What’s your favourite aspect of working with other people on textile projects?
The best thing about working with other people, whether it be artists, curators or students, is the exchange of ideas. It’s always helpful to get feedback and new thoughts (positive and negative) about your work. It challenges you and makes you take the ‘next step’. It can also be a reflective moment where you can share your views and discuss you work, trying to see it from another point of view. I always learn something and really value these exchanges.
When you find a new piece of vintage fabric you like, what are the thought processes that go through your mind?
Whenever I find or am given a new piece of vintage fabric I get very excited!
I love to think about its history, about the many hands that have touched it and what it has been used for. Old fabric often has a lovely patina, which is difficult to recreate with newer fabric. I particularly love finding old needlework samples, and these are often the basis of new pieces. I feel that I am living with these pieces, using them and passing them on to new owners – incredibly rewarding..
What other textile work – past and present – inspire you?
I’m afraid this could be a very long list! I’ll try to narrow it down a bit… I am very inspired by naïve, and folk textiles. Recently I visited the All Russian Museum of Folk and Decorative Art in Moscow. They have an amazing collection of Russian folk textiles, embroidered and printed, which I’ve been working with in a new series of work. I love the quilt collection at the American Museum in Bath – so inspiring and mainly all hand done. Two contemporary practitioners (amongst many) whose work I admire are Anna Torma and Tilleke Schwarz. Both in their unique way convey a quirky, eccentric and personal view of their surroundings and emotions. They are also fantastic hand stitchers. I like Caren Garfen’s subversive domestic textiles – they are funny and make you think.
What artists inspire you?
Again I will try to keep it short…
As I’m a fan of ‘outsider’ art, I really enjoyed seeing the Museum of Everything http://www.musevery.com when it was in London – it is touring now. They had some wonderful pieces by Peter Blake – I love his collections of objects. Recently I saw a great exhibition by Jockum Nordström ’All I Have Learned and Forgotten Again’ with fantastic drawings and constructions. The Paul Klee exhibition currently at Tate Modern is inspiring and powerful. I like the scale of his work. Louise Bourgeois is an artist I admire for the fluency with which she crossed over from sculpture to textiles and the fact that she kept working until a ripe old age!
When teaching, what is the most difficult aspect of designing textile in your experience?
Teaching is about being able to communicate ideas effectively. I have been teaching for many years so I generally know what works and how to get ideas across, but I don’t like to take that for granted. It is important to keep up to date with current techniques and be ‘one step ahead’ (at least!) of your students. I find the most difficult part of the process is starting off – once the work is underway it usually goes very well. However, I always tell my students to be open to ‘happy accidents’ as often you can learn as much from them as you can from a successful piece. It is important to listen to your students and respond to their needs.
What is the best thing about teaching textiles to very young children?
I love teaching very young children, as they are incredibly receptive and enthusiastic. They have no inhibitions when it comes to using colour and will ‘dive right in’! They generally have a good attention span (quite underestimated) and can concentrate for quite a long period of time. They are also remarkably dexterous and enjoy stitching when shown how. I remember stitching over drawings of peoples’ faces with a very young group once and they produced some amazing work!
What did you learn working with a sculptor (Louise Giblin)?
It was great working with Louise. The exchange was refreshing as she has a totally different way of working from me, and it was good to observe at first hand. Her drawings are sketchy and as you would expect have a very three -dimensional effect to them. It was a challenge interpreting her work in cloth, and as she uses metallic finishes and materials, I tried to incorporate them into my work as well. We were both very pleased with the results, which were exhibited at the Mall Galleries in London.
Anne Kelly is the author of Connected Cloth along with Cas Holmes