Blog of Chrissie Freeth tapestry weaver, features writer for UK Handmade, weaving features editor for the Journal for Weavers, Spinners and Dyers, Artist in Residence National Trust and trustee of the Heritage Crafts Association
I posted in December that I had a new full-sized tapestry under way. It was inspired by my travels and the medieval tapestries and frescos I saw depicting various Marys weeping over Christ down from the crucifixion. We the viewer are responsible for their plight, we, it seems , one way or another have his blood on our hands. I am not religious, I don’t believe in any god, I see them as very human figures. And it occurred to me one would not be caught weeping in front of the murderers of one’s loved one, but as an accuser one would look back with dignity and a spine of oak.
I was moved to do my own version, it held a personal resonance with me which I won’t bore you with again. I did struggle with the title, Two Marys, or, including myself in the mix, Three Marys. Fortunately it turned out that these depictions already had a standard title, The Lamentation of Christ, and so I think I have settled on The Lamentation for my own title, as a nod to the original source.
I got to cut it off the loom on Friday. Deadlines were approaching, ironically during a very busy week for some voluntary work I do, and so I was up to the small hours to get it done. I also needed to get it photographed, but as I am still to deal with the cut warps, weft ends, and sew up the slits as well as add a hanging mechanism, the only way I could photograph it was to keep it on the floor. I ended up on a pair of ladders with my ipad clamped to the end of a ginormous but sturdy rug shuttle and thanks to the timer was able to get a few shots. I was having flashbacks to photographing graves at a medieval abbey in the Midlands. Funny how such experiences eventually find a use . I’ve left my toes in one of them to get an idea of the scale – it is a fair size (168cm x 137cm), it is ecclesiastic in its nature and needs to be able to hold its own. It has taken three months stupid hours – excepting the glitch over Christmas – to weave this and inevitably there is a sense of loss and deflation now it is done.
Another thing I have also finished – and a big hurrah for me – are the plans for the next stage of my Winston Churchill Travelling Fellowship. In the Spring I’ll be heading to Halberstadt and Quedlingburg, then down to Nuremberg, also Munich and and Bamberg and then on to Basel and Bern. It took a huge amount of work and, bizarrely, nerve, but hotels and flights are now booked.
I have heaps of admin over the next couple of days, but hope I emerge from it ready to get going with the next project. I know where I am heading but haven’t let myself think about it too much until this one was done. It is hard going from knowing what one has to do every day, to entering the foggy period before the next project makes it onto the loom. I don’t know why but this work – research, sketching, designing, sampling, making cartoons – doesn’t always seem legitimate, perhaps because it is a much more organic process, it can seem less like ‘work’ than my time at the loom, although in fact, for me, it is the hardest work of the whole process.
I think I would have mentioned before that however much I enjoy doing events, I do feel I am cycling backwards in order to make work for them, especially last year when sales have been so good. The downside is I just do not have the time or space to experiment. I’ve also felt it keenly as I have had a year of exposure to such wonderful things and my mind is swimming with ideas and things I want to try. When such experiments can take months, the risks are obvious.
I don’t usually do Christmas, my family are in the Midlands and I tend to just work through. But as the holidays approached I found my productivity slowing, I am loving the tapestry I am working on but was barely weaving in a day what would normally take a few hours. I accepted a break would do me good and as the rest of the nation were sitting on the sofa in their pants, their face dropped into a tin of Quality Street I, goddamn it, would do the same. I banned myself from the workroom for two weeks. Not to step across its threshold. Oh no. Banned from the loom. I could only look upon it from the hallway, lovingly, longingly, but we were to be parted.
I ain’t got no PhD for nuffin. After a couple of days of spring cleaning and fighting through brain fog to amalgamate my to dos I suddenly realised, yes I was banned from the workroom, but I could set up a sample loom in the living room. I know, total genius. Whilst I have been comfortable in the medieval techniques I have been working on this year, high up on my list of things I wanted to do was to apply those techniques to a more modern design rather than the faux-medieval visages I had been doing. I already had a cartoon, although it had been intended for the more darker, blended style, and after an hour to rejig it I ran into the workroom for a handful of yarn and warp and set up the sample loom downstairs. It was mid-sized, and actually one I would have used as an undergraduate; I was the very happy custodian of various textile equipment from my archaeological department.
The frame was just the right size to rest against the arm of the sofa and my lap and so I worked on it horizontally. This was a new experience for me, as I usually work on a vertical warp and it took time, each warp needed to be picked out by hand, but it was enjoyable. The only issue was some abdominal pain, which I assumed was my bent over posture, William Morris’s weavers I remember reading somewhere were plagued with it. Oh how I laugh.
It is still hard to let go of the ‘fuss’ of my old style and to embrace the simpleness and crispness of this type of tapestry, but I do rather love it, and I am dying to have the time to get beyond these small samples. I am working on a design inspired by a line from my great-great-grandmother’s records from the asylum she was kept in, something she said, it is like hearing her voice, I think it is a reference to a Victorian song.
I had a few more attacks of pain under my rib cage, one on Christmas night when I was so convinced I was going to die I got dressed for the sake of the poor sod who was going to find my body once its whiff paraded down the street. I didn’t want to make a fuss this time of year, the NHS is overwhelmed afterall and booked to see my GP in January. But eventually I ended up being taken to hospital by ambulance with suspected pancreatitis or a gallstone jammed somewhere it shouldn’t be. My biggest regret is not getting a snap of the IVF and morphine drip hanging off the dismantled scaffold loom in the living room. Also, irritatingly, my ASBO neighbours were very helpful getting the ambulance and I am still not entirely sure of the etiquette – do I owe them a thank you card or can I just pretend it never happened?
It all turned out to be down to a stoopid liver condition I found out about last year. I am a bit peeved as I had no idea this was part of the deal and decidedly want my money back. But a few days in hospital and rest at home did mean I got, afterall, a break over the holidays. Except I did manage to do my tax return. What can I say, I am a bloody hero.
It did mean though I was massively behind on adminy things and once up to it I had to clear the decks of all that before I could creep back into my beloved, much missed, abandoned workroom. I know many weavers see it as a contemplative, meditative act, and yes I can find myself ‘zoning out’, but to me it is work – I do it to produce a piece of work, not for the act itself. But it has shocked me how much my loom contributes to my sense of wellness. Getting to the point where I could just sit at it and work has been like a tiny island in a vast sea. I’m there now, this blog and some planning for the next leg of my Churchill Fellowship aside, and it feels good to have my bum planted firmly in the sand under the shade of the solitary palm tree. Whether it is that meditative aspect, or the repetition, or the familiarity, or the structure, or the sense of purpose, alludes me, but I do know we are wedded now (to be clear, in a metaphorical way, not a pervy way) .
I’ve learned a lot, my friends rallied around marvelously and I now acknowledge I do need to accept help more often than I tended to do. I have also realised I have to get on and weave what I want to weave, rather than live in a panic about making things I feel have to, otherwise, really, what is the point? Life is too goddamn short.
I hope you appreciate I am having to lift my fingertips from under my hot waterbottle warmed blankets to type this. As the UK welcomes(?) some early snow it seemed a good time to get comfy on the sofa and update this blog. I cannot apologise enough for yet another delay, but the truth is I have had my head down working on a brand new tapestry.
There has been an elephant in my workroom over the last year. As per my last post I feel I have made some strides and am looking forward to pushing things further, but it has been a year of samples and small tapestries, always in the shadow of my main loom and an abandoned project on it, the warp my older size and sett, so of little use in the direction I want to go. I knew I could ease it off the loom and store it but I suspected it would just get abused and unused and it seemed a bit of a waste. Fantastically my tapestry Might Have Been, on show at the Cartwright Hall Art Gallery as part of Bradford Open has sold (thank you, whoever you are, if you see this!). I had earmarked it for an exhibition I am doing early next year and needed to make a replacement piece and PDQ. I have only ever woven single figures before, but have always wanted to try to weave more; one figure is just a figure, but two is a story. Stylistically the resulting cartoon is a bit of a backward step for me, but it does enable me to use that warp and not waste it.
The narrative aspect of tapestry is what appeals to me and this got reinforced during my travels. Most medieval tapestries I saw were biblical in theme, and I came across a fair smattering of one or more Marys weeping at the crucifixion or its aftermath, and of course such images were rife in the Byzantine and more recent murals I saw in Bulgaria. I am in no way religious myself, but I felt a need to weave my own version but with a more defiant and accusatory stance, Mary the mother, and Mary Magdalene the follower or whatever she was, looking out of the tapestry at the viewer, at us the murderers. As historical figures we know so little about them, they are ephemeral, fragments, whispers, and I felt that might suit my old style of weaving, with the figures half transparent.
Biblical Marys were traditionally depicted in threes (there were loads of others in the entourage apparently) and although there was a third figure in my original drawing I decided to lop her off as the warp wouldn’t be wide enough. But I soon realised there was still a third Mary in there through me as the weaver; Mary is my middle name. Through these figures I too am looking out at the killer of my brother and whilst it always shocks me how personal my tapestries can become, I suppose if I don’t have part of me in them, there’s little point devoting the extraordinary amount of time they demand. Of course I didn’t intend for this to be yet another tapestry about that, but it has happened unconsciously. The time from the initial sketch, drawing the cartoon, colour sampling and pulling out the old tapestry on the loom couldn’t have been more than a week, so there was clearly little doubt that this was what needed to be woven.
I have just reached the half way point, pretty much working on a loom-bed-loom pattern as I did this time last year. I actually enjoy it, feeling sequestered and focused. But although I am putting ridiculous hours in I am surprised I haven’t got further, I am wondering if I am not as quick now as I was twelve months ago. Although I have been rubbish updating things here, I have been able to post updates on Instagram, so do find me over there if you are interested in seeing the project develop. There’s even videos!
In the meantime heaps of other things have been going on – did I say I had been sequestered? The Ilkley Arts Trail was fantastic. The Manor House was a bit of a squeeze but there was great camaraderie among the exhibitors and it was fabulously well organised.
I also got selected for the Craven Arts Christmas Exhibition which will run until 23rd December at the Exhibition Gallery in Skipton Town Hall. It is a great show, lots of really good quality pieces and it is certainly worth popping in. I did a stint there yesterday in the gallery and sold a lovely painting to a lovely couple. I got to put the red dot on, it was very exciting.
I also did a talk on my Fellowship so far to the Bradford Guild of Weavers, Spinners and Dyers, who are just about the loveliest folk you can imagine, and again I had a great time and it was good putting the talk together and reliving my trips, I am itching to get on with the next leg.
I also had a massive clear out of my workroom. I had always tried to make it a cosy space, somewhere I wanted to spend time, but after experiencing the calm and clarity of a weaver’s workroom in Bulgaria I decided to redistribute the tables, chairs and bookcases, and layers of nonsense that had accumulated on the walls to make it much more bare, so it is just me and the loom, and it has made a lot of difference being able to spread out when it comes to sorting yarns and drawing cartoons, and I suppose more focused on the job in hand. Although I do often get the feeling I am being watched……
Tomorrow I begin the second half of the new tapestry. But today I am on short-listing duty as one of the judges for the Heritage Crafts Association’s suite of awards. The HCA has been in the press a great deal this year with the publication of its HCA/Radcliffe Red List of Endangered Crafts. The HCA is offering an award funded by the Marsh Christian Trust to safeguard crafts and the deadline isn’t until mid-January, so do have a look if you think you might be eligible.
Bulgaria has been a gigantic sledge hammer. It has swung fast towards my temple and knocked some sense into the grey cells behind it and pushed out all the blocks and doubts that have been clogging and festering for some time. I do have to add that my gratefulness towards Bulgaria is slightly dimmed by my slicing off the top of a finger making a Shopska salad yesterday, but, in time, I will forgive.
So what happened? I had an actually full blown epiphany. With a choir and trumpets, clouds parting and I’ll be damned if there weren’t angels too. I talk myself out of the things I want to do. I tell myself things won’t work or they’ll be stupid or pointless or rubbish before I even get to the loom. I tell myself I have to be an artist, despite, well, not being an artist. That until I know who I am as an artist I am never going to be the tapestry weaver I want to be. My Churchill Fellowship has given me the technical skills, but I need that artistic vision to put them to use.
I’ve made pieces like Maides Coign, Delia Jo and No Longer Mourn (above) that I am really proud of, but I needed to move forward and make full use of my Fellowship. I knew for one reason or the other, my Fellowship would change me as an artist and I would be leaving that work behind. It has just taken time to figure out how that change was to manifest itself. I had hoped the breathing space between events would lend some time to experiment, but I was not happy with what I was doing. They were not true to myself, they were derivative, they weren’t from within. I could not see how I could use them to tell the stories I wanted to tell.
The past has been an integral part of who I am since I was a teenager, it led to my career as an archaeologist. It is why as a weaver I am looking to the lands of my medieval predecessors to fully understand what tapestry as a medium could do. That I was denying myself what I really wanted to do became apparent when I was so blown away by the medieval wall paintings at Pickering. And I have tried, unsuccessfully to work out why they affected me so and to reflect that in my work since. The medieval tapestries I have studied I looked to as technical inspiration rather than an artistic one because, after all, what is the point in recreating something that has already been done, what is the point in pastiche?
But seeing all those medieval frescoes in Bulgaria has forced me to admit to myself that – somehow – this is where I am rooted as an artist, even if I don’t fully understand it. If I wanted to be true to myself, if I wanted to see who I truly was as an individual, then I had to be honest with myself for the first time and say, pastiche aside, this medieval imagery was my happy place and I needed to go back to it, and I needed to just weave for the hell of it, and not talk myself out of it before I even began.
I have been collecting online images, and of course I have an extensive resource now thanks to my Fellowship. I picked a face from a German tapestry I am hoping to see on the next leg of my research and I drew up a cartoon inspired by it and I just wove. It was an exercise in being a weaver instead of being an artist. And bugger me if I did not see straight away the way forward for me. I saw for the first time, how to use medieval imagery as an inspiration without it being just a recreation. I could use it as a vocabulary as it were, to tell the stories I want to tell. I also realised that it was the twee-ness and passivity that I was reacting against and that was something I could easily address.
I know the resulting tapestry is only a face, but to me it is not. It is a way forward, because I can see the rest of her in my head. I can see and sketch the dozen or so tapestries that are now stonkingly clear. I hope this will become ore apparent as I start moving away from samples.
I have always hankered after finding a way to be expressive in tapestry, perhaps because as such a rigid medium, that is the challenge and one managed by so very few. I gave up trying to find that expressiveness, I surrendered myself to the weft and the warp, I accepted that there were limitations and yet in that I found the most striking sense of freedom. I accepted tapestry for what it was, and this of course, was one of the fundamental aspects that led me on my Fellowship – I finally, absolutely, truly, got what tapestry was, to me at least. I understood it as a medium, what it could truly do. Interestingly this was no surprise to the textile artist Hannah Lamb who noted over on Instagram that among her students it was often those who needed structure to tame their creativity that leaned towards weaving rather than those who were inherently neat and regimented.
By resorting to the formal, the thing I had rejected from the get-go, I have in fact found my liberation. The huge, ginormous, momentous irony for me is that once I stopped trying to be an artist, I suddenly became far more confident than I have ever been as an artist. I know exactly who I am, I know exactly what I want to say, I know exactly where I am heading, I know exactly what I want to do and I know exactly what I have to do to get there. I have a straight back. I am content. And of course it all makes full and proper use of my Fellowship – everything comes together.
This sample is getting her first outing at the Ilkley Arts Trail. Over sixty artists will be exhibiting work across the town. I am in the old Manor House, a beautiful sixteenth century building. There are six of us in there and alas there was not as much room as hoped, a bit of a problem when one aims to work at a mural scale! One of my fellow artists, Ben Snowden, very kindly gave up some of his limited space and I am exceedingly grateful. And I was rather heartened too that my new girl had an offer made when she was only up for a few a seconds! Alas I need to hold on to her for a little while as a reference piece and cus, well, I just goddamn love her too much!
We open tomorrow and are open right through to Sunday. There’s a great programme you can download from Ilkley Arts website and see what is going on and where. I do hope to see you if you can make it.
I was all set to run off to Germany as soon as it is over, but in truth I have been struggling somewhat after coming back from Bulgaria energy-wise and it seems to make sense to delay the next leg of my Fellowship until early in the new year and I can do it justice. The folks at the Winston Churchill Memorial Trust have been staggeringly understanding and I am very grateful to them.
Early start over to Ilkley tomorrow so I had better go hit the sack. Ttfn my lovelies x
A few weeks ago a vacancy on an EU funded trip to the Devetaki Plateau to study traditional craft skills emerged before my awakening eyes. I leapt from the Ipad and my bed and straight onto the laptop. My WCMT Fellowship has taught me, a girl who nearly had a panic attack at the prospect of going to an unfamiliar coastal town last year, that I am far more capable of things than ever I thought, that travel and new horizons are essential to my practice and that I should grab every opportunity that comes my way.
It is not very often that I have a few weeks clear of commitments but I had an unusual gap in the diary which I had earmarked for some experimental work. But as someone who has a particular interest in the safeguarding and promotion of heritage crafts, seeing the celebration of traditional skills in a rural Bulgarian community where such skills are still intrinsically valued was not something to be missed. I also had a very personal reason for wanting to go. In my quest to better understand tapestry as a medieval art form, I have recently been exploring, both on and off the loom, medieval frescoes, especially Byzantine work, as another contemporaneous large-scale mural art form. Out in Bulgaria I knew there was a glimmer of hope I might, just might, get a chance to see some first-hand. Medieval frescoes of course were not the purpose of the wider project, the itinerary was clearly laid out taking in craft festivals and relevant museums. But I had a sneaking suspicion that out there I had better chance of clapping my eyes on Byzantine frescoes and those influenced by them, rather than in the industrial north of the UK. The trip seemed a perfect compliment to my Fellowship, it would mean I lost a couple of weeks in planning the next leg, but it seemed a worthwhile sacrifice. I was quite shocked and very thrilled when I got an email the next day saying my flights were being booked. And what luxury, no organisation to do myself, no travel arrangements, no itinerary to put together, no meetings to set up or accommodation to find, or documentation to produce. All I had to do was get myself to the airport.
Our first full day was spent in the capital, Sofia. This involved exploring the Roman city of Serdica, their ruins had been wonderfully incorporated into public spaces and buildings. Our first stop, however was the Rotunda of St George a Roman temple enveloped by a modern hotel and long ago converted into an Orthodox church. It was a Sunday so a mass was under way. No photographs were allowed, at least not without a fee. It was mesmerizing introduction to Bulgaria, the chanting, the intimacy of the mass, and yes, amazing ancient frescoes coating every surface of the tiny building.
We also visited the Church of Saint Sofia and its Roman necropolis and then onto the Alexander Nevsky Cathedral. The latter I had dismissed, it was relatively modern so of little personal interest to me. But nothing could prepare me for its size, its richness and of course the awe inspiring frescoes, very arts and crafts inspired. These frescoes very much marked the space as ‘other’, as something sacred, as something expressive (have a google for the interior).
Our final stop in the city was the Ethnographic exhibition where there was a wonderful display of traditional textiles and costumes. There I met a lovely tapestry weaver, Lydia Raeva who very kindly shared some images of her work. She used an amazing beater (sorry for the quality of the pic), made of iron, at least a hundred years old and passed to her by her teacher. At half a kilo, it was a wonderful weight. Stupidly I did not realise Bulgaria had a tradition of kilim making akin to that of nearby Anatolia. There was mid-nineteenth century example on display and Lydia was working on a piece inspired by such motifs for demonstration purposes.
We then hit the mountain coated roads to Gabrovo and the next day kicked off with a quick visit to a small monastery, Sokolski. Again coated in frescoes. It does not take long for them to get blacked over thanks to the candles and oils within the church and conservation work to remove such coatings have to be undertaken quite frequently.
Our main destination was Etar Open Air Museum of Traditional Crafts. It largely consisted of a recreated street, some of the buildings relocated from elsewhere, and each top and bottom floor houseing a traditional crafts person. These included wood turners, cow bell makers, potters, black smith, copper smith, icon painters, leather workers, wood cutters, and weavers and many more. Most pay rent and sell wares some, such as the the cow bell maker – and weirdly – the weaver, are sponsored as their crafts are so endangered. One weaver told me there are only 15 left, a figure I am struggling to believe and cannot be sure it is a translation issue as it just seems astounding. There are demonstrations at every corner and exhibitions too, including an International Craft Fair. One of the participants was a fourth generation potter with quite possibly the fifth generation either side of her. Bulgaria of course is signed up to UNESCO’s Convention on Intangible Cultural Heritage, a stance demonstrating its commitment to safeguarding its heritage such as craft skills. The UK is one of the few who hasn’t.
Finally we headed to Gabrovo’s Museum of Humour. The town has a reputation of being misers, the Gabrovo Cat being one with its tail cut off so it does not take as long to get through an open door and thus let the heat out longer than necessary. The museum took self-deprecation to a new level, but also included a series of Adam and Eve inspired cartoon like tapestries and a large exhibition on nineteenth century frescoes. Of course I had long ago given up laughing at myself and my secret hope of sneaking in a look at a fresco, day two and already I had seen more than I could ever have hoped for.
The next day we started towards the Devtaki Plateau, stopping on the way at the medieval town and ancient capital of Bulgaria, Veliko Tarnovo. This was a change to the planned itinerary, one of the folklore festivals we had intended to visit having been rescheduled. The modern town was covered in public art and there was a street dedicated to craftsworkers. But a late night google had revealed a plethora of ancient churches in the area, one in particular within walking distance of the town. So while my fellow travellers headed for the ruins of the ancient fortress, I headed down the hill to the small church of Saint Peter and Saint Paul.
I was a bit peeved at the no photographs rule within churches. But the form of worship was very intimate, it seemed to focus on on personal interaction with icons rather than masses being done to a congregation at a set time, and I could appreciate that having tourists snapping away would be incredibly intrusive. But at the medieval church for a fee photographs were allowed and I had the whole place to myself. It was entirely awe inspiring, just as it was intended to be. There were three layers of frescoes. In the UK these would have been protected with plastic coverings, we would have been kept at a distance, but I was left entirely to my own devices, just me and the frescoes. I could not believe it.
Inside the church most frescoes dated to the early fifteenth century with a few dating to the thirteenth. More frescoes in an outer gallery dated to the sixteenth. It was engrossing to see in paint the very same images, motifs and details I had seen woven in wool and silk and precious materials during the course of my Fellowship. It was interesting to see actual textiles too, albeit painted, at the bottom of the paintings. I can’t wait to think all this through properly.
But it was, too soon, time to leave one paradise for another, namely The Herbal House in Gorsko Slivovo village. A huge gate from the road opened onto a magical garden and a beautiful guesthouse, freshly baked bread waiting for us on the kitchen table. Our hosts lived across the road and brought us our meals which were, quite frankly spectacular. I have never in my life eaten so well. In fact everything we ate in Bulgaria tasted differently, better, flavoursome, it made me realise how literally tasteless our food has become. Most households in the villages seemed largely self-sufficient and it showed in the sheer quality.
After a breakfast of a jam so sweet it was like the neighbour’s honey and doughnut like bread we headed to the spectacular Devetashka Cave and the Krushuna waterfalls. It was a great chance to see the impact the Devetaki Plateau Association, from which our week’s guide hailed had had on the region. Over the last few years they have branded together nine or so villages, offered training to guesthouse owners, promoted tourist attractions, organised first response, established wifi and organised festivals and much more and all seemingly with little central support. It was interesting waking one morning to read an article from the Beeb posted that day about the crumbling population in the villages of Bulgaria such as the one I was staying it. Every other house was abandoned, our hosts were the youngest we had seen. Its wide street was deserted apart from A4 sheets on every lamppost and doorway commemorating the dead like lost cat posters back home. I will confess it did seem that this small fight by the association against what seems an overwhelming tide, has a sense of inevitability about it, especially without political support which is clearly so lacking.
After the cave we stopped at the village’s cultural centre and its small museum. Once every house would have a loom, although wooden reeds seems to be all that remains of them now.
Apart from being amazing cooks, our hosts were also craftsfolk too. In the afternoon we had a demonstration in wire wrap jewellery. Most of my friends are jewellery makers but it is not something I have ever done myself and it is all a bit of a mystery so it was good to have a bit of insight now. It is fair to say we were all utterly gutted to leave The Herbal House.
En route we stopped off at a retirement club in Kramolin village in the corner of which were more textile implements on display including shuttles, swift, reeds and combs. This can’t have been for the benefit of the tourists, it was just evidence of the respect traditional crafts were held on a day-to-day basis. Some original costumes were on display, as they had been in just about every museum we visited and our guide and others we spoke to also had costumes in their wardrobe and they were used.
We had a picnic lunch in the ruins of a Byzantine town, Hotalich. Not all of it is excavated, but the houses we saw had belong to craftsmen, pottery still left in the kiln, suggesting its occupants had to flee. We had earlier that day seen some of the artefacts excavated from the site in the museum at nearby Sevlievo and which included loom weights.
By afternoon we had reached the the Guest House Eco Art in Drashkova Polyana. Here we were invited to take part in a ceramics workshop, and striclty between you and me it only took one series of the Great pottery Thrown Down for me to want to unceremoniously ditch my looms for a kiln, so a chance to have a go was something I was looking forward to hugely but I found myself suddenly empty of all energy and with heaps of regret I had to retreat to my room and rest. However I did get to see the work of my fellow travellers. Perhaps it was the work of the Loom Gods at play, realising how fickle I am and preventing me from getting my hands on some clay.
The following day we headed for Troyan Monastery, one of the largest in Bulgaria. A mass was underway to we couldn’t get in, but it was clear the extent of damage the frescoes suffer, half of them were almost completely blacked over, the other half were being cleaned. They were mid-nineteenth century and made by one of the most celebrated icon painters of the day. On a tanoy the priest sung the mass. He seemed to have a cold and every now and then a cough boomed out, but even that did not lessen the magic of it all.
Our next stop was the National Museum of Craft in Troyan. It was understandably focused on the ceramics on which the town is famous but there was also much to see in the way of textiles. Interestingly some of the decorations on the posts were inspired by the monastic paintings. The textiles included traditional costumes and rugs – woven as well as hand-tufted, and an exhibition on felted carpets.
We stopped briefly at a Roman fort on the way back to Sofia and the airport. All of us incredibly sad to be leaving and vowing to return.We all came to Bulgaria with our own interests and aims and inevitably I ended up focusing on the textiles, but to be honest it was all around me, all the time, it was impossible not to. I arrived home exhausted, overwhelmed, at 4.30am on Saturday morning and it has taken until now to write this post. There is so much for me to digest and already it is making me rethink the directions I am heading in and of course I’ll share all this as it happens. And I for one will never forget the quiet, the calm, the beauty, the history, the weather, the landscape, the goddamn food, the traditions and the friendliness. This project was part of PRIDE: Partnership for Rural Improvement & Development in Europe. One cannot help but feel devastated that we as a country are turning our back on Europe, and inevitably they are turning theirs on us. How ridiculous we are. This trip has had a huge effect on me and I know it did on the others too, quite significantly in fact, and in different far more profound and personal ways as well as professional. How tragic that such an amazing opportunity as this may now very likely be denied to others in a couple of years.
It has been a tremendously fruitful time not having any events since the Saltaire Arts Trail, it has given me the space to experiment and try to consolidate my ideas and at the same time make new pieces for Art in the Pen in a couple of weeks, and to try to deal with all the things I have seen on my Fellowship so far.
The first thing I did was to decide not to try to squeeze in a new large piece for Art in the Pen. It was a tough decision, but I would have lost months to making something for the sake of it, and I knew what I needed to do was samples, samples, samples. I re-wove some of the tapestries that sold at the Saltaire Arts Trail. I wanted to make sure they weren’t a fluke. It was an interesting experience weaving on a cartoon I had already woven, but it meant I could change a few things I wasn’t happy with. My experience at the Arts Trail confirmed the sort of tapestries I want to make, and key to that is being able to weave figures and so I decided to try to push these face samples further.
When the time came to push them further and scale them up, I found myself hesitating, not trusting the designs enough to spend precious warp on either of my main looms, but my simple frame loom was too small to scale things up. There was an issue too with my ceiling falling down but the loom in the living room escaped by an inch.
I ended up with a sudden notion to make my own frame loom, it would cause much less loom waste and thus easier to justify trialling larger pieces. Perhaps a little crazy considering I never used a drill before and the use of anything with a sharp edge usually results in a visit to A&E. Nonetheless I girded my bobbins and headed down the canal tow-path to the local DIY shop. I brought two lengths of rough wood and chopped one in half to make the sides and cut from another length two pieces for the top and bottom. I joined the pieces using brackets although I do now have an urge to drill holes in everything. I added a paper ruler to the bottom and top and added a heddle bar hanging from clamps. I hitched the first set of leashes on and they were a pain in the a**e, whenever I wanted to move the heddle bar they got stuck and had to be guided up the warp one by one. I reverted to split rings the second time and they were a marvel. It took some time to find the right position to sit at the loom, but by the second warp I had got it down pat, and it is risking becoming my favourite loom and not least because I can get the tension just how I like it, rather than being at the mercy of the position of the teeth on the more complicated looms.
The first piece I made was a bit of a chore, partly because of the leashes and the uncomfortableness of the level of the fell and my seat.
During all this time I had been living off diplofenac, codeine, cold tea and multiple tips to my fabulous dentist for an abscess that was not there and it looks like I may or may not have damaged a nerve into my face instead. The truth is I have been doubled up with the pain, suspecting at one point my eye was going to come out. Just imagine having every tooth on one side of your gob being drilled at the same time without anaesthetic and you’ll be pretty much there. Quite pee’d off that this was going to be a long game rather than solved with the whipping out of a tooth, I drew something a little darker, loved it and got it onto the DIY loom. This has taken a good few days to weave too, but it has been an utter delight, working well past midnight and not minding it a jot. I do feel this is much more me, darker and less twee and harks back to the blending techniques that I used in No Longer Mourn, but with some of the things I have learned during the preceding samples thrown in.
I am having to abandon the loom for a couple of weeks to do all the practical things necessary to get ready for Art in the Pen. It takes place in Skipton on the 12th and 13th of August and is now easily one of the largest art events of the north with just shy of a couple of hundred selected artists exhibiting under one roof. The cattle stalls of the auction market are given over to the artists to turn into micro galleries. It is in no way a stuck-up event, there is absolutely no pressure to buy , so it makes a great and very different day out, so do come along.
I am also very pleased to say one of my tapestries got selected for for the Bradford Open 2017 at the Cartwright Hall Art Gallery. It runs until November 12th and is a great opportunity to see the new Hockney Gallery there that has just opened. Anyway, hope to see you in Skipton, do come say hello! x
Since getting back from New York things have been pretty manic and I am only now managing to grab some time with you, so I am sorry this is a bit of a round-up post.
I was, alas, too jet-lagged and exhausted to make it to the Heritage Craft Association’s launch of the Radcliffe Red List of Endangered Crafts at the House of Lords. The HCA has been undertaking magnificent research identifying UK crafts most at risk. The resulting database is an amazing resource and overview; I do encourage you to have a look. I’m terribly honoured to be one of their trustees, but have been too wrapped up with Winston Churchill to get involved myself, but did witness the amazing hard work and dedication that went into the project and the launch. For such a small organisation I am incessantly in awe of all they do.
A few days later was the HCA’s conference in London, I went down the day before and meant to visit the Dovecot’s new tapestry at the National Gallery but in the end got to the hotel and slept – the bed was rather good! There was an amazing line up the next day including the key note speaker, Kaffee Fassett, a man who can find the most amazing palettes everywhere as his colourful slides showed (below). I first went to one of his talks twenty or so years ago, so it was wonderful to hear him again.
All the talkers were exemplary, and I learned heaps. Of particular note was the Queen’s wheelwright, Greg Rowland talking about some of the challenges craft practitioners face taking on an apprentice. It was incredibly interesting – and yes, moving – to see their relationship develop and someone bloom into a young man and spectacular craftsman in their own right. Lisa Hammond’s apprentice and Instagram super star Florian Gadsby gave a fascinating talk on the importance of social media to practitioners, and especially Instagram, a platform perfect for crafts folk. He stressed the importance of not just sticking up a picture and fleeing, but rather to take time to explore and share one’s thoughts and processes regarding one’s work. I have been inspired to try to do the same, posting daily and being more explicit in what I am doing and why. If you follow me on Facebook, I am sorry for the relative silence of late, but this is where you can find me. I floundered during a week of meltdown (see below) but have found the experience very useful and rewarding.
I also headed up to Blackburn in Lancashire. A manufacturer of rug making looms (Cobble van de Wiele) is interested in using some of my designs to make some show-pieces to demonstrate the versatility of their looms. I was invited up to the factory to discuss it and see what the looms can do. If you are a regular reader you will know I am a bit of a tapestry purist, but it was clear that the resulting textiles would be entirely different to my hand woven tapestries, something in their own right, rather than a cheap knock-off, and actually it is going to be incredibly exciting to see how my techniques might get translated by the looms. They were things of absolute beauty, the mechanism was like a ballet of needles and thread. I love the idea of the mixing of the modern and ancient techniques. My grandfather was an engineer and I couldn’t help thinking how much he would have loved it. Anyway, fingers crossed we can make it work!
I also headed up to the Platform Gallery in Clitheroe with my long suffering friend who mistakenly once offered to help move some tapestries around and has been paying for it ever since. I needed to pick up some pieces that were on display during their Craft Open exhibition, it was also a great chance to see again the space I’ll need to fill for my exhibition running alongside the Craft Open next year. Eeeeeeven better it was a chance to spend my voucher which I won as part of the Selectors Prize. I treated myself to a pair of ge-orgeous earrings by Kate Rhodes. I am swinging my hair about quite a bit now to show them off. I love the colours and shapes. I don’t usually wear jewellery, so it is quite nice to feel like a girl after all! I did try to take my own picture, but it is very hard to take a selfie of one’s ear!
Of course in amongst all this I had to get ready for the Saltaire Arts Trail. I love this event, I’ve grown up with it as an artist, and it is such a great privilege to chat to visitors. If you haven’t been, houses and other venues across the World Heritage Site are opened as mini galleries, there’s also a makers fair, events and exhibitions and workshops. I have been very lucky to have been selected to do it pretty regularly, but a big part of that is having new work to show, a big ask when it takes months to make a tapestry.
Whilst I hadn’t shown Delia Jo before, I knew I had make new work. I was also conscious that I needed to find a way to digest all I had seen in New York. I have written up my notes and I’ve been sorting through the photographs but I also needed to interpret it all on the loom. I don’t like weaving small, but there was no time to do anything else. One answer was to start working on some samples for a larger piece. Obviously an overriding element of medieval tapestries is their narrative nature, and this is something I have been keen to explore and not least because thanks to my Fellowship I am much more confident that I can weave whatever I choose to draw.
I decided to kick off with some faces, my theory being if I can manage those then anything was possible. I still wanted to keep an element of the techniques I’ve been developing in my previous work, and there was as much unweaving as weaving to try to make it work, but I did feel much more liberated and unshackled at the loom. I suppose a big part of that was being more relaxed when it came to working with the original design, being more disposed to interpret it as I saw fit, rather than just copying it. Before I would have to weave big to capture every nuance of the original, but now I should be able to get full figures on the larger loom.
I couldn’t just stick a small tapestry on the wall, for me tapestries are mural. I thought if I put them in a frame I wouldn’t be pretending they were anything other than samples. However by this time, a week to go, I had also decided that the samples were rubbish, and I was rubbish, and tapestry was stupid and I was wasting my life (it was a bad weekend). I was making the frames myself and managed to successful muck up totally the sawing of the wood. Without the frames I couldn’t show them. I would be saved the ridicule.
I spend most of the week with my head in the sand, the Arts Trail looming. I suppose part of me was reliant on the thought that panic would be the mother of invention. The only other answer I could come up with was a new pair of jeggings. I was walking back from my shopping expedition when I bumped into another artist in the village and berated them for being so organised in the run up to the trail. They promptly offered me some spare frames they were in two minds about using and which might do. SAVED – they were perfect!!!!! I didn’t have time to do the backs of the frames so wouldn’t be able to sell them, but at least I wouldn’t have an empty wall. Now I wasn’t feeling so sorry for myself I also realised I had some smaller archaeology-inspired pieces that I hadn’t shown before, and I could also throw in No Longer Mourn in the hope no one would remember it from last year.
I was in a lovely house, beautiful, large and high dark walls, perfect for my work – I was incredibly lucky! It was the home of Jolly Bean Roastery and I was showing with an artist I already knew through a mutual friend, the wonderful print maker Cath Brooke. I began to think that I shouldn’t show the two faces after all, thinking perhaps they were too rubbish, but there were a couple of spaces that needed filling.
Although both were labelled NFS, they did gather quite a bit of attention, and requests were made, despite the framing, to buy them. They were both sold before the morning of the first day was out. They remained on show though and continued to generate interest and comment, and it became clear that I needed to get over myself and that the way forward for me was glaringly obvious.
The Arts Trail is fabulous for connecting with fellow artists. I don’t usually get out to see other work as one feels one ought to be with one’s own work, but this year I was determined to see the other venues. Of particular note was Hannah Robson who weaves with metals to create spectacular sculptural pieces, I loved the juxtaposition of the more formal woven elements with the more open areas. One of my favourite artists is Paula Dunn (and frame offering hero), who has been working in cold wax and it was great to see her eye for spectacular landscapes translated this way. Ian Burdall creates very evocative maritime paintings and is again defo worth a gander. Textile artists Claire Wellesley-Smith and Hannah Lamb followed up their work last year, Lasting Impressions, by using weaving to archive some of the findings. It was great to see a row of beautiful Harris Looms in the spinning room at the top of Salts Mill and to see folk weaving on them. The results looked lovely. Such a great idea.
I am determined to have the weekend off (blog posting and the reading of some meeting papers excepted). I knew if I don’t fill it with something I’d just end up weaving so last night blew the dust off my needle case and transferred one of the tapestry designs I’ve been working on this week onto some cloth.
One thing I did do in that week before the Arts Trail was to set up a workbench just for sketching – why I never did that before is a mystery, but it is making a big difference having a dedicated space with everything I need at hand. It is good having this space away from the looms too, gives me space to think just on the sketching and not the weaving.
Art in the Pen in Skipton in August is the next event, I am working on designs for that and am very excited by the possibilities. I could do with an extra month though! I also need to get my Fellowship trips to Germany and Switzerland organised. But for now, needle and thread in the sunny yarden is calling. Ttfn xxx