Example of stitching lines at the back of the quilt.
Hand stitches in detail.
Each stitch is between 1 - 2 mm and I have approximately 40m of fabric to sew!
Wanting the work to look good both on the back and the front, neat, precise and uniform, yet with the touch of the hand - made, this stitching process reminds me from when I was piercing my 10m scroll of paper in 2012, the act of taking a large scroll of material and mark making it, little by little, bit by bit.
I am re-learning how to make garments again and have nearly finished my first piece. I am also learning how to alter existing garments that I have, un - doing things, re - sizing, re - constructing.
I have disassembled our footstool cover, re - constructing a new version in a new piece of fabric, using the old pieces of fabric as the pattern for the new one.
Remnants of the footstool cover.
I had a discussion with my Mum and she talked about her memories of Nan creating loose covers for client's furniture, and how amazed she was, remembering as a child, seeing nan convert something that was flat into something 3 dimensional, with very little instruction.
All my activity is in readiness for moving back into our motorhome, along with an urge for 'make do and mend', re -cycling, up - cycling and sustainability. Ah ha, I am a very new to the idea of sustainability and what exactly does this mean?
There was an artists residency recently at the An Tobar Arts Centre on the Isle of Mull for which I went to the open evening discussion to talk about what roles artists might play in the future, in a more sustainable society. How can artists' roles contribute to a greener, healthier, more equal planet?
Whilst we did diverge a bit, the chatter was thinking about how to live in a cohesive way within the community as a creative. To make sense of what I am trying to say more clearly, take a look at the website of the organisers of this event, Creative Carbon Scotland, who have documented it much better than I ever can http://www.creativecarbonscotland.com/mulling-on-mull-2015-artist-residency-reflections/
I think there can be friction sometimes between my art and the life I lead with my partner. Moving back into our van and travelling again, where we stay and how we survive, will become more important than ever. How we sustain ourselves individually and as a partnership. Big stuff huh! but I'm thinking about it more and more, taking some action at a mini scale.
A while a go I picked up the 'Crafts' January / Feburary 2015 Magazine. I haven't read this for a long time and it was really to have a browse, along with thoughts of how can I sell my work and make money, hopefully through my practice, whilst we are travelling?
The written language seems different to my arts journals and there is much more emphasis on the act of making. From making being an essential thing to do for the human being, to the development of ephemeral works that may not last, with the act of making the piece a very important part of the process. 'Street Craft' where creations appear without being asked, within public spaces, unannounced or anonymously, and a discussion between where an artwork is made to where and then how it is displayed.
This last mention often feels problematic for me as the act of making my work is very important to me, the experience of creating it often out weighing or at least in competition with the work's public presentation. I think about the numerous exhibitions you apply for, fitting your work to the gallery's brief and not the other way around. Perhaps this is why I am struggling with my practice at the moment, needing a brief, yet not needing a brief. Making, yet not having an end goal. Note, you don't always have to have an end goal.... I really struggle with visualising how an artwork will or could look, or could be presented publicly, whilst it is still in my studio. I follow what is happening in the exhibition world but there seems to be a huge chasm between my work in the studio and how it 'could' end up and be displayed.
So, back to the quilting. When I was machine stitching all the patchwork squares together I acquired a lot of loose thread. I rather like it as a sculptural object in it's own right. It is like a 3 dimensional line drawing, a squiggle, a doodle. I am fascinated by the space between the threads, how the threads are suspended within the 'clump'. How is that? Each ball of discarded threads represent the residue or record of a meeting between maker and material.
Artist Ness Donnelly also likes her waste thread. Take a look at her blog and scroll down to 'Transition II' written March 25th 2015. She has stitched her short lengths of waste thread into a new piece of cloth https://nessdonnelly.wordpress.com
Perhaps I should create some paper patchwork 'quilts', taking the idea of this process and using alternative materials? What would they look like? How would they feel to touch? What stuffing or 'wadding' should I use between layers? Does it need these layers?
I have worked with dress makers paper patterns throughout my art career on and off, initially making a body cast in 2004 for my end of year foundation course show to my ongoing (not finished), dress makers paper patterns, paper yarn, which I am still 'spinning' since March 2013. I haven't finished it yet!
In May 2013, Hormazd Narielwalla presented five 'Love Gardens' sculptures made with paper, coloured acetate, glue and staples, inspired by old military suit patterns. They are fabulous. Take a look here from fashion blogger Disneyrollergirl:
And to see more of Hormazd Narielwalla's work with garment patterns here is his website:
So, how do I finish this blog? Still no completed, what I feel are presentable artworks, but I do feel there is the ground work, a bubbling of ideas, both solidly (actual real things) and mentally (thoughts in progress). Who knows how these activities I am currently doing will bleed into my art practice more fully?
I end with a link to artist Deirdre Nelson who has been working at Timespan Museum and Arts Centre up in the Highlands of Scotland on a residency called 'm a p MAKING'. She is exploring what is being made around the area, and looking at that which is "often not considered creative or artistic". As you will see, all sorts of things are being 'made'. Here is her blog: http://dstitch.blogspot.co.uk
At the moment there seems little correlation to my pierced black paper artworks that I present as my most recent portfolio for my art practice. But is there, however remote it may seem right now? The first sentence of my artist statement on my website says "Emma Moody-Smith's practice explores the process of making" Hear hear!, I say. The second sentence says "She investigates artistic and everyday actions asking, why do we make things, keep things, covet things?" Hear, hear!, I say again!
At the moment it is all about 'the making', albeit mostly for myself and our home, and I am enjoying it. My artist's declaration and my act of making match up, it's the visuals perhaps, that seem confused?