’d grown – and much more. When the world turned digital I stopped filling real boxes and filled virtual boxes, and some I look back at, but rarely do I touch the surface of the sights I have collected.

The engagement in social media, and the sharing of pictures begs me to think again about why we take pictures, and why we share them. As I spend most of my time in some sort of real or virtual context of people in the creative industries my Twitter and Instagram feeds are heavily laden with considerately photographed shadows of railings, colour combinations of socks on patterned tiles, recently obtained vintage finds, and dare I say it, beautiful breakfasts! Not only are we collecting imagery, we are proving that we are seeing and experiencing interesting / beautiful / different things and places, judged by us and hopefully ‘liked’ by others. Yes it’s marketing; a branding tool to evidence our aesthetic judgements.

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Some questions then, are we seeing more? Do we notice more, and appreciate more?

It does seem as if there have always been people who see faces in clouds, and beauty in peeling paint, but I wonder if social media is driving us to become a load of aesthetes. In my world it may seem that way.

As a pattern maker I’m always on the lookout for eye-candy, and usually of the ‘just happened to be there’ kind of pattern, rather than a designed pattern – having said that, I’m equally likely to be stopped in my tracks by a well-designed wallpaper. There have been many books over the years, and more recently blogs that feature the beauty in the overlooked, or the ugly, or the mundane. The desire to collate / curate these sights are no more in evidence than in the world of Patternity a design-savyy duo with a manifesto about pattern! Their stunning website and book and interesting collaborations are clearly tapping in to this moment of ‘seeing’. Check them out if you are so far unaware.

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Pattern really is everywhere, formally and informally and that’s the pleasure. I remember the day I was taught the mysteries of repeat pattern making, and that evening in a pub in Great Yarmouth, Norfolk, I took great pride in identifying the repeat ’tiles’ in the carpet, wallpaper and curtains of the glorious / hideous 1990s pub decor.

I had the pleasure to spend time with the fabulous Sarah Campbell last month, and much of our conversation, as we were at New Designers, was about pattern making; why we do it, how we do it, and getting people to pay for us to do it. During the conversation Sarah spotted a lady beside us in a polka dot blouse, and we noted that pattern-makers never really switch off from pattern spotting (pun intended!), pattern making, and pattern appreciating. When we departed we both commented that we look forward to reading each others next blog post – well here you are, this one is for you Sarah – it was a pleasure to see pattern with you!

textile fragments

I have this textile ‘fragment’ that I think is beautiful in so many ways; the richness of colour, the manipulated folds of cloth as well as the resulting patterns of the geometric shapes of both the positive and negative folds of the fabric. There is aside to this, so much more connecting me to this old piece of cloth I acquired over twenty years ago, and when I see it, those thoughts come back to me in an instant. This is the power such materials and objects have over us.

I studied at art school, and although the main campus was in Norwich, I was at an outpost in Great Yarmouth. I loved being by the sea, and it was my first time away from home so it was a huge learning curve and time of growing up. I was learning textile and drawing skills and I have fond memories of it all. One day we had a visitor, a lady who had traveled the world collecting textiles, and she brought some of these to show us at the college. I had been interested in the Ghanaian flags of the Asafo, as well as Indian applique so I was fascinated to hear her talk and see the textiles from far-off lands.

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Sadly excitement became upset as the textile pieces were laid out in front of us. I wonder now if I was the only one thinking what I was. When I saw the exquisite fabrics cut in to pieces and crudely stapled to paper with pencil written details of where they had come from I felt so concerned for the apparent brutal way they were being separated from the original whole, their link to their heritage and provenance. It occurred to me then that other nations were losing the heritage that they owned, as the fabrics became souvenirs for others. Had someone chosen to sell them; were they ‘acquired’?

That day holds further sad memories in actual fact. My dear Grandma had died that weekend, and I really wasn’t coping too well away from home, but I got through the day and decided to buy a piece of cloth from the lady as a way of treating my sorry self. I felt torn by the decision to buy it. Would my purchase make sure it was kept safe, or encourage more sourcing of cloth from across the globe? My piece states ‘fragment’ in its description and yet is has clearly been cut from a larger cloth. ‘Fragment’ suggests to me a museum piece, a fragment of history, a clue of a larger object salvaged from ruin rather than proactively separated from its other parts to form the sum – a folded patchwork Kathiawari horse strap from India.

The colours have altered over the years since its time of making no doubt, and the fabric has become worn too. I removed the rusty staples in an act of care and conservation. I also taught myself how to create the folds and layers of fabrics to understand, through making, the construction process. The piece inspired a fabric manipulation project during my time in Great Yarmouth – mostly lost to history and probably for the best! My fabric samples are nothing in comparison to my ‘original’ fragment. The pieces I made lack the authenticity, the ageing, the integrity of originality, but they too serve to remind me of the value of heritage, of belonging and remembering.

With so much talk in the media at the moment of cultural looting across the world both past and present, I am again reminded of this piece of cloth, its heritage and place in the world. The fabric also distinctively reminds me of the loss of my grandma at that time, and yet isn’t it strange that a piece of Kathiawari cloth – not any piece, ONLY this piece, can act as a token of a memory of my Grandma who as far as I know, had no connections with India?!

passing on pattern passion

In my role of academic as well as a designer I am regularly required to enthuse about print and pattern, and to be honest that’s fine, as I love designing and teaching pattern for print. This last week has seen me out and about to pass on my passion for pattern, firstly to Wolverhampton Embroiderers’ Guild where I was invited to talk about my practice. It’s always interesting having to consider what bit of the last twenty years to focus on, requiring reflection and evaluation, and how to tell the most relevant story without missing the bits that might be the most informative to others even if they didn’t seem so to me when living them. The audience were really generous with praise, and were really interested in my creative process, so sharing my sketchbooks, and anecdotes felt very easy to such an interested group of makers.

Tuesday saw me overseeing a morning of filming at Birmingham City University (BCU) with Laurence Llewelyn-Bowen and TV crew, working with our third years and our fabulous Print Technician. It was a morning of celebrating the Arts and Crafts legacy, William Morris in particular, and the importance of understanding the value of drawing to the process of pattern making. It was a pleasure promoting our talented third years, in the closing stages of their time with us.

This leads me to yesterday when I and a colleague took a coach of second year Textile Design degree students to Manchester, specifically the Whitworth Art Gallery to see several exhibitions. On walking in to the first gallery and the exhibition ‘Revolutionary Textiles 1910-1939′ I noticed a number of pieces that I had featured in my Historical Textiles lectures when I had taught this group of students as first years, including Barron & Larcher, Josef Hillebrand and Omega Workshops. It was fabulous to see the students’ excitement on recognising patterns and names of designers that had, until then remained theoretical, and not ‘actually real’. Their knowledge meant something tangible, and I think was empowering to them. It was an honour to share that excitement of learning, and understanding.

Having worked on the Tibor Reich show at BCU it was great to be reunited with the collection, also on show at the Whitworth, and to see the different emphasis this exhibition made to an amazing and extensive archive owned by the family. The students really responded to the way Tibor worked to create pattern, and explored pattern through drawing with layers of colour and line. I couldn’t help but point out Tibor’s excellent use of a sketchbook to explore ideas.

Image below: top row from Revolutionary Textiles, bottom row Tibor Reich

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The room that wowed me most was the wallpaper gallery upstairs, and again, this exhibition was exciting and inspiring to the students, leading to some really interesting conversations. There is of course no comparison between seeing metres of wallpaper stretching skywards, to a small screen of Google images. We talked about print production, the scale of motifs useful to a domestic space rather than in relation to a sketchbook page, and why thinking big should be embraced. We admired the Lucienne Day patterns that are so familiar to us, alongside new discoveries, and that is why a curated exhibition, unlike an online search can be so beneficial; the selection provides context. I encouraged the students to question how they would make the marks, the shapes and patterns without computers, and why the variation of hand-made can offer something that digital software excludes. I include an example below to illustrate my point – beauty in the irregular.

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We did have time to enjoy the beautiful surroundings of the cafe but also took in a quick trip to see the newly opened Fashion & Freedom exhibition at Manchester City Art Gallery, one I really do recommend too.

So, more pattern inspiration for me, and hopefully some more people inspired by pattern too…

building / constructing / space / paper

I’ve been working on a new series of works on paper that have evolved from paper cutouts and manipulations I first created over ten years ago. Back then I was experimenting with sculptural paper engineering that aimed to convey meaning through the structural content as well as the printed image. This may sound very much like ‘bookart’ talk, and it is really, as I moved from artists book maker to something different, including public artist and surface pattern designer, see below.

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It’s a strange thing when ideas that had seemed so disparate appear to come together to form a ‘whole’ different idea – and feels right. I’m sharing the first of many new prints evolving along these lines here.

As a result of my design collection ‘construct’ I launched last year I’ve explored the idea of woven threads and constructed surfaces. This led me to explore the space and environment of a page, a sheet of paper, and what could constitute the printed page. I used embossing to create a sense of space and depth, and slotted the ‘print’ to the paper as if floating. I am keeping the ink a neutral Payne’s grey so it doesn’t conflict or distract from the structure. I explored several different printed patterns too, and this, a lino print provided me with sufficient visual noise, but allows the embossing to be seen too.

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So, what do you think? Does it make sense? I’m looking forward to exploring this further over the next few months.

How will these pieces link to the work I shall make in another ten years?

print progress

Recently I have been really busy with a variety of academic duties in Birmingham and further afield, taking me away from studio time, my freelance design practice, and of course blog writing. Also, in my teaching of Textile Design at Birmingham City University I have been leading a module of professional practice, assisting the students in learning about the life of a freelance designer. It’s definitely a double-edged sword, as the discussions between students and staff illustrated: It’s great to be your own boss, but you take all the blame when things don’t work out! You can get up when you want, but nobody pays you for just waking up!

The rhythm of freelance work is varied. Somehow it’s often the way of things that several deadlines coincide, and when you have a schedule to stick to, an urgent press request comes in. On the day you have time to make calls, those people are out of the office, and obviously you don’t get paid when you take a holiday. Yes there can be tough times, but I really like the variety of the weeks’ activities that freelancing gives me, certainly set in tandem with the academic life of very different demands. Each practice informs the other. Obviously there are freelance tasks I prefer and other ones I procrastinate over, lists are created, social media is checked and Radio 4 is listened too!

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With so much to-ing and fro-ing on trains this last month or two and with several commercial projects on slow-cook I decided to give myself time to make, test and resolve some ideas that I have been exploring, with paper and print. The activity of printmaking is a fabulous discipline to work with. I love the excitement of planning a new print, and composing the plate, often taking me back to sketchbooks and previous ideas. The physical process of cutting the block can also be absorbing, and therapeutic and I have to decide the paper stock, the ink colour, and edition size too. It is important to maintain an experimental, inquiring practice and my prints and drawings are the evidence of ideas that have sustained my creative practice for the last twenty years. Between the commercial constraints of projects shaped by clients, costs and repeat patterns, printmaking can seem so free from limitations. This is why I make sure I keep printing – the creative sort, not just the invoices!

both prints featured here are available to buy, at £46 each unframed.

Knit 1, edition of 15, lino print, 9.5 x 9.5 cm print size

Meadow Grass, edition of 12, lino print, 9.5 x 9.5 cm print size

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