SEW
Dec 2019 Issue 15
MAGAZINE
The Magazine of the South East West Region of the Embroiderers’ Guild
STITCH
A Powerful Voice
Cas Holmes
The move to Ireland Kim Thittichai
SEW
MAGAZINE
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Stitch - A Powerful Voice Cas Holmes
140 Drawing & Design for Embroidery - Kate Whybrow
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Keep Going - Follow your Star Kim Thittichai
148 OO Mak and Yak Linde Merrick
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Jan’s Story - Jan Beaney
154 An Exhibition - Ann Beer
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Jean’s Story - Jean Littlejohn
158 Here is Something Nice Pam Henry
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My Work - Jackie Gale 160 Three Bakes - Pam Henry
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Finding Inspiration - Anita Bell
112 Mrs Pritty’s Gold - Sarah Maddison 120 Lace in the Snow - Ann Wheeler
196 Winchester Branch - Liz Selby 212 Winchester Circular Walk Paul Walden-Mills
Cover Photo - Korean Veterans by Cas Holms
Click on the article to go to the page
94 The Art of Annemeike Mein 126 Poetic Cloth 169 The Embroidered Art of Chloe Giordano 172 Exploring Folk Art 176 First Time Embroidery and Cross-stitch
178 Just One More Time 182 Whitework Embroidery 186 Stitch Textile Seascapes 192 Embroidered Kitchen Garden
 The Artist and her Space by R
Cas Holmes is based in Kent in the UK and it is where urban meets countryside, that she glea inspiration. Whilst studying Fine Art at Kent interested in papermaking, which led to furth India. She now works between the disciplines media textiles, connecting images collected, t with stitch to capture a moment or feeling. Sh teacher producing works that have been exhib 4
CAS HOLMES
Richard Torble
s from this environment, ans her current University, she became her study in Japan and of painting and mixed torn and re-assembled he is an artist, author, and bited all over the world.
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STITCH Cas Holmes
A Pow
As a young graduate much of my early work focused on the question of women and craft, domestic and public artwork. My final essay in my graduate year was naïvely titled 'The Sex of the Artist Matters.” At my side and constantly referenced were the publications ‘Women, Art and Ideology’ and ‘The Subversive Stitch’ by Parker and Pollock, which were the start of a recognition that stitch can be a powerful tool in the hands of women. Little did I think over 30 years later I would be re-visiting the question of my place in the art world as a woman who works in stitch and how it reflects on the work I make. 6
H:
werful Voice I am reminded that it is a little over 100 years since women in the UK became entitled to vote and in the US this is marked in 2020. In September 2019 I visited the Korean War Memorial in Washington (my father served in Korea) and on seeing the face of a nurse amongst the veterans featured on the wall I was drawn to reflect on women’s role as caregivers, whose strength lies in their willingness to protect and nurture.
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They are those who work tirelessly as teachers, nurses and health workers and the young activists who march forward to protect their future, exampled by Greta Thunberg who spearheaded the school climate strikes internationally. 8
Not Forgotten Queen Alexandra’s Nursing Corp
Also the Native American women who are leading the movement against the Dakota Access pipeline being built across sacred lands and protecting water rights.
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The idea of re-using and seeking alternative resources for our daily needs is not new. My grandmothers’ and great-grandmothers’ generation worked on the farms and in factories in both World Wars and re-used and made things as was necessary. ”Garden of Remembrance”’ reflects upon the stories of those working on the home front as well as in the newly founded Women’s Land Army and the Women’s Institute. (This piece became the front cover for my book Stitch Stories and is now in the Garden Museum’s collection.) Not only did these women keep Britain fed they also collected medicinal plants and herbs from the wild (to compensate for the loss of German pharmacological products on which the country was heavily dependent). Seeds were grown and distributed by gardeners and allotment holders for the growing of vegetables.
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The front cover of Stitch Stories includes a reference to Edith Cavell, the Norfolk-born nurse executed by the Germans during the first world war. The original work is now in the “Garden of Remembrance� 11
In Stitch Stories the reference I make to stitch as a political tool continues: ‘With the rise of the feminist art movement, embroidery came into its own and arguably became a surprisingly powerful political tool. In the 1980s, large, brightly coloured embroidered banners, echoing the grand traditions of the women’s suffrage banners, were carried on marches and hung around the perimeter fences of Greenham Common airbase as part of the women’s peace movement. These deliberately evoked the traditions and meanings to be found in embroidery to emphasize that protesters were campaigning as women.’ (Off the Beaten Path, Stitch Stories 2015) 12
Whilst I may be known for my work which explores the nature of place and the environment it is how I specifically relate to given spaces and the re-use of materials which continues to colour my practice and has become part of ‘my voice’. I explore the connections between landscape, people and place. Kent is one the UK’s most wildliferich counties yet the landscape and habitat are under pressure from continued demand for housing, transport links and industry all requiring increased space and related infrastructure.
Medway Barge 13
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Rikard Ă–sterlund and Rochester Art Gallery
Following in the footsteps of artists who have recorded the beauty of this area, I connect paint, mark and stitch with layers of cloth and paper together, with a disregard of the divisions of medium usage and application that often define the world of painting and textiles. I record the 'hidden' or oftenoverlooked places, the verges of our roadsides, flooded fields, small pockets of trees and the places where the urban meet the 'greater landscape.' Working with 'stitch sketching', I seek to capture a moment or thing before it is gone.
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Over the thirty or so years I have lived in this glorious landscape where my greatgrandparents once pulled their caravans I witness how we use/abuse the environment which we inhabit. More than that, in terms of local habitat we have ‘Plant Blindness.’ Elisabeth Schussler and James Wandersee, botanists and biology educators from the USA, coined a term in 1998: describing it as “the inability to see or notice the plants in one’s environment”. Culturally and socially we just see the ‘green’ and under-appreciated plants – and have limited interest in habitat conservation. Medway Gap
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While studies haven’t been done on the extent of plant blindness and its change over time, increased urbanisation and time spent with devices means that “nature deficit disorder� (the harm caused to humans by being alienated from nature) is on the rise. And with less exposure to plants To read the article by Christine Ro www.bbc.com/future/story/201904 25-plant-blindness-what-we-losewith-nature-deficit-disorder
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Hop Kilns
comes greater plant blindness.
I am currently looking at my own family and my Romany heritage and have been invited to create specially commissioned
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artworks and exhibition for Gypsy Maker 4 in early 2020 This project, funded by Arts Council Wales, supports the development of innovative works by
Reflection Kent Life 19
established and emerging Gypsy, Roma and Traveller artists. With migration, changes in our working lives and increasing opportunities to travel, the works reflect upon my heritage and questions who we are and our place in an ever-shifting world and challenging environment changes. To read more about this http://www.romaniarts.c o.uk/cas-holmes-placesspaces-traces/
Publications:-Textile Landscape, Stitch Stories, Connected Cloth and the Found Object in Textile Art - (Batsford publications) 20
See More of Cas’s work
Contacts web:-casholmes.wordpress.com Email:- casholmes28@yahoo.co.uk
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K i m Thittichai
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Kim Thittichai has been teaching for 30 odd years now. Starting in Adult Education, she wrote and developed the four-year course - Experimental Textiles, which became the title of her second book. Kim left Adult Education in 2010.Knowing that her work was a bit different, she didn’t want to teach what everyone else did, such as embroidery or quilting based classes. It was hard for people to place her. No one was particularly interested in hearing from a tutor who taught process – rather than finished items or projects. She believes that if you teach students how to use materials/products and basic textile processes, they can make anything. Not just a box or a picture the same as someone else’s. Kim travelled throughout the UK and later worldwide
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teaching and explaining her more unusual textile process. Using the ICHF (International Craft and Hobby Fairs) to become better known. But being different meant it took much longer to be recognised. Her breakthrough came when her work appealed to the publisher Batsford, who commissioned her to write her first book, “Hot Textiles” published in 2007. She went on to be commissioned to write 3 more books, “Experimental Textiles” “Layered Textiles” and “Reclaimed Textiles.” She now teaches in New Zealand every year and Australia when she can. Kim now lives in Ireland with her two dogs Fiz and Pops 25
By Kim
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m Thittichai
It has taken me a few years to find my happy place – but it was so worth the wait!!! 27
Life can be tough if you are on your own. No partner, no children. It can also be fantastic if you have no ties.
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When you first meet people, they ask about you. It’s the usual; “Are you married?” “Do you have children?” “What do you do?” So when my answer is “No” and “No” and “Experimental textile processes,” people tend to back away, not knowing how to talk to you. We don’t appear to have anything in common.
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I am very used to this now and make a joke about it, which makes other people feel more comfortable, but it has taken time for me to feel OK.
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I think it started by going to art college at 18. This was the start of my being, and enjoy being, different. After all, it is a choice we make. Perhaps, because I have a strong personality, I can usually brazen it out.
Teaching is fabulous and so very rewarding. Being able to help students create their style of working is one of the greatest privileges. Being part of their ‘light bulb’ moment is very special. Dashing up and down the UK delivering lectures and workshops for 20 years was wonderful, teaching guilds and textile groups in all parts of the UK. I met some fabulous people with many becoming good friends. 31
I was visiting a friend in Ireland and saw how she lived in a quiet, rural area,
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lots of space, and, she had a studio! I thought to myself – “Could I do this??“
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Supporting myself and living on my own in Brighton, I earned just enough money to keep myself and the house going. But boy, was it hard work managing my diary, travel, supplies, where to stay . . .
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The UK is expensive and very busy, the roads are jammed with cars . . . sound familiar? It’s a full-time job! It gives little time to think about, let alone make, any new work. 35
I was becoming very frustrated. With age comes understanding. I was approaching 60, not particularly old, but you start to think. - “Can I carry on like this? - Do I want to carry on like this?�. . . The immediate answer was no! Change was far too scary. But as I started to think about it, I began to think why not? Property is cheaper in Ireland, I might be able to actually slow down a bit and begin to create my own work.
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To cut a long story short – with the encouragement of family and close friends, I now live almost at the end of a peninsula on the West Coast of County Clare with incredible views across 2 bays and along the coast. I have a studio, I have outbuildings and an acre of land in front of the house. It’s amazing, the best thing I ever did. I moved into my house in Ireland on my 60th birthday. 37
I have been welcomed into a very small community and made some very good friends.
But I still have to earn a living . . ..I am now teaching online with a good selection of my workshops. It is great fun to interact with students from all corners of the world while looking out at my beautiful view. Having a studio where I can meet clients, tourists and local people has made a massive difference. 38
I am looking forward to having the time to develop this new way of working. My photographs of the local area sell well and I have started a new body of work on the hares that live in my field.
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My latest work is a collection of abstract landscapes inspired by my local area. I am continually inspired by the local landscape and rock pools. I never thought I would ever fall in love with seaweed!
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I am now selling selected works from my website and write a regular blog about my life here in Ireland. I teach small groups in the studio and I have had several requests for one to one weekends.
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As I have become more established and settled in my new home I have become more aware of the possibilities for my property. From 2020, I will be offering residencies to artists and writers. The peace and quiet and clear fresh air, along with the stunning scenery can’t help but inspire. The area is particularly suited to Plein Air painting. My new life ‘on the edge’ is more rewarding than I could ever have imagined and it will keep on developing as I have new ideas. Anyone who meets me now can see that I am happy and relaxed. I walk my dogs every day to keep me active. I have great friends and a good social life, and finally, after all the years of waiting, I have a studio to work in. Life is very good.
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Life is indeed what you make it! Go out there and live it – it is not too late!
Watch a short video of Kim’s new surroundings Christmas at Sonas
Contacts www.kimthittichai.com info@kimthittichai.com hot-textiles.blogspot.com 43
S I B DY E 44
S I B D Y E 45
Although we have exhibited and taught in many parts of the world, we have never exhibited in our home town of Maidenhead. We are supporters of Norden Farm Centre for the Arts, so the two considerations came together. We have known each other for well over 40 years and
formed our company, Double Trouble, in 1997 to publish books and promote further interest in embroidery and allied subjects. Our aim is to give students the confidence to design and create their own unique work. 46
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Jan’s work reflects her love and interest in the Cliveden Estate and Jean her fascination with the site and history of Taplow Court. Both places have a long history and George Hamilton, first Lord Orkney, bought the Taplow Court estate, together with the Cliveden estate (qv), c 1700, during his successful military career with the first Duke of Marlborough. Today, Cliveden is owned by the National Trust and Taplow Court is a Soka Gakkai International Buddhist centre. 47
The two estates have huge houses and wonderful surrounds with a range between formal gardens and woodland. Jan’s involvement with
Cliveden started when taking
her children there back in the 1970’s. Jean remembers playing in the grounds of Taplow Court as a child
whilst her father was playing cricket. So, we have two locations side by side and two friends whose careers have 48
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developed side by side, so our exhibition “SIDE BY SIDE” seems appropriate.
Contacts Email: jeanielittlejohn@aol.com janbeaney@btinternet.com Web: doubletrouble-ent.com
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See a video of Jan & Jean giving some of their hints from their DVD “ In Motion”
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Jan Beaney
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CLIVEDEN has always been a very special place for me, my husband and my family. I spent many happy hours in the gardens there in the 1970s with my children. Alongside family visits, the location also inspired a body of work which was shown at various exhibitions in London between 1974-9. 51
Although making regular
renewed fascination with
visits to the estate since
the place. I observe and
that time, these visits have
make sketches to try to
increased over the last few
capture the essence of the
years due to introducing
time and place as I see it. It
our grandchildren to the
is ever changing and is
grounds, hence my
always challenging.
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Blue Haze
Water Garden
The Water Garden
the house, the hanging
featured in the earlier
woods and the tow path
work whereas the Long
between Cliveden and
Garden, the woodlands
Taplow Court have provided
viewed from the back of
recent inspiration.
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In winter, a particular species of trees have a fragile ghost-like appearance contrasting with the trees on the towpath many of which have long weirdly formed branches that grow down towards the river.
Winter Vista 54
Colours can sing in the Spring and Autumn whereas early morning or evening light can suggest intimate emotions. The position of the sun mid to late afternoon always results in intriguing light effects exposing unusual tonal variations which appeal but are difficult to record. Hanging Woods
The seasons and the time of day play an important part too. Surprisingly, the woods in Summer are the least interesting, whereas the formal gardens come into their own. Long Garden - Spring 55
I enjoy working with a
Generally, I edit my
theme and my aim is to
sketches whilst in situ
create work which
allowing me to exaggerate
represents a place but is
or understate various
not a literal interpretation.
elements.
From the sketch book
I make accompanying notes on mood, light, colour and texture. I tend to continue working on the sketches at home relying on my notes and memory to develop colour, tone and other features thus creating my own version of the images I wish to achieve. 56
Design for Long Garden
I am constantly sampling and experimenting with ideas and techniques for my teaching or for inclusion in our books and DVDs. Often, I make rough colour designs to scale before embarking on the actual work.
Long Garden - shrubs
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My techniques include using a dyed cotton ground material, sometimes with parts of the design discharged. Layers of hand and machine stitching are worked to develop the surface. In contrast, several of the works shown are made by layering hand and machine stitching on soluble materials to create a new cloth.
Both approaches can also be refined by the use of the embellishing machine to blend and integrate all the elements.
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As well as providing inspiration for two bodies of work, Cliveden has also been the source of design for many ideas, topics and illustrations. within our publications. It is a very special place and is always revealing new and exciting characteristics. Hanging woods - Autumn
Transitions 59
Jean Littlejohn
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My inspiration continues to be pathways and journeys. Aware that we are always walking in the footsteps of our ancestors, I try to evoke a sense of the mingling of past and present to hint at layers of history.
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For the exhibition I celebrated a lifelong connection with Taplow Court. In the mid 1940’s, this gothic mansion was acquired by British Telecommunications Research. My father worked there for many years and family involvement in sports and social life was encouraged. He started a cricket team and we spent many of our summer days roaming the building, gardens and woods.
Taplow Court Mound 62
Elizabeth’s Meadow
I loved picking daisies and bluebells in the meadow where once Queen Elizabeth 1 is reported to have rested. Near the house, there was a little mound that we would roll down unaware that it was actually a significant Anglo Saxon burial site where chieftain Taepa was buried. His remains were excavated in 1888 and the treasures found are displayed in the British Museum. There are echoes of patterns from this hoard in some of the works.
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The house sits on millions of years of history and ancient fossils have been found deep down in the chalk below. Ancient peoples roamed the area and early settlements were attracted by the safety of the site and the river and spring. The ‘Bloodlines’ series featured reflects these ancient traces and pathways.
Following the Norman Conquest, William the Conqueror awarded the manor to his half -brother Odo, Bishop of Bayeaux who commissioned the Bayeaux tapestry (there is a reference to it in ‘Taepa’s Portal).
Odo’s garden 64
There have been many other prestigious owners in the history of the Taplow Court, and I can only imagine the splendour and richness of the clothes and décor of past centuries. These are echoed in the little series ‘Fine feathers’ and the piece entitled ‘Chinoiserie’. Chinoiserie
The last and perhaps most famous owners were Lord and Lady Desborough who occupied the manor from 1887. They were a glittering couple who were noted for their generous hospitality. Taepe’s Portal 65
The Japonica Room 66
The Magnolia Room
The rooms in the house had names such as the “Magnolia room, Japonica room, Daisy or Poppy Room� reflecting the rich gardens and meadows surrounding the manor.
They had five children; two of the boys were sadly killed in the first World War.
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Their son Julian Grenfell was the famous war poet and one of his poems contained the line ‘And Night shall fold him in soft wings’ that was prophetically written shortly before his death. 68
Some Rain M
And Night Enfolded Him in Soft Wings
A third son Ivo was killed in 1926. The piece entitled ‘Some Rain Must Fall’ reflects on the terrible change in their circumstances.
Must Fall 69
This series of work has involved a great deal of written and visual research followed by lengthy drawing and design developments. The work here employs a range of techniques including extensive use of hand and machine stitching on layered bonded backgrounds.
The embellisher has been used to combine the layers and fuse images into each other. Along with recycled fabrics, printing techniques have been used to indicate the richness of the heritage of the house,
Bloodlines 70
Among the methods used are discharge printing with blocks and stencils. Typically, my work can be described as stitched mixed media.
Odo’s Moon 71
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Jackie Gale is an established textile artist, known for her vibrant fun-filled work, created
from
embroidery
free-motion and
appliquĂŠ.
She is a self-taught artist, having developed a unique style of fun and quirky illustration
using
stitch.
She
describes fabric, her paint and thread as her paintbrush. Her work is inspired by her passion for naive and folk art as well as textile creativity and use of colour. She is currently working on a new collection for an exhibition in Kingsbridge next Spring. She won “ Best Up & Coming Artist' by the Fine Art Guild in 2015.
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Ever since I was a young girl, I loved to create. I would literally use anything I could lay my hands on to create collages and models, including my grandmother's fabric scraps, garden cuttings and reusable household waste.
Following a n nursing career of twenty years I finally decided to buy a Bernina and turn this creative passion and resourcefulness into a career 8 years ago, when I became a professional textile artist.
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My travels and observations of life strongly influence my work and I love to add a little humour wherever possible. I feel inspiration is all around us and we can never have enough humour in our lives.
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Since I began this story journey, I have observed a rise in the popularity of this art genre which, often to my frustration, is referred to as a “craft”, as opposed to “art.” I describe my award for "Best Up & Coming Artist' by the Fine Art Guild, as not only an achievement for me personally, but an important recognition of this rising art genre.
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Like most artists, I begin my creative process by sketching. It may be a place, a theme or an abstract design. I like to do as much research as possible so I can fully understand and capture the essence of whatever it is that I am portraying. Local stories and traditions give me so much narrative if I am working on a particular place.
I think of each piece as a story, I love to tell it in a completely unique way. Next comes a mood board of photos, sketches, textiles trimmings and often small artefacts. Once the creation begins, pieces can often evolve and follow a different 78
direction to the initial plan. I put this down to the behaviour of certain materials once I start to apply and stitch them. Colours and perspective can also change through the course of a piece and this is something that I now expect to happen. I love to 'let the textures sing' and I am not happy that a piece is complete until the work has that multi-dimensional appearance that I feel textile art should always have. An original piece can take up to 2 months to create. I work on a Bernina semi-industrial machine and a Janome Atelier. One I dedicate to the larger appliquĂŠ work and what I describe as background sewing, and the other, for the fine detail embroidery. My attention to the fine details takes up the majority of my time and this is an element of my work that I regard as the most essential. It is also what makes my work unique. I love viewers to allow their eyes to travel around my pieces and continually discover new quirky little details that they may have not have noticed the day before.
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This, to me, is where the real fun lies and gives this aspect of my work a great deal of attention. Paint occasionally features in my work and I often dabble in other mediums. Light and shade are often difficult to achieve with a solid medium and I have discovered painting over fabric can give a stunning effect to certain pieces, and add another dimension entirely. Textiles, however, are my ultimate passion and my work is continually evolving as I discover new materials and techniques. Living in Devon near the coast gives me endless inspiration and like many artists, I find a walk by the ocean a great way to reignite my creative energy. When planning an exhibition, I always try to coordinate it around a theme, which is essential to me, and I endeavour to create a fresh collection of art.
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See More of Jackie Gale’s Work
Watch the video
Contacts www.jackiegaletextileart.com jackiegaleart@gmail.com 81
Anita Bell 82
Born and brought up in Portsmouth, Anita achieved a BA (Hons) at Chichester Institute of Higher Education. She is a Member of the Society of Designer Craftsmen and the International Association of Hand Paper Makers and Paper Artists. Inspired by colour and particularly the sky at dawn and dusk, each work is a one-off piece. Often created using a variety of papers, painted with watercolour or dye and then torn, layered and embellished with both free machine embroidery and hand stitching. Her work is about capturing a moment in time, depicting the essence of something that is caught in an instant, yet in reality remains elusive and everchanging. Anita has had work exhibited widely throughout the UK, Europe and the USA and most recently in Shanghai, China as part of the Feasts of Paper Exhibition. 83
Finding Inspiration Anita Bell At University, as a mature student, I got to experiment with free machine embroidery and a range of textile techniques. I quickly became addicted to the textures that were possible to create. The first project was based on a red pepper that had shrivelled up and died on a plant in the garden. I used plastic, painted with acrylic paint for my first experiments. I recycled bread bags and 84
cereal packets by melting them under the grill in the kitchen,‌... something I would not recommend!
I was also introduced to soluble fabric for the time and to dyeing. At Uni, there were facilities for hand papermaking, so I quickly became involved in this. During the summer I went camping with my family in France and noticed there were a lot of painted advertising signs on the walls, which started my interest in wall paintings and frescoes. So, the following year, I planned a route to visit as many Romanesque buildings as possible. My favourite is
the Abbey Church of SaintSavin sur Gartempe in Poitou. The effect of the high windows and the beams of light on the frescoes is magical. 85
The technique I use now, evolved from a study of frescoes and wall paintings, trying to capture the effects of the 86
natural earth colours, the faded imagery and the peeling paint. For this, I started to use watercolour on tissue paper.
Everything changed again, after a visit to Monet’s house and garden in Giverney in 2006.
I wrote at the time ‘The maturity of the garden, with its abundant greenery and riot of plants is captured alive in the stillness of the lily pond. The reflective qualities of the water and the underlying Japanese influence left an impression of tangible colour and vivid views.“
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Each work in this series is a blaze of colour captured alive or a misty borrowed view and my palette became brighter.
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The idea of looking at the landscape beyond led to a study of the horizon. I made a series of work for an exhibition at The Thelma Hulbert Gallery in Honiton on the theme of Diurnal Rhythms.
I carried on using tissue paper and soluble fabric and combined with ideas from Fusion, my work became less paper and more about thread. 89
Fusion was a series of collaborations between textile artists and jewellers that toured the country from 2002 to 2006. I worked in a jewellery studio in Whitechapel and used a lot of mixed metals. Drawing inspiration from each other’s work, we made our own pieces. They kindly gave me some metal wires to include in my future work.
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After contemplating the horizon and taking extensive photographs at different times of the day, new work came from the light on the landscape, particularly at dawn and dusk.
I started to ‘Stitch the Sky’. 91
I try to capture the atmosphere of a fleeting moment that is transferred into paper and stitch. This formed three series of work.
“Fired Earth” which uses a combination of painted papers and areas made using soluble fabric; “Calico Skies” is made 92
with tissue paper painted with watercolour and has open areas that are more like lace;” Dawn to Dusk” is layers of tissue paper painted with dye, torn and layered and made into a collage that is then embroidered.“Twilight”, the time between day and night, was made after witnessing a particularly beautiful sunset at Langstone, near my home in Hampshire. A walk along the river at Mottisfont Abbey in Romsey, Hampshire, brought back memories of Monet’s garden and the reflections in the water. “Evening Sky”,the papers for this work are dyed using Japanese Shibori to
of colour into imaginary landscapes. The more I stitch, the more the tensions in the threads are drawing the paper up and making it more like sculpture.
create symmetrical patterns. I allowed the dyes to blend on the paper and then used the patterns and colours created to guide where I would stitch. Using a thin thread as a medium, allows me to draw out the details and, by using dense lines of stitch that are overlaid like paint, to build up depths
I continue to try to represent something that is not actually there. The sky – an infinite space, is constantly changing and with the light on the landscape, I will always see something different. Everything is a work in progress and each work inspires the next in a continuing exploration. www.anitabellpaperworks.com Email anitabell2@yahoo.co.uk 93
The Art Of ANNEMEIKE MEIN
Reviewed by Teresa Phillip
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When I start my review of a book I normally flick through the pages and read a few bits to get a feel for the book. In this case, I saw a couple of well-executed works but no clue really as to the textile artist. 96
So, I started at the beginning. Within the opening of the cover and a couple of the first taster pages before the foreword, pictured were some amazing photographs of works that appeared stitched, maybe with some relief and a colour palette which I would describe as Autumn.
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The forward and profile of the artist has been written by a good friend and the Artist’s husband and is several pages of achievements, awards and a small insight into the admiration of this artist – well, how weird I thought, that the artist did not write this themselves? Maybe they were a little shy of the absolute accolade and following she had gained.
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I discovered however on reading on that this artist is not about the fame and fortune but is all about the extensive study, observation and artistry in her subjects to produce a piece of work using multimedia techniques in such an intricate way you would be excused at first glance to think you were looking at a photograph.
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Here I thought these photos illustrate the size of some of these works and how they evolve. This is the artist herself some years ago.
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The pieces are all noteworthy and I have decided to concentrate on three of my favourites to try and give you a feeling for the delights in store.
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Butterfly Dust This piece of work draws you into the light by the trees which give distance to the work– exquisite gold and white beads highlight the feeling of the sun peeping over the ridge which is continued by clever machine stitching. This is continued to represent a valley in which the main subject – an imaginative butterfly - is making its way towards the light. The movement of the butterfly is represented by darker shadows painted into the background. A small scatter of beads behind the butterfly say ‘dust’ which was disturbed as the butterfly took to the wing. This is a slightly unusual work for Annemieke as it is one of the only ones that does not represent, an actual breed of insect but is drawn from her extensive memory and imagination of intricate studies. In this piece, when you look closely, the materials that have been used are; raw wool, beads, silk fabric, machine embroidery, hand embroidery, and painting. I defy you not to want to cup your hands and let this magnificent butterfly flutter into them! 102
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The Potter Wasp II You can see here an insight into the detailed drawing and study of the wasp before the 3D creation begins. This is typical of Annemieke’s rather strange pull to the insect world which one would normally not choose as a subject which would give joy to the viewer. A rather unlovable creature is depicted but Annemieke explains that she admires the rather gory survival behaviour and the creature’s success. How can you not look at this work and see the pure mastery of the artist even if not attracted by the subject? Female Potter wasps make many hundreds of flights with daubs of mud to make their mud pots and they leave an opening so they can lay their egg. They then hunt a grub and paralyse it before adding it to the pot and sealing each pot with a mud door. All ready for the new birth.
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The mud pots shown here are each started as an embroidered square of fabric with a central hole. The fabric was shaped into a pot using tucks and pleats whilst hand sewing and bunching up the excess fabric to the inside of the pot. The wasp has delicate-looking wings which are free-standing and made using glittery silk stockings, veil netting, cream silk and heavy ironon backing. With the descriptions and background given by Annemieke, I found myself peering closer to the picture to see all the elements and how they were constructed together. Oh, what it would be to see this artist in motion!
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Frog Down Under I was captivated by the whole wall sculpture. Wherever I look I stared intently to work out how the composition was created. This frog has featured in a few of Annemieke’s designs in the past but has been recreated in a more feline form here with a more delicate and athletic look. This sculpture uses a technique perfected by Annemieke, which is sewing with an exceptionally tight bobbin tension and loose top thread tension – to the absolute limit - This has created the almost scaly skin of the frog and when you look closely you can see the bubbling and dimpling of the thread which has created this look. The gum blossom plants shown are such a joy of French knots that I found myself wanting to reproduce the plants almost immediately! In later sculptures, Annemieke tells us the gum blossoms were first hand-painted on the canvas, machinestitched in different coloured buttonhole threads before the thousands, yes thousands! of French knots were added.
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A truly breath-taking result. 109
I think every artist that uses paint, hair, stitching, material, silk, beads, threads, wool, felt, and even tights can use this book as inspiration, not to reproduce, but to take a different look at their work using techniques and colours in Annemeike’s pallet to discover a different side to their work.
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A truly inspirational read and insight into the techniques we probably all know but have not seen used in such world-class textile sculpture.
The Art of Annemeike Mein Published by Search Press www.searchpress.com IBSN No 9781782217657 Price ÂŁ24.00
there is a short video on her website about the steps and techniques used in the making of the work Superb Blue Wrens which also features in the book. 111
Sarah Maddison
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I love Grayson Perry - his huge pots and tapestries, full of angst, politics, sexuality and of course his terrifying teddy, Alan Measles. I also love Sutton Hoo - a mystical, ancient landscape steeped in the Saxon history of East Anglia. While working for a group textile project, I found myself in the perfect position to try and merge my two passions. Our brief was to create a new piece featuring something personally important in a style influenced by a favourite artist and so ‘Mrs Pretty’s Gold’ was born. Perry’s work almost always tells a story, so I chose to work with one too – how a quiet Englishwoman, living in an isolated house with her young son, became involved in one of our most important archaeological 114
hauls ever. Shortly before WW2, Edith Pretty believed she witnessed ghostly warriors walking on misty burial mounds at her Sutton Hoo home. She called in local amateur archaeologist Basil Brown, who discovered treasure. The burial ship of King Raedwald, believed to have died in 625 AD lay in a 27metre long boat which had been hauled up the hill from the river Deben. The King was surrounded by stunning items - a helmet and cloisonné jewels; pots; pans and weapons, which his people believed would see him safely into the next world. Sadly, Basil and his team were soon swept away by ‘proper’ archaeologists from London, and today the Sutton Hoo treasures reside in the British Museum. 115
To his credit, it was the ‘Suffolk Boy’ who found what
Image by Jim Brewin from Pixabay
Tudor treasure hunters could not.
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Perry’s work ‘In praise of Shadows’ gave me the basic pot shape and scale.
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It was a nightmare to construct but finally, I resorted to a papier-mache base that I could stitch and paint – even then it had to be strong enough to hold itself yet thin enough to get a needle through. Another work, ‘Dolls at Dungeness’ reflected the need to include plenty of gold to reflect the treasures uncovered and the portrait framing techniques used in ‘Queen’s Bitter’ allowed me to feature Edith Pretty and Basil centre stage. Text and pictures of everyday objects often provide a ‘colourful’ background to Perry’s controversial pots. I avoided the swear words and opted for old maps of Sutton Hoo to ground the work in its landscape.
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Excerpts from Heaney’s translation of Beowulf provided the vital words - the Sutton Hoo burial is linked with the legend. I have also taken elements of Saxon pattern and design, such as the iconic helmet, from artefacts found during the excavation to decorate parts of the pot. Many of these elements were worked and embellished away from the pot and finally added by hand stitching. It was a labour of love and was primarily designed as a feature for the exhibition, not particularly as a sale piece, but I’m happy to say that Mrs Pretty’s Gold made me a little gold too.
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Lace in the Snow Ann Wheeler I belong to a Lace group which meets once a year at Westhope College in Shropshire. We were approached by Luton Museum, owners of a large antique lace collection, to produce an exhibition to be exhibited in the garden of Stockwood Discovery Centre. The exhibition would be open from November to March. The perception of lace is usually something delicate and fragile, however, we had been asked to produce lace that was large scale 120
and would survive the worst of the winter weather. Experiments were made with thick cords, string and plastic strips. We installed the exhibition on a very cold day in November under the stern eye of the gardener. We hung the “Ice flow curtain” at made from thick plastic yarn. “Lunch” was a real favourite of all the child visitors, especially when they spotted the fly. The web was realistically hung between the hedge and a wall.
Ice Flow Curtain by Ann Brammer 121
Background photograph by Kelly Sikkerema on unsplash
the top of a six foot wall. It was
Strung out by Pamula Lazell
Fantasy Seed P by Ann Wheele
“Fantasy Seed Pods“ was made from lengths of bobbin lace worked in string with mosaic centres. These became reminiscent of children’s lace bonnets in the Museum’s lace collection. Pamela Lazell made “Strung Out” from strips cut from plastic bags to produce
Lunch By Pamela Pazell 122
y
Pods er
lace that appears to have worn away. The “Yucca Plant� was a group project and the leaves are an assortment of techniques. The museum reported many more visitors in the winter months than usual, with an exceptional turnout during a snowy period that closed Luton Airport just before Christmas. Yucca Plant a group project
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A WARM WELCOME AWAITS YOU Your membership will help make embroidery and textile art a valued contributor to the creative landscape of the UK and beyond
Whether you are Getting started or moving on Branching out and exploring Creating your own designs Capability Brown
The Embroiderers’ Guild
Game of Thrones
Inspires Educates Supports Offers opportunities for all
(examples include national projects shown here)
Postcards of the World
Page 17
Page 17
100 Hearts
Magna Carta
Capability Brown
YOU CAN JOIN TODAY via our secure, easy-to-use, on-line facility – please go to www.embroiderersguild.com or you can join via a local branch or register your interest in joining our first virtual branch VISA and Mastercard accepted Patron: HRH The Duchess of Gloucester GCVO Embroiderers’ Guild at Bucks County Museum, Church Street, Aylesbury, HP20 2QP Registered Charity No. 234239 www.embroiderersguild.com
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ONLINE COURSES WITH THE EMBROIDERERS’ GUILD The courses are presented in a methodical yet unique way, so that the practitioner is guided step by step through a series of practical exercises without the stress of deadlines and ticking boxes. The current courses on offer are:
Inspired to Create hand embroidery – 1 Moving On Inspired to Create machine embroidery – 2 Moving On Inspired to Create hand embroidery – 3 Another Dimension Inspired to Create machine embroidery – 4 Another Dimension There are various short courses which can be taken singly. They are: Short Course 1- Skeletal Sea Holly Short Course 2- Free Motion embroidery Short Course 3- Goldwork Acorns Short Course 4- Stencil and paste and many others, see the embroiderers’ Guild website for more details about courses available For More Information
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Poetic Cloth Creating meaning in textile art By Hannah Lamb Reviewed By Sarah Maddison
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Background photograph by Annie Spratt on Unsplash
Ask me what my ‘Desert Island Disc’ luxury would be, and I’d immediately shout, “freshly laundered cotton sheets every day!” Nothing quite beats the smell, the feel on your skin and memories of grand stays in luxury hotels. It’s an answer I believe textile artist, maker and lecturer Hannah Lamb would certainly understand, because in her new book – Poetic Cloth – she explores our relationship with fabric and its use in textile art to create, “evocative pieces with deep layers of meaning.”
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Lamb, a member of the 62 Group, who has exhibited internationally, is a typical textile magpie, easily distracted by bags of long forgotten fabrics in her studio. One moment bewitched by the feel and texture of cloth or simply by the way light falls on it and then ultimately drawn into a different experience, on a more emotional or sensory level, reminding her of people, places and different times. Her red and white gingham school uniform or the ghastly “sweat inducing� nylon sheets
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which became the very height of fashion, despite the static shocks they gave us. Her mother’s horror of crimplene and the beautiful memory of the old linen buttons from her grandmother’s liberty bodice. From the very start of Poetic Cloth with its velvet like cover, Lamb’s book is visually beautiful, full of stunning photos and a rich body of text. Early pages consider the qualities of specific cloth – silks, embroidered cotton lawn and chiffon are intimate and sensuous, while brushed cotton, 130
quilts and woollen blankets offer a more homely, comforting sensation. Lamb describes cloth as, “our second skin, enfolding and protecting us from cradle to grave” and notes that while it protects us against the rest of the world, it also silently witnesses our life experiences. The significance and importance of cloth in history and culture, differs across the world, but in art Lamb believes it promotes both universal and personal feelings, “resonating from the immediacy of a tactile response, triggering a memory or association”.
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“I am drawn towards materials with a back story, particularly those with some age,� she tells readers. Subsequent chapters discuss the processes which enable her to create deeper meaning in her work. Word association and swatches in project research can help find the ultimate colour palette and she advises using stitch like any other medium - punctuating areas, discovering textures and creating new surfaces with areas of repeated overstitching. She explores space, transparency and shadow through cyanotype printing. Enjoying the imperfect, she suggests, goes against the perfect, traditional embroidery undertaken by her grandmother, but allows her to take
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a more organic approach and ultimately record that, “marked and aged textiles carry traces of intimate, personal histories in the stains and abrasions of wear and tear.� She is an advocate of mending, not because it’s a cheap option, but because you really begin to understand the structure and qualities of a fabric. Mending threadbare cloth breathes new life into it and patches covering blemishes become features while darning creates yet more texture and pattern. Old faded fabrics like antique furniture take on colours and marks which tell their story and she believes that metallics
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can raise the importance of a piece – vintage sequins, metal threads, and found objects – although she admits to using them all sparingly. Throughout the book there are feature pages with the work of other wonderful artists who Lamb admires, such as Claire Wellesley-Smith who responds to the political and historical landscape around her home in Bradford. This is certainly not a ‘how to’ book, but more an intimate conversation between Lamb and the reader about why she loves cloth and how it has a deeply emotional effect on her and her work. As textile artists we often amass the latest products, the shiniest threads and far too much fabric, which we tuck away into boxes only
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to discover them years later. For me reading Poetic Cloth was a glorious reminder to take time to look and appreciate the pieces we work with, use fabric that tells its own story and think about the deeper connection we all share with cloth…… especially in our art
The Poetic Cloth Creating meaning in textile art by Hannah Lamb Published By : Batsford www.pavilionbooks.com/batsford ISBN : 9781849945363 Price £22.95
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Mental Heath and Wellbeing with Stitch As a trustee for the Embroiderers’ Guild with a special interest in Education, I have, over the last few years,
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Amanda Smith
been trying to start up some stitch groups for people who are struggling with their mental health and wellbeing.
Yes,
I know I’m talking
to the converted, when I say that stitching is a great way to focus the mind away from your day to day problems. To just enjoy creating, in whatever form, whether to show others or just for your own personal enjoyment.
Iwas lucky enough to get a breakthrough last year when I was approached by the Gawthorpe Trust, Lancashire. Gawthorpe Hall (if you haven’t been there) is run by the National Trust and they have a superb library and collection of textiles.
The
previous owner of
Gawthorpe, Rachel Shuttleworth was incredible woman –
Kayan
“I have a vision of a place of meeting where neighbours will come for many reasons to seek stimulating thought by meeting other active minds, to find refreshment and inspiration and a joy in beauty”. Rachel 1912
Kay-Shuttleworth,
As a result, Gawthorpe is not just a hub for textile artists and those who love textiles but also makes a difference in the local 137
community. Valley Street North West Region will take Community Centre is a part over before the winter sets of Gawthorpe and provides in. support to people who are ill and vulnerable.
Icurrently
go
to
Valley
Street Textiles Studio once a month to run a stitching and wellbeing workshop. The ladies who attend are very chatty and always keen to learn and in some cases, I think I’m learning more from them than they are learning from me!!
But it is a long drive and commitment (10 hours round trip) and I am hoping that someone from the
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Having successfully started a pilot at Gawthorpe, I would like to find similar places and setups in the southern part of the country (closer to home!).
The
Embroiderers’ Guild
has a history of assisting with mental health.
My
dream is for the
Embroiderers’ Guild to have a series of safe havens where people suffering from mental health can come and participate in a congenial environment.
Mental health is such a
After the Second World War some of our branches were set up to assist with battle fatigue through stitch. Many of our members still run workshops for “Mind� and other related mental health charities.
huge problem in the country at the moment, for all ages, and particularly teenagers that we need to do all we can to assist.
Contact education@embroiderersguild.com
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Drawing and Design for Embroidery 140
I have always felt that I was no good at drawing, no matter how hard I tried, so I decided to enrol in the “Drawing and Design for Embroidery” course at the Royal School of Needlework. It was held in their workrooms at Hampton Court Palace. The course aimed to “give you more confidence in the drawing and design process” and “to help you work on unique designs for your embroidery projects”. The outcome was to “have a sketchbook filled with drawings and doodles and tools to help you start to design your own embroideries”. The tutors were Caroline and Sarah Homfray The first day saw us discussing the concept of sketchbooks – what they were for, tips for
Then we came to the question: “who has been told in the past – you can’t draw”. Surprisingly, (to me anyway), nearly all of the group raised their hands. They spoke about how these comments had affected them. Sarah and Caroline then challenged us to put aside these negative thoughts and
Kate Whybrow Photo Emma Doggart
working in them and what you could put in them. We practised drawing leaf shapes and drawing upside down (the image, not us!). Great hilarity resulted from the continuous line drawings and timed pieces with varying successes. One exercise was to draw our own hands and leave a blank page next to it to draw them again at the end of the course, to compare! Sarah and Caroline promised us we would “not believe the difference”.
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approach our sketchbooks with open minds and a “can do” attitude. Then, most pleasurable of all, the whole class went outside in the sunshine, to the back gardens of the palace, to sketch anything we liked the look of. Sarah and Caroline were on hand, sun-hats and perch stools at the ready, to advise and encourage – substituting criticism for creative suggestions about how we might progress our sketches. We learnt about tone and shade (very important on a hot and sunny July day) and of how to use a cardboard frame to line up and contain the sketch we were working on.
On the second day, we looked at source material – whether this was primary (the original object itself) or secondary – something you copied from an original, 142
like a photograph or someone else’s painting or stitched item. We were given hints and tips on where to find inspiration and ideas. Next came a session on how to compose a sketch; the viewpoint, symmetry, patterns, colours, shapes and techniques were all discussed with lots of practical elements. We tried out different mediums, ie: chalks, watercolours, pencils and pens, drawing different bits of the biggest still-life display in the centre of the room that I’ve ever seen! Lastly, we looked at how our designs could be turned into stitch – using a brief, planning, fabrics and 143
threads, techniques and how to aim these at different levels of skill. The most important thing is to design something you really enjoy. The last day looked at
colour. We discussed how colour works and how the human eye perceives it,
as well as tone and tonal shading – yes, there are different shades of black! If a colour is ‘cold’ or ‘warm’, and how colours can describe emotions. We were shown postcard examples of the great artists, such as 144
Matisse, Van Gogh and Turner and how they used colour and shade.
Lastly, we were given a brief for an embroidery design of our own. We were asked to create a design for a ring pillow, an A5 monogram or an A5 book cover. This was a scary concept. Sarah and Caroline reminded us of the process of design and of all the work we had done over the past three days in our sketchbooks and the classroom. This gave us the go-ahead to get designing!
At the end of the course, we were asked to draw our own hands again on the blank page next to the first drawing done on the first day.
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As promised, what a difference! I could hardly believe that it was the same person drawing the same hand. Caroline and Sarah advised us to sketch something – anything - in our books every day just for practice and to record our progress. I have done this and been pleasantly surprised by my efforts and the improvement I can see over the months since the course.
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Thank you, Caroline and Sarah, for opening up the wonderful world of art!
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SHETLAND WOOL WEEK
Oo, mak an stravaiging Shetland Wool Week was such an amazing experience that it will be easy to sound too gushing and to run out of superlatives describing it all. Even the weather played its part by being unexpectedly warm and mostly dry, unlike many parts of rain-lashed England. The Shetland Islands 148
nd yak, g in Zetland Text - Linde Merrick Photography -Janet Scotton
form a subarctic archipelago affording great landscape views of rolling hills and amazing seascapes.
talks, classes, exhibitions and events and these are just a few highlights to give a flavour of the fantastic woolly experience.
The island of Unst has been described as “the absolute end of every Great North Road in Britain� and boasts of having the most northerly bus stop. The programme was a well-organised extravaganza of tours, 149
The talk, given by the Knitting & Crochet Guild’s very own Barbara Smith showcasing their collection, was informative, amusing and illustrated by an eclectic mix of items.
The curator’s talk at the Shetland Museum and Archives gave an Islander’s viewpoint on the development of both the exquisite lace shawls and the colourful Fair Isle garments.
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There were also great displays relating to other parts of the Islands’ history, such as the use of lead and peat blocks in their fishing industry.
and weavers worldwide. The classes were great expositions on the traditional techniques used throughout the Islands and ages and all the tutors were so willing to share their knowledge and skills, with great tips on how to recreate fantastic lace and colour work to a very high standard.
The tour of the Jamieson of Shetland factory, conducted by family member Garry Jamieson, provided an insight into the whole process of turning raw Shetland fleece into their renowned yarns, knitwear and tweeds, as well as being a staple for knitters 151
I have not yet been able to complete my mini-Hap shawl based upon the exquisite traditional design from Anne Eunson
It was pleasing to see the little Shetland ponies in their natural habitat.
The hospitality, friendliness and generosity of the Islanders was overwhelming and left a warm glow to add to the excitement and great memories of a superb experience. The Title? (Translation: Wool, knit and natter and roaming in Shetland) 152
Buy our magazine on line 153
An Exhibition Basingstoke branch of the Embroiderers' Guild are planning an exhibition "The Needles Eye." There will be over 60 pieces of work on display at the Silk Mill in Whitchurch. The exhibition will show a wide range of techniques, including hand and machine, 3D, quilting, silk and goldwork. The work to be displayed is from both experienced and novice embroiderers’ as well as from the Basingstoke Young Embroiderers Group.
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The highlight of the exhibition will be the "Bayeux Tapestry Finale 11" by Jan Messent. It is a half-sized copy of the one she embroidered in 1996 illistrating the missing end of the original which depicted the coronation of King William 1st. This "tapestry" is an embroidery worked in the manner of the original after extensive research. Although experts have not published their findings of the dyes used, the embroidery is worked in wools hand-dyed using comparable plant dyes. The colours are somewhat brighter than the original which have faded with age.
The exhibition will run from 11th January - 22 March 2020 155
Pam Says “Here is Something Nice with Spice” I have wanted to invite you to dip into my love affair for some time. I can hear you tut, tutting in amazement, “But you have only just celebrated one year of marriage!” However, before you come to further wrong conclusions, I am only referring to a firm favourite of mine, the nutmeg. After all this article is celebrating food. I can recall with some clarity the first time I saw this beauty growing on a tree, during the eighties. I was visiting a small private orchard in the lush, flat, countryside, west of the Demerara River, in Guyana, South America. I was entranced. Our kindly hosts were keen to show off their crop of nutmeg encased in its brown shell and adorned with its “red lace”. There were other crops like cocoa and coffee as well as a golden and star apples etc. I have always been 156
disappointed with myself for being so wimpishly put off by our host's eccentricity and never accepting their genuine invitation to visit their holding again, and, to learn more about how they processed their valuable crops without sophisticated equipment.
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The nutmeg is a must-have staple in the Guyanese spice collection because it is invaluable to cooking as well as for its medicinal purposes. It used to be customary for nutmeg to be added to beeswax to make an ointment which was then applied to the back of the very young in the instances of a chest infection. Once applied, the entire area would be covered with a muslin cloth, underneath the bedclothes, to keep the ointment in place. The nutmeg or “Myristica fragrans”, is actually a fruit with a single seed and therefore a drupe) is suggested to have originated in the Moluccas Island aka Spice Islands, in the Indonesian rainforest. The on-line Article: “What is nutmeg good for” further claims that nutmeg has a high manganese content which equates to 41% of ones DRV per ground teaspoon. The article further emphasises the advantages of this potent powder to the body including blood clotting, regulation of blood sugar as well as for increasing the absorption of calcium. It is also known for its anti-oxidant properties which assist in the repair of cells. Other boasts of the distinctive nutmeg include properties to soothe/ stimulate the brain and relieves joint and muscular pain. 158
According to this article, the benefits are endless and to some degree validates the intuition of my “local people” who had respected all of these qualities in their use of the “noble” nutmeg. For this publication, I have three recipes for you: two are sweet variations of each other whereas the third is savoury. All feature the nutmeg, may be easily sourced and with fewer than usual ingredients (a la Pamel style!) For further nutmeg recipes and cooking tips“The Spruce Eats.” An article, “What is Nutmeg Good For” www.thespruceeats.com, nutmeg – recipes –and- cooking-tips11809314 159
Pam’s Three Bakes “Bake” is commonly known as a verb in the English language. (In Guyana anything cooked but not boiled was “Baked” even if it was not cooked in an oven.) That is until recently when a few dishes began to adopt it as a name for such as pasta bake: sweet potato bake: tray bake, etc and hence the noun aspect has crept into modern-day usage. However, back in the days of a less diverse England, a school teacher has been known to sharply correct her young charge when he declared that he had “Bake” for his pack lunch. “Surely it could not be” she scolded “you are using a doing word to name something and your lunch is not doing anything”. I cannot help but be mildly amused at this story and enjoy the juxtaposition of that incident with the regular instructions that contestants to a popular TV show are given. I hope that my “Bakes” will do something for you since it is one of my special comfort foods: in the manner of most satisfying treats which share the outcomes of the alchemy flour, milk and eggs. 160
Tasty Spiced Chicken You will need a flat baking tray and your oven heated to 170 or 185 degrees or gas mark 4 or 5 when you are ready.
Ingredients ( I have kept to a minimum) 3 breasts of chicken, skinned ½ lime, juiced, freshly squeezed ½ an onion ½ a shallot ½ tsp freshly grated nutmeg (It must be freshly grated for flavour) ½ tsp salt A couple of pinches of black pepper or not. A couple of teaspoons of cooking oil and an extra one for coating the tray. Breadcrumbs for coating
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Method Cut each breast into three strips and leave in a bowl Blend all of the other ingredients together in a processor until the marinade is quite fine. You could reserve a ¼ of this marinade for another time or something else. Add the marinade to the chicken and coat each evenly. Cover and leave for at least 20 mins (or in the fridge if overnight) Coat each piece of chicken with breadcrumbs. Place of the greased tray to cook in the preheated oven for 15- 20 mins. You can cook the chicken without coating it with breadcrumbs or anything. Serve on its own, or with either of the other two “Bakes” and add a salad.
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Bakes or Soft Drop Bakes (because there are different types of bakes) Version one is similar to the notion of the Scottish pancake but thicker. I do wonder whether this is just another derivation of Guyana’s inherited bits from its British/Scottish past.
Ingredients 175 grams /6oz selfraising flour, sifted 1 tsp baking powder ¼ tsp grated nutmeg ¼ tsp salt 40 grams or 1 ¼ oz demerara sugar (The place of my birth) 1 beaten egg 200ml/7 fl ozs milk (I used full cream, lactosefree but you can decide to even use soya.) 3-4 tablespoons of vegetable oil- I used rapeseed. 163
Method Mix all of the dry ingredients in a dry bowl. Create a well in the centre Mix the egg and most of the milk together and pour in the well Fold in with a metal spoon until
all is combined. Add the tiny remaining milk, only if you need to. Be careful not to over mix. Your spoon should be able to almost stand in the mixture. Add spoonfuls to your heated pan with oil for the bakes to cook. Allow sufficient space in between 164
each to allow them to puff up without touching. After a few minutes, turn over each bake, using a fork to cook the other side. Check if you might need to reduce the temperature under the pan to cook properly cook all of your bakes. Some may be done before others. Once cooked, place your dark golden fluffy beauties on a grease lined plate or tray. Try one as soon as your fingers and lips can stand the heat. Serve with a cup of tea, ice cream or just warm on their own. I have also opted to serve some dusted with a mix of vanilla sugar and cinnamon, strawberry ice-cream and a dollop of rose and strawberry jam. Thank you to the guys and gals who willingly accepted to roles of testers once being captivated by the smell and taste of these bakes.
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Soft Drop Bakes with Chestnuts (The bountiful crop of fallen chestnuts in the local neighbourhood has been the inspiration for this. I collected and prepared the nuts – satisfying if somewhat time-consuming.)
Ingredients 175 grams /6oz self-raising flour, sifted 175 grams/6oz chestnuts, boiled shelled and sieved 1 tsp baking powder ¼ tsp fast action yeast ¼ tsp grated nutmeg (+2 pinches) ¼ tsp salt 40 g/ 1 ¼ demerara sugar 1 beaten egg 200ml/7fl milk (full cream or other) 3-4 tablespoon of vegetable oil for frying (I used rapeseed)
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Method Use the same method as above to combine the ingredients. Once done, leave the mixture to rise for at least two hours. Cook in
the same way but with a lighter brown. Additionally, you might want to put all of your cooked bakes in a preheated oven for about 7 mins to ensure that they are all cooked through. Gas mark 6 or 200 degrees C. 167
Th
Since leaving University Chloe Giordano has continued to experiment with freehand embroidery. She uses calico which she hand dyes and single strands of sewing threads. Her designs are drawn directly onto the fabric with a vanishing fabric marker. She sells her original pieces, prints and greetings cards on Etsy and through her website www.chloegiordano.com.
Chloe trained in illustration at Auth0r: Chloe Giordano
Bristol University, becoming
Publisher:Search Press
interested in textiles in her
ISBN No: 9781782215837
third year.
Order: Search Press Ltd www.searchpress.com Price: ÂŁ25.00
The realistic sketches (especially of the adorable sleeping creatures who look as if they would wake should you
168
he Embroidered Art of Chloe Giordano
disturb them!), are due in no small part to hours of painstaking research into the subjects – including their habitats - long before any
for her colours and designs. She works “freehand” using just one straight stitch of varying lengths and colours.
thread touches the fabric.
All the embroideries are
Anatomically, she uses her
worked in 5-6” frames.
knowledge of the natural movement of the subject and of the animal’s frame to direct her stitching. Chloe uses sewing threads rather than embroidery floss and dyes her own fabrics to obtain exactly the right shades
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The finished work is photographed (and sometimes sold) in the frames although some are professionally framed.
This is not a project book but a step-by-step description of the way Chloe works - from original idea, research (including reference books,
The finished embroideries are
photos and trips to museums),
usually arranged in animal
sketches, thread selection,
groups rather than
design transfer, stitching and
chronologically and include a
framing up.
wide variety of British wildlife. There is also a collection of skulls at the end of the book which she “uses� to give form to the final embroidery of the animals she stitches.
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This is a truly unique way of working and, although not ‘traditional’ embroidery, the results are simply stunning.
Kate Whybrow
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·
Exploring
Rebekah grew up surrounded by people who especially appreciated the simple lines and bold colours of early American folk art. She graduated from the Art Institute of Pittsburgh with a degree in graphic design. She has studied the Rufus Porter style and Pennsylvania German folk art, both of which continually inspire her work.
Auth0r:
Rebekah L. Smith
This book is a real family affair
Kelsey Anilee Smith
– mum and one daughter
Publisher:C&T Publishing
designed the projects and the
ISBN No: 9781617458132
second daughter wrote the
Order:
book, with several additional
Search Press Ltd www.searchpress.com
Price: 172
£20.99
friends also providing inspiration.
Folk Art with Wool Appliqué & More
lovely muted autumnal colours throughout. Each project starts with a little back story as to how the design came about, which is a really nice touch and follows the whole cosy feel of the folk art environment. The instructions are all very clear, providing the size of the finished project right at the beginning with clear
With 16 projects to select from, covering a broad range of appliqué, rug hooking and needle punching, there’s sure to be something for everyone within this book. The projects are very ‘folk art’ orientated (as the book suggests) and use 173
photos of how the finished article should look. Contained within the book are also templates, designed to be used for each of the projects. These could be photocopied and used numerous times.
174
I am the type of person who likes to get stuck into making the project straight away. So, the only negative I would have, is that the projects all seem to have a very long materials list, which, personally, I found rather offputting. Having said that, it is a delightful book and I would recommend it.
Karen Crookes
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Firs
Linda Wyszynski lives in Mount Pleasant, South Carolina and teaches the needlework correspondence classes for the Embroiderers' Guild of America's Education Department. She specializes in embroidery, silk ribbon embroidery, fabric beading, needlepoint, and cross-stitch,
Auth0r: Linda Wyszynski
At last, a book for beginners.
Publisher:Search Press
“First Time Embroidery and
ISBN No:078-1-63159-797-8
Cross-stitch" gives an entry into
Order: Search Press Ltd
different types of embroidery at
www.searchpress.com Price: ÂŁ12.99 176
a basic level. The information is informative and the projects are easy to achieve.
st Time Embroidery and Cross-stitch
It is a pity that the stitched examples are not better executed and I have yet to find out what the “stage-managed� photo used on the front cover, has to do with the contents of the book.
Anne Walden-Mills
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Just One M
Jan Beaney and Jean Littlejohn set up Double Trouble, in 1997 to print books that encourage, support and pass on skills to textile artists. Their aim is to give students the confidence to design and create their own unique work. As past Presidents of the Embroiderers’ Guild, they are now officially retired but they still continue their teaching workshops.
'Just one more thing', the Auth0r: Jan Beaney & Jean Littlejohn Publisher:Double Trouble Enterprises 2019
latest title in Jan Beaney and Jean Littlejohn's series of slim and inspiring books
ISBN No: 978-0-9559959-7-2
on creative textiles. Do you
Order:
have an embellisher
Double Trouble Enterprises
Web: Price: 178
doubletrouble-ent.com ÂŁ14.00
languishing unused in your cupboard?
More Thing‌ Review, Revisit, Remind
Jan and Jean regard it as
illustrate a range of uses
one of the most creative
that will encourage you to
tools available to textile
experiment and explore its
artists in recent years.
possibilities.
Their latest book aims to
There are sections on
answer some of the most
scrim and the embellisher
frequently asked
“a marriage made in
questions about the
heaven�, using the
embellisher and to
embellisher as a drawing tool and bonding and embellishing. Jan has found that working with soluble materials can offer many creative opportunities. 179
Soluble fabrics can be used with the embellisher too. There are sections on composition: formats and strategies, colour within the composition and using complementary colours. Advice on tone, “so The multiple brand names
important but underrated�.
and name changes can be
Over the years, and in Jan
confusing but this book
and Jean's experience,
offers helpful and inspiring
tone is the biggest
suggestions for its
challenge when composing
successful use.
a design.
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There is help here.
and more experienced
There are ideas on
stitchers.
stitches to create and build up texture. This book is full of good advice for beginners
It is lavishly illustrated with photographs that are a delight and an inspiration. I thoroughly recommend it. Ruth Walton
181
Embroidery designer Ayako Otsuka is the director of Embroidery Studio Ecru and a member of the Japan Association of Linen Spinners. Ayako is the author of several books about embroidery published in her home country of Japan. She specializes in teaching whitework, sumpwork and botanical embroidery at her school Studio Ecru and exhibits her work in Japan and abroad.
The book begins with a Auth0r: Ayako Atsuka
brief history of Whitework
Publisher:Search Press
as a whole, before
ISBN No: 978178221 6896 Order: Search Press Ltd www.searchpress.com Price: ÂŁ14.99
introducing the five techniques covered. They are, schwalm, hedebo, drawn thread, counted
182
Whitework Embroidery
thread and pulled
to introduce the various
threadwork, together with
techniques, before moving
their origins, and the
onto the projects, each of
differences between them.
which uses one or more
Unlike many embroidery
motifs from the sampler in
books, Otsuka presents
its design. The second
the projects first to show
sampler of pulled thread
the stitches in context.
techniques adds to the
These start with a sampler
range. The projects, including baby garments, doilies and a range of cushion covers, are traditional items but have a modern feel to them.
183
Only once the crisp, clean
the tools, threads and
photos have introduced all
fabrics best suited to
of the beautiful designs
whitework, instructions are
(and convinced the reader
presented for each of the
that they want to stitch
techniques in turn,
them all!) does Otsuka go
including helpful ‘Ayako’s
into the technical side.
Tips’ boxes throughout.
Following a brief but
Close-up, easy to follow
informative discussion of
photos use a contrasting thread to show the stitches being worked clearly. The rest of the book is dedicated to diagrams and instructions on stitching the projects, with clear references back to the
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stitch guides and detailed
enlarging. Whitework
directions on making up
Embroidery is a beautiful
pieces such as the
book, presenting what
cushions and tea cosy.
can seem a daunting and
Finally, a large fold-out
delicate embroidery form
pattern sheet provides
in an accessible way for
traceable templates at
newcomers to these
full size to avoid the need
techniques.
for copying and
Gemma Bridges
185
Amanda Hislop has a degree in woven textiles and painting. She currently pursues a career as a textile artist and tutor. In her work she combines drawing, painting, and stitch, developing a process that allows freedom to integrate texture, line and colour into surfaces for stitch.
This is a very nicely produced book, one of the Auth0r: Amanda Hislop
“Stitched Textiles” series,
Publisher:Search Press
and is similar in format to
ISBN No: 9781782215647
other books in the series.
Order: Search Press Ltd www.searchpress.com Price: £15.99 186
Amanda Hislop is a renowned textile artist and
Stitched Textiles:Seascapes
translated into other areas and projects. It is divided into thirteen sections and there are 4 illustrated step by step projects interspersed throughout which teacher who specialises in mixed media land and seascapes. The book is on a limited subject that is covered in great detail but describes techniques and ideas that are easily
look easy to follow and are accompanied by excellent illustrations for each step. There is a comprehensive section on materials and tools. However, some of 187
and dyes. The section on threads is not very detailed: a variety of threads are pictured but not described. The section on Inspiration deals with sketching and the materials are quite unusual - abacus tissue and cotton rag paper for instance – and it would have been useful to have some indication of suppliers of these; this also applies to the section covering paints 188
markmaking and these are covered very fully, with several exercises to follow. References
and resources and composition are also included in this section. Mark-making with stitch explores the use of free machine embroidery, and gives good clear instructions and exercises. Colour and light are introduced
excellent illustrations and examples.
in their
The sections entitled “The
sections,
sea, the sky and the
with some
shore”, ”Mood and the 189
Atmosphere”, “The Shoreline”, “Rhythms, pattern and structures” draw together techniques described in earlier parts of the book
190
and develop in more specific detail subjects such as inspiration, composition, textures, creating movement and differing light conditions.
These sections are again
and clearly laid out): even
beautifully illustrated with
the most experienced
Amanda’s work.
stitcher would certainly draw inspiration from the book and no doubt pick up some useful tips. Margaret Lawson
This book is not aimed at complete beginners (though stitched projects are very comprehensive 191
A box of vegetables was the surprising starting point for this book.
Auth0r:
Kazuko Aoki
Kazuko Aoki is a popular Japanese embroidery artist who draws inspiration from her garden and the wildlife that frequently visits there. After attending art school in Japan, Kazuko Aoki studied textiles in Sweden. She is the author of multiple embroidery books.
From Kazuko’s original
Publisher:Search Press
sketches of the vegetables
ISBN No: 978940552408
plus the flowers and herbs
Order: Search Press Ltd
in her kitchen garden she
www.searchpress.com Price: ÂŁ16.99 192
has produced an original book full of inspiration.
Embroidered Kitchen Garden
A box of vegetables was the surprising starting point for this book.
The interpretation of the designs is imaginative. Kazuko’s use of colour and stitch capture the roundness of a tomato, the varied shapes of salad
leaves and a humble potato plant to perfection. This is a beautifully presented book with excellent photographs and 193
This is a book for stitchers of all abilities and the designs lend themselves to many creative uses. You will never look at vegetables in quite the same way again.
clear step-by-step instructions. Kazuko’s tricks and tips for working the designs and using the embroidery stitches are very useful.
194
The brussels sprouts on my allotment seem much more interesting and vegetables on a market stall have a very different appeal. Carol Winter
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Shelia Wilson
The History of the Branch
La Sante Chapelle By Beverley Wood Winner - the Beryl Dean award for the use of Metal Thread - 2013 198
Winchester Embroiderers’ Guild was 56 years old this year, having been set up in July 1963. Starting in 1961 as the Mid-Wessex Branch of the Embroiderers’ Guild, and based around Salisbury, the branch attracted a rapidly expanding membership from southern counties. Eventually it was decided to set up a Winchester group in 1963 under the wing of the parent branch and so the Winchester Embroiderers’ Guild was born. In those days members were known formally as ‘Mrs …’ or ‘Miss …’ (how intimidating!) and each member attracted an annual fee from the central Embroiderers’ Guild of 2/6d (12.5p). Members were charged one shilling (5p) for each meeting with visitors paying one shilling and sixpence (7.5p).
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Nowadays the annual subscription is £57, with visitors paying £5 for each meeting. The first committee was made up of Mrs Carbonell, chairman; Mrs Rutheven, secretary and Mrs Dunning, treasurer.
A Cushion By Lizzie Ashton
200
Worked for the nave of Westminster Abbey in canvas work. The design by Johanna Olby, who has designed many pieces of work for the Abbey, incorporates the crests of three past Deans, giving their names and dates.
Other committee members included Mrs Whitaker and Mrs Elston. Dorothy Carbonell and Gwynyth Whitaker were two well-known local embroiderers and are still remembered by the Winchester branch today – we have annual stitching competitions in their name.
Paint & Stitch By Ann Peeling 201
The first meeting was held in Gwynyth Whitaker’s home in Kingsgate Street, Winchester and a silver collection was made to kickstart the group’s funds. Old habits die hard.
Looking Through to Freedom By Margaret Lawson 2nd Prize - Jane Lemon award Drama and Creativity (2016) Highly Commended - Val Campbell Harding award Machine Stitching (2016) 202
Meetings were to be held on Wednesday afternoons – we still meet on a Wednesday but the second Wednesday rather than the last Wednesday as originally.
The Saraglio By Margaret Lawson 1sr Prize - Val Campbell Harding award hand & machine (2017) 203
In time the Mid-Wessex Group was split into three branches (Winchester and East Hampshire; Dorset and West Hampshire; and Mid-Wessex). It was agreed that each group would hold an exhibition in turn: the tradition of the triennial exhibition was born so that there was always an annual exhibition across the patch. To this day, we still hold our own exhibition every three years.
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My Mother By Jayne Lewis
Alison Hulme Machine embroidered printed fabric
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Winchester Embroiderers’ Guild Today
Winter at Hilliers By Jayne Lewis 206
The Winchester Group became independent from the area and we became a branch of the Embroiderers’ Guild on 30 June 1965. The number of members has fluctuated from around 70 to around 110 over the years. Currently with 65 members, we continue to attract visitors and new members throughout the year especially as we now have a permanent base.
207
We’re currently preparing for our next exhibition As well as individual exhibition pieces and cards for sale, we will also have our ‘Homes’ project on display. This has brought many of us together within the branch and has been a good way of getting to know each other over many lovely stitching afternoons.
A piece from our next “Home “ exhibition
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The branch has many talented stitchers, many have been or are textile teachers and some with a national profile. We also have novice stitichers just starting on their stitching journey. All are warmly embraced and we welcome new members and visitors.
Meetings St Barnabas Church Hall, Fromond Road, Winchester SO22 6EF where we meet at 2.15 pm on the second Wednesday of the month. www.winchesterembroiderers.org.uk
A Walk around Winchester 209
Exhibition Our next exhibition will be at the Discovery Centre, Winchester (from Saturday, 25 January – Sunday, 22 March 2020). Do come and see us and say hello. Further details of our exhibition are on the Winchester Discovery website at www.hampshireculture.org.uk/event
Ann Wheeler Ruth Smith
From the “100 Hearts Exhibition” commemorating the cessation of the 1914-1918 War 210
Buy our Magazine on Line 211
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For Further Information Cas Holmes
casholmes28@yahoo.co.uk
casholmes.wordpress.com
Kim Thittichai
info@kimthittichai.com
kimthittichai.com doubletrouble-ent.com
Double Trouble Jan Beaney
janbeaney@btinternet.com
Jean Littlejohn
jeanielittlejohn@aol.com
Jackie Gale
jackiegale@gmail.com
Anita Bell
anitabell@yahoo.co.uk
Embroidery Magazine
embroidery@embroiderersguild.com mymagazinesub.co.uk/embroidery
Search Press Ltd
sales@searchpress.com
Stitch Magazine
stitcheditor@embroiderersguild.com mymagazinesub.co.uk/stitch
Paul Walden-Mills
edraconus@hotmail.co.uk
The Embroiderers’ Guild
administrator@embroiderersguild.com embroiderersguild.com
Batsford Publications
sales@pavilionbooks.com
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jackiegaletextileart.com
searchpress.com
https://www.pavilionbooks.comtact -us/
Our thanks to all the people who made this magazine Contents Sarah Maddison Carol Winter Teresa Phillips Pam Henry Paul Walden-Mills Mary Ellingham Gemma Bridges
Ann Beer Pat Tempest Cas Holmes Kim Thittichai Jan Beaney Jackie Gale Anita Bell
Ann Wheeler Linde Merrick Kate Whybrow Liz Sibley Karen Crookes Ruth Walton Margaret Lawson
Photographs Pam Henry Paul Walden-Mills Cas Holmes Kim Thittichai
Ann Wheeler Janet Scotton Emma Doggart
Jan Beaney Jackie Gale Anita Bell Liz Sibley
Videos Cas Holmes Kim Thittichai Mike Day Double trouble Jackie Gale Annemeike Mein
Stitched collage and textile arts At her studio - Sonas Winchester - A One Day Trip Jan & Jean in Harrogate K&S A year of work Surberb Blue Wrens
Editors Anne Walden-Mills (Editor) Amanda Smith (Proof Reader)
Contact sewregion@hotmail.co.uk web sewregionembroiderersguild.com
All articles and photographs used in this magazine are the copyright of their authors. The magazine's content is for private viewing only and must not be reproduced in part or full for commercial gain in any form.
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