I am a Map-maker, Part 2

Welcome back. Yesterday I showed you this map-inspired tea cosy in its first stage. It was in a traditional map format which basically means it was flat, it could be read from left to right, right to left, from top to bottom and from bottom to top. Today I would like to show you the piece when it is transformed into its intended purpose- a tea cosy.

When I had the idea for this piece I was really excited by it. I worked very hard on research, design and the making of all the separate elements that make up the final vision of the piece. I sewed everything into place and I added upholstery trimming to the hem to strengthen its form and also to create a frame or border for the images to sit within. So you can imagine, after doing all that work and I finally get to the stage when I can sew in clasps and snaps to be able to turn this map into a tea cosy, the trepidation I felt when I placed the finished piece over the tea pot. I hoped to the gods of art and design that it would look exciting and interesting rather than an unreadable jumble and a big mess. Thankfully when it was sitting in place I felt satisfied with how it had turned out and that my design had held strong in both formats. 

Now instead of being able to read it in its traditional form, it could be read many different ways. The 3D details stood up off the background and demanded attention. It was a traditional map no more, it was now a kind of unique globe that could be viewed from many different angles.

As I said yesterday, the images I chose to use on the piece were from the stories I heard in the conversation I had with the man it was commissioned for. Family life was a big part of the stories I heard and so I decided I would embroider two family portraits; one of his family growing up and one of his own family now. I chose browns, beiges and sepia toned threads for the embroidery of the older portrait to give it a sense of history and of times past. I decided I would embroider his current family portrait in Technicolor and in a more caricatured style. I wanted it to be soft, bright and with a sense of fun about it.

In the old-fashioned maps I used for inspiration for the piece, I found there can be a lovely mixture of images and written text. I find the combination of the two very appealing visually and I wanted to incorporate this into my own work. I found a quote from William S. Burroughs that seemed to suit the tone of the piece perfectly. I had embroidered the writing onto a piece of white felt and used it on the tea cosy as another form of visual and thematic interest.

As you can see from the photographs, there is a tiny room on the map. The man had told me a great story about a room he had lived in when he was younger and I wanted to make a representation of it for the piece. I set myself the challenge of making it as small and as detailed as I possibly could. I made a tiny bed, a clock, a window and even a tiny door with door knob included. The idea was not to make an exact replica of the room but just to have something on the tea cosy that symbolised his experience.

All the details of the piece were based in stories I heard in our conversation. The lighthouse, the tower blocks, the portraits and the room all came from the man himself. I think this is partly the success of the piece. The sharing of his stories generated a visual story in my mind that I then wanted to communicate. The tea cosy is obviously very personal to the man it was made for but I think our interconnectedness as humans makes us interested in each others stories. I think you could feel it is so personal to the recipient that it would not be of interest to anybody else. But my experience in making it has been the opposite. I have found that its unconventional beauty draws people in and makes them want to know what it is about. I think it makes you think about what would be on your own mind map. What would be the symbols and the landmarks? Whose faces would you see? What stories would be told? 

I am a Map-maker, Part 1

Sometimes I will be asked for a gift voucher to give to someone as a present. The idea is that rather than the giver commissioning a piece for the person, the receiver of the gift can pick his/her own art work to be commissioned. One such recipient of a gift voucher decided they would like a tea cosy as their present. For some reason I was surprised at the request, maybe because he was a man and my inner sexist had emerged. So I sent him on photographs of my previous work so he could get a sense of the kind of things I had made in the past.

We arranged to meet for a cup of tea and a chat about what he would like from his tea cosy. We had a long talk but not very much of it was about tea cosies, colours, ideas or any of the usual information I try to garner when developing a piece. He shared stories with me about why he wanted the tea cosy which then led to other stories about many other things.

I left his company with a million images, stories and panic about how I was going to turn all this information into, of all things, a tea cosy. I have been challenged before but this seemed like the boss of all challenges.

To my total relief because of the wealth of imagery I was presented with, I quickly began to form a plan for the piece in my minds eye. We had discussed the mans interest in maps and so I decided the basis for the piece could be formed like an old fashioned map, the kind that have sailboats, mermaids and monsters illustrated in their seas.

But rather than it be an accurate geographical map, I thought it could be a mind map, a map to chart his stories and his memories from the past. I picked key information from our conversation and decided to incorporate them into the piece. I wanted to scatter them across the landscape like noteworthy landmarks in a journey or expedition.

The other key component of the work was the idea that the piece could be laid out flat like a paper map and read that way but then after some nifty needle work and some integral construction the piece could be clipped into place and become a functional and decorative tea cosy. I liked the idea that at one point in time people thought the world was flat but with exploration they found that it was round; the tea cosy represents both forms. I am fascinated by how we, as humans, can feel absolutely assured of something and then with some heroism and the drive to explore we are constantly confronted, not just by one truth, but by many, many truths that challenge our ideas and perceptions about the world.

For the tea cosy I liked the transformation of a 2D object into a 3D object aided by the functional reason of its existence, the teapot creates the globe upon which the map can sit. The cosy starts as a piece of art to be observed, it then gets transformed into a functional item but in doing this, it further explores its artistic and creative qualities as it encourages you to view it in a new and challenging way. Art informs function and then the function informs the art.

I also explored 2D and 3D forms in the making of the map. The landscapes and family portraits were all embroidered flat and then I made 3D miniature representations symbolising different ideas or memories we had discussed in our meeting. I wanted the map to come alive, to jump off the fabric, to rise up to meet you with unexpected details and things to be continuously discovered. As I said before, I love working in miniature and this idea really allowed me to play and challenge myself in this area.

Tomorrow I will discuss with you the details of the piece and the techniques I used to bring this tea cosy together. 

Thematically Speaking Part 2

in·di·vid·u·al·i·ty

1.

the particular character, or aggregate of qualities, that distinguishes one person or thing from others; sole and personal nature: a person of marked individuality.

2.

individualities, individual characteristics.

3.

a person or thing of individual or distinctive character.

4.

state or quality of being individual; existence as a distinct individual.

Yesterday I introduced the subject of themes in my art work. As you can probably tell, the first theme I would like to discuss is Individuality. What do I mean by individuality? For me, the theme seems to arise from my own quest for individuality; how some times difference is thrust upon you and some times you seek it out. I have also had a lengthy battle with the value and worth of individuality. My exploration of the concept comes not from a certainty of merit, but as a constant ever changing question of importance and of longing. I have questioned its existence, its worth and its relevance to me. I have longed to feel valued, special and to know that, to be me, Sadhbh Lawlor, means something. Am I just another cog in the machine? Am I just one of the billions of life forms milling about? Can one person make a difference? If that one person does make a difference, does that actually mean anything?

The Snug I am showing you today is a good example of the theme of individuality in my work. A friend of mine came to me with this commission. She wanted a tea cosy for someone who is extremely special to her. She was very clear about what she wanted - from the overall design of the piece to the details that she wanted to include. She has seen lots of my projects over the years and knew what she was looking for from me. She wanted a simple unfussy exterior in the form of a flower and, concealed under the petals, all the important things in that person’s life. I got a list of all the hobbies, treats and personality traits belonging to the person and we discussed symbols or images that could signify these things. She gave me photographs of her immediate family which she wanted me to depict in embroidery. I had done this for another project to great effect.

I feel this form of customisation or personalising in my work has been present for a long time. I remember getting a hand-made Christmas decoration from my uncle who lived in America. It was a red wooden sleigh and he had painted my name on it. There was also one each for my brother and sister. Mine still hangs on our Christmas tree at home every year. It meant and means so much to me because it was made just for me. My mam cross-stitched for years and I witnessed her sewing people’s names, wedding anniversaries, birthdays, new baby congratulations into fabric, commemorating these special events for years to come. I saw first hand how much these keepsakes meant to the recipients and their appreciation for the time and effort gone into each piece. I am sure these are just a couple of the influences that contribute to the artist that I am. 

While in college my work was more inwardly focused. I feel it was a time of self discovery, even if only in a visual sense. You begin to learn how you make art. You make so much work over such a short period of time that your style appears before you; you can see the line of your pencil, the wash of your paintbrush and the forms your hands can sculpt. But after college I developed a kind of skill for finding the expression of other people. I observed, I filed away their likes and loves, I matched colours and tones to their personalities and I made objects that I thought would be of their taste.

Also my family are very important to me and I always wanted to make things for them that would mark them out as special. I think I wanted to say “I see you”. I see what makes us the same and I see what makes us different. I wanted to celebrate the differences between us. I didn’t always have a lot of money but I wanted them to have something of value. I wanted them to have something that mirrored their value to me.

When other people saw the customised work I had made for my family I got lots of orders for similar work. I have been shown great trust and openness by people sharing with me; family stories, friendship adventures, the heartache of grief and loss, the wonders of parenthood and unending samples of the goodness that humanity has to offer.  

      

On a bad day, the out pouring of love I have experienced through other people in their want to give something meaningful to their loved-ones is a pure blessing. In making all the different projects I have worked on I seem to have been writing, drawing, sewing, knitting and sculpting some of the answers to my most pressing questions. Does individuality exist?  I think so, my reading of all the different looks and requests I have gotten seems to signify that yes, we do all have different wants and needs, different aesthetic tastes and things that will mean something to us and us alone. Does individuality have worth or value? Again I have to say I think the answer is yes. The effort people go to to inform me of how their loved ones make them feel, how important it is to get the right colour, the light in their faces as they describe their mother or best friend or brother. All this says to me that individually we matter to the people to whom we interact and care for.

How is individuality relevant to me? As with everyone else, I am sure, the things that make me different are both the bane of my existence and the things that save my life all at the same time. I am in a constant struggle with my own self worth. In the tug-of-war that is this struggle, currently the side that says I am of value has the upper hand and the brute strength behind it, thankfully. It has not always been the case. In this regard art has saved my life several times over. The act of creation expresses to you, in physical form, your individuality. It serves as proof to a stubborn ego or hurt soul that you are yourself and that, yes, this does mean something. Other individual artists have been a beacon of light to me on dark days. The existence of their work is balm, the telling of their story is solace, and their imperfect truths are an immeasurable support.

Individuality is a broad theme for discussion in any artists work. I’m sure I have just grazed the surface of my own here but I did want to open up the topic for myself. Some days I do just feel like a worker ant milling about doing the necessary but on other days I also feel like I am at the centre of the universe, working and living purposefully.

Guess Who's Coming to.....

Hello, Gary (Dartagnan) Gowran here, writing the first guest post on Too Folk to be Cool. It’s slightly intimidating, very flattering and mostly stimulating to be the first person other than Sadhbh to post here. What I’d like to write about is how I perceive Sadhbhs work, from both working alongside her in some cases and just sitting back and watching the magic happen in most cases.

What I’ll state straight away is; I’m a nerd. I love thinking about and examining the minutiae and history of art-pieces, and Sadhbhs pieces do offer me that opportunity. Take this Snug (but not really, because someone owns it) or Snugs in general.

For me, the Snug as a range is upheld by a good foundation of strong design. This foundation is my favourite part of them, it is the simple division of the knitting pattern from hairy wool to regular wool with a couple of eyes on the top part, just that. It creates a solid base character on to which personality is added by the choice of embellishments, accessories, colour, stitching and other techniques.

So Sadhbh has a canvas onto which to place a personality. Not so much a blank canvas though. I've seen a good few Snugs now, sitting idly on a work surface, just knitted and eyes in place, waiting patiently to be outfitted with lace or ribbon or buttons or beads or all of the above. And there is a personality there already; I can just catch it out of the corner of my eye. By some alchemical process, leaden wool has been transmuted into golden pattern. Now I will say I don’t always like the personalities, some I could take or leave, but I do have to respect that they come into being and I have to share my living space with them (think about it, coming down the stairs on a market day to be confronted by many pairs of eyes staring at you from woolen bodies, not so cute now eh? What are they thinking, what are they thinking?).

My mother is a seamstress so I fooled myself into believing I had a good knowledge of the world of cloth, wool, ribbon and the various accessories of working with fibre materials. But nothing could prepare me for the sheer variety and number of beads, buttons, clasps, ribbons, wools, feathers, jewellery, stones, felts, threads, wires, glues, fabrics, papers, paper flowers(!) and patterns that I have come to know. I’m used to working with a pencil and paper and then colour, it is with these that I make my choices as an artist and this is what makes me the artist that I am, my choices with these tools. And I am comfortable with these. I once had a go at working with the materials that Sadhbh uses, I cut out a bee shape (not a Fat Bee!) and went to work then on beading it and embellishing it and that’s when it hit me, all of these materials, all of these varied colours and shapes, threads and fabrics and I have to somehow find the pieces that correspond to the vision in my head. It is a blessing and a curse and I don’t know how Sadhbh does it sometimes.

But that’s what makes Sadhbh the artist that she is, her choices. Presented with infinite possibilities, how do you find the right combination to create the piece that you imagine? And as she has written in these posts, sometimes she’s more successful than at other times. The Snug images in today’s post, I think, represent one that succeeded. It was a commissioned piece and in the mixture process of real-life information and artistic inspiration, Celestial Blaze was born. A piece of beauty and complexity.

http://www.garydartagnan.blogspot.ie/

Love. Self-Expression. Rejection. Compromise.

As Valentines Day is just around the corner, I thought I would show you another Snug that was commissioned for a wedding present.

This cosy was designed as a kind of keepsake or reminder of the day itself. The colours I chose to use were the colours used in the wedding and I made small figures out of felt to represent the couple. The groom, in this instance, is a Steeple-jack and I depicted him climbing a ladder to reach his lady love.

The making of this Snug turned out to be quite an interesting process. The photographs I am showing you here are not how the finished piece was delivered to the client in the end.

I guess I am alternative in my own tastes and when I approach something I can’t help but bring that to the table. I am not married myself and I have never had a wedding but I think if that day does come for me I will probably approach it with a non-traditional attitude also (as this is how I live my life).

When making this cosy, I decided to give the figure representing the bride a black dress. I did this not because I’m trying to enforce a Goth lifestyle on anybody. I did it because I thought, that in the long term, the cosy could be a reminder of the day but it didn’t have to be a literal depiction of the wedding itself. I made a design decision based on what I would like for myself.

I finished the Snug, it was delivered to the client and I moved on to other things. A couple of days after it was delivered I received a request to change the dress from the black one into a more traditional white wedding dress.

In my experience, it is always a little upsetting when you have made something and the customer is not 100% satisfied with it. I hate the idea that the brief wasn’t properly fulfilled or you didn’t deliver in some way or another. The customer here couldn’t have been nicer about it though. When they saw the piece, they would have preferred a more traditional look. In this situation it all came down to personal tastes.  As I said, I know my motivations for making it the way I did but the customer wanted something different and I can completely respect that.

I made the changes that were requested and even gave the bride a tiny veil to complete the look. Unfortunately, because of the changes and the time constraints caused by them, I never got to photograph the new finished tea cosy before it had to be posted back for the big day.

In my experience, there is no harm in things like this occurring. It is a good opportunity to observe yourself and your process in these situations. As an artist, you are of course attached to your vision and I think that is healthy. But there can be another side, which is, the satisfaction of the commissioner who is paying for the work. It is a difficult line to tread between personal expression and client expectations. You don’t always get it right.

I think different projects fulfil different needs. A work of art expressing your beliefs or personal experience can be totally from the self with little influences from outside sources. A work of art commissioned to express something about the patron or their loved ones can be openly discussed and a compromise can be struck between artist and client.

The trick is learning when to fight for your vision and when to be open to input and constructive criticism of your work. When I was just starting out, I got a commission to do something that was way beyond my experience at the time to deal with. I made an attempt at it but it was rejected rather cruelly, the memory still stings. With hind sight I can say I think the commissioner had his part to play in the out come of the project. He wasn’t offering me enough money for the standard and look he wanted to achieve. He thought he was being clever by saving money through hiring an inexperienced artist right out of college. By the end of it, the whole situation left a bad taste in the mouths of everyone involved. I learned then, that if someone is trying to cut corners, the art work will ultimately suffer. In that situation the customer was also entitled to name his dissatisfaction. But I would now, with some life experience on my side, ask him to take responsibility for setting the budget so low and not being clearer in his brief. Experience really is the teacher of all things.  

      

A Love Story: Coats, Carrots and Cake

I was commissioned to make this Snug as a wedding present. As with the last piece I showed you, there was an array of information that I was given about the happy couple in question that was to be included in this new tea cosy. This time there was not one but two people to consider in the overall design.

The bride is an avid baker and a lover of clothes and fashion. The groom is outdoorsy and a grower of vegetables. I wanted to make these things the centre of my design for this Snug. Red, cream and brown are the colours of their kitchen and I was asked to make these the base colours of the piece. I knit the body in broad stripes of each colour. The stripes were to act as an individual background to each of the couple’s interests.

I had been given an amazing book for my birthday from a friend of mine. It is called “Jan Messent’s Knitted Gardens”. It is published by Search Press. As is suggested by the title, it is a whole book of different garden patterns. It is full of everything you can think of, from plants, trees and flowers to the gardeners themselves. It has knitted cottages, greenhouses and even bee hives. Luckily for me, there is a section on vegetable patterns. I don’t imagine I will ever knit a full garden but these kinds of resource books are great for little gems like knitted radishes. Who would have thought you could get your hands on such a thing. I could happily look at this book for hours.

I picked a selection of vegetables from the patterns provided and got my knitting needles out. I was delighted with the outcome of my garden experiments and when they were all finished I added beads and sequins to the woolly veg to bring them even more to life.

For the fashion stripe I made miniature clothes and shoes out of felt and again, embroidered them with extra details to make them stand out.

I am a baker myself so I took great pleasure in making the tiny cupcakes that decorate this last section of the tea cosy. I looked through my own cookery books for inspiration in colours, shapes and sizes. I love to sew and embroider things in miniature. I love picking the coloured threads and waxing them to help stop them tangling as I sew. I love trimming the ends and threading the needle. I love how the piece can be transformed by using the needle and thread to “draw” on your fabric, to create definition and tone and to add detail to these small creations. I love to tell the story of the piece with long and short stitches.

To complete this Snug I decided I would add a little romance; this was a wedding present after all. I settled on a pair of love birds to nestle on top of the cosy; a symbol of the couple coming together to bring two lives into one new home. I am very pleased with these two little fellows. I feel they bring the love and the heart to this striped design.

There is a lot to look at on this tea cosy. Your eye tends to jump around, trying to take in all the different elements and details. When something is this busy sometimes it can be a bit overwhelming. But for me, this Snug is lively and full of character. It is a Snug that doesn’t take itself too seriously. It is a gesture of love, of friendship and of well wishes for a happy and fulfilled future.