Exhibitions, General

How to make the most out of visiting an exhibition: advice from an Artist- Steward

There is an art to looking at Art

How to make the most out of visiting an art exhibition

I was recently interviewed for Hampshire Life magazine about the Hampshire Open Studios an event I have taken part in regularly in recent years. During the interview we talked about the visitor experience and how the artist can make this less intimidating for people who perhaps would not normally feel at home in an art gallery.  I thought it might also be helpful to share some tips on how to get the most out of a visit based on my observations of stewarding over the years, and also my own experiences as a visitor to other people’s studios and galleries.

The Hampshire Open Studios

For those of you not in the know, over the 10 days leading up to and including the August bank holiday, artists and makers open up their studios, homes, or rent venues, to show and sell their work to the public. While this costs the artist a fee to be included, it is a free event for visitors and a wonderful opportunity to buy from the artist directly if they see something that they would like to have in their life more permanently.

Why visit an art exhibition?

From the artists point of view, sales put food in our mouths and keep a roof over our heads (or at least enable us to buy more paint, paper etc to keep our creative practice going). However, there are many reasons why visitors look forward to this event (gleaned from talking to, observing and listening to many over the years), aside from increasing their personal art collection. These are (among others):

  • being inspired by others to reignite their own artistic or craft practice.
  • learning about workshop opportunities, and art education.
  • supporting, meeting, and talking to other artists (networking).
  • a good day out with family and friends.
  • visiting interesting venues that are not always open to the public.
  • having a nose around other peoples houses (freely admitted to by many folks I’ve spoken to!)

Making the most out of every visit

With nearly 300 venues taking part over a wide area, and a limited amount of time, choosing who to visit can be difficult. While artists include a photo or two in their advert in the book/on the website, unless you know their work (follow them on social media or have seen them before), there is always a bit of a gamble turning up. What if you are the only person there, in an artist’s living room, in front of work that doesn’t immediately speak to you? How do you make a quick exit without appearing rude?

The Twirl

catherine wheel
Photo by Todd Quackenbush on Unsplash

From the artist’s point of view we have all experienced the Twirl: that person who steps through the door, tries (with varying degrees of success) not to look disappointed, does a rapid spin around the room (sometimes on the spot) and leaves hastily with mumbled “thanks” or “nice” to cover their embarrassment.

While recognising that art is subjective and for every Twirl there is the person who spends a significant amount of time engaging with and enjoying the work, I always feel sad that the former has made the effort to come in and got nothing out of the experience. While some Art does jump off the wall/plinth at you (this is when you know you are in the right place) and creates a connection straight away, some art is much quieter and needs a little time to speak to you. If you don’t give it that time, you may miss out on a rewarding experience.

Hints and tips on slowing down the visit

Having seen the exhibition experience from both sides, I thought it might be helpful to give some hints and tips on how I’ve learn’t to slow down and make the most of visits, even when the art itself, on first glance, doesn’t appear to be my thing.

  1. Be methodical (if space allows) and work around the room. Be aware that hanging an exhibition from the artist point of view takes much planning. The work is placed intentionally in relation to that around it. There may also be an obvious progression of a series i.e. what came first? You can liken this to how musicians create an album. Dipping in and out on random shuffle may give you an idea of each piece in isolation, but the album overall has an impact if listened to in the order that the artist intended.
  2. Commit to standing in front of each piece for a number of seconds. Stand back (if space allows) and then look up close. For 3 d work, walk around it if possible and view from different angles. Often there is an interesting feature hidden around the back!
  3. Consider the colours, the composition (what has been placed where) and how your eyes are drawn to certain elements of the work. Note the materials used (they are often surprising and only obvious on closer inspection). Remember that the artist is using these things to communicate with you. What is the piece saying to you? As a viewer these can be negative or positive reactions, both are interesting. Not least as our reaction to elements such as colour, can change over time e.g with seasons, and things going on in our lives. You may have gone in to the room thinking that you liked blue landscapes and finished realising that you are starting to enjoy charcoal figures.
  4. Read the titles. Personally I spend a lot of time naming pieces. They add another clue and often can be quite enlightening if not laugh out loud entertaining as the penny drops.
  5. If there are sketchbooks or information to leaf through about the artist and their work, have a look. These can help if you are struggling to “get it” and sketchbooks in particular can be a fascinating insight in to process and background (and occasionally shopping lists if mine are anything to go by).
  6. Often at Open Studios artists will be creating work or demonstrating. Watch them for a bit and ask questions if appropriate.
  7. If there are chairs available, sometimes sitting down in front of the work gives you more time to let the introvert pieces show their worth. It can give another view (particularly if you are considering buying something to put in a room where you will be sitting in front of it regularly). There may also be an opportunity to partake in refreshments offered by the artist/venue at this stage.
  8. Talk to the artist if they are there, about their work. Ask them questions: what inspires them, how did they get in to art, what is their favourite piece, how long does a piece of work take them, where can you see more of their work, ask how something you are interested is made etc etc.
Nicky Barfoot open studios
A corner of my Nicky Barfoot Open Studios 2019

#justacard

I hope that this has given you some ideas on how you might get more out of exhibition visits. It isn’t all about shopping and spending money, but if you have enjoyed yourself and got something rewarding from the experience, a small token of thanks to the artist is always appreciated to help cover their costs for being there. While you may not want a piece of their work hanging on your wall (and we do understand that, I assure you), buying a card (or something small and affordable) can help them keep doing what they are doing, providing entertainment, inspiration and pleasure to others through the creation of their work.

Happy visiting folks…….

Exhibitions, General

2018 Ally Pally Knitting and Stitching Show

Indian Summer in London Town

2018 Knitting and Stitching Show copy

Last week I had a hectic but fun time stewarding our “Missing Elements” exhibition with my Room 6 colleagues at the Ally Pally Knit & Stitch Show. As I’m now rehydrated (it was very warm) and have caught up on missed sleep, I thought I’d share my highlights from this year’s event with you.

2018 Ally Pally Knitting and Stitching Show

As usual Upper Street Events put on a great do. There was an inspirational line up of artists in the Textile Galleries where we were honoured to have been allocated exhibition space. I didn’t have much time to go around the show in it’s entirety as I was too busy chatting with lots of lovely visitors. However, I did get to look at the other exhibitions in the mornings prior to opening once our own space was ready and my caffeine needs had been seen to. I’ve included some of the work that resonated with me below.

Libbertine Vale

Libbertine Vale Harm Chair
Harm Chair

This artist was new to me and I found her mix of social commentary and mostly monochromatic, illustrative imagery and sculpture compelling. She was encouraging audience participation by asking them questions and using free machine embroidery to record the answers on to an automaton’s clothing.

The Harm Chair, featured above, was a finished piece from a similar exercise where she had asked “what keeps you in your chair and not mixing with others?” on social media.

I shall be following this artist with interest to see what question she poses next.

Jenni Dutton’s Dementia Darnings

Jenni Dutton's Dementia Darnings
From Jenni Dutton’s Dementia Darnings

I’m not sure Jenni was quite prepared for the amount of emotion that her large scale portraits of her mother would evoke in her visitors. When I popped my head around the partition on the first day she was handing out the last few sheets from an already empty box of tissues.

It was quite difficult for me to spend time in her exhibition space as so many of us could relate to her lovingly rendered and honest images. I must admit that I did have a little cry and had to snuffle away when I viewed the pieces of her work which reminded me of the drawings I made of my Dad during his last few days.

Dawn Hemming

Dawn Hemming knitted mandala
One of Dawn Hemming’s hand knitted pieces

On a more cheerful note Dawn Hemming’s large hand knitted, one piece, circular wall hangings were a delightful mix of motif and colour. They were named inspired by place and some had been made during travel. A lot of pins were used to hang these beauties on the walls (Dawn’s “assistant” was relieved and pleased with himself in equal measures I think after the hanging was completed) with the result a welcome splash of colour to greet visitors as they entered the hall. This one was definitely a mood lifter.

Ross Belton

Ross Belton Wedding Collars
Wedding Collars

Studio 21 had an interesting and varied exhibition as usual, this time based on colour. I enjoyed Ross Belton’s contributions, with their tribal art feel and textural richness.

Emily Tull

Emily Tull Everybody has a little piece
Everybody has a little piece of someone they hide

The final artist I wanted to mention here is Emily Tull and her hand stitched thread paintings. I was particularly drawn to the unfinished feel of the work. It gave me a sense of transience and a glimpse into the perpetual motion of the lives of the people she was portraying. The piece shown above is inspired by layers of ripped wallpaper and how the inhabitants of homes leave behind a bit of themselves when they move.

My Birds

Nicky Barfoot Whose Bird
Chick, Duck and Hen (reading from left to right).

And finally, thank you to all the wonderful folks who visited our Missing Elements exhibition. It was great to hear what you thought of it and a particular delight to see how it inspired the budding young textile artists who visited with their schools and colleges.

The exhibition will be travelling to the Dublin show in the next few weeks. Unfortunately I won’t be able to attend but if you are going, my Room 6 colleagues will be there to meet and greet and answer any questions about the work on display.

 

 

 

 

 

 

 

Exhibitions, Knitted Art

Room 6 at the Knit and Stitch Shows 2018

Missing Elements poster

What a privilege

I am excited to tell you that after a few years off, I shall be exhibiting again at the Knitting and Stitching Shows this year. My work will be alongside the five other talented artists who make up Room 6: Irene Belcher, Caroline Bell, Susan Chapman, Alison Hulme and Consuelo Simpson.

Missing Elements

We are a group who come together for exhibitions but work individually. We make to themes to create a cohesive show while allowing our artistic individuality to shine through. For the Knit and Stitch Shows we chose the title of “Missing Elements” and each artist has responded to this with their own body of work. Expect a varied exhibition, both interpretation of the theme as well as media and style.

 

female seated life pose
Seated life pose, a page from my sketchbook

Those of you who have followed my work for a while know that animals are my usual muses but I also have a fascination for the human body. This is driven by my other identity as a sports injury specialist and movement rehabilitator. I am also interested in the use of language and inspired by Pop Culture. It is these seemingly disparate sources of artistic interest that have come together in my body of work (no pun intended) for Missing Elements. Read on to find out how I’ve made the connection.

Whose Bird?

Bird, chick, duck and hen are all words used to describe human females. The first two are commonly prefixed by a male possessive “my”, while the latter are considered terms of endearment in certain parts of the UK. Interestingly, Bird and Chick are two of the four most hated “pet” names by women according to a well known British Tabloid.

Many suggestions are given as to why women are labelled in this way. These range from a middle English word “burde” meaning “young woman”, through to the more misogynistic explanations. These include comparisons of mental ability between our feathered friends and those of us of a homogametic persuasion (“bird brained”), and the similarities in sound emitted from a pen of fowl and a room full of young women.

Misogyny or endearment aside, while we may all share eggs as our reproductive tools, according to the Collins English dictionary a bird is a creature with feathers and wings. I would therefore suggest that the most defining characteristics are missing.

The Artwork

Bird sketches
Two sketchbook pages from my #100daysofinspiredbyart project

I started to develop the visual side of this work during this year’s 100 day project (I’ve talked about this in a previous post) back in June . These are two of the sketches that provided that aha moment.

Knitted Paintings

It’s been a couple of years since I made a knitted painting and these drawings were really begging to be knitted. So I dug out the graph paper and my colouring pencils and went about translating these pictures into hand knitted fabric.

Blue Bird knitted picture
“Blue Bird” knitted painting, WIP

The final pieces

Of the work that I have created for this series I have decided on four knitted paintings to display at the shows. I am excited to see (and hear) what people think of them. As with all of my work I hope it brings a few smiles to a few faces. I’ll leave you with a sneak peek of part of the piece I’ve called “Duck”.

Duck knitted painting lower res
“Duck” knitted “painting” by Nicky Barfoot

I’ll be stewarding at the Ally Pally show if any of you lovely folks are coming. Please do drop by and say hi. I’d love to see you.

x

 

Picasso Exhibition at Tate Modern, a Visitor's review
Exhibitions

Picasso at Tate Modern, a visitor’s review

 

Last weekend I snuck off on an early train to London to indulge in some quality art appreciation at Tate Modern. My destination was the much talked about Picasso exhibition.

The focus is 1932 a make-or-break year for the artist who had turned 50 the year before (mmm, ringing a few bells for me then). There was no doubt about his reputation and fame but critics were beginning to talk about him as an artist of the past rather than the future. This exhibition shows his reluctance to be sidelined in favour of the younger talent coming through and marked an energetic and creative period of his life and perhaps some of his most accomplished works.

Picasso exhibition shopping
Some of my souvenirs from the exhibition

“The work that one does is a way of keeping a diary”, Pablo Picasso.

I was fascinated and encouraged by his disdain for chronology. Apparently his self curated exhibitions comprised of work from all periods mixed together. His sketchbooks were renowned for having work from various years in them, almost like he picked up the nearest sketchbook to hand and used it (ha ha, just like me then. I love it when I can liken what I thought were my unorganised practices to those of the most celebrated artist of the past century!). He didn’t seem to discard early work as being less worthy than the latest projects and I’ve taken that on board (I’m guessing I’m not the only one who moves on and doesn’t look back? Previous work is still relevant and perhaps becomes more so in light of what follows).

So what to expect from this big exhibition (apart from marvelling at the productivity of this man)?

  • Wonderful curves and bright, contrasting colour defining planes.
  • Breasts in strange places.
  • Flip top heads.
  • Furniture (not usually abstracted and often referenced in the title e.g. Woman in a Red Armchair).
  • Fabulous bulbous head sculptures.

“You start a painting and it becomes something altogether different. It’s strange how little the artist’s will matters”. Pablo Picasso.

Sketch of a Boisgeloup sculpture
Sketch of one of the sculptures, front view

The most exciting part of this exhibition for me I think was seeing the Boisgeloup sculptures. I spent a bit of time sketching these wonderful, voluminous heads and marvelling at how the curves flowed in to one another (you only really get an appreciation for that sort of thing when you try and draw it).

 

Sketch of a Boisgeloup sculpture
A side view of one of the sculptures. I think some aliens in recent Sci Fi movies/programmes may have been inspired by these? 

Thoroughly excited by the work of this genius, of course I couldn’t wait to play when I got home. I am a huge fan of art books directed at children as I find them much more playful and imaginative than the drier adult versions. Quite a while back I remember an exercise from one of the books in my collection about recreating your own Picasso inspired drawing. Here is the recipe:

  1. Draw an eye anywhere on the page.
  2. Turn the page 90 degrees clockwise and draw another, much bigger eye, anywhere on the page.
  3. Turn by 90 degrees clockwise and draw a nose, anywhere.
  4. Turn by 90 degrees and draw a mouth.
  5. Turn by 90 degrees and draw a limb/hand/paw etc.

You get the idea? Once you have a few features on the page, you use a couple of lines to join them up. Do a bit of colouring in and decide which way up you fancy hanging your work of art.

Picasso dog
My Picasso inspired Dog 

This is so much fun I urge you to have a go. Animals, people anything really. Mix it up and enjoy.

I hope I’ve given you a taste of this wonderful exhibition and if you are able to get to London I strongly recommend a visit. I’ll leave you with another quote from this amazing artist:

“Essentially there is only love, whatever it may be”. Pablo Picasso.

Exhibitions, General, Knitted Art

Soft Engineering Exhibition, a review of Textiles Taking Shape

In Hampshire (UK) we have been gifted yet again by the Winchester Discovery Centre with another fabulous textile exhibition. This time it is a group show by soft engineers: Alison Ellen (hand knitting), Ann Richards (weaver) and Deirdre Wood (weaver). Together they are demonstrating the common threads between knitting and weaving and show how the materials they use in their methods, particularly when working with materials of very different qualities side by side, spontaneously shape the constructed fabric.

Deidre Wood weaves with materials of contrasting physical property. The work is straight during the weaving process but when cut from the loom and soaked in water it reshapes itself.

Deidre Wood interlocking circles low res
Deidre Wood, Interlocking Rings, silk, linen and wool.

In contrast Ann Richards work exploits the different spin directions of high twist yarns to create her sculptural effects. Again the work is woven straight and the properties of the yarns are allowed to exert their influence once it is cut out and wetted.

Ann Richards scarves low res
Ann Richards double cloth pleated scarf

I was fascinated by the work of these sculptural weavers, having not been exposed to it before. I was, however, more familiar with the work of hand knitter Alison Ellen who introduced me to the joys of modular knitting a number of years back when I attended a couple of her workshops at West Dean College.

At the time I was working through my City and Guilds Hand Knit Design course and was struggling a little with the process of translating seemingly unrelated visual inspiration into knitted fabric. As a life long knitter with no previous design training, I had always worked from the other way around. That is using an ongoing inquiring experimental process with yarns and stitches (a “I wonder what would happen if I did/used this to……”), creating samples, and the properties and appearance of those samples then suggesting to me what garment they would lend themselves to.

It was a relief when I met Alison as she also appeared to be working (successfully) in this direction too and while it wouldn’t have helped me to pass my City and Guilds, I have continued to use this process, particularly in my knitted art practice, alongside the more conventional design process which I am pleased to say with practice has now become second nature.

Alison Ellen sweater low res
Alison Ellen modular sweater in wool.

Alison’s garments allow the stitches to shape the fabric. She is well known for using a modular approach, allowing herself to effect the drape of the constructed fabric by changing the bias. I have had the pleasure of trying on some of her cardigans and sweaters at a previous workshop and have seen others in them too. They transform once a body is put inside them, and create the most flattering garments due to this bias and drape effect. She has a number of wonderful design books too so if this type of knitting excites you I highly recommend them.

Alison Ellen Books low res
Alison Ellen’s books (you can see my copies are well thumbed)

So my love affair with modular knitting is probably all Alison’s fault (thank you lovely lady!). Some of you will already be familiar with my Weimwood Shawl design (pattern available from Etsy here and if you would like to learn more about this type of knitting, I have two workshops coming up devoted to modules. The first is on Saturday 10 February at Wyvern College in Eastleigh. More details and booking is via the Ashcroft Centre here. The second is a slightly shorter session on Saturday 17 February 2018 at the fabulous Unravel Festival of Knitting in Farnham. More details can be found here.

modular scarf portrait low res
The Modular Scarf design for my upcoming workshops.

I highly recommend you visit this exhibition at the Winchester Discovery Centre if you can. It is free entry and I’m sure those of you interested in textile art and engineering will find it very interesting. If I have whetted your appetite for modular knitting it would also be lovely to see you on one of my workshops.

Until next time….

 

 

 

Exhibitions, General

Christmas Craft Fair in Winchester, Saturday 9 December 2017

I’ve been a busy bee over the past month making Weim and kitty inspired artwork to share with you wonderful folks at the Winchester Discovery Centre Christmas Craft Fair next Saturday 9 December. I love the build up to Christmas and while Mr B is secretly watching the Christmas 24 channel all the way through November, I hold back until 1 December and then let loose with gusto on fairy lights, snuggly knitwear and photos of Weimadogs in antlers. I can not lie, I get a little excited.

The only in person sales event (my Etsy shop is open as usual) I am doing this Christmas is an art and craft fair at the Winchester Discovery Centre on Saturday 9 December. It’s free entry so I hope that lots of you can pop in and say hi while you combine it with a visit to the Alice Kettle exhibition (see previous post) which is in the same building, and of course a wander around the Winchester Cathedral Christmas Market.

I’ll be there with my textile sculptures, brooches (new!) and cards, all perfect for one of a kind, hand made, Christmas gifting purposes. Of course there will be lots of other talented makers there too. I hope some of you local lovelies can make it.

Winchester Discovery Centre
A perfect opportunity to pick up one of a kind gifts

 

Exhibitions, General

Alice Kettle Exhibition “Threads”, an inspiring afternoon in Winchester

I was fortunate to have a whole Saturday to play with this weekend so after convincing Mr B that he would like to have brunch out, we made a cheeky little trip to Winchester. My main motivation was a visit to the Alice Kettle exhibition, “Threads”, so after a rather lovely breakfast, we parted company for an hour or so and I made my way to the Discovery Centre.

Alice Kettle is well known in the area due to her links with the City and the Winchester School of Art. A large piece of her work has been hanging in the Discovery Centre for a number of years, although due to its massive size it is probably more visible from the bus as it drives past the building than when up close to it inside the building itself.

The first few pieces of work had me transfixed for quite some time. They were two of her 2011 “Heads”, “Agape” and “Coeus”, consisting of re-cycled offcuts from another huge piece, stitched (incompletely in places) onto folded and pleated fabric backgrounds to create an image that we can’t help but interpret as a face. They are described as being a “remembering” and a “representation of feelings and encounters”. I spent some time sketching “Agape”, an image that really stood out for me (not least because it has a three dimensional quality due to the fabric manipulation) in the exhibition despite it’s relatively small size.

Alice Kettle, my digital drawing after Agape
My drawing of Agape using line where Alice Kettle uses stitch and collaged fabric pieces

The write ups on the walls between the pieces were interesting to read and some of the comments given quite pertinent. Prof Simon Olding from the University of the Creative Arts refers to stitch as “a method of repetition, coverage and endlessness” while Sara Viersen-Corsa makes comment on how embroidery art imitates painting and how painters imitate embroidery in their work.

Alice Kettle is a leading protagonist in the field of collaborative works and a number of the pieces on display in this exhibition illustrate the dynamics of working with another Creative. In “The Dog Loukanikos and the Cat’s Cradle” a large scale, somewhat disturbing image is calmed by Kirsteen Aubrey’s line of “Glass Grasses” which sit in front and cast beautiful shadows, in places, on the wall behind.

Alice Kettle The Dog Louckanikos
Alice Kettle’s “The Dog Loukanikos and the Cat’s Cradle” with Kirsteen Aubrey’s “Glass Grasses”

Much of the work shown is the artist’s observation of current affairs. In “Golden Dawn” Kettle marries a Greek myth with current Greek politics in a 360cm long, stitched narrative.

Alice Kettle Golden Dawn
Alice Kettle’s “Golden Dawn”

More comment on the current political landscape is made with a huge piece (792x284cm) called “Sea”. This is Kettle’s attempt at making some sense of the migrant crisis, reflecting both how the UK media have been reporting the events and her own meetings with refugees in the south of England. The result is a piece exploring the differences between people being viewed as anonymous groups via a media complete with it’s own bias, and the impact of the crisis and resulting displacement on individuals. The work also represents the sense of helplessness of the viewer as a witness. I encourage you to go and sit in front of this huge piece of art for a while to get a true sense of its scale.

Other pieces on display include “Orphrey”, a 2006 work done on the Schiffli multi needle commercial embroidery machine. The Schiffli Series of works apparently marked a change in the artist’s approach to creating: “I have liberated the fabric as it was no longer covered in stitch”.

Alice Kettle Schiffli Series Orphrey
Alice Kettle’s “Orphrey”

Another piece that drew my eye, partly because it is predominantly blue and I have a weakness for this particular colour, and partly because it can be seen as a representation of the current turmoil in the UK regarding our exit from the EU and our drift away from the main European continent, was “Sea Figure – Island”.

Alice Kettle Sea Figure Island
Alice Kettle’s “Sea Figure – Island”

The last piece of work I want to show you is a ceramics collaboration with Alex McErlain, inspired by the late medieval “Tring Tiles” on display at the British Museum. For these works the artists have developed their own sgraffito technique in the production of a ceramics collection decorated with narrative imagery.

Alice Kettle ceramics with Alex McErlain
One of the ceramic tiles on display as part of the collaboration with Alex McErlain

My aim of this post is to give you a taster of what to expect and I strongly urge you if you are in the area to go and visit this exhibition yourself. Digital representations taken in low lighting can not do justice to the vibrancy and scale of the works on display. I came away throughly inspired by this talented artist’s work and I hope that you too get to enjoy this exhibition. There is also a rather lovely exhibition book to accompany it which I personally shall be using as a source of inspiration for quite some time.

Alice Kettle’s “Threads” is on until 14 January 2018 and more information can be found here.

 

Exhibitions, General

Ally Pally Knit and Stitch Show 2017, Roundup (and three awesome Textile Artists to look out for)

An October highlight for UK textile enthusiasts is the Knitting and Stitching show at Alexandra Palace in London. Not only do we get to fill our boots with yarny goodness, it is also an opportunity to catch up with fellow enthusiasts from the Textile World, find out who is new and inspiring, and some of us get to spend a day with our wonderful Mums!

I was particularly excited this year as a friend of mine, the super talented and rather lovely Sarah Waters, had a solo exhibition in the textile gallery. I couldn’t wait to see what she had done with it and as expected it was amazing.

Sarah Waters Stones pairing
Sarah Waters from her exhibition: Stone

Sarah is an experienced felt artist based in the UK’s New Forest. Her work is inspired by our connection to nature and she has a particular interest in sustainability. Her exhibition at the Knit and Stitch shows this year consists of large scale wall hangings, rich with texture and full of beautiful natural colours, depicting stone, the natural inspiration behind it. Felt sculptures add a three dimensional element to the exhibition. Sarah’s exhibition will be at the sister shows in Dublin and Harrogate so if you are lucky enough to be going to these I highly recommend you pay her a visit. More information about Sarah and her work can be found on her website here.

Sarah Waters Stones beige hanging
Sarah Waters

Another gallery which stopped me in my tracks for a better look was Ann Small’s Layered Cloth exhibition. She has recently published a book of the same name and the work she had on display tempted me to add it to my Christmas List. Beautiful ruffles, folds, puffs, slashes, you name it, anything you can do to create a three dimensional effect from stitching and fabric was here.

Ann Small Blue sea urchin
Ann Small “Blue Sea Urchin”

Her work made me smile, it had a sense of fun to it as well as a technical wow factor hence I wasn’t surprised when I read that she has a background in theatre and fancy dress costume making.

Ann Small White shell
Ann Small’s “White Shell”

More about Ann and her work can be found here.

The final artist I’d like to introduce you to in this post is possibly my new favourite textile artist having not come across her work before. Rachael Howard’s gallery “Red Work” consisted of large scale grids of colourful, simplistic illustrations depicting everyday family life. Her inspiration for the exhibition was taken from 19th century red work story quilts and she likens the effect of these historical textiles to modern day Instagram.

Rachel Howard Red Work wall quilt
Rachael Howard

Her work is rich in humour, is very accessible and evokes a personal narrative from the viewer. If you get a chance to check out Rachael’s art she has a website here.

Rachel Howard Red Work dog in suit
Rachael Howard

In this post I’ve mentioned three of my favourite galleries from this year’s Ally Pally. There was so much to see I always wish I can have another day to fully appreciate everything but unfortunately dog dinners awaited and we had to dash off. We didn’t leave without a bit of shopping though (my Mum is such a bad influence on me!).

Kniting and Stitching Show, Ally Pally, 2017
Some of the goodies I had to hide from Mr B when I got home

Please feel free to leave a comment on this post if would like to share a highlight from this year’s show and if you are visiting the Dublin or Harrogate Knitting and Stitching Shows I hope you have a wonderful time.

Until next time……

Exhibitions, General

Kaffe Fassett’s Colour Exhibition at Mottisfont, National Trust

I was so excited about Kaffe Fassett’s “Colour” exhibition at Mottisfont this month that I booked a cheeky day off today to go have a look. Kaffe Fassett (apparently pronounced as “safe asset” for those of us who have been getting this wrong for over thirty years!) has been a huge influence on my creativity over the years and as such could probably be described as one of my artistic heroes. His bold and vibrant designs have inspired me from childhood to the present day. I remember as a teenager drooling over his cabbage and frog tapestry kits wondering how many weeks of paper round wages until I could afford one. And his fabulous 1980s sweaters drove my first tatty attempts at intarsia. Overall his creative career has spanned more than 50 years and he is still a highly respected name and sought after public speaker by knitters and stitchers worldwide.

This exhibition has been beautifully curated with each room focused on a specific colour scheme and painted accordingly to show case the fabulous knitwear, tapestries and quilts. As you enter the first room there is a wonderful quote from the man himself to put you in the right frame of mind: “like so many other crafts, knitting has the potential to create magic in our lives”. I couldn’t agree more.

kaffe fasset blue and white pic
Kaffe Fassett exhibition: from the blue and white room

The theme for the first room of the exhibition is set by the quote “the older I get the more classic blue and white appeals to me”. Something I can certainly relate to myself. He also discusses his love of neutrals in this room, likening them to stonework. I guess this is not something we usually associate with the man but there is no denying the power of beige even to those with such an elevated design status!

kaffe fasset veg room
Kaffe Fasset exhibition: the fruit and veg room, tapestry chair

The next room makes the wonderful statement that “vegetables have such elegant shapes” and is full of the cabbage, aubergine, beetroot et al images and designs that I remember fondly from early Rowan magazines.

kaffe fasset veg cushions
Kaffe Fassett exhibition: the fruit and veg room, tapestry cushions

More colour themed rooms unfold as you wander through the upper floors of this richly historic house, including a yellow corridor (unfortunately not enough natural light for photos in there) where he comments on the mood enhancing properties of this sunny hue. Also a richly coloured blue room, and then finally a  pink room.

kaffe fasset vibrant blue
Kaffe Fasset exhibition: the blue and purple room
kaffe fasset pink room
Kaffe Fasset exhibition: the pink and orange room

One of the reasons for Kaffe Fassett’s enduring appeal is his fearless use of colour. A quote from the man himself from his 2003 book “Kaffe  Fassett’s Pattern Library” explains his approach to an area that many people find quite scary and intimidating.

“The main thing is to have a go at trying out colours, the wilder the better. None of us designers really know what works until we see it, so sampling becomes wonderfully exciting as you stumble on really unpredictable and interesting colouring.”

In my recent knitting workshops we have concentrated on the use of sampling both as a means of gathering technical skills but also for design inspiration.  Sampling is a wonderfully safe environment (after all we don’t have to wear the end product if it doesn’t work) for putting together different textures, colours and yarn types in a playful way. We were all excited by some of the outputs.

If you are local and are interested in colour and design do try and get to see this collection in the flesh as the photographs I have shown you don’t really do the textiles justice. Above all I for one can take a bit of advice from this talented man and while I do love a bit of beige he always inspires me to live a little more dangerously. Pink, red and orange!? Hell Yes!