On my way back from YOGAAAAA I went and spent about 70 dollars on some new materials to send home. I got carried away and bought some dyed silk cocoons, some absolutely stunning feathers and some gorgeous gorgeous twiney wool from India. I am so missing my own practice I WANT TO START applying them to some new ideas now!! I really miss my studio.
I want to slam some big tunes on, get a pot of fine EB tea and start experimenting and attaching them by hand to large and spinning explosive embroideries, growing creatures, sea like strangeness. I can see these cocoons gathered in the middle amongst the metallic leathers and suedes and sequins possibly with secret little things… sort of little gifts inside them. I want to start layering the feathers and bringing richly decorative and three dimensional centres, maybe many centres, into large work. I always used to hate those dream catcher things that some people collect or hang dangling from their car mirrors. But theres something kitsch, a bit yucky and strangely appealing about them ... tongue in cheek tack.
My work is ever evolving, developing and becoming increasingly challenging ...It is like a drug, I want another hit and I want it to be bigger and better than the last time. I am missing it so much, usually it is my identity, the reason and the structure to my everyday life. Who I am. I just need to find the support or the means to be able to produce the big pieces and ideas I have sitting like droplets in my head before they pop. Like Liberty Lips Genie ... I want to make large work for big spaces.
Chris Offili's exhibition at the Tate Britain, London, a few months ago had quite an effect on me, it rocked my world.
I just don't see why embroidery couldn't be seen on this scale in a large public gallery … it just seems wrong that it isn't … it actually isn't really happening on a large enough scale yet and Galleries should listen up and encourage innovation and experimentation.
The Offili exhibition was fantastic, particularly a huge ornate painted phallice that had amazingly detailed collage and dot painting within it… almost looking like an embroidery with its slightly 3 dimensional, decorative textures.
I love his early work when he won the Turner Prize. If you doing know what I am talking about… have a look … have a look at his portraits and afro drawings…. they are great.
Here's one to give you a taster but like embroidery - you gotta see it in the flesh.... these paintings are massive.... 7-10ft tall and mounted on elephant dung! Notice all the small collaged heads within the work.
Chris Offili - Turner Prize Winer - Tate Britain.
There is some fantastic work in the world … the really rocking stuff is rare but it is there, take Michael Brennand Wood for example. We are a small niche…. we need to push it further up the ladder, up and up.
Maybe its just me… Maybe I just am not hitting the big time and am becoming increasingly frustrated.
Realistically, I probably never will make the big time big time, theres not enough time....but someone after me might and we all need to push and push so that this is inevitable....
WHY THE HELL NOT - EMBROIDERY at the bloody Tate? WHY NOT?!
GO ON TATE!!!
Give me two years and I will get started…
I think the answer is in the international sphere!
Heres a picture of a carpet.
We used to have this at home but I cant remember where....?
Answers on a postcard please.
Was it the hall?
I am inspired by the work of my students, I have seen some exceptional craftsmanship and hand stitching in NZ.
Look at this quirky little number .... inspired by the commical TUI beer campaign here in NZ and the exhibition theme /rule exhibits must be '100% embroidered.' I was given this as a gift! How lucky am I!? Big up to B!!!!! Woop! Woop!
I believe that people are capable of so much and that embroidery is saying so much about our time.
I am not going to pin point specifics because inspiration comes in all sorts of guises…..all the time…. everywhere….. IF you have your eyes open.
This another ladies, G Downing's fantastic work .... Look at the craftmanship in this....
Its not just embroidery expertise but dyeing, constructing, lining and embellishing! FOR LOVE!!!!
I think that I personally have been afraid of being too much of a being a hairy fairy textile artist, too much fuss, too colourful, too textiles? Its what you call a 'Goldsmith's Hangover' … BUT of course it depends on how you use it and mixed with intensely decorated possibly graphic shapes it could be interesting. Could be bloody awful .. just like some of the 'pubes stuff' created at college!
I almost imagine monotone work, blacks, whites and greys with bursts of illuminous colour and texture. Japanese trees crossed with NewZealand Bush Crossed with the coral Ozzie reefs with a twist of moonscape and space… ooohhhhhhhh yeah baby yeah….. Things that almost look like a black and white comic strip with sudden bursts of three dimensional RAZZAMATAZ as if coming alive when getting out of the flat surface for air. But where am I going to work when I get back? :(
I need an inspiring big empty room… I felt that I had outgrown the studio at times but friendship and being able to talk about your work on a regular basis is priceless, I miss my friends there like mad! Its so important for creative head space…. and is worth every penny.
So I suppose you all want to know about Team Ozzie?
Lozziie Lou Wah.