Luke Haynes

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.

Luke Haynes. Fabric Figures. 2013



Camilla Steinum

Materials Driven.

textiles – felt – ready made objects – shower curtains. weaves between the structure of frameworks she creates, fluid mature of textile. Is a weaver and considers grid like influences [of weave] with connections to labour, mass production and capitalism.

I have selected these two images due to the slightly unweildy look of the textile, they seem at odds with the clean design of the framework – which could have been a simple DIY job [although it may not be].



Exploring Cross Stitch

There are a number of things that I associate [as do others] with perhaps typical hobby outcomes. Cross stitch is one such craft and it felt appropriate that I should explore this further. Like a lot [if not all] of the textiles I make, I consider them as drawing. if not a direct observation of something I see, it is an action that takes time and consideration as it creates marks on a surface.

I have done a number of samples that include cross stitch but have not been able to find the focus or stamina to follow a pre-printed edition. Instead I tend to stitch intuitively although [as can be seen in this sample], I may draw some guidelines for shapes on the ground first.

Making it up Cross Stitch. Cotton on Linen. [Perren, 2016]
Trying to follow directions from a 1981, Readers digest Manual. [Perren, 2016]

Learning to make Glass Beads.

I was lucky enough to go to Berlin this month [a field trip with students] and found the time to find out about a few workshops that i could take part in. i was keen to experience something I really had no experience in and so I picked the glass bead making session. It was an organised group session however I was the only one so got a 1:1 session for an hour and then had a few hours after to work under my own steam.

I was totally transfixed with the process, it was strange to be doing something so hands on yet their was no skin to material contact while it was being made. When drawing or making textiles, the hand and touch plays such an important role – particularly in terms of having a direct understanding of how a material is responding.

Here you can see the results of this session and my notes on what to do. I am interested in perhaps developing this further if it feels appropriate. I have found, although not yet visited, a studio which offers open workshops for glass bead making in Hebdon Bridge which is quite local to me.

Hand made glass beads. [Perren, 2016]
Hand made glass beads. [Perren, 2016]

Going Big

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.

Large quilt front – prior to full piecing together. [Perren, 2015]

Quilt Development from Painted Study

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.

Sally Bennett Jones 1944-1988 Centre medallion of triangles, surrounded by multiple borders. 1966. Cotton. 86 x 77 “

Sally Bennett Jones Study [Perren 2015]
Design plan for Sally Bennett Jones Study [Perren, 2015]
Piece layout for quilt top, Sally Bennett Jones Study [Perren, 2015]
Ref: Ingold, T. (2013). Making. Oxon: Routledge.

Exploring non quilted stitch

When it come to textiles, for the last few months the focus has been on quilting. I’m quite happy with this but as a mum I often find myself at locations waiting for one of my daughters, quilts are not exactly portable so I have used the time to explore textiles in other ways in more bite size pieces.  Much like the amateur knitter sitting at the side of the local pool, I found myself doing some embroidery [although I would consider them to be drawings].

These samples have again allowed me to engage with a slowness of pace in working and the ability to use time in a manner that I could have some autonomy. I believe these approaches to stitch might be worth further development with regards to narrative and materiality.

Stitch Exploration 1. cotton, jute, Japanese tape yarn, beads, sequins. [Perren, 2015]
Stitch Exploration 2. Sheer viscose, beads, waxed linen, sequin. [Perren, 2015]
Stitch Exploration 3. Cotton, polystyrene, velvet, dipped paper yarn, tyvek, beads, netting. [Perren, 2015]

Quilting Skill Development

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.

Quilt Top [development]. Cotton: plain and printed. 70 x 40 cm [Perren, 2015]
Quilting leftovers are becoming more of a point of reference. Keep more scraps!

painted forms

I have been reflecting on the style of painting that I have used for my quilt studies and the connection I observed with the old methods [pre-computers] of painting designs out. The flatness and intensity of gouache paints is providing a different visual language. Because of the nature of gouache, it is also difficult to build up layers and so you would paint in a way more akin to colouring in or a paint-by-numbers technique.

I have explored this further with the exploration of landscape / form applied from a functional, design perspective.

Study in Gouache 1. Gouache on Paper, 38 x 32 cm. [Perren, 2015]
Study in Gouache 2, Gouache on Paper, 52 x 31 cm [Perren, 2015]
Study in Gouache 3, Gouache on Paper, 52 x 42 cm, [Perren, 2015]