The last time I ventured out to the metropolis was 28th February to the V&A exhibition Kimono: Kyoto to Catwalk. Then, on 27th August, Janette and I both hit the city with another trip to this exhibition
In February the final photo I took is the one shown above of an ensemble, Wa-Lolita, created in 2019 by students at Bunken Gakeun University, Tokyo. This outfit was inspired by Lewis Carroll’s Alice’s Adventures in Wonderland and six months ago I was trying to design a panel on this theme and thought the image would be appropriate for my sketch book.
On this recent visit the first image which caught my eye was a brush and ink drawing used as the design on a Kimono displayed alongside.
The worked Kimono
I thought this Kimono (below) particularly splendid. It was worn by a courtesan (dated 1860-80), made on satin silk, with appliqué and embroidery in silk and gold wrapped silk threads.
In this period high ranking courtesans, called oiran, were major celebrities. They would parade through the pleasure quarter on 15cm high wooden geta (shoes) allowing all to see their elaborate Kimono. The designs would usually relate to a Kabuki play revealing a connection between the theatre and the brothel.
The embroidery here tells an elaborate tale.
A man is shown stretched out on the top of a bridge over the river,
whilst beneath a conflict between another male and a fire breathing dragon is taking place.
Both men are brandishing flowers, possibly chrysanthemums.
Only if you know the narrative of the play can you really decipher what is being depicted. However it is a splendid work of art.
Lockdown has been a strange, sometimes worrying experience – and everyone has experienced it differently, EAST members included. But if there were benefits to being stuck indoors (and I realise it did not benefit everyone), being able to be creative was one. Whether it was having the skills to make masks and scrubs, being able to lose ourselves in work for our next exhibition (more of that later), or stitching for mindfulness – it certainly highlighted how important it is to be able to make and create. I was particularly pleased to see a number of posts on social media from individuals discovering or rediscovering the pleasure of stitch.
Now some restrictions are easing and having a day out is a possibility for many. Virtual exhibitions have meant ‘visiting’ places and attending talks and workshops from the comfort of our own homes but even when these are free, nothing beats experiencing things for real. Our museums, galleries and other arts venues need us more than ever if they are to survive so it was nice to get out and about again. For me, meeting a friend, chatting over a coffee and visiting my first ‘actual’ exhibition since March this year was a big deal. Something easily taken for granted. That said, I hope the virtual tours and online talks will continue because physical, financial and other factors prevent many from ever leaving their homes.
I was a bit nervous of my first trip to London – until I saw how empty it was. Initially I wasn’t sure how I’d feel wearing a face covering most of the day – both being compulsory on the train and in the gallery – but it is beginning to feel quite normal now. I really don’t like the idea of disposable masks and as someone who can stitch I had no excuse but to make my own. I have been trying out a few different styles to see which one worked best for me – it is amazing how many styles there now are. YouTube is full of new patterns – each one the ‘quickest’, the ‘easiest’, the ‘safest’. Then there are posts showing different types of ear loops, how to avoid ear loops, which type of fabric is best and this week I saw someone showing how they could be decorated. No doubt we will have Christmas fabric and party masks to make in due course.
I was recommended this design (see above) by fellow EAST member Carol. The fold over above the nose means it fits snug to the face but there is also space to breath. I had no problem with my glasses steaming up and there is no need for wire. There is a gap for a filter. The instructions I used came from Sophie Passmore on YouTube. Or if you don’t sew yourself why not buy one from someone who can and support a charity at the same time. Carol’s daughter sells a range of masks – Beverley@4miles.co.uk. For every mask sold £2 will go to the National Deaf Children’s Society. Obviously there are plenty of other sellers too.
And before I end this post just one more thing – EAST are now preparing for their next exhibition Transformation. We are expecting to open at Braintree District Museum, Essex, UK in the Spring of 2021. Subscribe to this blog and you will be the first to hear when the details are finalised.
This morning I heard Antony Gormley speaking to the poet Simon Armitage on a past edition of one of my favourite podcasts The Poet Laureate has gone to his shed. Gormley was remarking on some of the items in the Armitage shed. When the poet asked Gormley if he had a shed the answer was, as you might expect, that he had a studio.
Antony Gormley then continued “…. [that it was] a place apart that is not connected to the business of dwelling or connected necessarily with the business of work. I think it is an essential thing – a space ship for thinking, dreaming and doing things that are not strictly speaking necessary.”
I was in my ‘space ship ’ (well Hütte/workroom) whilst listening, happily surrounded by fabric and thread, fortunately able to continue stitching away on the current piece for EAST.
Back in 2009, EAST produced an exhibition of contemporary work based on textiles, objects and other items from the Warner Textile Archive, based at Braintree in Essex. My interest in history led me to this furnishing fabric that probably dates from the late eighteenth or early nineteenth centuries. Produced in France this printed cotton would have been a fashionable addition to the home of a very middling-sort of couple. I even speculated that it was the sort of item deemed appropriate as a wedding gift.
Gifts, as we know, often come in boxes and I therefore decided to translate the design on the cloth into a 3D object. This meant that I could incorporate another aspect of the story behind the fabric – an often unacknowledged or hidden history. A Dark Secret Behind a Thing of Beauty was the title of my response. I wanted to make a comment that it is all too easy to look at a piece of fabric and think of it just in terms of its design or its beauty – less so about the tragedy behind its manufacture. It was particularly important to highlight how what seemed quite an innocuous item was very probably the product of slavery.
Inside the box I created a copy of an image used by the abolitionists, along with the words ‘Am I not a man and a brother?’ Designed by Josiah Wedgwood (1730-1795) and turned into cameo brooches in the 1790s, these items would have been worn by the many women supporters as a means to raise awareness of this abhorrent trade. It took several decades to end the transportation of slaves, but even that did not end slave labour – and sadly it still continues today, in many forms. Slavery is often, but not always associated with race, but even when it is not, it is always about inequality and power.
Fifteen years ago I was able to travel to The Gambia and visit St James Island as it was then called. In the current political circumstances it seems the right time to show the quilts I made after the trip, As I would like to show support for the memory of all those who were enslaved and those who still are.
Visiting the Island, now called Kunta Kinte Island, was very moving, as it was the place where the Gambian people were kept before they were taken in Slave ships to the UK and then America. As I stood on the beach I found a very small bead, perhaps fallen from the necklace of one of the people, their necklaces were torn off them when they left.
A little history: The Island was captured by the English is 1664 and used then until the abolition of the Slave Trade in 1807. It is now called Kunta Kinte, after a character described in Alex Haley‘s book and TV series Roots, The book states that Kunta Kinte was among 98 slaves that the slave ship Lord Ligonier brought to Annapolis, Maryland in 1767.
I printed the fabric using ‘Break down screen printing’ with brick like shapes applied to the background to represent the ruins of the buildings where the people were kept. There are scraps of fabric sewn on to the Quilts to represent clothing left behind as the ships left.
Our group meets once a month and because we haven’t been able to gather in person yesterday. Saturday 13th June, we held our second Zoom meeting.
This is a fantastic way of catching up with what is happening in each other’s lives creatively and personally.
I think too, it has brought us closer together as a group.
In our usual meeting place the interaction, apart from the monthly business meeting, is more often than not on a one to one basis. With Zoom everyone gets involved in the conversations. Members talk and members listen.
The response when you ask for advice about any aspect of your work is extremely helpful and is guaranteed to give you more ideas. I always feel motivated and inspired after each meeting.
Imagine how isolated we would all have felt if this pandemic had happened a few years ago before we all become more technology savvy?
Hopefully we will still make use of platforms such as Zoom once we return to ‘normal’.
Inspirational army of amateur stitchers have sewn nearly 25,000 scrubs for hero NHS workers
The newspaper article under the headline above is about the army of women making scrubs and scrub bags for the NHS. Beginning with a WhatsApp group there are now over 100 scrub hubs. The headline was highlighted on Woman’s Hour this morning and prompted a discussion about women stitching, mending and how skills are not being passed down the generations as in the past.
I became involved in my local group and at least one other member of E.A.S.T. is making scrubs for the NHS. It makes me feel like I am doing something positive and part of a practical response. One friend has been like a factory, has produced 15 pairs and another person made over 30! I had the desire to individualise mine and stitched a ‘Thank you NHS’ message inside the back facing.
The virus has forced our lives to change to something that will never be the same again. I’m hoping from all the truly tragic events many positive things will happen. It must be so. This is life changing. I had been working on how building new roads impacts the environment. Then, as the lockdown began, it seemed irrelevant compared to all the much more important things going on. As time has passed, roads have become so much quieter, pollution has decreased dramatically, and nature been able to re-establish itself. It is an opportunity to think about how and whether we should we travel as we used to. Positive changes.
Everyone’s situation is different and individual and depends on many factors as to how each person is reacting and feeling. Every day I see, hear and read how this lockdown period has given space and material to be incredibly creative. By contrast some people find it can lock their creativity by the emotional and physical demands on them. And the mood can change as the daily bulletins announce statistics and change.
My creativity fluctuates. I feel the need to balance my time. How is your creativity during the covid-19 lockdown?
There are many things out there that on the internet that you can access: Many of the major art galleries have been working more on their websites to have on-line exhibitions which can be inspirational. Tate is full of interesting exhibitions with loads of information and links to follow. I looked at the fascinating life of Louise Bourgeois, Tate Liverpool, and a particular quote resonated with me: “I need to make things. The physical interaction with the medium has a curative effect. I need the physical acting out. I need to have these objects exist in relation to my body”. Louise Bourgeois I Am Afraid is a fabric work by Louise Bourgeois featuring lines of text woven into canvas. Short statements and individual words in upper case are woven in grey thread into the grey-beige fabric and are grouped into four stanzas. It’s worth a read and to think about what frightens you.
If, like me, you intended to go to the exhibition: Unbound: Visionary Women Collecting Textiles at Two Temple Place, photographs can be seen on Facebook https://www.facebook.com/pg/twotempleplace/photos I felt frustration at not being able to see the textiles up close and study the detail. I think it is difficult to capture the texture and 3-dimensional qualities of textiles photographically. The explanatory text is not included. It whetted my appetite and I’m hoping that the exhibition will be extended so there is a chance to see it once some of the current restrictions are lifted.
A hands-on project with some structure which also gives some creativity is the textileartist.org community stitch challenge 2020 https://www.facebook.com/groups/stitchchallenge . Each week textile artists give a video workshop with a hand stitch challenge and the results that people post are inspiring.
I have been fascinated by lap wings for about 2 years, in March they have a wonderful flight display called ‘tumbling’ I have been trying to capture this.
One of the strengths of EAST as a group is the fact that we make time to play , experiment and generally immerse ourselves in our practice.
We recently had a sketchbook development session with textile artist Amanda Hislop, who was our guest tutor for the day.
We experimented with mark-making using a host of different media and textures, playing with positive and negative spaces, ending up with plenty of inspirational material for our sketchbooks.
Amanda has many small sketchbooks that she makes from folding paper, that she showed us the process of. These are so compact that they can be taken out and about in a pocket with a minimal sketching kit of a few well-chosen implements to draw with.
I’ll let the images speak for themselves!
This exhibition is currently on show in Ipswich at The Whistler Gallery in The Jerwood Dance Centre on the Waterfront, until 29th February and I thoroughly recommend seeing it.
Paula MacGregor, the community artist explains;
” I read a poem called ‘Dangerous Coats’ by Sharon Owens, it is a light-hearted poem that caught my imagination – and so the Dangerous Pockets Project was born. I asked people to send me pockets they had made; I threaded them onto red cords and arranged for them to tour England – and possibly beyond. Why a red cord – it is symbolic of the joining together of women all over the world”.
Dangerous Coats by Sharon Owens
Someone clever once said
Women were not allowed pockets
In case they carried leaflets
To spread sedition
Which means unrest
To you and me
A grandiose word
For common sense
So ladies, start sewing
Made of pockets & sedition
The Dangerous Pockets Project brought people together of all ages – helping to break social isolation, as well as encouraging conversation about matters of health, fairness and general well being. Many people said making the pockets was cathartic and therapeutic – helping them work through recent surgery and unpleasant treatments, and issues from their past. Others have said the pockets awakened their creativity – some people become a bit addicted and made several!
Ellen’s Legacy – Slow Stitched Books
Paula has just launched a new community project that has been dedicated to her dear friend and fellow artist Ellen Devall. Ellen was a dedicated member of E.A.S.T. for 7 years , who passed away in the hospice whilst holding Paula’s hand, on 25th June 2019
Paula made Ellen an unconditional promise to keep her work going.
To find out more about this project details are on Paula’s website and on Facebook.