metal bent and rusted by the force of the sea, just waiting for transformation into artwork...

I came across this rusted metal, probably a ships container,  thrown up from the sea while it hurled itself about during the winter storms along the North Cornish Coast. These shots are taken on around Towan Beach at Newquay, near the damaged BlueReef sea life centre.

I do try and understand why something appeals to me but with this image I think it may be because of several things ~
the once pristine, overly shiny, metal man-made box, totally crumpled by the power of nature, the erosion of the paint, the beautiful colour of rust, the way the metal now resembles crumpled textiles, the combination of the blue and rust colouration....the list goes on the more I look at it. I do know it is a terrific source for surface pattern, original colour-ways and would lend itself beautifully to art journal exploration.

.... metalwork from fridges also found its way onto the beach

I particularly like how the shadowy lines from the temporary barriers overlay the  intricate lines  of the metal grid

these permanent railings are slowly becoming coated in rust

these railing are above another Newquay beach but I have included them  again for the rust factor but also because of the  way the missing rail was replaced with bent and riveted strips, also again because to the lines and their interaction with each other

some of the Textile Art I will be taking to the Harrogate Knitting & Stitch Show this November....

.. this mixed media piece was created from derelict teacups, fused into organza with heat and tied with thin but tough wire and made as a reference to the wonderful, older and through adversity  stronger women in our family, although often overlooked by todays cultural slant towards youth and who I 

felt the need to acknowledge their hidden qualities and strengths.

to me it seemed as these smashed cups had some stories to tell....

more crockery, this time sawn apart from a loved aunts house, I wanted to see what the  fragments would look like if more uniformly cut but decided they were not as interesting

for one of the many samples I embedded the pieces into clay, the tags represent teabags and the conversations that accompanied them. I did not choose to further sample along these lines but find that 'embedding' with a slight reveal of itthe item now seems to often pop up in my work

this is one of the pieces I'll be taking along to the Knitting & Stitch show this November in Harrogate, come along and say hello!

 http://www.twistedthread.com/pages/exhibitions/viewExhibition.aspx?id=45

I collect vintage textiles...........

I collect vintage textiles, mainly embroidered table and tray cloths or crocheted items, these photos are of one of my favourite pieces, a fairly small crocheted blanket, just 1m x1.5m. It appears to be made from real wool and I found it in one of my local charity shops.

I love the repeat pattern of the granny squares, the jewel like colours and black 'joining' yarn that have been used. When I'm handling a piece, I have different thoughts going through my mind, were the yarns left over from a multitude of projects for someones precious family as they were growing up? Where was the crocheter sat when they were making this, with other people or quietly on their own? What was the original purpose of their piece, could it have been a gift?

Whatever the case I can only believe that it was made with love.

 

some of Preston's old Textile Mills today

I'm often looking up at buildings, admiring their structure, their architects and builders, wondering about the lives that have been lived inside their walls. Lately I've been a little obesessed with the old textile mills, Horrockses, Tulketh and others here in Preston but I've a feeling I shall be travelling further afield quite soon to try and capture more images but here is a small selection of some I took a couple of weeks ago.

I hope to soon visit a Textile Mill not far from Preston the Queen Street Mill in Burnley, Lancashire it is a working museum, and I shall be taking my camera with me!

Thier sheer size is so imposing and whilst some have been redesignated as Antique and furniture warehouses and factories others have become homes and offices. However the ones that really capturing my imagination and morphing into textile art and surface pattern are those that are bound and tethered in wire. They are captured in barbed wire, weldmesh and chain link like huge brick elephants held on the ground, prevented from going about their business. I've read recently (can't recall where) that 37,000 textile workers once worked in these mills.

Most of my raw fabric comes from Whaleys (Bradford) Ltd based in Bradford, where this nobel work is still carried on, I would encourage anyone who uses raw fabric to make their purchases from Whaleys too, and help keep whats left of our textile industry going and increase our GDP! Their goods are high quality, excellent value and the staff are helpful and friendly,
here is a link to Whaley's website  Please note that Whaleys mill is not featured in any of the images below....

Anyway watch this space and my website for the artwork that is being developed around the mills and their bindings of wire......

 

 

 

 

I've done a little more on the 'Becky Attenbourough Jacket'

Whilst trying to squeeze time in for working on my beautiful daughter Rebecca's recycled 'Becky Attenborough Jacket' is like trying to teach my little dog to sing, almost impossible, but all the better when it finally happens......
I've been able to get a bit more done but I'm not sure it's going to make her birthday, more like Christmas at this rate.

  

The back is a 'Tree of Life' piece, the tree has bark made up of strawberry and barbed wire fabrics (reminds me of her when she was a teenager), the owl has been included as she is quite wise and has been since a little mite. Plenty more to do on the tree but the photo shows where I'm going I think. 

 

I wanted a couple of medals for her, one is for her heroics in looking after her little brother. These were many and varied but one particular time springs to mind.... we were living in Zimbabwe for a time and John (her little brother) had a favourite pastime of catching lizards, on one notable occasion he thought (who knows how 9 year old boys brains work?) that it would be a good idea to kiss one, a largish one. Mistake. It caught hold of his lip and hung on through his screaming and running about. Despite tugging at it neither of them could dislodge it so Rebecca filled the bathroom sink and plunged her brother's head into it, luckily the lizard had to let go or drown so a wet John was saved. A babysitter was in attendance but Rebecca at the age of 10 was oh so much more sensible.

  

 

Another badge is one for her love of cats, this is for one cat in particular, her beloved Oscar.
Rebecca also adores the colour purple so had to include a little splash of it for her.....

the Turing's Textiles Workshop

First of all a BIG Thank You to everyone who attended the 'Turing's Textile Workshop' at Manchester Museum on Saturday 8th September, what a fabulous day!

 

 

 

a close up of Anna Bunney's multi media piece

 

This contemporary embroidery/mixed media workshop started with a thorough introduction to the Alan Turing exhibition by its Curator Alice Nichols.

AlanTuring's life and work was fascinating and I urge you to visit the exhibition at the Manchester Museum to see for yourself!

 

Christine Green layered up fabric and used wording and  a lot of stitch in her piece

 

What follows below is a description of the days efforts and photographs of the delegates pieces.

Its great to see the outcome of working without rules....

Natasha Hirst's reference to that poisoned apple

 it was also good to see the combination of tradtional and contemporary methods

Anne Phillips quilting skills appeared in her piece

 

 

We quickly got down to work. One of the creative processes I frequently use myself is what I have termed ‘Shorthand Drawing’.  The idea is to very quickly capture the essence of your subject or a small section of it by swiftly drawing just a few lines and in fact the best initial outcomes are those which have been captured in less than a minute of drawing. Next step; choosing up to 3-5 more views of the subject or even other subjects entirely.   This ‘Shorthand Drawing’ works best with the source in front of you but can still work well from photographs.

Yvonne Hunt's 'Shorthand Drawing' with the beginnings of her piece below

 

We went straight into this process before spending anytime looking at my work as I felt it was quite important for all of the delegates to allow their own styles to come through without being influenced by any of the artwork I had brought along to the workshop, although I did take everyone through some of my work once the ‘Shorthand Drawing’ session had taken place.

Miriam Ward produced two pieces

Miriam's reference to Alan Turing's tweed jacket

 

The next part of the process was for each student to take their favourite elements from each of their drawings and combine them into one, and it is this combination that they then translated into stitch, using layered fabric both new and recycled.

Hannah Pauly's clever use of a of a lool-a-like Petrie dish

Several delegates chose to work into paper

conceptually and visually strong - Deborah Irelands piece

Prior to the workshop each student had been emailed a list of what they should bring from their ‘stash’, this could not be too specific as for this sort of unfettered exploration you cannot predetermine what it is that you will use. What was suggested was whatever was to hand; scraps of cloth new and old, yarn, old photographs, found objects, old jewellery and art work and anything else thought pertinent. Also a working art and textile toolkit, scissors, needles, pens, paper etc.

Angela Carr's 'stash'

The day soon flew by and some of the students left with a bit more to do which is far better than rushing such a relaxing pastime.

a detail from Angela Carr's work

 

What is really amazing about this way of working is that even if everyone had used the same elements from the exhibition to draw from the outcomes would still have been entirely different from each other.

Lucie Clucas's 'Revealing Secrets'

 

The source chosen was quite varied, with students making their own selections. Some of these being patterns from the cow’s hides, leopards spots, moths wings and ammonites but also details from the written information boards, mathematical equations, Alan Turing’s tweed jacket, the poisoned apple and others.

Pam Coates merged several elements which I found took my eyes all around the piece, try it yourself, shut your eyes and when opening them  looking toward this let them decide where they are going

 

I was very impressed with all of the pieces produced and interested in the thoughts behind each of the choices made by everyone.

a wonderfully textured piece

 

Layering fabric created interest especially where top layers were cut through as in Liz's piece below

 

 

 

isn't it amazing how simple stitches and fraying edges can create so much interest

 

 

including photographs as Maria Foster has done lets you peer into the past.....

 

 

Again thanks to everyone who came, you made it what it was! Also special thanks to Anna Bunney, Curator of Public Programmes and Alice Nichols, Exhibition Curator too, it was all the more enjoyable for your input!

I will be doing delivering more workshops both at Manchester Museum and other venues, you can email me through my website if you would like more details or have any questions.www.gwynethdepport.com