Big strides at the tapestry loom

It seems to me I only ever post when grounded by something, this time a chest infection and stinking cold. I don’t trust my brain enough to allow myself anywhere near the loom but today at least I am going to trust myself at the keyboard.

When last we talked I had just finished the Lamentation tapestry. In an attempt to paint my life in as rosy a glow as possible as Pinterest, Instagram et al demands, what I may have failed to mention is that it totally messed with my head.

It was a throwback, I had to produce something ASAP and I had plenty of warp sleyed at the right sett. What I really wanted to do, of course, was get on experimenting with a new weaving style inspired by my Churchill Fellowship. But the Lamentation tapestry, I liked it, I enjoyed weaving it, and it has taken me time and angst to develop my own style of weaving – was I doing the right thing turning my back on it.

Despite my doubts next due on the loom was a ‘straighter’, less painterly tapestry, and so I dressed the loom with a warp wide enough to start expanding samples beyond just the faces I had done before. The cartoon was based on an earlier piece but I doubled the weft to try to to save time. I enjoyed the process of weaving her, it was a more considered and involved process. I wanted to get at the crispness of medieval tapestry and although everything is laid bare technique-wise, and there was no where to hide, I liked having to rely on just the warp and weft, none of the gimmicks I might have pulled before. It made me feel I rather bashed out my other work, able to hide behind the randomness of it.

As she progressed I could appreciate her technically, but I started to question where I could take work like this artistically. I just couldn’t see it in other work of mine, how I could take her forward into bigger, full-sized work. I couldn’t see how to make it relevant. Ever since I started my Fellowship I have been aware of the fine line between being inspired by the medieval skills of tapestry weavers, without going all doublet and hose in the production of my own, and I think I was fearful that was where I was heading and it froze me. And whilst I was embracing the formality of this type of weaving, there was still a part of me that questioned whether I missed that expressive element I thought I had finally found.The doubled weft hadn’t worked so I knew I needed to do another sample to rectify that and as there was enough warp I started another piece. It was a chance to be sure it wasn’t working, and to try a few other things like lettering.But again, it just wasn’t doing it for me on an artistic level. I started to wonder if there was a way to amalgamate this technical progress I had made with my darker creative leanings, and that seemed to go ok at the sketchbook, but by now I was heading into a complete creative implosion. Do I keep trying to make this ‘straighter’ style work, if so, how? Or do I go back to the bigger, blended, more painterly work I was familiar with and comfortable with

Fortunately, I know some great craftspeople and artists and there’s one in particular, Liz Samways, whose judgement and honesty I trust implicitly and I was able to browbeat her into meeting with me for a few hours mentoring over lunch in Salts Mill. What a privilege it is to be able to spill one’s brains on a table and have someone help you scoop them all up again. Together we were able to unpick how I’ve got into to my mess, and we were able to map a way out. It was, of course, all rather obvious in the end, I have actually got my weaving to do what I wanted to do, I just hadn’t seen it and a lot of that was a failure in me to commit to it.

So it was snip, snip snip, off with the half-finished tapestry and a new warp was put on the loom, and a fresh mindset installed in me. Three things from our conversation in particular came to the fore as I sat at the blank pages of my sketchbook, 1) that whilst I want to weave with some expression, that was already there, just not in the way that I thought it was – it was in the figures themselves, not in the way I weave I them 2) that what I draw isn’t actually rubbish straight off the bat, it is doing what I want, if only I’d give it a chance 3) yes I have worked hard to develop a particular style, but if I am not going to be true to the findings of my research, then what was the point of doing it?A new cartoon emerged quickly, and interestingly I did it the old fashioned way, huge pieces of paper taped to the wall, and I worked with rulers and pencils, just as when I started out, rather than digitally, and it felt raw and satisfying. I began weaving a cropped area of the larger cartoon as a sample. I know it will seem to strange to anyone not intimately familiar with my brain, as they will be wondering how different this new piece really is from the tapestry I began this post with, but there has been a massive change in how I am approaching it intellectually and creatively as well as technically and I can see a future with it too, swimming with ideas, in fact.The first sample was just a sample, this new piece is the start of something. And whilst sitting in your pants on your sofa reading this the wood is clearly discernible from the trees, I assure you, when it is you all caught up in the brambles and with the wolves howling a few feet away, it is jolly difficult. Now I have committed I feel all parts of me come together, the academic, the medieval (wonderfully free of doublet and hose), the archaeologist, the artist, and the weaver, both technically and creatively – and it feels great.

I had made a good start on the tapestry when I had to go to London for the annual conference of the Heritage Crafts Association. I went down the day before to spend some quality time at the V&A and their tapestry collections on display.If I am completely honest, it proved rather emotional. I dashed into there a couple of years ago between meetings. I realised then I would never be able to call myself a weaver unless I learned more about the skills that went into those tapestries, that I would have to study tapestries first hand. Books just weren’t going to take me where I wanted to go as a weaver. It was a sad moment, because I knew I would never get to see such tapestries. I simply did not have the resources.
And yet there I was once again, having seen tapestries across Europe and the US thanks to the Winston Churchill Memorial Trust. I saw the tapestries again entirely differently, I was able to read them, understand them, work out the techniques at play, and learn from them, and I was able to see them in relation to my own work.I love that there is nothing in my new work that isn’t in the fifteenth century Devonshire hunting tapestries and without it being pastiche. Different wool, dyes and warp of course, and I as a weaver am still alive in my forties and have my own teeth (I would also say I was plague free, but that is a damned lie). In fact I can see that everything I have studied over the last year is in this tapestry. I love that to me it seems honest, I have finally found my peace with tapestry and with myself and that opens the door to exciting things in the future. I have grown up, I have graduated. What has certainly helped is a bit of space to experiment instead of having to make work for events without breathing. In a few weeks I’ll be on the plane to Germany and then Switzerland for the last leg of my Fellowship. Good god, I hope it doesn’t unbalance me as much as the first two legs! I suppose it will defy the purpose entirely if I go study more medieval tapestry through fingers over my eyes!

In among all this I have had the prepare the Lamentation for exhibition at the Platform Gallery in Clitheroe. I was awarded the Selector’s Prize for Innovation at last year’s Craft Open and part of the prize was to display my work this year. I took the tapestry over this week and got a sneak peak at the work destined for display and it is clear it is going to be a great exhibition. It opens on April 14 and runs til June 23. I am also pleased to say I got selected for Art in the Pen later in the year, and so this new body of work will be destined for that and I can’t wait.

I have heaps to do to get ready for Germany and Switzerland and of course this damn plague to get rid of, but I hope to get back to the new tapestry as soon as possible and finish it. It has been a couple of days now of self-imposed exile from the loom, and I can feel the ache for it in my marrow.

 

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The Lamentation tapestry finished

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.

A new tapestry and some morphine hanging from a loom – a slightly adventurous Christmas

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.

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In truth my return has been a bit bumpy. I was so chuffed with how well I had managed while I was away, it was a bit of a shock to find myself so tired I could hardly function at all, and it has taken a good fortnight to start punching my way through. It has been incredibly frustrating.

I was also welcomed home by a laptop that wouldn’t work – a cracked motherboard, apparently. I tried to tell myself I would manage with just an iPad but it soon became clear that was nonsense. I am going to unashamedly do a shout out for the extremely lovely and talented jeweller Catherine Woodall, who had a laptop she wasn’t using, and has quite frankly got me out of a massive hole. It was quite a thing to realise that when such things happen, one is not alone.

All this does not mean I have done nothing, although *ahem* I am yet to fully unpack. When I started my PhD someone told me to start writing it from the get-go rather than waiting to the end, some of the best advice I ever received, and I have done the same here and have written up my notes, slowly building up my report. I’ve also started sorting through my images, no mean feat as there are thousands of them.

As for weaving, it had been my intention to take my time. I was only half way through my Fellowship after all, there was lots more to see. But by the time the first week was out I was working on a cartoon for a new full-sized tapestry, which I am hoping may be ready for the Saltaire Arts Trail in May, but certainly for Art in the Pen in August.

I’ve also started on some technical studies, like piano scales, experimenting with the techniques I have seen (above). This has included a finer sett and using some dovetailing and cut backs, and weaving over a single warp, which had always turned out rather pants before. The key was to hold back, stop with the gimmicks and just let the warp and weft do their job. Ironically the result has been far more control, something I always lacked before, and I do feel the world is now my weaving and drawing oyster. I might now be able to weave what I draw, instead of drawing what I can weave. This is a massive step and the implications are vast and very, very exciting. This is a very different style of weaving for me, but I love it, and I never saw it coming. It has been interesting to compare this piece with the failure I did after seeing the medieval wall paintings at Pickering – they go to show how much this Fellowship has already pushed me and the importance of seeing the tapestries in the flesh.

I had hoped to go back to Europe before I head off to New York at the end of the month, but my brain has been cheese and I haven’t trusted myself to put it together, but plans for New York are well under way and the Met museum have been fabulous and I cannot wait.

I am going to make myself some very strong coffee and attempt to catch up with my inbox, but hope to spend some time this afternoon with my sketchbook and some pie. Ttfn xxx

Tapestry at Art in the Pen

Art in the Pen, Tapestry Weaver

Art in the Pen was fantastic. If you are not familiar with it, the pens in Skipton’s cattle market are handed over to selected artists to turn into their own micro galleries.  It was my second time, and I did feel in the run up a bit more organised; the hard work thinking how to dress one’s pen and display one’s work had been done last year. Whilst I was proud of the new work I was showing, that which made me glow with pride every time my eyes fells upon it, was my stand for cards.  I dismantled a display stand and stapled hessian to it and balanced some other pieces of wood on some nails for the shelves. I did that! Me! And best of all, I can still use it as a display frame if need be. I had plenty of cards made for the event and they sold incredibly well. In the next couple of days I’ll be adding them to my online shop (links above).

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I couldn’t have done it without the wonderful Barry from Hawksbys gallery in Haworth who helped get me set up and taken down. Artist Ian Burdall very kindly ferried me about during the weekend. I even came away with a little pressie from Jill at Touchy Feely Textiles. My heretofore naked front door key now puts a smile on my face whenever I use it. As I am so tired these days, at least I can comfort myself in the knowledge it must be because I am extra-fabulous.

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I had intended to take some time off once it was over, but instead went back to basics, something I have been meaning to do for a while. I think it is easy to get stuck in a rut technique-wise, and with workshops in the offing it seemed like a good excuse to make some small samples. That I would have to treat myself to a new sketchbook to store them all had no influence on this decision at all. It proved a very useful exercise and has filled me with ideas. I know that experimenting and sketching is utterly essential to what I do, but I do find it hard to justify the time, and perhaps because I find it hard to call it work. But with a bit of breathing space between events I have let myself explore wherever my interest led me over this last week or so, and I am pretty pleased with the new tapestry design that has started to emerge from it. But more about that once it gets underway.

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There isn’t long left to catch the Weave exhibition at Craft in the Bay in Cardiff, but some photographs sent by its curator is making it pretty tough not to make the trip. Such a stunning array of how the idea of weave can be translated in different mediums, I can’t think of another exhibition like it. I am looking forward to getting No Longer Mourn returned though – I’ve missed her!

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One final bit of news. It has been a bit of a rollercoaster ride health-wise over the last few months. It was a really tough decision but it seemed sensible to delay my Winston Churchill fellowship travels until things settled down and I was fit enough and well enough to do this amazing journey justice. I’m now heading off in the Spring. On the one hand it is very frustrating, but it is absolutely the right decision, and on the plus side I’ve got plenty more time to get prepared.

Right I have a long list of admin to do, and am refusing myself access to the workroom until it is done, so better dash off. Ta ta for now x

Extreme Weaving! A new tapestry woven.

I should imagine I am pretty incoherent tonight, I am pretty tired, but I know you will forgive me.

Chrissie Freeth Tapestry 'Delia Jo' in Progress

Next weekend, 13th and 14th August, is Art in the Pen, in Skipton. I did it for the first time last year and loved it and am looking forward to it immensely. I always want to show new work, especially with my tapestries having changed so drastically over the last twelve months. But with one of my main new pieces over at the Weave exhibition in Craft in the Bay, I knew I was going to be pushing it. Nonetheless I felt I needed a new large piece, returning to the full width of the loom. I had enough left over warp to do it, and while I’d need to dye some new wool, I could use the colours and sampling I had done previously. The cartoon materialised quite quickly. I’ve long wanted to revisit the story of my female relatives needlessly trapped within a cycle of asylums in the nineteenth and early twentieth century, I didn’t do them justice last time.

When I got the cartoon on the loom I calculated how much time I would need to complete it, marking off where I would have to be at a certain date in order to finish it in time. I soon realised I was looking at several weeks of sixteen hour days. I’m not sure how I have done it, except to say I pretty much just battened down the hatches, gave myself over to the project and just got on with it. I’ve pretty much lived off what my workroom kettle could provide, and moving a comfy armchair into the workroom was a mark of total genius on my part.. I am quite surprised how unscathed I am considering my bleating in a previous post. There was something – can’t think of the right word – ?monastic, about the experience. I’ve actually enjoyed it. I have so many hats, juggle so many things, and although I felt rather selfish not making myself available for my other roles, it was good to focus on one thing so solidly.

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I do feel I have rushed her, but I am pleased with the results nonetheless. It was rather nerve-wracking unwinding the loom yesterday and seeing her complete. I was thrilled actually, and although I went straight to bed, I found myself getting up every now and then to check she was still there and I had really done it.

She is just shy of 120 cm x 130 cm. It was the first time I was able to utilise the style and techniques I have been developing on a larger scale, and I much prefer it, much more room for the tapestry and the technique to breathe. Although I say I rushed it, I’m not sure what I would change if I had the chance.

After such a concentrated period of uninterrupted Freeth-time, during which I’ve had plenty of space to think, my mind is so full of ideas, including lots that are quite embryonic but growing fast that I can’t wait to explore them further. Fortunately there is some space between events after Art in the Pen and I’ll be able to take some time to think things through as well as carrying on the prep for my Fellowship which is now due to start in the Spring. It will be good to regroup and think about future directions.

In amongst this weaving marathon , I did have some respite after being invited over to East Riddlesden Hall to do some demoing. They have a lovely collection of rag rugs and they were a good excuse to get folk having a go themselves. It is not often you get to poke a hole in something inside a National Trust property. I trust you will be able to tell which part of the rug was mine. It is such a simple activity for younger hands to try, and for older visitors it always seems to bring back memories. Although I am not making rugs myself anymore, I do love these opportunities to blow the dust off my prodders.

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It was also wonderful to see the volunteers again and to have been made so welcome. Strange to see Maides Coign after a year or so. I look at her and can’t quite believe I made her. Hopefully there will be lots more events at East Riddlesden in the future and I’ll keep you apprised here or over on my website or Facebook page.

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Talking of which, do have a look at the Facebook page or Instagram of Craft in the Bay. They are showcasing the work in the Weave exhibition and the quality and variety of the work is astounding. I really am terribly proud to be part of it.

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I do hope you can pop into Art in the Pen. I loved attending as a visitor before I started exhibiting there. As I am sure you know, the cattle pens of Skipton Auction Mart are given over to selected artists, including sculptors, painters, potters, jewellers and others to turn into mini-galleries. It is a great way to spend a day, and to meet artists and in a very friendly environment and if mooching is your thing there’s no pressure at all, but if you are after a little something, it is a great chance to buy work direct from artists, often at great value. You can find more details about Art in the Pen here.

Finally, my dear friend Moira Fuller, an incredibly talented designer, is about to embark on a new business adventure to help encourage and support creativity in others. She would love your input through a wee questionnaire (she’s Scottish, you know), it’ll only take ten minutes or so. Do please have a look if you can spare some time.

Anyway, I hope all this goes some way to explain my absence, for which, as always I am very sorry.

Cheerio for now xxx

New new tapestry!

If you are a regular follower of this blog, you’ll know it has taken a long time for me to find a way to weave that is unique to me and which gives me a way to say what I want to. The last tapestry, No Longer Mourn, was a bit of a breakthrough. All I had to do next, was do it again. Was it, perhaps, a fluke?

I had plenty of warp left over so I was quick to make another cartoon and to get it on the loom. The design was something I’ve been playing with for a good while but couldn’t quite get it how I wanted it, but now, with this new way of thinking I was able to create a version I liked pretty quickly. I suppose in my head it is about strength in the face of regret, but no real title as yet. It is pretty nerve-wracking unwinding the beams and seeing the completed tapestry for the first time, but I have to say I was pleased with the result and I sat down and looked at it with a sense that I have finally found my feet as a weaver and as an artist. I know what I want to do – and I know now exactly how to do it. I’ve got more ideas and designs in my head and in my notebooks than I’ll ever probably have enough lifespan left to weave. This is a massive change and relief for me (not the lifespan thing). I feel in some way, like I am just starting out.

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This tapestry was woven in a slightly different way technically to the last and once they are both cut off the loom I’ll go into a bit more detail about that. This tapestry is destined, as with the last one, to go to the Saltaire Arts Trail. It will be the first time I’ll have slapped my insides onto a wall for other people to look at and I am rather nervous about it, and if truth be told, rather excited too.

The event takes place here in Saltaire on 28-30 May. I’ll be in the Art Rooms in Salts Mill – just follow the signs to the Tourist Information Centre. The list of artists taking part in the Arts Trail has just been released. As well as the juried exhibitors in the Open Houses there will be local people opening up their homes and showing their work too. There is also the Makers Fair and lots of exhibitions and activities. In the Art Rooms I’ll be exhibiting alongside Janis Goodman, Salma Patel, Steve Rayner, Gemma Lacey, Dave Gowers, and the owner of the Art Rooms, Jacky Al-Samarraie. Do please come and say hello. Pictured below is one of Dave Gower’s amazing paintings; I can’t wait to see more.

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David Gowers, No 10

I’ve also been selected for Weave, a summer show at Craft in the Bay in Cardiff – it’ll explore the act of weaving across different mediums, not just with yarn, and I’ll share more about the exhibition in due course. It does sound rather exciting!

Cheerio for now and I hope to see you later this month x