A new direction for the Stuart Casket

There isn't much time for machine drawing at the moment because Christmas preparations are in full swing and I now have quite a few days to work. 

We are just back from a weekend visiting my in-laws. Whilst enjoying lovely food and company I also managed to discuss my work with my mother-in-law, Judith Perry, who is a textile artist. Whilst we both agreed that it was good reproduction of the casket, we wondered if it was enough to just be reproducing the box to explore the idea of faded splendour, damage and repair. I explained how I often thought  of the young girls who would have worked with bone needles by little more than candle light to make the beautiful boxes. Judith found this comment about how hard the boxes must have been to make and just how much time was involved, an interesting idea. What will todays generation of teenagers have to show for their spent time? Social media and gaming consumes  every spare minute of my teenagers lives. I often shout 'please do something useful with your time, there is a world out there that is passing you by and you will having nothing to show for your many hours spent online'. But, perhaps I might also see why they love the games and why they can be so absorbing. The graphics are amazing and the challenges exciting - will this change my mind?

Could I possibly include some images form their gaming into my design? And if I do, how could I incorporate the modern images? I really do like this idea as I love using personal arguments and issues in my work.

For now, here is an image of the second door, and once the Christmas rush is over I hope to make some sketches and further explore the idea of what todays teenagers do with their time, and what the future generations will deem worthy of preservation.

Knit and Stitch, Harrogate

I have now been home for few days following a very enjoyable time at Knit and Stitch Show in Harrogate. I had such a good time making new friends and meeting many lovely members of the public who came and took time to chat to myself, and my fellow graduates about our work. 

I felt very privileged to be asked by the 'Embroiderers Guild' to exhibit and look forward to continuing to work with them over the next year and beyond. When I started my degree over 5 years ago I had just been widowed and was struggling to come to terms with the huge tragedy that my family was suffering from. However, along with my lovely boys, my art and the people I have met along the way have made life today very different and from something so horrible, hope and beauty have returned. Shows such as Knit and Stitch help to secure these feelings due to the very warm and positive engagement that happens when sharing my art with the public and fellow artists. Below are some images from the event. The photographs were taken by Lou Baker, Embroiderers Guild Scholar, 2015/2016.

Lou Baker

Graduate Showcase, Knit and Stitch, Harrogate, 2015

Julie Heaton

Graduate Showcase, Knit and Stitch, Harrogate, 2015

Stuart stumpwork casket - first finished piece

I have now finished the first piece of the Stuart stumpwork box.

I now feel happier with this project - I think it is really useful for me to make something quite different to the mechanical and masculine images that I normally do and love.  A  mechanical drawing in stitch just works due to the surprise caused by the contrast in subject and medium; this is a recreation of a feminine form in a feminine medium but, it is also a homage to the young ladies who made the original drawings and it is lovely to capture the fragility. But, the work is harder to do - the detail is finer and  this small piece has taken nearly four and a half weeks to complete.

I am now at Knit and Stitch - so no time to work but plenty of opportunity to talk about my ideas with the public. I feel that this is such an important thing to do and truly lovely - talking about your work with members of the public who have so many interesting points of views as well as their own personal stories of exploring the world of creativity.

Elizabethan or Stuart.

On viewing the casket at Newark Park, it was suggested that the box was Elizabethan, but on further reading about stumpwork and considering the fashion style shown in the drawings, I think the casket might be from the Stuart period. 

According to Judith Harper (2014), Stumpwork which is currently enjoying a revival, originally had its heyday during the second half of the 17th century when it was called raised Embroidery. The term 'Stumpwork' was an early 19th century description derived from the word 'stamp work' because the picture was worked over a pre-stamped or hand drawn outline on the backing material. 

Many of the stories conveyed the religious and political divisions that occurred in England during the Civil War. The beautiful feminine art of Raised Embroidery conveyed docility, obedience and love of the home (Parker, 2010) but it also provided an art form that reflected societies opinion. 

Stumpwork panel with a central oval cartouche depicting a young lady, mid-17th century (Telegraph, 2014)

Batten (2014) suggests that stumpwork's popularity was probably aided by the pedlars who travelled around the country to wealthy families selling kits that contained many luxurious threads and patterns. On the box that I am copying, black threads can be seen and these may have been the outline threads.

Whilst wondering about the relevance of my work and why I am spending hours copying someone else's drawing or pattern from a kit, I considered starting again but telling my own contemporary story. However, if I did that would I then have to use the Stumpwork technique just as contemporary artists who make samplers use cross stitch.

Caren Garden‘There are no words to embroider that single desolating fact.’ Site responsive piece by Caren Garfen. Framed sample, hand stitched. Cotton material, silk threads

And then I thought of Cornelia Parker's 'Magna Carta, an embroidery', a hand stitched embroidered drawing of the wikipedia page made through a collaboration of many individuals as was the case for the writing of the Magna Carta. 

Could I just continue reproducing the piece as I am? A reproduction of the beautiful remains of an exceptional work of art made by a young lady over 500 years ago. As I struggle with the tiny detail and obsess over thread changes which at times, may be for no more than two stitches, I can imagine how hard it must have been to do this by hand with candle light and a bone needle.


Batten, P. (2014) http://englishhistoryauthors.blogspot.co.uk/2014/01/stitching-stumpwork-and-stuarts.html

Miller, J. (2014) http://www.telegraph.co.uk/luxury/collectables/25451/a-stitch-in-time-english-stumpwork.html

Parker, R. (2010) The Subversive Stitch. Embroidery and the Making of the Feminine. I.B.Tauris and Co Ltd. London

The work so far

I have now been working on the drawing for three weeks (not constant due to family commitments) and whilst the work is slowly growing, my feelings are very mixed about the piece. 

My busy work station

Right front of casket in hoop

Right front of the original Elizabethan Casket

Whilst I feel that the work is really representing the image, I keep asking myself if copying another drawing will work. My previous drawings that represented mechanical objects worked well because of the obvious contrast between metal and thread, the masculine and the feminine but reproducing thread drawings in more stitch leaves me asking questions. But, that is also good - work needs to be questioned; simply producing a well executed image is not enough if it isn't making a statement or engaging the viewer in a dialogue. 

I do have two good reasons for the work that suggest that I should continue with the next piece. Firstly, I am reproducing their story, just as the young Elizabethan girls were doing 500 years ago (stump work often told contemporary stories). I don't have the whole story and have to fill in the missing spaces, i.e. the damaged wood and the broken threads. Secondly, it is damaged but still beautiful and I hope that this might be seen in the final piece. 

This piece and the lid are the most damaged pieces of the casket; what will happen when I copy the more completed panels?

Right front of Elizabethan Casket

I have started work on the drawing but at the moment I am not sure how successful it will be. Whilst I think the drawing is going as expected, I am concerned about the fact that original casket decoration was also drawn. Is my work simply about copying a drawing previously made by a young Elizabethan lady, or is it making a statement about the faded splendour that could be overlooked as simple damage that time has allowed to happen?

Front, Elizabethan Casket

Work in progress

Thread Drawing

I will continue with the work because I really need to see some completed pieces before I can make a decision on the possible outcome of the project. 

Elizabethan Embroidered Caskets

I visited Newark Park again on Wednesday to gather photographs of the Tudor kitchen.

Tudor Kitchen, Newark Park

Whilst I love the sense of history, stillness and life lived, I can't help wonder if my work would become small and and not seen in the space shown. Also, the work would only be seen during kitchen tours due to the very worn steps leading from the house that require escorted guides for health and safety reasons.

Once back in the house I mentioned to the very helpful staff that I was also interested in the fabulous Elizabethan stumpwork casket. To my surprise, they allowed me to have the box uncovered, moved into the light and gave me plenty of time to take a series of close up photos. The box was then measured and carefully placed back under its viewing case. 

Elizabethan Casket, Newark Park

Close up of casket with worn areas

Close up of casket with worn areas

These caskets were often produced by young girls and involved stump work - a technique that involves padded appliqué, and fine needle work using three dimensional elements. The detailed work often told contemporary stories.

My idea: could I reproduce an image of the casket in 3D? The new image would copy the worn and damaged areas as well as the better preserved parts. Damage and repair would be happening but on this occasion, the damage I am starting with is already beautiful.

The work will take many hours and require obsessive attention to detail; the beauty of the very fragile Elizabethan casket will hopefully continue but the form will be new.

Newark Park

The summer is over and this year DIY projects have come to an end so now I can get back to my work. 

On Sunday I spent the day at Newark Park, a National Trust property in Gloucestershire, and Brunel Borderers venue for an exhibition in June 2016. 

Newark Part, National Trust

Newark Park was originally a Tudor hunting lodge built by Sir Nicholas Poyntz around 1538 at the top of Ozzleworth valley in the Cotswolds. The house is nestled away in quiet woodlands and architecturally developed through the Tudor, Georgian and Victorian period periods and families moved in and expanded according to their requirements. The house started to fall in to a state of disrepair after the Clutterbuck family gave the property to the National Trust in 1949 and was saved by a Texan architect in the 1970's.

The day was really enjoyable as I had plenty of time to walk around the house to get a feel of the property and its history. The contents are as eclectic as the architecture is intriguing, and at first I couldn't quite decide what to work with so I spent some time taking notes about the history from the National Trusts volunteers' guide book. 

One story that really intrigued me was that of Joan Berkeley who was married to Sir Nicholas Points, the first owner of Newark Park. According to the notes, he died in 1556 and bequeathed the hunting lodge to her. Joan then married Thomas Dyer and according to his son, he was very cruel and when she was ill he deprived her of her medicines. However, when researching this subject at home I found an article in 'Embroidery' (May/June 2014) that showed a site specific artwork by Caren Garfen on the same subject.

Caren Garfen, Newark Park, Select 2014

Caren Garfen, Newark Park, Select 2014

I really like Caren's work so feel a little unsure about how I might tackle the same subject - whilst I would love to make 3D bottles from thread, I do feel that this might just be too similar  and that I will have to research the subject in depth to find a new angle.

However, there was another room that I loved - the Tudor kitchen. The room is in the basement of the house, quite damp and only accessible on a guided tour as the steps are so worn and unsafe. The tiles on the kitchen floor are worn and the walls are made of mismatching stone that was retrieved from the dissolution of nearby Kingwsood Monastery.  The ovens remain in situ but the doors are broken and placed on show alongside. In its early days as a hunting lodge, Henry VIII came to stay for two days; when he traveled with his entourage, the Tudor kitchen pots for cooking would be part of their luggage and taken away again after the stay. Could I bring the kitchen back to life with thread drawings of the type of Tudor pots of the period or perhaps I could make replica doors to fit on the ovens? 

Example of Tudor Pot, Canterbury Archaeological Trust

Example of Tudor Pot, Exeter's Royal Albert Museum.

I plan to return to Newark Park tomorrow to take some photos of the kitchen and ovens.

Recipe for Carragheen and instructions on how to mount silk pictures.

Here is the recipe for carragheen and instructions on how to mount silk paintings on card.

Carragheen

Add 25gms of carragheen to 1.7 litres of water and bring to the boil. 
Boil for 4-5 mins and then turn of the heat and add 500mls of cold water.
Leave over night and then strain through muslin.

The carragheen can be kept for up to a week in the fridge. I usually purchase it from Homecrafts but if out of stock (as appears to be at the moment) here is a link from Amazon.

http://www.amazon.co.uk/JustIngredients-Essential-Irish-Moss-500/dp/B00I9X7HHE/ref=sr_1_1?ie=UTF8&qid=1437468606&sr=8-1&keywords=carrageen+moss


Marbling Inks

We use these inks from Homecrafts UK

http://www.homecrafts.co.uk/Category?SearchString=marbling+inks&x=0&y=0

Fixing the Silk Paintings

In the class we use Pebeo Setasilk paints from Rainbow Silks. They are water based and require an iron to fix.

To fix your silk pictures, iron on the reverse for 5 mins (the important thing is to cover the gutta because this can stick to the iron) and use a medium setting so as not to damage the silk.

Once ironed the silk can be washed etc. I use bondaweb to fix the silk onto cardboard. Cut a piece just slightly larger than the silk picture and iron onto the reverse. Then peel off the paper backing and iron on to a pice of card and then add strips of your marbling cut to size to make a border. The silk can also be applied to fabric in the same manner and used as appliqué with stitch.

Here is a link to Homecrafts website where you can buy bondaweb

http://www.homecrafts.co.uk/buy-bondaweb-se0i?SID=7766&gclid=CI-Gz6vu68YCFTDLtAodxOIMSQ

Please contact me via email or this blog if you have any further questions. 

Art in Action 2015

I have just got back from Art in Action, 2015: whilst the preparation was quite exhausting because it came hot on the heels of New Designers, as usual, it was truly wonderful. I met  many lovely people who came to my silk painting and marbling practical class and also met up with other artists who are now becoming very good friends. My niece and my sons helped to teach and my lovely sister provided the essential support that got us all there.

The Class

Josh marbling

With my sister, niece, son and friend, Christine Green and her mum.

Some lovely, creative piece were made during the 12 workshops and lots of cups of tea enjoyed courtesy of the wonderful people who look after the demonstrating artists and teachers. I would also like to say thank you to Water Perry gardens who helped us to chose a lovely floral display and to Liz Hewit for the china that provided many inspirational patterns. 

I have a very busy year ahead of me with projects for 'Brunel Broderers' and 'Seam Collective', plus my image of the couple on the tube. But, hopefully I will find time to paint more silk and replenish my store of cards ready for Art in Action, 2016.

4304

It is the last few days of prep for Art in Action 2015 and the last major art event / work until September. Whilst very excited about attending and teaching the work shops, I am  a little worried about my entry for 'Best of the Best'. 

In 2009 my husband took his own life. That year 4304 men had their deaths reported as 'suicide'. It is the biggest killer of men under 50 and the critical time for men is between the years of 40 and 44. Carl was 43.  It has been well documented this year on TV (BBC, 2014) that the biggest cause is the fact that men refuse to talk about their feelings and whilst this continues, the high rate of male suicides will not slow down. I feel passionate about this because I have two sons and I really want to make sure that they always know the importance of talking as they become men.

My dilemma was wether or not I should talk about these facts alongside the garment. However, I have decided that the title may just be enough to make people question what the work is about and maybe read this post. The Japanese Gampi tissue night gown cannot be worn but the possibility that it could creates an absence. Light will be used to help capture this and illuminate the design which depicts the route that Carl may have taken from our house to his place of death. Many painful questions are left unanswered after suicide and this makes the rebuilding of normal life very difficult. However, the beauty of the delicate embroidered repair shows how hope can return and lives can be lived again.  

Click here to read more about the making of the garment

'4304' (2014)

'4304' (2014) Side view

If you have been affected by suicide, you may find the links to these programmes helpful -

BBC, (2014)  Life after Suicide, BBC Documentary https://www.youtube.com/watch?v=E3LTFI7jKMA

BBC, (2015) A Suicide in the Family, BBC Documentary http://www.bbc.co.uk/programmes/b05rcrx0

New Designers

I have just spent 5 days in London exhibiting at New Designers. I joined the year three textile group from Bath Spa and exhibited my embroidered drawing 'The Bristol 2 Litre Engine'. Luckily I had had one last module to complete, so with my student status nearing its end I was able to join this great group of students. 

Setting up was relatively easy due to the fab help of Steve our technician and Sue Bradley our tutor. 

Day 1 was rather long as we waited patiently for the judges to walk around the show and view everyone's work. Whilst we didn't win any prizes, we had lots of positive comments from the judges about our work.

Over the 4 days we kept a book for comments and gathered a great collection of names such as Stephan Mahoney, fashion journalist, Diana Springall, textile artist and many tutors from other Art and Design schools. I met Jo Hall editor of 'Embroidery' magazine and a few of us have since had emails from 'Selvage'. I really recommend New Designers to all graduates who are passionate about their work and want to get off to the best start in a challenging, but exciting world of art and design.

Lauren Healy,
loved by Absolute Vodka

Julie Heaton and Emily Caldwell

Sae Murai and Jan Kinsman

I have since had an offer to exhibit at Llantarnam Grange Arts Centre, East Wales, for the exhibition 'Portal' running from 8th August - 15th October, 2015. 

Hard work

I've had a go at drawing the face of the lady in the photograph - whilst I am loving the challenge, it has been really difficult and I have questioned the need to continue. I know I am safe with machines, objects and still life, but i would really like to be able to draw faces as I am fascinated people and their reactions to situations and spaces. 

In the first image, the eyes are looking straight on; in the photograph they look down and to the side. But her eyes are also slightly different and one looks down more than the other. After a while I decided that the first image really wasn't working so I cut it out of the main drawing and started work on a smaller piece of solufleece that can be added to the drawing later.

first attempt

second attempt

I think that the eyes are better but, the left eye should be slightly more closed. However, I can't work on the eye anymore or it will become overworked and will contain too much thread which will bulk when the backing fabric is removed. I have decided to continue with this image but I wonder if the colours are working. The thread is quite tricky for portraits: unlike paint I am not able to mix the exact colour that I need. I can blend by altering the tension but the threads are like coloured pastels and my drawing is taking on a painterly effect.

A couple on the tube...

I am about to start my first piece of work without the support and encouragement of my tutors at university: I feel quite anxious but excited. And, not only am I lacking the safety net of an art institution, I am going to attempt to make a drawing that involves people. It is also quite large (80cm x 80cm) and will probably have to be done in sections because I also have  to consider and plan projects for Brunel Broderers and Seam Collective.

Below is the image...

A couple on the tube ... (London 2012)

And this is the planned drawing made on solufleece....

Blueprint for drawing on solufleece

I have often thought about this image - I took the photograph on a family visit to London in 2012. I couldn't get over how they sat there in silence and whilst clearly together, they didn't interact at all. The woman is carrying the shopping and they have been to a famous British store that endeavours to meet the needs and desires of a broad breadth of the population.

I am not sure if this is going to work, but I have to try it.