Tuesday, 30 July 2013

Softer at The Mill

I'm just back from dropping off a couple of framed embroideries at Penny Fielding's for the E17 Art Trail Summer Show (which opens on Thursday), and I thought I would finally get 'round to uploading some photographs from another little exhibition I'm participated in, which opened a couple of weeks ago.

Some of you may remember the Soft exhibition at The Mill that I blogged about around  this time last year. Well, after the success of that show, The Mill decided to reincarnate the exhibition as Softer. There's a very different feel to this year's exhibition (it's jam packed to the rafters, for one thing!), with more varieties of textile art/craft and a slightly more political slant. Everyone from established artists to infant school students are represented; it's truly reflective of the wider Walthamstow community!

Unfortunately, with all the other exhibitions I'm preparing for and submitting work to, I ran out of time to create something new for Softer. Thus my contribution was one of my early embroideries for The Cure for Love, which was exhibited in its entirety at The Mill in December 2011. 

The embroidery I submitted was my "Love is no mythical creature" narwhal (my favourite animal, don't you know; I frequently dream about them!)

He looks quite sweet nestled in amongst the crochet and quilting!

These "stained glass" crochet granny squares were one of my favourite exhibits. I love how each square is unique, yet each compliments the others. Definitely got me hankering after a granny square blanket (if only I could knit or crochet!)

Work curated and created by my old colleagues at Significant Seams was also featured; cushions spelling out "Softer" were hung up in the front window, inviting the public in. The cushions were made as part of Wood Street Welcome, a community art project for Wood Street, Walthamstow.

In addition to the Softer exhibition, there were also a number of inventive oversized animals on display (including my second-favourite animal, a downcast looking fox!)

This exhibition was entitled Wildlife Reworked, and was comprised of animal sculptures made from recycled objects by local families with the help of sculptor Michelle Reader. Although a separate exhibition, the sculptures could easily have been included in Softer as many were made with large quantities of fabric. There was obviously a lot of attention to detail given when selecting the materials to construct the animals; the texture of the fox's fur in particular was spot on.

This piece has inspired some of my hand stitching and hand quilting idea for Big Teeth. Lovely warm colours and homespun, handcrafted textures!

It wouldn't be a textile exhibition at The Mill without a few of Harriet Hammel's signature pieces. She contributed a Campbell's "PopArt" Soup can and a jar of (my favourite) Marmite. Though why these incredibly life like provisions were displayed in a wire cage, I'm not quite sure! They shared wall space with a knitted or crocheted (forgive my ignorance) faux-taxidermy moose head, which very much puts me in mind of one my housemate hung on our living room wall at university.

This cactus was one of my favourite pieces in the exhibition, and I'm very sorry to say I didn't get any better photographs of it. Just imagine how much more practical knitted house plants would be than their living counterparts!

This quilted duffel bag by Significant Seams stalwart Heidi Beach puts me in mind of William Morris's beloved leather satchels; I can certainly imagine him using this bag if he was around nowadays!

I was enthralled by the texture of the undulating seaweed in this piece; I don't know what the textile technique is, but the artist has caught their essence just right.

Unfortunately the photograph of this knitted item doesn't do it justice; it was a riot of colour and texture.

This bird reminded me of both William Morris's original designs, and Nicola Jarvis's drawings, paintings, and embroideries inspired by the famed Walthamstow-born master craftsman.

I loved the intricate volcano design of this quilt; just imagine how long it must've taken to piece it together!

Finally, an incredibly sweet addition to the exhibition was the "Needle Club" book created by young primary school children. It showcased the magic of children's imagination, and both put me in mind of my soft sculpture book On Being Soft, and inspired me to persevere with Big Teeth

Monday, 22 July 2013

The thing with feathers

As the time to begin my training at the Royal School of Needlework draws ever nearer, I grow more and more excited, but also daunted, as it seems incredible to me that human hands can produce something so exquisitely beautiful.

Visiting the most recent exhibition at the William Morris Gallery, The Art of Embroidery, has me even more daunted. Truly, Nicola Jarvis's bird and floral motifs are an exercise in impeccable technique. It didn't surprise me in the slightest that the exhibition is supported by both the Royal School of Needlework and the Embroiderers' Guild, because Jarvis's skill is clearly the result of years of training.

What she is particularly masterful at is replicating the same image in a plethora of individual techniques; from quilting to painting to canvaswork. As well as being a master craftswoman she is obviously also a master draughtswoman; her designs for embroidery are exquisite, and are shown in context alongside those by May Morris, William Morris's daughter and a key figure in the Royal School of Art Needlework as it was then known.

May became director of the embroidery department of Morris & Co. at the tender age of twenty three (clearly a prodigious talent; I'm twenty two, and thus even more daunted!) Though techniques in embroidery have become more complex and refined since her time, there is a clear mastery of the craft in her designs. I was particularly struck with her silk shading, which, though thicker in stitch than modern silk shading, has a gorgeous quality of light.

Because of this juxtaposition between old and new techniques in embroidery, the exhibition is something of a view of the evolution of the craft.

I must say, though I greatly admired the masterful technique of Nicola Jarvis's designs, some of my favourite items in the exhibit were three bags, two of which were designed by Morris and the third is a woven Middle Eastern silk evening bag.This may be because of my romantic tendencies, which are perfectly suited to accessories of the Arts and Crafts movement!

My favourite pieces of Nicola's were her richly embroidered cushions. The beading in particular is breathtaking, and works particularly well with floral motifs, adding jewel-like opulence to the flowers. From her design notes, it is evident that Nicola closely studied Morris's designs, particularly his prints for wall papers and fabrics; she cleverly echoes these in the bodies of the birds, and incorporates them seamlessly. In some cases it appears that the birds are made of lace, the embroidery is so fine.

Nicola will be working on an embroidery in situ at the exhibition on a number of days; unfortunately I've forgotten precisely when and didn't write the dates down, but I do know that they are in August!

I would urge anyone, craftsperson or otherwise, to visit this breathtaking exhibition. It is nothing if not impressive, and irrefutably proves that embroidery is not "just an idle past-time", but a true art.