Art, nature and stitch.

That’s quite a grand title for what is basically a round up of some recent activities.

I’ve been finishing some work and starting to design, make and produce patterns and step by step instructions for some new appliqué patterns which will be available soon. I’ve been thinking about doing this for ages, having done something similar for various magazines in the past, and of course there are some projects in my book. I enjoy devising these patterns so have decided to make more. They take time though, so won’t be appearing just yet.

So no images for those yet, but here are a few images from a recent trip to London, followed by some tapestry inspiration from Coughton Court, a Tudor house in Warwickshire. Then there’s a new needlepoint, and some images from a visit to Packwood House, also in Warwickshire.

Below, the view from the London hotel room window onto Tavistock Square, followed by four images from the fantastic Oceania exhibition at the Royal Academy.

The stick charts, above, were both beautiful and useful, being accurate navigational aids made from canes and shells.

A black headed gull who posed on these railings by the Thames for some time, obviously determined to be photographed.

Next, some images from the Anni Albers exhibition at Tate Modern. Weaving is something I love and admire, but I certainly don’t think I could ever do it. This was a most inspiring exhibition.

The centre image above was my favourite piece in the show.

One of my favourite textile activities is needlepoint, and I am much inspired not only by modern weaving but also considerably older tapestries. I am lucky enough to be able to see quite a lot of these in the various National Trust houses I visit. I spend a lot of time peering at them like Mr. Magoo, and I like to photograph areas of them which then look like wonderful abstract patterns, with the obvious subject matter removed.

One day I may incorporate some of them into a needlepoint piece, but ideas for needlepoint run faster than the actual making! I need larger holes and bigger stitches, obviously.

The faded yet rich colours of these tapestries are wonderful. Pinks and blues aren’t my usual go to colours but that may change.

And now some images of my latest piece. I hope to make a series of pieces for a show in 2020. To be honest things are not moving on as quickly as they should be. Perhaps the Christmas break will afford some more hours.

And this, below, is how far I’ve managed to get after a couple of weeks. My excuse is I only work in the evening on the needlepoints. I need longer evenings. It measures 42 x 36 cm, 21 x 14 inches. No more excuses, I just need to get on with it.

Below, winter sun at Packwood House, and one of the gorgeous oak windows there, elegantly decorated by nature with rosehips.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Something colourful.

I’ve been making and finishing some fairly colourful pieces lately, using some newly purchased fabrics, and a mix of my own painted and printed fabrics. I have an urge every so often to break out and use a lot of colour; I’m not colour shy but have tended mostly in the past to use it more circumspectly on black or white backgrounds.

I must say it’s been fun, but, I’m ready for a bit of subtlety now! My brain keeps presenting me with white textured surfaces and esoteric subject matter, so I’d better listen I suppose.

Talking of colour, it has been a wonderfully coloured and long lasting autumn this year; todays grim rain may put an end to that, but as I write this the holly tree in our garden is as heavily berried as it’s ever been. Lots to eat for the birds, who generally strip it well before Christmas, so when I bring some holly indoors I have to augment it with some fake berries on twigs.

I do however have a new project to work on that may demand less white and more colour, one that I’m quite exited about, so that will undoubtedly appear in these pages. The esoteric white pieces may have to wait.

So, some finished pieces. These are around 45 x 45 cm.

And the piece below in progress, which is now finished but I didn’t photograph it, unfortunately. I add painted papers to the pages of the black concertina book on a regular basis. I like the act of simplifying a shape and collage is the best tool for that, I find. The shapes then find their way into other pieces of work, but I do love the way the book looks too.

I’ve also started to make some individual pieces based, vaguely, on log cabin blocks. Some are less obviously vaguely log cabin than others. These are quite colourful but I imagine I will tone them down by stitching across them with off – white thread. I’m not sure yet, but they will be displayed together in some way. They are quite addictive to construct! There are 14 so far.

I’ve used digitally printed images, on fabric, of my own drawings, work and photographs, with a mix of other fabrics. They are each about 25 x 25 cm.

Lastly, some watercolour and collage work, with no particular destination, for the moment, at least…

Enjoy whatever you are working on at the moment!

 

A summer celebration.

To celebrate summer, which has unfortunately mostly ended, I thought I would gather together some summer pages and words from some of my artist’s books. The books are basically constructed using mostly fabric and paper, with stitch, and my words. I’ve been making them since 2009, when I made Into the Cacao Grove, my first artist’s book.

This post was prompted by a lovely person in Guildford who wants to read some of my poetry [she kindly describes my words as poetry] to her poetry group. Their theme next month is summer, so this led to this gathering together of some summer images and words. This is, I confess, quite a long post.

The books here, or rather the pages I am showing from the books, are collections of bound pages, excepting The Moth Pages at the end. I bind in a not entirely traditional way. Three of my artist’s books are quite large, the largest being 90 x 56 x 8 cm, and quite heavy with it. They are well travelled and frequently make appearances when I teach. I hope to be taking one at least to Embroidery, Fashion and Stitch next March, depending upon how much space we have.

To start, the cover of The Summer Gardens. The whole of this book is on my website, if you want to see and read all of it.

There are selections of pages from all my books on my website.

Next, some pages from the summer section of Shadow and Light, one of my big books that measures 75 x 35 x 10 cm. First, the cover, then I have grouped each two page spread together.

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Below, two sets of pages from The Stone Bird, another biggie measuring 80 x 58 x 9 cm.

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Continuing with three pairs of pages from Concealed Revealed, a book featuring a collection of my haiku.

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I couldn’t resist including The Moth Pages, as it rarely has an outing, being rather large hanging book. It’s based on the lime hawk moth. Below, the full piece. It measures 2.5 x 2 m, and is made from a mix of fabrics, digitally printed fabrics and papers, stitch and embellishment.

Colour and light.

The light changed a couple of weeks ago, from bland summer light one day to more considered autumnal light the next. I’ve noticed before that it can seem to be an overnight occurrence. Whilst I miss the long summer days,  I love the complexity of this light, and the cooler interludes suddenly invaded by a a few hours of hot sun before some quite wonderful clouds move in to take charge of the situation.

I was at the Festival of Quilts in August, and one of the many things I enjoyed there was stocking up on some fabrics. This was interesting, as I only intended buying calico to paint and print on. The thing is, new fabrics bring stimulation and new ideas, increase creativity and basically are just so much fun to choose and buy. To be honest I just loved buying stuff. However, it’s not just adding to my stash, honestly, my fabric supplies had gone right down to basically just some calico, and my own painted and printed fabrics, which were also quite low.

So, here’s my new fabric drawer, full of lovely raw materials for future work. I also bought more calico to use for some new painted fabric, as I always like to use personal fabrics as well as commercial fabrics in my work. There’s a mix here of Moda Grunge, Oakshott cottons, silk, felt, African and Japanese fabric, plains, and a couple of patterned pieces I liked.And probably one or two other bits of cloth I’ve missed.

So, some new work has emerged using the new fabrics, which proves, as far as I’m concerned, everything I’ve just said about increased creativity…

One of my favourite little birds, Gouldian finches, make from a mix of painted fabrics, commercial fabrics and silk organza, waiting to be hand stitched. 48 x 48 cm/19 x 19 inches.

Below, the whole piece and the stitching started.

Below, more colour with this red throated bee eater, the same size as the piece above.

I’ve used quite a lot of my pained fabrics in this piece, but the background, as in the Gouldian finch piece, is Moda Grunge fabric. This is handy fabric as it looks hand painted; I have a very small studio so it helps not to have to paint large pieces of fabric for backgrounds, I can concentrate on smaller more intense painted and printed pieces. I need more acrylic paints too, goodo, another shopping trip!

To finish, some early autumn reading. Not having been on holiday for quite a few years gives one the wonderful justification for a little book buying spree. Naturally this justification can be used indefinitely.

I saw the Opus Anglicanum exhibition in 2017, and it is one of a handful of my favourite exhibitions of all time. The book is fantastic.

Another favourite exhibition, one I saw a few years ago, was of illuminated manuscripts at the British Library. The colour and detail of the illustrations in the manuscripts and Opus Anglicanum embroidery is such an inspiration. So I went a little crazy and bought three books about medieval manuscripts; Christopher de Hamel is such a good writer, witty and erudite and addictive. The Seeds book I have wanted for ages, it is so brilliant. And lurking beneath is Dorothy Dunnett, not that we can ever accuse Dorothy of lurking. It’s the first of the House of Niccolo series. I now have all eight books, purchased by various methods, from charity shop to new, and although I have read the first two, some years ago, I’m starting at the beginning again. Got to love Dorothy, also witty, erudite and addictive.

 

A few more stories.

I’ve finished laying down the last few pages of my Stories project, and to keep everything as adjacent as possible, ie two posts together on the same subject, here they are.

The first three images show a variety of pages, with the final image being just one page. They are all A3.

So this project will be one I will be working on for quite a while, so probably now won’t be seen until it’s finished. How it will be displayed is something I hope will unfold as I complete the pages with stitch and so on.

I had an excellent time last week at the Festival of Quilts at the NEC in Birmingham, in the Art Textiles: Made in Britain gallery. I had spent a great deal of time over the last 6 months organising this space, so was more than relieved it went so well. I would point out that other members of the group contributed too, as it is a huge undertaking.

It’s a fabulous group of very talented textile artists, and to say the stand was popular would be an understatement. Enough bigging us up, here’s a few images. There are more on our website, link below, and Facebook.

 The above two images show some of my work from the gallery, Dark Tiger, a mixed media series of panels, 2.5 m x 80 cm, and Nest, 60 cm diameter, made from various wires, stitched paper, plastic, wood, and pebbles.

www.arttextilesmadeinbritain.co.uk

All text and images, and text within the work is copyright Stephanie Redfern.

Stories.

I’ve had a piece of work on my mind for absolutely ages, nagging away. It wasn’t, for some long time, a piece of work at all, but lots of jotted down and sketched out ideas, some pieces half done on textile and paper, with accompanying words. I wanted a couple of pieces to include work that isn’t brand new, but hasn’t been widely seen. The project was unwieldy.

I thought I might make the work across several formats, and went in and out of many ideas and combinations for ages. It was frustrating as I knew I wanted to make the piece but was certainly getting nowhere. It did eventually gain a title – Stories.

Eventually I decided that as a mostly orderly sort of person, I would fare better if I just decided on a format and get on with it. This decision took about 18 months…

I have some very nice Fabriano Accademia cartridge paper, A3, which is satisfyingly neat, matte, and prints nicely, in inkjet terms. I’d already made some collages using it and these will be included in the whole piece; I’ve shown them in a previous post. With this regular format I then realised the piece would just have to be a book. I haven’t decided yet whether it will be a hanging book, or a bound one. As the pages are a mix of landscape and portrait, a bound book could be interesting!

It’s based on the seasons, and these images show spring and summer. I’ll be making autumn and winter next, so all the pieces will be prepared and ready to be finished in the next stitching stage of the project, to aid continuity.

So dotted through this post so far are some of the pieces, ready to be finished with some stitch and other mixed media.

Below, a few close ups.

Naturally this won’t be the last time I blog about Stories, I have a feeling it will go on for a while. I’m a bit slow at the moment, blame the hot weather, not my favourite by any means! Cooler weather asap please, less to do in the garden and more energy all round.

For those who can visit, it’s Festival of Quilts time next week at the NEC in Birmingham, UK. It’s not all quilts though; I’m with Art Textiles: Made in Britain, and you can see our work in gallery TG13. It will be fabulous, we have some very talented members.

www.arttextilesmadeinbritain.co.uk

 

 

 

All images and text copyright Stephanie Redfern.

A romp through the RA.

I love the Summer Exhibition at the Royal Academy in London, and this year I was lucky enough to visit it again. It’s an annual pleasure and such good fun. There’s so much to see and it’s so diverse that there’s no pressure, you’re never going to see or remember all or even a good sized part of it so you can just relax. Of course in adopting that approach you probably do actually remember more of what you’ve seen, and of course photographs help. So, here’s a shot of one of the working areas, a corridor where they store the odd statue and all the spare coat hangers, of course, as we all do. I confess to finding these behind the scenes areas as fascinating as the exhibitions at times.

In the courtyard, Anish Kapoor’s Symphony for a beloved daughter.

Grayson Perry’s yellow rooms.

Infinity by Olga Lomaka.

Anthro Earth by Jess Warby. There seemed to be more textiles in the show this year than I’d seen before, could it be Grayson Perry’s influence?

Reflections in the artist’s spectacles by Anthony Green RA.

Living by the sea, with your dog, what’s not to like. In between the islands by Jenny Wheatley.

I always enjoy some Joana Vasconcelos. This is Royal Valkyrie.

Half and half art by Russell Davies and Ben Terrett.

Europe running through my veins by Tisna Westerhof. Says it all.

Vegetable portraits, one of my favourite genres. Runner by Jane Hopper.

Above, Gnasher, and below, Rufus 3rd, by Timothy Blewitt. These were amazing pieces, attracting much attention.

This was a very large piece, Le village Hollandais by Jock McFadyen RA.

Below, loved the silver foil wall covering.

Eggy Pop by Gary Miller, and Fergus by Peter Jones.

Red bear by Debbie Lawson.

Above and below, some models from the architecture room. These always amaze me.

Centre above, a large mixed media piece by El Anatsui, Hon RA.

On the left, Maritsa by the late Gillian Ayres RA.

More general views, with below, Temporary fence by Graham Guy-Robinson.

Above and below, two enormous pieces by David Hockney, Inside it opens up as well, and, Seven trollies, six and a half stools, six portraits, eleven paintings and two curtains.

I love the wall colours the individual room curators choose, from Grayson Perry’s bright yellow, to the silver foil, pearlescent  blue in the architecture room, turquoise blue and this yummy pink.

Il letto by Geoff Uglow, above, and the sculpture is Pissenlit 3 by Amanda Benson.

Below, Young academician by Yinke Shonibare RA, followed by a view of one of the print rooms.

Well, there we are for another year. It's always tempting to give it a go and 
enter a piece of work for consideration, who knows, next year perhaps...