Circles

Goodbye blogger

2011-06-02T17:46:00.003+01:00

I have been busy on the computer this week and I now have my new blog ready! So I shall actually quite sadly say goodbye to this page - but new layout will offer more information about the workshops I do and will be a space to share ideas around craft and community. I would really like it to be a platform for others who are making patchwork and quilts - so please do keep sending me your projects. There is also a section for this on my new website (which I am still working on) - I really have been a computer geek this week!

So here is the link for the new home of Circles. I am still getting to grips with the new template. I know you can follow the page with RSS feed, but I hope to add in more options as time goes on - so I hope not to loose any 'bloggers'! You can always drop me a line here and I'll check back to see if anyone is having troubles.

I wanted to leave with a celebratory image - and I was very happy when I found this story...
In 1980 Joan Vesper and Pam Plumridge became interested in Patchwork after visiting the Irish Patchwork Exhibition 1800-1900. They couldn't find a local quilt group through the guild so they formed their own. They put a notice in a local School to see if anybody was interested and as a result nine prospective members were invited to meet at Joan's house to discuss how to get started.

By the second meeting the numbers had grown to twenty one, this became thirty two and meant a move to Pam's house where she had a larger room. The group now makes one quilt a year and more for charity.

I hope the quilt group I started may grow to the same strength!

Pottering Locally

2011-04-19T10:47:00.004+01:00

Hello! I am still here! It has been a busy start to the year with many proposals and lots of lovely workshops, so I'm afraid I just kept running out of steam when it came to blogging... Things will still be a little quiet whilst I create my new website! There may be some calls for images and stories again, as my new site will have a section just for all you and your patchwork projects!... Watch this space...

But for now I just wanted to leave you with my most recent joy - the local village hall where I have started a monthly quilt group.(Images above) Here people are coming together to share their larger quilt projects, swap ideas and get some technical support when needed. Each month I write a page with a patchwork or quilt story and after the 12 sessions we will do a workshop in making a hand sewn book. With space for notes in the book, you can record your thoughts and ideas as you make, very much like Muriel Rose did as she peeped over the washing lines of houses in Wales and Durham during the 1930's, to record and find the best quilters to bring to London and exhibit in The Little Gallery.

There will be more to come on Muriel Rose and many of the artists she worked with in my new site...

2010-12-21T13:11:00.003Z

A little festive post before I hibernate a little over the Christmas period. These images are from my recent workshop at the Crafts Council for their Christmas 'craftanoon'.
I told the story of Odette's patchwork that I responded to for the Hothouse exhibition - the found papers inside the patchwork and the tale they told of the maker. I invited the Crafts Council to leave their own message inside their patchwork decoration. There were thoughts left from the day and memories of learning patchwork at school and Auntie making a patchwork from old clothes to make a quilt for to keep cosy at University.
The textile tokens are hanging in the Crafts Council Library for the festive period and the workshop has inspired some to begin their own patchwork quilt projects.
A lovely end to the year....
Warm wishes and Merry Christmas to all.

And the winner is...

2010-12-18T20:57:00.002Z

2010-12-17T22:21:00.002Z

Yvonne made this patchwork quilt sample at Vintage Goodwood - we enjoyed some conversation on historical quilts and community making. Thanks Yvonne

2010-12-16T22:48:00.003Z

Stephanie also came recently to the Fashion and Textile Museum workshop... It is lovely to be see how from the same guidelines people end up with very individual samples. (See in a previous post Eve's very geometric patterns, whereas Stephanie has layered a mix of prints with sewn patterns.) Stephanie is learning upholstery and soft furnishings as well at the moment and consequently is building a lovely catalog of all her learnt hand stitches. I reminded her how to do one of my favourite embroidery stitches - french knots - which look great over the floral print.

2010-12-13T21:42:00.004Z

Here is Malika's quilt, she has been slowly piecing the hexagons together for her Sister, since January this year. I met Malika during my workshop in Brixton Market, for bricolage's pop up project. During that workshop she swapped fabrics with Sarah, sitting next to her. (See Sarah's lovely horse print fabric in the patchwork flower. Image above.)
Malika also came to another session at my studio in Dalston where she brought fabrics from the local market. She found fabrics that reflected the characters of the lucky receivers, with a tiny aeroplane print, and a football print.
What a beautiful family heirloom this quilt is destined to become...

2010-12-12T21:51:00.002Z

The Patchwork Prize images are coming in - please do keep sending in your photos during this last week - I shall post the randomly selected winner on Saturday.
Eve sent in her patchwork quilt sample made during the Sue Timney workshop. Her patchwork uses bold geometric fabrics, inspired by the Timney and Fowler strong aesthetic for black and white, graphic prints. I love the blue quilting stitches - thank you Eve!

2010-12-03T18:59:00.004Z

A Little festive fun - For those of you who have attended one of my workshops and have continued a project in your own time - please send me photos of your patchwork quilt projects (finished or work in progress) for the chance to win a set of patchwork lavender pillows, made by my own fair hands.

If any of you have suffered from the moths as much as I have this year - this gift will save you a lot of heart ache - and darning wool!

Images and the stories of the projects will be posted on my blog and facebook page, so please follow these pages for updates. The winner will be selected at random, and will be announced on the 17th December.

Your gift will be packaged and sent to you straight away, in time for Christmas, so please send me your address when you submit your images. Please only send up to 3 images at 72 dpi so I can open them easily in an email. Please title email subject, Patchwork Prize!

Send images with accompanying stories to info@katherinemay.com

I look forward to seeing the projects!

2010-11-29T18:54:00.006Z

These are some images from my personal experiments, made in response to the Sue Timnely exhibition. I gave two popular workshops on Saturday at the Fashion and Textile Museum, with the theme of 'graphic geometrics in patchwork'. The workshops were inspired by Sue Timney's collection of fabrics currently displayed at the FTM.

I have also drawn on my reflections since visiting Louise Bourgeois: Fabric Works, exhibition. This personal collection textile thoughts, have made me consider my own relationship with joining fabric fragments and hand sewing.
I shall be posting some of these reflections over the next few weeks.

2010-10-30T16:48:00.000+01:00

A day of patchwork quilting in the garden. Although a chilly Autumn day the workshop was full and working outside in the the barn had a unique charm. Once the patches and the paper pieces were weighted down from the breeze, it was a pleasure to enjoy some hand sewing with hot tea, in the fresh air.

As the project and building is evolving, there are plans to do continuing patchwork sessions to make curtains that will hang between the structures as insulation. A set template for the patches will be circulated and drop in sessions in the garden will be hosted for people to contribute their patch.

Whilst absorbing the sounds of Dalston, I just felt so inspired to be in a community built space, that has created a beautiful and engaging environment. It is a great example of how active collaboration can be successful and creative.

2010-10-09T16:53:00.002+01:00

The patchwork 'For Odette' was exhibited at the end of maker development programme I was selected for.
The exhibition displayed 10 of the best emerging makers in the South East.

I think like Odette's patchwork, this piece is not yet finished and I plan for it continue growing.

2010-09-22T16:40:00.002+01:00

The Chapman coverlet 1829 - unfinished
A technique now often referred to as English Paper Piecing, due to it popularity during the 18th Century, provides a function to the patchwork process, but also leaves traces of the maker.

Historically papers used for piecing fall into four categories:

* Children’s school books - written in several hands, on both sides of the paper. Often with grammatical sentences.
* Personal papers - letters, accounts, bills.
* Printed papers - pamphlets, newspapers, invitations
* Blank papers - this is the least numerous example of papers. Paper was handmade and expensive.

The papers in the Chapman coverlet, (recently shown at the V&A Quilts exhibition) play an intrinsic role in its structure. Yet for textile conservator Joanne Hackett, the papers have raised some questions. “Why are the piecing papers left in the coverlet? Perhaps piecing-in papers were not considered disposable - but formed part of the quilts layering, adding insulation? Have many historical quilts lost their piecing-in papers due to later washing rather than deliberate removal?”
I wonder if, like with the stitched messages, whether papers were left inside to leave behind stories?

Images above show detail from the Chapman coverlet and my own experiments with paper piecing / stories, using pages from my note book.

2010-09-18T16:23:00.001+01:00

I am using white cotton fabrics from my collection and hand sewing in red silk thread, to make explicit the beauty in the hand stitches.

Amongst the pile of white fabrics I have two shirts that Clara gave me. Her Brother was going to chuck them out because a button had fallen off!

When Clara assisted me for one of my workshops, she used another of her Brother’s shirts she had passed on to me. She said she found it quite enjoyable to cut up ‘office clothing’... I wonder if I will feel the same?

2010-09-16T18:30:00.003+01:00

I have been saving the cardboard templates from a hexagon patchwork I found in the recycling factory (as seen in one of my first posts). I have become very attached to these wonky hexagon templates. My favourite has a child’s writing with ‘patchwork’ written over and over as is if in a spelling test.

The recycling factory is a busy working environment, I have to carefully undertake my rummaging around the sorters. Huge piles of textiles are gathered on tables for the sorters to look through and separate out in to categories such as; t-shirts, bedding and bras. The section that I always look in, is household. Here I often find tablecloths, napkins, haberdashery bits, off cuts of fabrics, (some from unfinished projects) and sample books of interior design fabrics.

When I say I found this patchwork, it was literally thrown at me, durin the sorting process, whilst I was searching through the household textile container. So I have always felt it was destined for me. I also always felt a sadness that a patchwork, full of dedicated hand stitches, could find its way to a recycling factory. Why was the piece never finished? What happened to the maker? The templates inside give evidence of a family. Why has it not been saved and cherished by anyone close to the maker?

I knew as soon as I got the patchwork home that I wanted to grow it in to my own patchwork quilt for my bed. As I have been working on adding to the patchwork, I have been thinking about the hand stitches from the previous maker. Some are roughly sewn and are now falling apart, others have been tightly sewn using blanket stitch. The blanket stitched hexagons appear on the outer edges of the patchwork. Perhaps the maker was conscious of trying to improve their earlier stitches.

And so a project is evolving, in dedication to Odette, who I believe to be the maker of the patchwork. I begin making hexagons, each one made using my favourite template from the original piece, and start to hand sew the pieces together.

2010-06-27T23:56:00.005+01:00

The Slow Textiles Group is founded by Dr Emma Neuberg. This workshop was facilitated by slow textiles member Frances Cowper. A workshop to unlock the the past within garments, so they can travel with you... Learning to trace the garment pattern without unpicking the original.

I took a dress I brought when I was student. I found it in a shop on my local high st at the time which had quite an eclectic mix of fashions, but in it I found this gem.

The dress was a treat and I wore it often out with my boyfriend and I would always receive compliments on how much the dress suited me. As the dress was so comfortable to wear I began to wear it more and more, I enjoyed how I felt in the dress, it is soft and feminine whilst remaining elegant and sexy.

The delicate fabric began to catch and tear the more I wore it as an everyday dress, but I felt that this accentuated the delicate nature of the fabric, so kept on wearing it. Now I think it may be too torn to wear as the special dress is was once worn as, so it has been waiting in my mending bag for a day like this.

As we all discussed the garments we had brought to the workshop, I realised that the nature of the fabric and shape of the dress, meant that it was my body that shaped it, leaving an imprint of myself within the dress.

This workshop has made me think about the idea of 'personal classics' and women's body image. The workshop revealed that we all knew what worked well with our bodies and lifestyles. But perhaps it can be hard at times to always hear our inner voice when we are bombarded by fashions that try to make us desire a generic image which changes from season to season.

What I have learnt at this workshop is an empowering skill, it allows us to move away from the feeling that you need to follow the shapes that fashion dictates. I would recommend everyone to look through their cupboard to remember and re trace their own signature pieces.

2010-05-10T23:54:00.003+01:00

This two day conference tackled the topical and challenging area of new textile technology and look at future textiles with a conscience. How ‘Slow Design’ focuses on ideas of well-being.

"Slow design outcomes encourage: designing for space to think, react, dream, and muse; designing for people first and commercialisation second; balancing the local with the global and the social with the environmental; demystifying and democratising design by re-awakening individual’s own design potential; and catalysing social transformation towards a less materialistic way of living."

Workshop

Before this workshop I had been reflecting on the idea of textiles and sharing and understanding for myself, that the process of my making is where the true value lies. By facilitating workshops I hope to give participants a space to share and enjoy the process of making.

I began to get excited about this workshop as participants arrived and settled down, taking out their sewing box and collection of textiles. I could sense that each person had taken time to look through their ‘stash’ and had come across forgotten fragments or tiny precious scraps that they had been too scared to use. As we went round the group, each person spoke very evocatively about the textiles they wanted to work with. It seemed that the session had given them an opportunity to rummage through their collection and embark on an emotional journey of memories.

It is very emotive looking through someones sewing stash and gives you a little sneak in to how they might approach their making. I reminds me of a beautiful wooden sewing box I found at Greenwich market, which was full of jars of buttons and name labels…. It makes me think of a Mum, prepared for sewing emergencies, ready to replace missing buttons and add on uniform name labels. An organised and functional tool kit.

I am realising that through my workshops I am giving people the tools to unlock memories and emotions, in a space that feels safe for them to share this process.

2010-04-06T22:27:00.003+01:00

katherinemay-50, originally uploaded by katherine may textile design.

When embarking on the commission for Liberty I wanted to reflect the personal nature of my design practice, showing how I would approach a private commission. I asked the staff of Liberty to donate some clothing they felt represented their time in the store. Each garment donated was either bought at Liberty, worn in Liberty, or had a strong affiliation with the store. A wide assortment of items – from a floral print needle cord skirt, a floral wool scarf and printed jersey tops. Interestingly the textiles of the clothing reflected Liberty’s signature print designs and fabrics felt soft and feminine. It was also a joy to receive rare scraps of Liberty fabrics. As I emptied out the bag, I was aware that the quilt I would make from these fabrics, would be an archive of Liberty textiles.

As part of the project I was interviewed by Liberties online editor. Ruth came round whilst I was amidst the 5 quilts all at various stages of production – fabric hanging out to dry and pieces near completion, stretched out to be quilted. Ruth joined me on the floor were I was laying out the design for the charity quilt. We talked over my work and I showed her Action Man and Barbie quilt. It is always a joy to share these quilts, as often girls remember the clothes they used to have – Ruth was no exception and even remembered the name, Peaches and Cream. It was a dress that I had for my Barbie and Ruth remembering the name brought back memories that I had forgotten.

It was also a joy to learn the names from some of the fabrics, often named after an employee, one of my favourite fabrics was Scott's fur.

This quilt has gone on ebay for auction today. The amount from the winning bid will go to the Variety Club children’s charity.

2010-03-17T16:19:00.008Z

My quilts are hanging in the central atrium of Liberty as part of the selling exhibition Quilty Pleasures, that coincides with the Victoria and Albert Museums exhibition, Quilts 1700-2010.

2010-03-15T10:43:00.007Z

Well this is the reason for a slight slowing in my posting over the last couple of months... I have been commissioned by Liberty to create 5 new quilts for their in store exhibition Quilty Pleasures, which opened in store today. I will be keeping you updated with new images of the quilts, but for now see more from 'the making of Liberty quilts' on my flickr page.

2010-02-14T23:10:00.006Z

This week I have been mending an eiderdown from the 1930's. A Grandmothers' quilt handed down to you, is a cherished object. Natalie's quilt had developed holes over time and was loosing feathers. Working in collaboration with Fabrications shop, I helped Natalie decide on the best methods for repair.
I find visual mending beautiful, the traces left by a hand, lovingly restoring, adds to the tale and the emotionally sensitive, aesthetic of an object. I suggested using traditional hexagons patchwork shapes as patches to protect and cover the holes.

I have enjoyed this special project and have been inspired to offer a quilt restoration service. Details soon to follow on my website.

2010-02-13T22:05:00.006Z

Our time at the pop up shop is now over and the last week has been the most enjoyable. As the market gets bustling, the conversations with our locals become more intriguing. I have found that discussing textiles, allows a dialog to open up between strangers. What starts as a conversation of sharing textile tips and knowledge, so easily leads in to tales of memories and personal histories.

This is an aspect to textiles that I ponder the more I workshops I facilitate. The benefits of creating and learning amongst a small group of individuals, often from very varied backgrounds. And how a slow craft such as hand sewing has a therapeutic affect, leaving the mind open, allowing ourselves time to be reflective.

Patchwork quilting at our Brixton shop was fully booked and a very enjoyable session. Participants swapped their favourite textiles, I contributed a square to Katie, now a patchwork regular with a beautiful growing quilt. And there were feelings of love for patchwork expressed. You can read thoughts from some of the participants on their blogs. Emma Neuberg, who runs her own popular slow textiles workshops. Sarah, a researcher of materials, styling, photography and fabrics. Beth, who runs an interior design service. And Clara Vuletich, fellow bricolage member, a printed textile designer and researcher.

2010-01-22T23:58:00.003Z

A darning workshop facilitated by Barley Massey for bricolage's pop up project space. I took my first item of vintage clothing to mend. The printed shirt was originally from Australia and has probably travelled all over before being brought by me in London. The cotton is so old that it has become thin and nearly see through. But the print, which looks like a fairy tale garden, still feels fresh and vibrant.

I took along another item, a cashmere cardigan made in Scotland. It was given to me by Clara as she no longer wore it. I loved the cardigan so much, that in its short time with me, I have worn it to holes.

I was delighted when Clara had forgotten to bring her mending and she could add her hand touch to a cardigan which already carried with it a piece of her. I love Clara's bold hand stitches in complimenting colours and now I can enjoy wearing it even more! There are still more holes to mend, but I am looking forward to it!

2010-01-19T23:41:00.015Z

Following our success at TENT during London design festival, bricolage have popped up in the heart of Brixton Market. We have been selling and making our hand made textiles from the space and will also be curating a series of workshops.

Crafting Process

2009-10-25T21:45:00.005Z

Two exhibitions I have been reflecting on recently - workshop Misssoni: Daring to be different and Kazakh Craftswomen of monglia's 'Rich Cradle' : An exhibition of women and their textiles. One shows the journey of innovative fashion designers who have taken craft skills on to a mass production level and the other gives an in site to a lifestyle which revolves around the home, family and generations of craft skills. Although the art of fashion and yurt making are worlds apart, the exhibitions both had a strong emphasis on process. In particular found interesting the uses of video ( in both exhibits ) shot in real time to show the beauty, skill and time taken to create the textiles on exhibit.

The process of craftsmen has been hidden and perhaps thought of as dull to those outside the craft community. However now as society craves to understand the materials and processes used in the creation for many of the products consumed, makers have been put in the spotlight to enjoy sharing a glimpse in to their workshops.

In sustainable thinking collaborations are thought to be a strong force for achieving goals and raising awareness. It very simple two heads are better than one, especially if the heads come with different areas of knowledge or skills.

Designers and craftsmen are natural collaborators. A textile designer for instance may work with a seamstress or upholsterer to realise their design or a computer technician for digital printing. At all stages of the design process collaboration and research are key. Research into materials and an understanding of the delicate cycle these resources come from is embedded in a makers thinking.

It is this thinking process and collaborative participation that some feel craftsmen now need to share with society in order to make the shifts needed to our fast changing, unsatisfied, throw away lifestyle.

Craft and slow is a philosophy - respecting the time and skill of craft in contemporary society, to bring to importance the need to understand and respect our materials and communities. To practice ethical business and create object that engage, have longevity with thought to its end of life phase - repair and maintaining.
Craft Space is discussing these issues and hosting exhibitions and talks.

Mix and Match

2009-09-13T23:24:00.005+01:00

Mrs. Parish's six decades of decorating epitomized the rise of women in her own and other professions in 20th-century America.
I have recently found these beautiful images from 1960's design partnership Parish Hadley. Sister Parish was married to Alfred Hadley and together formed the influential design team complimenting each others aesthetic with Sister's love of patchwork quilts, painted furniture and the 'home spun' mixed with Alfred's clean cut take on modernism.

The collaborative approach to design can be very susscesful as I am experiancing at present having recently formed an exciting textile collective bricolage We our working towards our first group show during London Design festival Tent. With a shared aesthetic favouring bold colours and hand crafted marks we compliment each other whilst bringing individual understandings of textile techniques and design. Socially we have a strong support network for each other and share knowledge and resources.

More to come on my thoughts on collaborative projects and co-design.

2009-08-30T23:08:00.011+01:00

My first quilt workshop at Fabrications was a great success. My approach for the workshop was to encourage individual expression and group interaction. Touching on the themes of up-cycling and emotional durability which are key aspects of my own work. Participants were encouraged to bring personal fabrics and inspirations and it was great to see some beautiful patchwork examples from Grandmother's and loved quilts waiting to be restored.

The floor became a collage of visual inspirations with samples of my patchworks and images from personal inspirations of communities crafting together. The group really responded to this and it wasn't long before we were swapping stories over tea and cake.

We worked through the steps together, creating hand sewn patchwork with quilting stitches. I loved seeing each persons choice of fabrics and everyones hand stitches, its such a personal process. I am hoping to keep in touch with projects carried out by participants after the class, as each person came with a different goal in mind and there were some very creative projects on the horizon: stenciled fabric to be patchworked in to pixelated portraits, oven mitts, baby quilt, embroidered initial quilt samples, hand felted patchwork and a vibrant mixed fabric quilt of wool and cottons.

I probably break all traditional patchwork rules: I don't work in inches, mix fabric weights and content ( I love to use stretch and wovens together) I don't use cutting boards and measured templates. My approach is more organic and experimental and I was keen to pass this on. The quilts that have inspired me the most show traces of the hand and a strong personality. The quilt I made below uses cord and jersey together to create my 'love triangles patchwork'.

I'm sensing a patchwork revival and with more workshops coming up in the Autumn and the V & A quilt exhibition early next year I think its full steam ahead...

Expression in textiles

2009-08-09T14:50:00.011+01:00

I have been taking some time recently to reflect on my inspirations and a continuing visual influence has come from artists of the early 20th century who have turn their expressive hand to textiles. Sonia Delaunay's strong use of colour and geometric shapes that extended paintings, to textiles and set design. I was interested to learn recently that the turning point in her work had developed after making a quilt for her son, leading her become interested in the geometric forms and colour theory. Sonia and her Husband Robert, who worked closely alongside each other, then began experimenting with colour and design theory they called Simultaneous design, when one design, when placed next to another, affects both.

Another key influence has come from the Omega workshops lead by Roger Fry, sees Bloomsbury Group artists such as Duncan Grant and Vanessa Bell explore painterly pattern on almost every domestic object, following where Morris and Co had left off, their interest was to inject the expressive quality of the artist handling in to everyday lives, over the deadness of mechanical reproduction.

In both instances I feel the colour and designs have retained vibrant and still withstand contemporary design tastes. Perhaps more poignant is the is the contemporary relevance of their ideas and theories. Delaunay's approach took her colorful art to the people, with much of her work being 'off canvas'. Fry was also concerned with bringing together artists with everyday people and the importance of emotional expression within our everyday objects.

So I feel I shall be taking on from where my inspirations have left off, to bring the handmade emotionally durable object back in to our everyday.
See more from Omega at Beyond Bloomsbury: Designs of the Omega workshop at Courtauld Gallery

2009-08-05T18:34:00.017+01:00

To follow from my last post, I recently visited the V&A exhibition Telling Tales which explores the recent trend among European designers for unique or limited edition pieces, that push the boundaries between art and design. It show cases furniture, ceramics, and lighting, designed by a new generation of international designers, including Tord Boontje(bronze and enamel fig leaves wardrobe as seen above), Maarten Baas, Jurgen Bey (my favourite! 'linen-cupboard' a guest house of found textiles and furniture, as above) and Studio Job. I went along to the guided tour given by curator Gareth Williams and editor in chief of Elle Decoration Michelle Ogundehin, on the hot topic of the 'designart' tag, of which Michelle was not too keen on and felt the label had been given to appeal to bankers looking for whats 'new' to invest in, and put across the opinion of a purist with the notion that design is for the masses.

Some of the pieces in the exhibit were commissioned by Meta, a new collection born from Mallet one of the world's most prominent antiques houses founded in 1865, and says its to set a new standard of contemporary design. They have linked up designers such as Tord Boontje with selected ateliers, uniquely rooted in their skills and the history of their workmanship; the techniques they use are direct descendants of the processes used in the 18th century, to transform these skills in to contemporary design pieces.

I have been mulling over some of the issues raised in the tour and I agree the label 'designart' does not sit well with me. What I see in the exhibition is a beauty in these almost forgotten skills. We have fallen in to a cycle of buy cheap, fast and throw away.

Designers work as problem solvers, perhaps a balance could be found between using these rare materials and crafts, with more industrial methods without compromising on quality. There is no doubt that this is a good business venture for Meta as I'm sure the antiques must now be running low, but perhaps we can hope that more businesses will follow by investing in craft production and that design will not need to sport the 'art' tag to achieve the value it deserves.

2009-08-03T21:56:00.005+01:00

A recent project I have been working on 'exchange room' is a collaborative project with portrait painter Ian Bruce. The exchange room as the name suggests explores the idea of trading trades, an idea that Ian felt was even more poignant in our current economic climate. A series of exchanges will be exhibited in London and New York and invites visitors to judge whether each exchange is a 'fair deal' considering their material costs, time-taken, talent and skill. Ian's aim is to fund the project entirely with art based exchanges.

I shall be exchanging with Ian 4 handmade flowers made from Liberty fabrics, for 4 portraits of myself.I was really keen to be involved in this project with Ian and felt that it tied in to ideas I had already been discussing around the value of textiles and craft in today's society.

As we've seen the financial value of art works sore to un-sustainable levels, bespoke design and crafts seem to not be able to rise above a certain level and in reaction we've seen designers opting to exhibit in galleries rather than craft and trade shows, achieving higher price tags. Artists also tried their hands at crafts, last year Demons, Yarns and Tales saw artists Gavin Turk, Gary Hume, Paul Noble, Grayson Perry and Peter Blake transform their works on to tapestries. This project was commissioned by Christopher and Suzanne Sharp, the couple behind The Rug Company, to breathe new life in to the forgotten art. Clearly they felt artists would better raise the profile and perhaps financial value of tapestries.

However my concerns also lie outside simply the financial value of textiles and craft. In textiles particularly I feel there is lack of understanding of the materials that surround our everyday lives. At each stage of the process their is human labor and skill and vital natural resources consumed.(made by a label system for fashion tracks all stages of production from fiber growth to sewing studio, to develop consumer knowledge and user relationship) This lack of understanding in part has led to our throw away attitude towards fashion and textiles and this industry now needs to follow what has happened with the food industry, in encouraging people to engage and learn about the materials and products they are constantly in contact with. My hope is when visitors way up the 'fair deal' in the exchange room, they will look beyond the flowers I have made for Ian and see the many other aspects that have enabled me to reach my outcome.

From the receiver of my quilt...

2009-07-26T01:32:00.006+01:00

The desire to hoard your child’s baby clothes is HUGE. It’s a way to remember how tiny they were, how many cuddles you them gave every day, who gave them that item of clothing and how much they’ve grown.
But the house can get filled quickly with bags of clothes and these are the clothes you don’t want to pass on – you want to hold on to these. Open the bag every so often and remind yourself of their babydom.
But nostalgia can be a dangerous clutter-monster. And you can’t display all these items on the walls at home – that would be weird. You can’t freeze your child in time.
What is the answer? How can we turn these clothes into something fun, useful – a talking point once in a while to remind your little one how far they’ve come. Something tactile to play with, not tucked away in a cupboard. Something that grows with them.
A quilt can do all that. It’s something for your child to snuggle up to (and for you to cuddle them in!). It can be a night time blanket, a place to hide or a play blanket.
Each piece of fabric is a memory for you and for them. This is the nightshirt I wore when I held you for the first time. These are the trousers your papa wore on the day you were born. This is the first sleep suit your grandma gave you. This is your favourite red tee-shirt. This is a picture of an elephant from your baby blanket. This is the bodysuit your aunt gave you.
I’ve always loved quilts and the stories they can tell. But I lack the skill and artistic flair. If I tried to make the quilt, I would need a course, and a separate room in the house, and about three years to complete it (possibly more). By the time I finished it, that moment would have passed and it would be dated. It would be a mish-mash of fabric that would be hidden back in the cupboard. It would have a limited life-span – babyish clothes would embarrass an older child in time. And I would feel awful cutting up his clothes to make it in the first place.
But the joy of handing over that responsibility is heart-lifting! By finding Katherine and seeing her work online, I thought I might have found my answer. Her action man quilt was the thing that did it – fun, funky and cheeky. By meeting her, I was sure I had chosen the right person. I handed over my bag of clothes, we talked about my ideas, her ideas, the purpose of the quilt. We agreed a budget and I left. I’d never “commissioned” anything before. It was a mixture of excitement and “am I mad?”
Katherine kept in contact, sharing her plans and ideas. When I picked up the final quilt, the excitement kept me going all day. It was beautifully wrapped in a stripy cotton sheet, tied with string, with a “Katherine May” label on it. When I opened it, it was beyond what I imagined.
My bag of hoarded baby clothes was something beautiful and unique – filled with memories and something to create new ones with. When I got it home, we all looked at it. Sacha and I hid under it. He snuggled in it to watch television, we hung it over the chair to look at the patterns it made.
Now it is on his bed. It’s his quilt, his everyday blanket – it’s there for when he needs it, or wants it. Every time I make his bed, I can feel the different pieces of fabric and remember little snippets – or I spot a different pattern in the pieces. A tiny moment in my day – but it makes a difference to me. If he chooses to become a Papa one day, I hope he snuggles up with his baby, wraps them in this quilt, and talks about what it was like when he was small.
Until then, I will keep a few bits and pieces for the next quilt I ask Katherine to make – this might become a habit.

Sacha’s Mum
(Aka. Valerie)

July 09

Women and their quilts

2009-07-26T01:19:00.004+01:00

As such personal works of textiles, I really enjoy seeing the faces and magic fingers behind the quilts

Rescue project

2009-07-24T16:52:00.001+01:00

I found this unfinished patchwork on my most recent trip to the recycling unit (as seen in an earlier post)It was in two pieces and has a wonderful combination of fabrics all mish-mashed together, I wonder where they were all collected from. The card still remains in the back - some are from old Christmas cards with hand written greetings. Its like a tragic love story when you find unfinished patchwork! So this is my rescue project to finish this patchwork.
I must have been destined to find it there that day so I can continue it's creation and journey.

Remade Brixton

2009-07-21T18:51:00.004+01:00

More fun workshops! Corsage making....
Using donated 'old season' silk fabric samples from Thomas Pink, we had simple step by step instructions on how to make your corsage, whilst we were on hand to guide those less able to sew and encourage individual designing. Again the children's creativity and strong individualities were a joy to watch as they ran round to each activity (badge making, plastic bag making and tetra pack wallets) with sheer excitement.
A quieter workshop than Newham, this weekend I was able to enjoy sharing more conversation with the women who participated in the workshop, Betty who enjoyed some form of crafting nearly every day, was very happy to have learnt a new technique for her busy fingers and many were keen to have a use for their odd scraps of textiles.
This was my first solo workshop, although teamed with friend, print designer Clara Vuletich, the workshop has development from my own making and it was great to see people picking up the skills and then adding their own interpretation.
And thanks again to Thomas Pink for there fabrics, people really responded bright colours and patterns used in the silk samples that are woven to choose the colours and designs of their ties. I was given so many boxes that I have been passing them on to many grateful textile hoarders like myself!

2009-07-19T00:00:00.004+01:00

One of the best weekends I've had in a long time. I spent last weekend assisting Barley Massey of Fabrications in facilitating recycling workshops at Newham's Mayors fair. There was a frenzy of french knitting to make scarfs and transforming unwanted t-shirts (provided by LMB) in to bags which were then customised by the individual or as a group project.
The creativity of the children was so inspiring and the desire and patience to learn by all participants was encouraging to say the least!
I am becoming more and more passionate about passing on these skills which I've realised are dying out. I didn't grow up with a particularly 'textile' influenced family, but was lucky enough to attend a state school which had a thriving arts and design department where I could experiment. Now as schools have more pressure to meet exam targets these creative and practical skills are being left behind in the curriculum, so its great to see councils funding these events outside of school.

Textile Journey

2009-07-18T14:08:00.004+01:00

Above is my journey to the textile recycling factory where I source materials for my work. I get on my bike take a short train ride, then cycle off alongside a stream, with bank sides full of wild with flowers. In no time I have arrived for best bit-rummaging for treasures! Chris Carey textile recycling is a family run business and when I arrive they remember me from my last visit and the conversations we shared. Once my bag is full of goodies and I've arrived back at home, I wash and hang the fabric out to dry, admiring all I've collected.
It really is a joy to collect fabrics this way. After my initial shock of the vast scale of textile 'waste' being sorted in to the white bails you see above, (most to be shipped to Africa) inspiration kicks in...

Sexy sewing circles?!...

2009-07-10T00:32:00.002+01:00

Yes indeed. In fact it is thought the phrase was coined by actress Alla Nazimova, (seen above) to describe the underground lesbian and bisexual relationships among actresses in the United States during 1910-1930's. I hope that this new understanding of the phrase will help us to challenge our perceptions of sewing circles and to consider what is their new identity in contemporary society.

Sewing Circles

2009-07-08T22:00:00.003+01:00

The communities that were developed around crafts such as quilting are what initially inspired me as a designer to re visit these traditional skills and notions. Visually I discovered a feast for the eyes from hundreds of little hexagons each printed in different florals, to boldly pieced and coloured geometric designs, I was hooked. Over the past few years I have been developing my practice as a maker, an isolating practice at times, but recently I have been able to enjoy the strong social bonds built from skills sharing and sewing circles and can appreciate the importance they still have now in our contemporary society. As we try to re gain our voice as communities and move away from our 'throwaway' values, these circles bring us together to share histories.