Commission weaving for Noemi Niederhauser . . .

I started 2014 with a commission piece for Noemi Niederhauser, a Swiss artist currently completing a Masters at Central St Martins. Noemi contacted me because she is trying to reintegrate some textiles from the 1940's and wanted to know if I could weave a sample she had sourced in an old pattern book.  I asked Noemi what her project was about:

My practice is concerned with transcribing and reassembling cultural artefacts using discourses of ethnography and practices of the archive, to make surprising and fascinating new objects. In doing so I try to challenges historical, ethnographic and scientific narratives and  proposes new systems of exchange and modes of interpretation. For example, in my current project I am using an inherited  early twentieth century catalogue of fabric samples  and hand drawn patterns, originally the basis for the fabric design. I am using these as a basis for transcription, to make new, challenging sculptural objects in a variety of media- which themselves propose a micro order of relational objects.

An attempt to rethink conventional approaches to assemble and recount history and to propose a historiographic/ethnographical model that acknowledge doubt, subjectivity and reduction as inevitable factors when making sense of elements.

part of 'Sea melt into the sky melt into the sea melt into the land' by Noemi Niederhauser

Original fabric in pattern book.

The big challenge for me though was I'd have to do all the calculations for the warp without seeing the original piece of fabric.  This super fine cloth became one of the greatest challenges I have ever undertaken, with 100 ends per inch and being 40 inches wide, it really was epic.  Needless to say the process was extremely time consuming with 20 warp bundles to make and a total of 4000 ends to be threaded, reeded and tied on.  Just setting up the warp took me the equivalent of a whole week.

warp bundles.

fabric being woven on the loom.

myself with the finished piece of fabric.

Many hours of weaving later and the beautifully delicate fabric was done.  You can see the full photographic journey of the piece from fibre to fabric on my facebook page. Now I look forward to seeing what Noemi will do with it.  Her work will be on show at Central Saint Martins in May.

Goodbye 2013, Hello 2014 . . .

Oh my what a busy 6 months it has been (hence the long break from blogging). Since I started the summer production run back in July I don't feel like I have stopped! I have been working the two looms in rotation, using 'Levi' to produce the Regal scarves and 'Lawrence' for the Festival collection. Its been a great system which has allowed me to weave on one loom while the other has been set up by one of the amazing interns I have had through this year. And my what a fantastic help they all were, I couldn't have done it without them, so special thanks must be awarded to Nav, Victoria, Katie, Alice and Charlotte (especially Charlotte who put up with me for 10 whole weeks!).

Charlotte knotting on a warp

With three shows this Autumn, a whole host of new stockists, plus my regulars and a pop-up shop at Somerset House I needed to weave a lot of scarves! At my final count just before Christmas it totalled 153 woven this year. Nothing like being ambitious!

My stand at Lustre, Nottingham (Nov 2013)

So after such an extensive weaving schedule I've let myself have a well deserved break for Christmas and New Year. Now I'm looking to the year ahead.  Part of what has kept me so busy lately was that I was asked by Stroud International Textiles to curate a seminar which will be taking place in May. The seminar is titled LOOM and will feature some fantastic speakers (even if I do say so myself!). Tickets aren't available just yet so I will be posting more details of this later.

And then my real big news is I've decided to move to Bristol. I'll be setting up a studio with one of my best friends who is also a weaver, all very exciting but means there is lots of planning to be done. This will be happening around June/July so  if anyone would like any commission weaving now is the time to get in touch. So thank you for your continued support over the last year and if you're looking for a bargain there are still a couple of days left to take advantage of my Winter SALE!  Happy New Year everyone!

Visit from MEP Philip Bradbourn . . .

Last week MEP Philip Bradbourn came to visit me in my studio to take a look at the new loom (Levi) which was bought with ERDF money earlier this year.  The money was acquired through the Shropshire and Herefordshire Business Enterprise Fund which was administrated by Shropshire Council.

Speaking of his visit Mr Bradbourn said "Enterprises such as these have a key role to play in rebalancing our economy and European funding has played a key role in getting this business off the ground. It is excellent to visit a project such as this and see the successful end product of this funding programme. I applauded the initiative taken by Helen and her family in setting up this business and wish her every success for the future."

with MEP Philip Bradbourn and Helen Hunter-Hayes from Shropshire Council

What's been happening this Spring? . . .

I realise it's been ages since I last wrote a post (naughty me!), but in my defence it's only because I have been such a busy bee!

Planning new colourways

For me this Spring has been all about the production of the new 'Regal' colourways.  The 'Regal' collection is my lightweight cotton stripe design and I've been itching to expand it for ages.  So now 'Charlemagne' and 'Francois' have been joined by 'Claude', 'Josepha', 'Lucienne', 'Antionette', 'Cecilia' and 'Agnes'.  I launched them at the Contemporary Craft Festival a couple of weeks ago and now I am working on getting them up on the website as soon as I can.  My in house photographer (Richard Foot) has been a busy bee too lately, working on lots of new films for R&A Collaborations, so pinning him down to take some product shots has been tricky.  But fear not, I shall be bribing him with biscuits next week! In fact I'm also planning a styled photoshoot of them for next weekend.  I shall be working with Ella Ruth Cowperthwaite again, who took the beautiful modelled pictures of the 'Festival' collection last year.

On show with the 'Festival' scarves at the Contemporary Craft Fair, Bovey Tracey.

But for now I'm off to London for the week, helping my Hereford students at New Designers and making sure I visit as many exhibitions as is possible while I'm down.  Once I'm back it will be the beginning of my summer production run and I shall thankfully have the assistance of some lovely interns for a couple of months.  So watch this space for some Limited Edition colourways, new gift products and an entirely new collection . . . .

Buddying Annabel Williams . . .

I was incredibly lucky last year whilst on the Crafts Councils Hothouse scheme to have the amazing weaver Laura Thomas act as my 'Buddy'.  The role involved being a general go-to person for advice and pep talks, spurring me on to push my business forward every step of the way.

This year the boot is on the other foot.  I was asked by the Crafts Council if I would act as a 'Buddy' to one of this years Hothouse intake and I'm extremely pleased to have been paired up with Annabel Williams.  A fellow weaver, Annabel designs and makes textiles for interior and commercial spaces.

Working on a 16 shaft computerised George Wood loom (which she purchased from Ptolemy Mann) she creates cloths using monofilament, light reflective yarn, lurex and silk.  Annabel tells me her work is inspired by light:

The energy of the city creates a treasure trove of light, shapes and pattern from which I draw on as inspiration. From the buzz of the morning traffic to the fading evenings and dim lit streets, these traits instil a passion for my urban environment.

Light box

A recent graduate from Bath Spa University, where she studied under the watchful eye of Stroud based weaver Tim Parry-Williams, Annabel is now based in Bristol.  Having already successfully shown her work at Tent London, she is now planning for more shows later this year.  She will have a stand at The Contemporary Craft Fair in Bovey Tracey in June (which I will also be exhibiting at) and from my prodding is currently developing a dynamic list of potential stockists to approach in the coming months.

Handwoven cushions

Since I 1st met Annabel in February she has already been making fantastic progress.  I caught up with her on the phone last week and it was great to hear her making positive evaluations for the direction of new work and she's even moved her studio (which I hope to visit in a couple of weeks time).  

So keep you eyes peeled for the work of this new emerging talent . . . 

Nav's Gallery Report: RBSA Gallery

The Royal Birmingham Society of Artists (RBSA) is an artist led charity that supports artists and promotes engagement with the visual arts. Their gallery is situated near Birmingham city centre and has exhibitions on 2 floors. The RBSA's craft gallery has established a reputation as a leading Midlands outlet for contemporary craft. It showcases designer makers from the UK, exploring contemporary approaches to traditional craft-making techniques and materials.

The ground floor consists of solo shows as well as a craft gallery. When I first entered the gallery this exquisite handmade jewellery and metal work caught my gaze and pulled me in for a closer look.

I then began to look around the solo shows such as Rob Hand's ceramics and Kevin Line's pencil drawn portraits. Line's portraits reflect his attempts to make and convey emotional connections.

On the 1st and 2nd floor are works from various artists with different approaches to their work such as collaging, oil painting, line drawing, textiles and sculptures etc.

For more information on the RBSA Gallery click here.

Nav's Gallery Report: The Barber Institute of Fine Arts

Yesterday I visited the Barber Institute of Fine Arts. The institute was founded by Lady Barber in 1932 and is currently celebrating its 80^th birthday since it was opened by Queen Mary in 1939. 

The Barber is currently holding over 150 painting, approximately 50 sculptures, 1000 drawings and prints, and a large collection of Byzantine coins in Europe which makes it one of the finest art collections in the UK.

The gallery is a grade ll listed art-deco building designed by Robert Atkinson that is situated on the campus of University of Birmingham. The building contains a central concert hall which is surrounded by lecture halls and a library on the ground floor and the gallery on the first floor.

The collection in the Barber is full of famous works by artists such as Vincent Van Gogh, Claude Monet, Auguste Rodin, Pablo Picasso and Rembrandt, displayed in spacious galleries on the first floor. The Renaissance is represented by masterpieces by Giovanni Bellini, Veronese and Simone Martini, Rubens, Van Dyck, Poussin and Murillo. British artists represented are Aubrey Beardsley, Gainsborough, Reynolds, Rossetti and Turner.

Clause Oscar Monet (1840 - 1926),
The Church at Varengeville, 1882,
oil on canvas

As well as these well known and established artists there was an exhibition from the New Arts West Midlands which is a ‘brand new collaborative venture in partnership with Birmingham museum and art gallery and grand union, Birmingham.’ This exhibition profiles the ‘best critically-engaged work by recent graduates from the West Midlands university art schools such as Birmingham City University where I'm currently studying.

The work I was particularly interested in was Clair Waltons ‘Dying West’, (image below). 

 'Dying West' consists of a bike wrapped in wool, its utility removed and replaced by a new functionality. The bike was placed randomly among famous renaissance painting which begs the questions like who owns the bike, what's the history behind it, what colour is it, is there actually a bike inside it?.

For more information about The Barber Institute of Fine Arts click here.