Surface, Structure, Stitch at Cit Lit: Week 3 ( on vacation)

 I missed the 3rd session of  Surface, Structure, Stitch   at City Lit as  I was on holiday for the week in Weymouth( our 13th visit).   I'd had a discussion  with Louise the previous week on  how I might approach adding handstitch to my   machine quilted piece so I'd brought lots of supplies with me to do my homework, spreading out on the dining room table  in the cottage.  My mum was an embroiderer  but my stitching so far has been  very plain, variations on straight stitch,   so  I spent time on the train studying  my mum's copy of  Anchor pamphlet ' 100 Embroidery Stitches' ( Price  6p!)  and a more recent purchase of  Constance Howard's  Book of Stitches ( which  cost rather more  than  secondhand )   

 A lot  of restaurants and pubs were closed during our  stay for either holidays or refurbishment  so we had several meals  at old favourites the Cove House Inn in Chiswell, Portland and the  Taste Cafe at Chesil Beach Visitor Centre overlooking the Fleet lagoon.  Spending nearly a whole day there   on  Ian's Birthday, we were aware of the tides and the effect on the screened views from the underwater cameras ( which I drew  in my sketchbook)

 On the Wednesday when I would have been in my class, somebody posted work on Instagram  at lunchtime  so I could share  in what  other students were doing  . Several were using embroidery hoops so   I had a practice on a bit of old shirt sleeve  of some  new stitches - I particularly  like the 'wave' stitch in different  types of thread .

I then had the confidence to add  these to the machine quilted  piece I'd started  the previous  week 

When I got home, I cut it down to 9"  square, the format for this year CQ Journal Quilts  which has to contain a piece of  something repurposed , having had a previous  life.  My theme was going to be  " Assemblage"  but " Scavenged Scraps"  might be more appropriate since most of the fabrics came from the wondrous  collections of  dressmaking offcuts  and recycled  materials in the  City Lit textile studio  scrap boxes.   

 I'm also taking  part in an invited   Facebook group  challenge posting  a year  of  daily black and white photos " Small Reflections  2020" which  certainly  makes you look at the world differently. 

Maggi Hambling Walls of Water and Society of Designer Craftsmen.

After a  couple of weeks stuck in the house with bronchitis  it was with great excitement that I headed up to town last Friday with Sue. I had an invitation from Alice Fox to the preview of the Society of Designer Craftsmen at the Mall Galleries ( she had a piece in the 25 x 25 x 25 project as did fellow Rydal Hall  retreater Julie Bunter) ).

As it didn't start until 6,  we fitted in the 2 linked exhibitions by Maggi Hambling 'Walls of Water'.I'd already seen the paintings at the National Gallery and was a bit underwhelmed so I was interested to see the monotypes  at the Malborough Fine Arts Gallery . As I'd suspected, far more interesting! The range of marks was  amazing - very aware of the fingerprints etc.  (read the interview about the  processes here) Also the compositions, especially those with a diagonal ,  were far more satisfying.   





Malborough Fine Arts was also the venue for the John Virtue paintings I saw last year. These  black and white seascapes on very different scales , draw you i to the picture , you can  feel the splash of those waves 



Slightly less  interesting to me were the monotypes done with silver ink - partly I think due to the black  paper they were printed on but mainly because the range of tones wasn't so marked and that horizontal line more obvious.

 It was interesting to compare similar compositions in monotype ( above  with an accidental touch of blue)  and  paint (below).   Besides the difference in size and colour, I think the processes used  also contribute. The print making is one-off  and  deductive, taking ink off the printing plate ( hence those dense velvety blacks) . When I did a printing course a few years ago at City Lit that was a revelation

Whereas the painting is additive  and  I know how easy it is to go too far.

 More food for thought at the Society of Designer Craftsmen show. For all the colour and diversity   my favourite  was a large quiet  piece by Beverly Ayling-Smith composed of a multitude of tiny mended pieces of cloth ( she had a similar piece in the Prism exhibition which also caught my attention.) A lot of her work is  based on ideas around shrouds and burial traditions. Interestingly she also has a background in science, trained as a microbiologist:  

"   I feel that the scientific way of working (making small changes in experimental processes and the documentation of these experiments) has spilled over into my artistic life"