2002
machine knitted wool
1800 × 580 mm
installed at firstsite at the Minories Art Gallery, Colchester
Photography: Douglas Atfield
2002
machine knitted wool
1800 × 580 mm
installed at firstsite at the Minories Art Gallery, Colchester
Photography: Douglas Atfield
07 June 2002
2002
machine knitted wool
2100 × 1900 mm
Photography: Douglas Atfield
07 June 2002
2001
machine knitted wool
600 × 600 mm
Private Collection
This piece is a natural progression for me. For the past couple of years I have been working on a series of distorted body pieces. These knitted “jumpers” have a sleeve instead of a neck, a spare torso projecting from the stomach, four shoulders with four sleeves and sealed cuffs for missing hands. The series culminates in two full bodies joined at the head. A piece which two people can enter but which otherwise lies or hangs like an empty skin. My research has been around the human body, medicine, disability and disfigurement, the freak show, taxidermy, mummies, religious iconography and other “curiosities”. I find the medium of knitted textiles a powerful tool for expression and communication because of the cultural preconceptions surrounding the area. It is a “friendly” medium, which can be used to engage your audience with a subject, which might otherwise cause them to turn away.
In “Billy Wool” I tackle the head with features. A piece, which presents more technical challenges than any of my previous work. The whole piece is knitted on a domestic knitting machine with many of the stitches being moved around and worked by hand. The final piece is more of a skin than a balaclava. When it came off the machine and lay on the ironing board it resembled a mummified body. In particular Lindow Man, who has become known as “Pete Marsh”, hence its’ title, “Billy Wool”.
(Written statement for Ikons of Identity, a Craftspace touring exhibition 2001 – 2002)
07 June 2001
2001
machine and hand knitted wool, cotton and elastic, pompoms, buttons, glass heads
installed at firstsite at the Minories Art Gallery, Colchester
This series of work was inspired by the 17th century “scold’s bridle” which was used to punish scolds or gossips. These were, of course, primarily women as are the majority of knitters. I became interested in the idea of producing your own form of torture or punishment. Sitting down and doing something passive, creative and “useful”, such as knitting, only to have it used to punish or torture you. These cute, friendly, fluffy pieces beguile their actual use. Having the pompom in your mouth is a revolting experience, which would soon choke you. In “Wise Monkeys” the idea is taken further to also prevent you from using some of your other senses. You hearing is muffled by the pompoms. You eyes are blinded, being replaced by the traditional knitted toy’s eyes, the button.
The large bridle piece is based on an actual “scold’s bridle” in the Royal Armouries in The Tower of London. This piece contrasts pleasure with pain. The bridle is “plated” (lined) with cashmere yarn and, where as the original bridle had a serrated iron tongue for insertion into the mouth, this has a cashmere and mohair pompom. This piece also has pompoms to muffle your hearing and fastens around the face by the use of buttons instead of an iron padlock. The title “Wise Monkeys” comes from those Three Wise Monkeys who could “Hear no evil”, “See no evil” and “Speak no evil”.
(Written statement for Ikons of Identity, a Craftspace touring exhibition, 2001 – 2002)
07 June 2001
2001 Knitting, hand embroidery, machine embroidery and heat transfer on found domestic linen. 150 × 125 mm – 240 × 920 mm Private collection.
Lot 1189 Eighteen coloured table mats, fringed, and a quantity of d’oyleys, odd serviettes and pieces of linen.
At the back of most linen or airing cupboards you will probably find these eighteen coloured table mats, a quantity of d’oyleys, odd serviettes and pieces of linen. These items were once essential to every household but are now mostly redundant. I will look at their supposed function and the role that they played in every woman’s life. So much stitching, washing, starching, pressing and storing. These items represent so many hours of hard work and to what end? I often use word games to further my ideas and will employ this technique to come up with other forms that these textile items might take.
PIECES OF LINEN
PIECES OF LENIN
In response to all of this I will produce a series of contemporary textile pieces which, like the list above, may form a rather motley assortment of items which have come together through chance rather than intention. I will use both old and new materials, incorporating traditional techniques such as knitting, stitching and embroidery. (Statement taken from proposal for “A Public Auction of Private Art Works”, 2001) www.somewhere.org.uk/auction
07 June 2000
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