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 am on the train to Angers (pronounced more like an-jay). I am desperately sad to be leaving Paris, not least because I am heading off a few days earlier than expected. But now I know how long it is possible for me to stand in front of a tapestry, I knew I needed longer in Angers, the home of medieval tapestries. But I am ahead of myself.
I knew from research that the Les Arts Decoratif had a few tapestries, as did the Louvre, but I was completely unprepared for the vast numbers on display. Obviously tapestries are delicate, and are generally displayed in rotation and it quickly became clear that there was some disparity in what the catalogue claimed was on display and what was on the walls, but all to my favour.
There were some spectacular tapestries, including the Woodcutters, woven in Tournai around 1460-1475. The detail, characters and vitality was simply wonderful, as was the quality of weaving.
This was also of note for the faded colours which left the most fascinating skeleton of slits and gaps, ghosts of hatchure and colour changes, no longer visible. I don’t know why I became so fascinated by these, perhaps it is the archaeologist on me, always fascinated by what is gone, rather than what survives.
I was not expecting the number of tapestries at the Louvre either, and ended up having to spend two days there. As well as the medieval tapestries they have a vast collection of Baroque and Neo-classical pieces on display, which alas I had to ignore. Many of the medieval tapestries were hung high and in near darkness, making access difficult, but seeing such a collection covering such a time span left me with an amazing picture of the development in the styles of tapestry, including those seeming infested with needless heads and shoulders, and many more millefleurs tapestries including the well known Noble Pastorale series.
It is always odd seeing things so familiar in books, in the flesh. Again one tapestry in particular stood out, and for the same reasons as the Woodcutters – the vitality and quality of weavings. The Repas de la Chasseurs was also possibly woven in Tournai at the end of the fifteenth century and had a plumpness to the figures and economy of colour and it put its faith in hatchure to do its job rather than bury them in the depiction of luxurious fabrics. It was a stark contrast to those tapestries where a more realistic depiction was attempted.
I am gong to be diplomatic and skip over the adventure that was getting into the Gobelins, because despite the tears, the self recrimination, the development of an alcohol and drug dependancy problem, the counselling, and for a brief period, turning to God, I did get in and the staff and guides were utterly marvellous. I will only add that I have worn many hats in my life, but in the community of weavers I have never come across such mutual support, friendliness and acceptance – you know who you are, thank you. Photography was not allowed so I have little to share, but over a couple of days I got to see the carpet, basse lisse and haute lisse workrooms. I have a bit of a crush on basse lisse looms at the moment, just before this trip I had been experimenting weaving on a low warp and the back ache has not yet deterred me. But seeing their magnificent haute lisse looms rekindled my love of my upright looms. With the low warp I wove from the back and I think I am going to try to do this with my upright looms when I get home, as they do at Gobelins, I can see the sense of it. Such a great experience to see these workshops, and how professional they were, it gave me a great deal to think about and bring back with me.
The visit to Gobelins also instilled a much greater appreciation for the role of weaver as interpreter of designs, something I had not fully considered before as I weave my own. This trip had been, in part, inspired by Jean Lurcat’s book on tapestries; he had not been terribly polite about Gobelins criticising what he viewed as rather wasteful ways. It was incredibly enlightening to hear their take on it, and I feel I have a much more balanced view, and can see his instance on weavers working solely from a coded cartoon without an original art work for them to interpret themselves, was to the detriment of their skills.
The plan was then to go to the workrooms at Beauvais and the National Tapestry Gallery there. This too had taken an extraordinary amount of phone calls made on my behalf, resulting in a ‘you shall not pass’ that would have made Gandalf proud. What anyone had failed to say, despite their website being so to the contrary, was the National Tapestry Gallery was no more, and a comment on trip advisor triggered my spider-senses and I was able to confirm this was the case, just in time before I set off. It meant a day unexpectedly free, I instead explored the narrow streets full of independent art galleries that surrounded my lovely apartment in St Germain.
As I said, it became clear as the week progressed that I would need more time in Angers that I had previously thought. This was also sparked by the fact that it was to Gobelins and Beauvias I was looking to to see some twentieth century tapestries, but that instead I hope to see in Angers.
When I set off from Yorkshire I set nine separate alarms, just in case, as you do. This morning, just the one. I feel I am growing as a person. I even managed to brave the Paris metro during rush hour and with a suitcase. I know many Churchill Fellows get to have great adventures in exotic places, but I now feel I can hold my head high amongst them.
End of week one of my Churchill Fellowship. I am sorry for not blogging throughout as planned, the truth is my time at the institutions I am visiting is pretty focused and my evenings are spent sorting photographs and writing up my notes. WordPress has also proved frustratingly uncooperative to use through my Ipad.
A week ago I was heading from Yorkshire towards my Eurostar train, the journey entirely easy and uneventful. My hotel in Brussels was easy to find and perfectly located near the Grand Place.
My first stop was the Cinquantenaire Museum. Obviously Brussels was a major place for the manufacture of tapestries, and the museum’s collection is one of the most prominent that exists. But last week I saw that the textiles were included in their list of galleries closed for renovation. Did it include the tapestries too? An email to clarify went unanswered, but in truth it was too late to change my plans either way, so I had to just go for it and hope for the best. Fortunately when I arrived and stated why I was there, the guide pointed me to the gallery circuit of medieval galleries. Phew!
I am quite glad I had an empty bladder, because what was waiting for me was utterly beyond any expectation. I had not expected so much of the collection to be on display, room after room was filled with gigantic tapestries. And this was only one circuit, there were others, although of much later works. I am hoping this video works, it has taken about twenty attempts to link it in WordPress, but it gives an idea of how overwhelming it was; my access to tapestries was so limited before, and now I was literally wallowing in them. I spent most of the day in the first two rooms, it was quite hard to focus initially and I was glad of my reference sheet to guide me. Access to the tapestries was much freer that I had expected and I was able to get very close up.
I went home when the museum closed with my brain rather overwhelmed and stalled and it was a good job it was closed the following day as I was able to use the time to make sense of what I saw the day before, to collate it all, assess if my approach was the right one, look at my notes and images and to try to see the best way to go forward (thank you Starbucks for the office overlooking the Grand Place). I had always thought about this adventure in terms of ‘the project’, the bigger picture was what was important, I hadn’t taken the time to think what I myself wanted to get from the experience. I also realised this was a marathon, not a sprint, and I had to act accordingly, I had to pick my battles, I wouldn’t be able to do everything.
I returned to the museum the following day, much more organised, much more able to focus and not let myself get overwhelmed. Whilst lots struck me in terms of how the tapestries were woven, what came to the fore was the ubiquity and technical excellence in the use of hatchure. Of course one is familiar with the technique, although I have never really used it much myself, but seeing it in tapestry after tapestry after tapestry, has installed a huge admiration in me for its versatility and what could be achieved with a line.
On Wednesday I went to the Brussels City Museum in the Grand Place. I knew they had some tapestries although I was rather unsure of what exactly. I also knew they were undergoing the restoration of a 16th century tapestry cartoon, the Martyrdom of Saint Paul.
As they were often made of paper and roughly treated, they are incredibly rare so I was keen to make use of the opportunity to see it and although the restorers were not at work that day, the staff very kindly allowed me in nonetheless.
The restoration was supported by an excellent and informative exhibition which included the history of the cartoon, the findings uncovered during the restoration, and wider topics around tapestry weaving and its creator. As well as windows into the workshop, there was a facsimile of the cartoon, a later tapestry woven from it, and very useful digital information panels. This was all a huge unexpected delight.
Of the five or so tapestries on display elsewhere in the museum, two in particular were of note, one being part of the series I had seen the day before at the Cinquantenaire, and another, Tristam and Morgain’s Shield woven around 1600 in Brussels which, although later than the period of my study, was noteworthy for the wonderful textures created using floating wefts.
I then left for Paris. I seem to have landed myself the most spectacular AirBnB possible, just off the Boulevard Saint Germain, right in the heart of the city, and with a wonderful host. On Thursday I headed off for Gobelins exhibition and workshop. I knew they would be the least straight forward place I wanted to visit, their website is a mine of misinformation, and absence of contact details. My host kindly tried to call on my behalf, but things were none the clearer due to the recorded message. I decided to go anyway and see what was what. What, was a handwritten note on the gate saying they were closed until the end of April. Disappointing for sure, but there is hope the cause is not lost. Watch this space, as they say……. I decided to take the opportunity to rest for the afternoon. I am struggling somewhat with fatigue and am trying to be sensible in managing it. I woke from a snooze, just in time to catch the last of the sunlight and walked along the Seine to have a nosey at Notre Dame. As you do.
The following day, a little worried about how tired I was, I decided to stay close to the apartment, and went to the Musee de Moyen Age, (or the Cluny as was) it is only a couple of minutes down the road. I have a meeting with one of the curators there next week, but I wanted an easy goal after Gobelins.
I must confess millefleur tapestries aren’t my thing, I don’t really do twee, but of course the Lady and the Unicorn tapestries had to be included in my trip. I cannot express how utterly magnificent they were. I wonder if they suffer from overexposure, we think we know them, they are so familiar to us, but in truth I was not prepared for walking in and seeing those beautiful and majestic images. Their new presentation was first class. I spent several hours with them, again access was surprisingly easy and I am collecting a huge photographic resource, thousands of images a day. They are of course the epitome of the tapestry weaver’s skill. In fact I was so in awe of them, last night I finally cracked open Tracy Chevalier’s book, a gift from my AirBnB host. Of course the Lady and Unicorn tapestries are not the only works at the museum. There were three or four early pieces in just about every room, much of them millefleur tapestries, but not all.
Seeing so many tapestries in so concentrated a period and with such a focus does mean I feel like I am ‘plugging in’ to the vocabulary of these tapestries (if that makes sense), and tapestries woven at the height of technical skill. I need to think about how this is going to affect my own work, but even after a day it was clear to me that this experience will change me as a weaver for ever.
Today I head off to the Musee les Arts Decoratifs. It doesn’t open til 11 so it seemed a good chance to catch up with this here blog. Tomorrow I brave the crowds at the Louvre – wish me luck! In the mean time do follow me on Instagram and Facebook, I am going to try to be more organised with it this week.
I’ve discussed elsewhere what led me to apply for a Winston Churchill Memorial Trust Travelling Fellowship but to recap, Jean Lurcat, the twentieth century French artist who instigated the modern revival of tapestry, argued that there were a number of elements that were intrinsic to the medium that became lost following the Renaissance when tapestry became a poor imitator of paintings. Reading his book Designing Tapestry, was a revelation to me. I had always favoured bold, large scale tapestries; at the time I was weaving Maides Coign at East Riddlesden Hall. I struggled to appreciate the small scale tapestries that are becoming the norm in the UK. Lurcat seemed to give me permission to weave the type of tapestries I wanted to weave, however unfashionable, impracticable and financially ridiculous they might be.
A visit to see the Devonshire hunting tapestries at the V&A hammered Lurcat’s points home, I saw in the flesh for the first time what tapestry could be. I also realised that in the absence of any formal training, I was a weaver sitting at my loom completely ignorant of an entire level of understanding. Yes one reads about a particular technique, one can do it at the loom, but I was missing that exposure to the centuries worth of how my predecessors had employed that technique, as well as the where and the why. I was a composer wanting to write a symphony having never heard music, I was a car engineer never having ridden in one.
To fully understand the techniques I had been using, to fully understand Lurcat’s intrinsic qualities associated with tapestry, I knew I needed to study tapestries, especially those that pre-dated the Renaissance. But this was immediately made difficult by photographic reproductions of tapestries online or in books. It is impossible to reduce several feet of intricate textile into a few inches and do it justice. Also, much of the literature about historic tapestries comes from an art historical approach, often focusing on subject matter, design context and patrons. As a weaver what I wanted to get at the hands of medieval weavers themselves, the choices they made when sat at the loom, and this I could only do by studying the tapestries themselves and close up. I also wanted to understand how those intrinsic elements identified by Lurcat were translated into his own work and those of his contemporaries, and I wanted to understand their relevance to weavers today, especially in the UK.
The most important part of this project, as with any Churchill Fellowship, is to share it. Most of that will be actively pursued once the travelling is done, but a lot will also be shared on the road both here in my blog, my Facebook page, Twitter and on Instagram. But as my own excitement builds, I wanted to share something of the preparations, and the where, and how, as well as the why.
Once I was awarded the Fellowship heaps of desk based research followed to track down where I could see tapestries that pre-dated the Renaissance. Obviously a lot of this work had been done for the application process, but now it was concrete and in earnest. I scoured the standard texts on the history of tapestry but also googled until my fingers bled, searching through the websites of museums and galleries, trying to identify who had what and where, often frustrated by an absence of online catalogues, but following whatever leads I could. Eventually lists began to form which had to be translated into an itinerary. Inevitably there was more I wanted to see than I could ever manage to do within the already generous time and resources of the grant. A rather ruthless selection process sought to produce an itinerary that was physically and practically possible from a travelling point of view, was public-transport friendly, kept destinations relatively clustered, but which would also enable me to study a broad range of work that spanned my time period of interest, the various geographical areas associated with tapestry, and which would also give an opportunity to see modern works as well.
Initially I planned to spend four weeks in Europe and a fortnight in the US; I wanted to use my time in the States in particular to engage with contemporary practitioners as well as studying tapestries, but it became apparent as my research continued that I needed more time in Europe and so I reduced my time to a week in the US. I had planned to do it all in one go, but came to realise after recent events I will need to break things up, have some time back in the UK to recuperate, but also useful as a time to reflect, and so will now be spreading my travelling across March, April and May.
The amount of juggling this has taken, the amount of virtual travelling, researching accommodation options, scouring of train and bus timetables has been legion and how anyone ever managed to organise their Fellowships before the rise of the internet is beyond me. I am a control freak and I have a Spreadsheet Of All Things, outlining my trip day by day almost. But I accept that in all likelihood it will be thrown out of the metaphoric window within days. The Churchill Trust encourages us to be flexible in our planning, and in fact only arrange our accommodation for the first few nights, we need to be ready and able to follow leads on the ground. The process has also involved engaging with museum curators, gallery owners and tapestry weavers and this is a process that is still ongoing. Folk have been very welcoming and having this dimension to the project is what makes the Churchill Fellowships so special.
I still have a phenomenal amount of reading to do, and a language to learn (!), as well as all the practical things any trip like this will involve, and to identify routes and accommodation options and to make sure everything is in place with my own practice, this is a busy time of the year for applying for events, for example. But my itinerary is now confirmed, my Eurostar tickets and flights are booked, and accommodation in Paris and New York secured. It is very hard when someone tells you they will pay for you to travel around Europe and the States to study medieval tapestries, and take them seriously. The nature of my profession means frugality is a prerequisite so I am also petrified of spending money, even worse when it is someone else’s. I suppose I should also confess I am a little unsure of myself following recent events, not entirely clear of what I am physically capable of. So actually clicking on buttons to commit to bookings, has proved itself to be the hardest part of this whole process, but it is done. I really am going. No more second-guessing, no more prevaricating. I. have. tickets.
So where am I going? As I said the aim is to be flexible, but will rotate around some meetings as fixed points but I will generally follow my nose from Brussels, through France and at some point either in this leg or another, head over to Switzerland. There will also be a trip to Germany and another over to New York. Loosely the plan is to visit:
Musees Royaux d’art et d’histoire, Brussels
City of Brussels Museum, Brussels
Manufacture De Wit, Mechelen
TAMAT/Museum of Tapestry. Tournai
(Would be great to get over to Oudenaarde if there’s time, but alas suspect not)
The Louvre, Paris
Musee d’Cluny, Paris
Musee des Arts decoratifs, Paris
Musee d’art modern, Paris
Galerie Chevalier, Paris
Manufacture des Gobelins, Paris
National Tapestry Gallery, Beauvais
Manufacture nationale de Beauvais, Beauvais
Palace de Tau and other museums, Reims
Angers Castle, Angers
Jean Lurcat Contemporary Tapestry Museum, Angers
Liciers Angevins, Angers
Church of Notre Dame, Saumur
Although the tapestries produced at Aubusson post-date the period I am interested in, it has strong links with Jean Lurcat, and houses a new tapestry centre as well as smaller galleries and museums, and contemporary weavers, and the Ateliers Pinton is at nearby Felletin, and so if there is time to visit here I will certainly try.
Jean Lurcat Museum, Saint-Laurent-les-Tours
Museum fur Geschichte, Basel
Thun Castle, Thun
Bernisches Historisches Museum, Berne
Quedlinburg Abbey, Quedlinburg
Cloisters, New York
Metropolitan Museum, New York
Museum of Modern Art, New York
Vojtech Blau, New York
Studio visits to Erin Riley, Archie Brennan and Susan Martin Maffei
Of course this project is not a whistle-stop tour to cram in as many medieval tapestries as I can. I won’t get to all the places on my list, that is not what is important. This project is to study first-hand the techniques of my predecessors, it is about taking the time to have the most constructive conversations I can with weavers who died five hundred plus years ago, and to learn from them. To that end a huge part of the preparation for this project has been working out the best way to get at those hands and minds, a systematic methodology I can employ when standing in front of their work, a guide for myself on how to study a medieval tapestry as a weaver within the restrictions of how they are curated.
I am not asking to see tapestries held in storage, it is wholly impractical and impossible for a project like this. But from the get-go I had to accept there would be limitations to studying tapestries on show. Tapestries during this period were woven from the back and ideally that is the side you want to read from – outrageously museum and galleries generally display tapestries showing the front. Tapestries were woven on the side, and again, museums tend to hang them the other way up. There will also be issues regarding how close I can get. I haven’t yet resorted to licking tapestries, but I suspect it is clearly only a matter of time. How tapestries are hung and their eye level will also be a restriction.
I am a scientist, I like forms, I like order, I like a nice strict methodology. But I realised this is a project that demands a more organic approach. Much of the recording process will be photography where permitted and practical, but this will not always be so. I will be taking a plethora of notebooks, to record sketches and thoughts. But at my side will be a reference sheet I’ve devised, something that will force me to really look and see what is in front of me, a visual excavation of the surface as it were. Not all points will be answerable, some information will only be available from printed sources, but it is at least a start, and I can adapt it as I go. Much of it is in shorthand for me, but I’ll explain more what it contains as the project progresses and publication looms (seewhatIdidthere).
So there we have it. How grateful am I to the Winston Churchill Memorial Trust? I think you can imagine. The amount I have learned is legion, and I haven’t even got on the train yet.
I would like to say thank you for your good wishes after my last post, it is much appreciated. I think it was in preparation really, for trying to think how I might start slowing things down, something I am trying to put off until I come back, but this plan has now been scuppered by a rather lovely surprise. I was super pleased to take part in the Craft Open at the Platform Gallery in Clitheroe a few years back, it was my first event off my home turf. This year I was delighted to be selected again, it was a great chance to see several of my tapestries hanging together. In the end we couldn’t fit them all into the car and a smaller one had to be substituted, for which I am very grateful to the Platform Gallery for accepting. With much regret I wasn’t able to get to the opening, but learned the other week I had won the Selectors Prize for Innovation, which includes an exhibition next year running alongside Craft Open 2018. I feel terribly proud and honoured. To get enough new pieces designed and woven in time will take a phenomenal amount of work but I was quite shocked to find myself instantly up for it. I think it was just the kick up the bum I needed to stop feeling sorry for myself, to brush myself down and plan ahead more positively. Craft Open 2017 runs until 22nd April. After that I am pleased to say I have been accepted for the Saltaire Arts Trail Open Houses, always a great event and I’ll talk about that nearer the time. How I ever thought I would be taking things easier is starting to look really rather ridiculous!
Long overdue, I know. Truth is I’ve had my head down enjoying an incredibly creative and productive few weeks.
I know I am exceedingly privileged to be doing what I am doing, but I also feel a big responsibility to make the most of it and to be accountable. For this reason everything I do has to have a set purpose, an end goal. I find it hard to let myself experiment, play or just try things out, even though I know this is an integral part of any artist’s practice.
This has made me drive myself into the ground more than once including a couple of weeks into September, when I came to a complete stop physically and mentally. Rescue was on the way in the form of an unexpected holiday in Whitby with my aunt and uncle. I cannot begin to say how fabulous a time I had, we stayed in a beautiful cottage a stone’s throw from the beach.
We explored some amazing places including the ruins of a castle in a wood; coming across massive buttresses and walls in amongst the trees is something I will not forget, more like something a 1930s South American explorer would come across and very different to the clean landscaped castle ruins in towns and parks one is used to.
I used to work at a Cistercian abbey, Bordesley, so I had always been aware of Rievaulx but had never visited before and the ruins were utterly spectacular aided by some fantastic late summer sunshine. Someone should paint it, no really, they should.
As a break, as a change, as a laugh, as access to the sea and fresh air and exercise, it was a marvellous and much-needed reset. But it has lingered with me since and not least because of one day we decided to escape some coastal fog and headed for the town of Pickering.
I have a particular interest in medieval wall paintings, not that I had ever seen any beyond the pages of a book. I am very curious by the relationship of medieval tapestry to their contemporary art forms. For example the relationship between illuminated manuscripts and the Apocalypse of Angers and the Halberstadt tapestries are well known and I always assumed frescos and wall paintings too must hold some relevance considering their shared mural use. Being so interested in medieval tapestries – which have so rarely survived – I am forced to try to draw inference to what the tapestries may have looked like through other forms.
So I was very excited to see on the Pickering high street a small sign pointing to a church and its wall paintings. But nothing could have prepared me for pushing open the church door and being looked down upon by a gigantic St Christopher across the nave.
All the walls were coated in figures depicting the lives of the Saints, the Passion and Resurrection, the descent to Hell. I was mesmerised. It was not just their liveliness and vibrancy, it was a communication, a link with the ancestors they were based on, the hand that drew them and the centuries of church goers who looked upon them until they were covered up during the Reformation. It was a reminder too of how much has been lost.
My interest in the relationship between medieval tapestries and other art forms is not just academic, I have spent time wanting to explore this artistically too, but I could never figure out how to do it, I could only ever envisage a pastiche, something quite pointless to weave, and so it had drifted to the background. Before Whitby my plans were to make a start on a landscape as discussed elsewhere in this blog.
But when I got home seeing those wall paintings made me all the more determined to respect my intuition. There was something there I wanted and needed to explore. The only way I was going to get it out of my system was to give in.
I let myself weave whatever I wanted, and with no end-game in sight, and without talking myself out of it. I followed my whims, experimented, played. The result has been the formation of a stratigraphy of ideas on the loom, half-finished, half thought-out samples and trials. I was right, initial samples based on the wall paintings were silly pastiches, but as the weeks evolved so did my ideas and so did my realisation of what I was trying to achieve as a weaver, a more honing down of my focus as an artist and an acknowledgement of how I can push the techniques I have been developing this year even further. I feel I know myself better. The result is a new design for a tapestry, far more complicated and colourful than anything I have attempted before, but potentially rather fab.
I love the tapestries I’ve been weaving this year, and that I’ve found something unique to me as a weaver, but I have been conscious that there were limitations with how far I could go with it and the extent to which it would give me scope to explore what I want to narratively. I’m super pleased to have broken through that barrier. The cartoon is drawn, the colours selected the samples woven and recorded. All that is left is to get warped up and to get on with it. I need to finish it before I start my Fellowship so I suspect I am going to have to keep my head down for a while to get it done. I’m not trying to be a tease about the nature of the new tapestry by showing the samples, I just thought it best to talk more about it and the ideas behind it once it has properly got going.
I ‘ve also made some changes to how I work, whether I will stick to them or not I don’t know. The most significant is that I have started to ban myself from the workroom at the weekend. Whilst I am not yet spending the time running through flower-filled fields and basking in the sunshine, it has given me the space to try things I wouldn’t have allowed myself before, exploring off-loom weaving techniques, blowing the dust off my sewing machine and mucking about with free-form embroidery and more drawing and sketching.
In amongst all this I am happy to report the 1in4 exhibition (above) discussed in my last post was fantastic. The quality of work was phenomenal and I was really proud to be amongst them. I have just learned that several of my tapestries have been selected for an exhibition at the Platform Gallery next year – more on that later. I also had a great day with the Bradford Guild of Weavers, Spinners and Dyers talking about tapestry, I was made to feel very welcome and really enjoyed myself. And I was thrilled to take part in Crafted by Hand in Masham (below), always a wonderfully organised event and a great opportunity to get young folks weaving. Much work has also been done getting plans together for my travels in the Spring.
I am looking forward to visiting the Knitting and Stitching Show in Harrogate this week and very glad to see a weaver has been included amongst the gallery exhibitors, the very innovative tapestry artist Cos Ahmet. I can’t wait to see his work in the flesh. Of course I’ll tell you all about it. Until then, ta ta for now xx
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).
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.
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.
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!
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
I should imagine I am pretty incoherent tonight, I am pretty tired, but I know you will forgive me.
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.
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.
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.
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.
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.
I have put off writing this as I have been, quite frankly, too devastated by the awful calamity that has been imposed upon our country by misinformation, lies and scaremongering. I’ve been looking towards Europe a lot during the run up to my fellowship, and that the ease and opportunities I have taken for granted might not now be available for those in the future, fills my heart with utter sadness.
Before all this awfulness happened I spent last Monday having a fabulous day. A while back I was contacted by the conservation team at Harewood House, a stunning eighteenth century stately home here in Yorkshire. I was invited to join a panel to debate the ethics surrounding the conservation of a pair of eighteenth century Axminster carpets. I was a little unsure at first, not clear what I could contribute as a non-conservator, but the more I looked into the issues they were facing, and the effort they were going to to make the right decision, the more I realised that I wanted to get involved.
The carpets are in a particularly sorry state. There are a great deal of repairs undertaken over the years, but many are now threatening the longevity of the carpet. Some, for example, are causing unhelpful tensions, others have been done with inappropriate materials, there has also been extensive use of adhesives. The carpet in the Yellow Room is currently reverse rolled and thus displayed pile down, the lining on show and it looking like, as mentioned by one staff member, like a crime scene. However interpretation materials are clearly available to explain what is going on, and to highlight particular areas of concern. There is also a questionnaire asking visitors for their views towards the future of the carpets.
A number of issues are involved. Should it be conserved? What gets conserved, what doesn’t? Should the repairs remain, or be removed, are they not a legitimate part of its story? Should the carpet be renovated to look ‘new’ or should it be left as it is? Should it in fact be put in storage, and should a replica be made?
Although I wasn’t there to contribute as a conservator, it was a good excuse to read round the subject, especially around tapestry conservation and to get a grasp of something regarding the ethics involved in conservation, something not entirely unfamiliar thanks to my previous incarnation as an archaeologist. It was readily apparent that one particular aspect that Harewood faces is that the carpets form an integral aspect to the design of the rooms in which they sit. They reflect the design of the ceiling, just as Robert Adams envisaged. Any changes to the carpets will affect the whole.
I’m not in favour of reproductions, I want to see the work of the original craftsmen, my professional ancestors, that is what they have left us, a replica involves a different conversation with different people. But anyone involved in tapestry would have to have had their head in the sand to not know there has been a set of reproductions made for the refurbished rooms at Stirling Castle. These seven tapestries were woven over twelve years by a team of nearly twenty weavers. Whatever one’s feelings about the tapestries as replicas (they are based on fifteenth century Unicorn Hunt tapestries at the Met), and although much of the weaving took place behind the scenes at the studios in West Dean, tapestries were also concurrently woven in situ at Stirling Castle, in full view of the visitors, a great opportunity for public engagement. But unlike carpet weaving, the techniques of the 21st century tapestry weavers were little different to those of the original craftspeople, lending some element of authenticity to the new works. But of course, any carpets made now to replace the Axminster carpets would be woven in an entirely different manner to those woven centuries ago.
Anyone interested in the arguments regarding ‘authenticity’ and the making of the Stirling tapestries, do check out Caron Penney’s excellent article, Rediscovering the Unicorn tapestries in Gordon et al 2014 Authenticity and Replication: The ‘Real Thing’ in Art and Conservation published by Archetype.
I am not going to go into details of what was discussed, Harewood will be producing that in due course. But I can report it was a fascinating day. We were very much welcomed, and the discussion and debate was vibrant. On arrival myself and the other panelists were given a tour of the house, prior to a fascinating discussion by Rosie Hicks. After lunch there was a talk by Tabitha Mchenry who has been studying the carpets and then the debate itself. My fellow panelists were Dr Crosby Stephens, a textile conservator looking after the carpets, Frances Hartog, the senior textile Conservator at the V & A and Caroline Carr-Whitworth, the curator at Brodsworth Hall. We were chaired by Professor Anne Sumner an advisor to Harewood and the Head of Cultural Engagement at the University of Leeds. The event took place in front of a largely invited audience and was part of a series of events to mark the Yorkshire Year of the Textile. I was really thrilled and honoured to have taken part.
The whole event was incredibly well organised and although no immediate answers may be apparent it is clear that once the decision is made, it will have been done after extensive consultation with a very wide group of people. It is nice to see that in the UK, informed decisions are still possible!
Meanwhile I’ve been working on a new cartoon for a new tapestry for Art in the Pen and which will return to the full width of the loom. The loom has been re-dressed – not a small task as I tried to use as much of the left-over warp as I could; would have been easier to start afresh!
And if you want to know how long it takes to wrap a tapestry to post to a gallery, it is about a day, 5 rolls of poppy plastic, a great deal of cardboard and about two rolls of kraft paper. My tapestry No Longer Mourn will be amongst the work of 24 artists at Craft in the Bay, the line up looks spectacular, the work of Gizella Warbutron in particular looks amazing. The exhibition, Weave, will run from 16th July to the 11th September.
Anyway, cheerio for now, from a still slightly deflated me x