Tricky one, not keen on the work itself but interested in the process and direct illustrative references as a possible exploration in my own practice for the next phase of the PhD along with the engagement with a textiles materiality.
Haynes is a quilter who is interested in the history of place. He uses cloth that is of / synonymous with a location.
I have realised that I need to develop a greater understanding of some of the materials that I associate with amateur craft makers who particularly rely on shops such as Hobby Craft or Magazines available in local newsagents. I am trying to engage with making as an amateur [which I believe I am] BUT, I operate professionally [in my job] within a design and craft arena in which I have access and a breadth of knowledge of textiles. As a weave tutor, I teach about professional applications of design and as such this requires a high level of engagement with contemporary yarns, dyes, equipment and methods.
I believe that switching and using those materials that we may choose to not use within a design studio but will find in abundance in a local craft’ing’ shop will expand my visual vocabulary.
I have started to tentatively explore this through stitch and am looking forward to the next phase of this research in which i will fully submerge myself in this world of wonderful materials: pom poms, scoobies, hama beads, sequins, ‘fuzzy’ felt sheets and pipe cleaners.
I feel it is time to explore the possibilities of scale in quilting. I am keen to begin to understand a more physically laboured experience of making as an amateur but I suspect that this may be a job that I will have to pick up as and when I have the time. I am about to go into a phase of this research which will require more time to be spent reading and the practice element may need to be paused a little.
Back of large quilt. Cotton, linen. [Perren, 2015]
When the case study came to an end, a few people asked if we could continue to make quilts and meet up. Although it would not run as a case study, I was keen to keep a level of engagement with communal making and, I had really enjoyed doing it. The women who wished to continue had so many interesting things to talk about and so we have continued to meet every other Monday evening. instead of paying for the village hall, we meet and work in each others houses which has bought further intimacy and friendship to the making of quilts.
We approached it a little differently in that we did decide as a group on a design and the fabric we would use. I had purchased a book called Modern Bee and we have taken inspiration from one of the designs in their, we could have followed the instructions word for word but as a group we preferred a more relaxed approach and used it as a guide.
Everyone bought in samples and leftovers we already had in our stashes and I provided a lovely length of vintage liberties fabric that had been donated by a local person when they saw my posters for the original MQB.
We worked with all that we had with the only ‘interference’ being that we dyed up a batch of fabric in a grey to pull it all together a little more.
Despite not officially documenting this particular adventure with the MQB, I have got a few photos of work in progress. In the future, we do have some thoughts of perhaps collaborating on a piece specifically for this research – but it is early days at the moment.
Quilting in progress, MQB. [Perren, 2015]
Working on the edge, MQB. [Perren, 2015]
Ref: Conner, L. Modern Bee. 2013. Lafayette, Stash Books.
I decided it was time that I took one of my earlier painting studies of a Gee’s Bend quilt and have a go at translating it into a quilt top.
Tim Ingold talks about ‘know for yourself’ in his book Making. In order to truly understand something, from the inside out you need to be actively engaged in it i.e. just looking at pictures of the Gee’s Bend quilts will only bring a certain amount [and type] of understanding. My thoughts are that by drawing them, painting them and making work that explores similar aspects [not copying] will bring more of the true knowing that Ingold talks of.
I have used the quilt top / sandwich to develop some ideas with sequins. Think in this case it has not worked, not sure why but it feels like it is two separate things forced together. I am going to keep going with this though but it will need more thought. Once I get a little more time I would like to work on a piece a lot more heavily, at the moment it seems too polite. Need to take it to extremes.
I need to gain more control of the straight line, particularly the machine sewn ones. I am ok with the mix of machine and hand sewn lines but it just needs a lot more of a lot more things?
I decided it was time to start and develop a few further quilting skills and explore possibilities of composition. Although I am not sure if quilting will be the best direction to go in terms of practice, my gut feeling suggests keep going with it. Not sure why I am a little nervous about it, I suspect it is because of its loaded nature but I believe that is exactly why I should be pursuing it further.
This is a quilt top that I actually made from a plan as opposed to ‘lets see what happens’. If this work is going to develop as image, then I will need to gain a lot more control and understanding of the technicalities of quilting. If the direction becomes more about the act of making then this may be less of an issue.
So the first quilt is finished [evening group] but the evening one has to have the binding added still. We spent almost twice as long as had been intended but there was a great sense of accomplishment about what we had done. One member took the quilt home once it was off the frame and added a ‘monogrammed’ logo. Each member included their initials somewhere on the quilt which will be donated to a local women’s refuge [as chosen by the group].
When we all met for the first time, as expected we were quite reserved, polite and understood about personal space. The politeness remained but an aspect that I had not observed in the earlier mentioned video about the Gee’s Bend women was just how physically close you have to get so we could work on the quilt.
A couple of moments stuck out for me, the first was seeing two quilters [who did not know each other before the group got together] work so closely that their hands were literally bumping. In the questionnaire’s that were completed at the end of the sessions, one person commented ‘bumping hands for the first time with someone will always make me smile’.
The second observation was when one of the quilters was sat underneath the quilting frame, amongst the legs of her fellow workers she was trying to sort out a knot on the back of the quilt.
These were aspects I was keen to further explore within my own practice and highlighted the nature of my initial preference for working in isolation.