My blog is moving - as my practice develops, I am needing a more flexible web presence, and have moved my blog to www.TheFabrikantBlog.wordpress.com
The new blog has pages for events, about me, and a selection of posts from this blog over the last few months. If you follow this blog, you may wish to visit the new blog and click to follow or favourite that instead.
I'm finding WordPress a bit bewildering still, but I'm sure I'll get to grips with it soon enough, and it offers me a whole new level of flexibility and the opportunity to grow the blog as I explore new areas of work. For example, once the traditional upholstery and furniture renovation business gets up and running in 2013, that can have a page all of its own. Watch that space!
Thursday, August 30, 2012
Friday, August 24, 2012
On the need to make things with my hands
In preparation for my move to Somerset (see previous post) I have resigned from my 'day job', and I am putting together extensive handover notes for my successor. As I work on my own, and as this was a new post when I took it on, the majority of what it's necessary to know to do the job resides only in my head, so it is vitally important that I pass it on in some tangible way. As I have been spending the last couple of weeks (in stray moments between frantically trying to tie up the loose ends and finish off all projects before I leave) thinking about the job in more detail than usual, I have been musing on how I have felt about this kind of work, and why I am so anxious to move on to other things.
It is no secret to those who know me that I have been increasingly unhappy in my 'day job'. Some of the reasons for this are structural - frustrations about the systems, ethos and resourcing of the organisation - and to do with my reaction to those structures; and also the way the workload has expanded to fill my entire week when what I thought I was taking on was a small part time job which would enable me to finish my art course and work as an artist. But for the last eighteen months or so, there has been the realisation of a deeper issue. Looking within myself to find out what makes me tick has been an uncomfortable, disruptive but enlightening experience.
I have come to the conclusion that I have a profound need to make things with my hands. I need to be working in a way that combines the intellectual, the artistic and the practical, and not over-emphasizing any one of them. In learning styles analysis, my preferred learning style is Visual, but with Kinaesthetic coming a strong second - not the profile one would expect for someone with my academic background. My 'day job' has tended not only to be entirely conceptual and abstract, but also to take up so much time and energy that I have been less able to make things. I think it is significant that at times when the job has been particularly stressful, I have felt a particularly strong need to do practical things such as knitting or painting furniture. For me, making has become therapy, healing and wholeness.
Fundamentally, if I am not making things (whether that be art or 'things') I am unhappy. This has been the case since I was a small child. Acknowledging this has been difficult, because in our culture, being educated away from the practical and towards the cerebral is more highly valued, and having achieved that, why on earth would I want to 'go back' to the lowly business of making things?! But however great the satisfaction from being good at my job (and there have been things I have been very proud of doing well in this role), what has been lacking is balance - and until recently enough self-awareness! I cannot know how things will turn out in the next stage of my life, but I must make sure that I do not let any one aspect - academic, artistic, kinaesthetic - take over. Brain, eye and hand must ALL be exercised. Already I am finding that much of my art involves research and historical investigation. When I train as a traditional upholsterer, one element of the assessment will be a paper on the history of furniture design. The freelance work I am hoping to do will be more conceptual and abstract, but should be balanced by more time and energy for the artistic and practical.
I am reading a lot at present about the idea of craftsmanship, critiques of the ideas of the Arts & Crafts movement, Bauhaus etc. When I have a clearer idea of where my thinking fits into all this, I will post further musing. These may of course have some bearing on the contemporary debate about the future of 'vocational' versus 'academic' education, which is again looking to be come a contentious issue.
It is no secret to those who know me that I have been increasingly unhappy in my 'day job'. Some of the reasons for this are structural - frustrations about the systems, ethos and resourcing of the organisation - and to do with my reaction to those structures; and also the way the workload has expanded to fill my entire week when what I thought I was taking on was a small part time job which would enable me to finish my art course and work as an artist. But for the last eighteen months or so, there has been the realisation of a deeper issue. Looking within myself to find out what makes me tick has been an uncomfortable, disruptive but enlightening experience.
I have come to the conclusion that I have a profound need to make things with my hands. I need to be working in a way that combines the intellectual, the artistic and the practical, and not over-emphasizing any one of them. In learning styles analysis, my preferred learning style is Visual, but with Kinaesthetic coming a strong second - not the profile one would expect for someone with my academic background. My 'day job' has tended not only to be entirely conceptual and abstract, but also to take up so much time and energy that I have been less able to make things. I think it is significant that at times when the job has been particularly stressful, I have felt a particularly strong need to do practical things such as knitting or painting furniture. For me, making has become therapy, healing and wholeness.
Fundamentally, if I am not making things (whether that be art or 'things') I am unhappy. This has been the case since I was a small child. Acknowledging this has been difficult, because in our culture, being educated away from the practical and towards the cerebral is more highly valued, and having achieved that, why on earth would I want to 'go back' to the lowly business of making things?! But however great the satisfaction from being good at my job (and there have been things I have been very proud of doing well in this role), what has been lacking is balance - and until recently enough self-awareness! I cannot know how things will turn out in the next stage of my life, but I must make sure that I do not let any one aspect - academic, artistic, kinaesthetic - take over. Brain, eye and hand must ALL be exercised. Already I am finding that much of my art involves research and historical investigation. When I train as a traditional upholsterer, one element of the assessment will be a paper on the history of furniture design. The freelance work I am hoping to do will be more conceptual and abstract, but should be balanced by more time and energy for the artistic and practical.
I am reading a lot at present about the idea of craftsmanship, critiques of the ideas of the Arts & Crafts movement, Bauhaus etc. When I have a clearer idea of where my thinking fits into all this, I will post further musing. These may of course have some bearing on the contemporary debate about the future of 'vocational' versus 'academic' education, which is again looking to be come a contentious issue.
Sunday, August 19, 2012
Moving to Somerset!
It's official - we are moving to Somerset! Exact dates to be confirmed, but it is likely to be late October or early November (just after the opening of the exhibition at Craft Renaissance! No pressure there, then...). We are moving to the Taunton area, which is especially exciting from my point of view as I know there are lots of artists, spinners, rare breed sheep breeders, and other interesting folk in the SW who will now be within easy travelling distance (and the Spinning Weal at Clevedon is only up the road).
Sadly I've not been able to get to the Glastonbury Wool Festival this weekend as it would have been a good opportunity to meet lots of people and network, but I already had commitments today and yesterday I was at my Tiny Godson's second birthday party, which I think is a reasonable excuse...
Meanwhile, I have just a few weeks to put the day job to bed, unfortunately at a particularly busy time for my workload, and get work ready for the exhibition, as well as prepare to move house. So I'm sure you will all bear with me if I don't manage to post here as often as usual! Normal service (or what passes for it!) will be resumed some time in November when I have unpacked all my boxes of wool.
Sadly I've not been able to get to the Glastonbury Wool Festival this weekend as it would have been a good opportunity to meet lots of people and network, but I already had commitments today and yesterday I was at my Tiny Godson's second birthday party, which I think is a reasonable excuse...
Meanwhile, I have just a few weeks to put the day job to bed, unfortunately at a particularly busy time for my workload, and get work ready for the exhibition, as well as prepare to move house. So I'm sure you will all bear with me if I don't manage to post here as often as usual! Normal service (or what passes for it!) will be resumed some time in November when I have unpacked all my boxes of wool.
Thursday, August 16, 2012
Crochet slippers!
I have been meaning to try this for ages - knit or crochet simple ballerina style slippers. I decided that crochet was less likely to stretch (a problem I've found with shop-bought knitted slippers in the past), and scoured Ravelry for a suitable pattern. I was surprised that there were not more of the kind of thing I was looking for, but I did eventually find an adjustable sizing crochet pattern, found about a ball and a half of grey wool Donegal (from a mill in Bradford!) in the stash, and a 4mm crochet hook, and set to.
Well, it didn't work, because although the pattern was actually for thicker yarn and a larger needle, following the basic pattern which should have fitted my shoe size came out HUGE, so I pulled it all out and started again, adapting the pattern and only doing about half the increase rows. This, and adapting the number of stitches for the foot part proportionately, resulted in the right size of slipper. I further adapted the pattern by deciding to crochet the back seam, rather than sewing it, and I found that the slipper was still too stretchy - I got round this by adding a row of crochet round the opening of the slipper to make it more stable. And here are the results:
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As I have laminate floors and limited skating ability, I used efco Sock Stop to create anti-slip patterns on the soles, which are very effective - it's a really good product and easy to apply. So I now have snug, stylish and safe feet!
Well, it didn't work, because although the pattern was actually for thicker yarn and a larger needle, following the basic pattern which should have fitted my shoe size came out HUGE, so I pulled it all out and started again, adapting the pattern and only doing about half the increase rows. This, and adapting the number of stitches for the foot part proportionately, resulted in the right size of slipper. I further adapted the pattern by deciding to crochet the back seam, rather than sewing it, and I found that the slipper was still too stretchy - I got round this by adding a row of crochet round the opening of the slipper to make it more stable. And here are the results:
.JPG)
As I have laminate floors and limited skating ability, I used efco Sock Stop to create anti-slip patterns on the soles, which are very effective - it's a really good product and easy to apply. So I now have snug, stylish and safe feet!
Monday, August 13, 2012
Painting furniture - Annie Sloan chalk paints
I have been playing in odd moments for the last few days. For many years we have had a boring but immensely useful little side table in dark brown wood - in fact the top was some sort of upmarket plywood. We acquired it from my mother in law, and she'd had it for years before that - no idea where it originated. It's very stable and sturdy, and a really useful size for moving next to the armchair, balancing the tea-tray on, gin & tonic and a bowl of nuts - whatever! But VERY boring and dark brown, which doesn't really go with our other furniture, which is mostly either painted vintage or pine. So, having discovered the Annie Sloane paint range, I thought I would depart from my usual treatment for furniture (Tallow from Farrow & Ball) and experiment. Hence a trip to Brecon and Kindle House, which is a stockist, and a selection of tester pots and wax.
Annie Sloan paint claims not to need prep or primer, but I did clean years of dust and accumulated polish residue gunge off, and give it a quick rub down as the varnish was coming off in places. Then I painted one coat of Primer Red, which is a deep burgundy, left it to dry (which it does very quickly) and then applied two (and on the top surface, three) coats of Antoinette, which is a pretty shell pink (slightly lighter and less intense than it appears in the picture), diluted with a little water as I was finding it a bit gloopy. It dries to a wonderful deep, chalky matte finish. I then added a coat of clear wax, then distressed it subtly with fine sandpaper and waxed again.
I'm very pleased with the result - the sanding has achieved a realistic degree of distressing (I really dislike the way most painted furniture is distressed within an inch of its life, and in places it would never haver received any wear!) and the wax finish is muted and pleasing. Altogether a great improvement on boring dark brown!
.jpg)
Annie Sloan paint claims not to need prep or primer, but I did clean years of dust and accumulated polish residue gunge off, and give it a quick rub down as the varnish was coming off in places. Then I painted one coat of Primer Red, which is a deep burgundy, left it to dry (which it does very quickly) and then applied two (and on the top surface, three) coats of Antoinette, which is a pretty shell pink (slightly lighter and less intense than it appears in the picture), diluted with a little water as I was finding it a bit gloopy. It dries to a wonderful deep, chalky matte finish. I then added a coat of clear wax, then distressed it subtly with fine sandpaper and waxed again.
I'm very pleased with the result - the sanding has achieved a realistic degree of distressing (I really dislike the way most painted furniture is distressed within an inch of its life, and in places it would never haver received any wear!) and the wax finish is muted and pleasing. Altogether a great improvement on boring dark brown!
.jpg)
Saturday, August 11, 2012
Advance notice of exhibition
Advance notice of a forthcoming exhibition where I will be showing some of my work. The show is entitled All Wrapped Up. Textiles - function, form and design and will be at the Craft Renaissance Gallery, Kemeys Commander, near Usk NP15 1JU from 27 October till 18 November, open daily from 10.30 to 5.00. The gallery tea shop serves wonderful cakes, and the shop sells an excellent range of art and craft, mostly by local or Welsh makers. I hesitate to mention it at this time of year, but it could be a good place for Christmas shopping!
The current exhibition at Craft Renaissance is Two of Diamonds, an anniversary exhibition of ceramics and paintings by Frank Hamer and Janet Hamer, founder members of the South Wales Potters, which is on until 2 Sep. I am completely in love with Frank's fish plates, and wish I could find houseroom for one of Janet's blue ostriches...
For more details of the gallery and forthcoming exhibitions go to craftrenaissance.co.uk
The current exhibition at Craft Renaissance is Two of Diamonds, an anniversary exhibition of ceramics and paintings by Frank Hamer and Janet Hamer, founder members of the South Wales Potters, which is on until 2 Sep. I am completely in love with Frank's fish plates, and wish I could find houseroom for one of Janet's blue ostriches...
For more details of the gallery and forthcoming exhibitions go to craftrenaissance.co.uk
Saturday, July 28, 2012
Royal Welsh Show
Somewhat belatedly, a few pictures from the Royal Welsh Show. We went on Monday, and it was fantastic as ever - this is such a well organised event, never any problems with parking, shuttle busses or logistics, the loos were sparkling even late in the day, plenty of delicious and reasonably priced food and drink, and 60-odd thousand people a day having a wonderful time.
Obviously, much of my time was spent with the sheep. A highlight of the Royal Welsh for me is the Welsh Sheeptacular, where an assortment of amazingly tolerant and well-behaved rams representing a range of Welsh and other breeds take their places on a kind of ziggurat-shaped stage in a large marquee. The show is aimed mostly at children, but it's very well done and educational for adults too. Fly the sheepdog presides over proceedings from his kennel stage left, and there's a shearing demonstration, but mostly it's a rare chance to see so many breeds in the same place at the same time. The Jacob, with his impressive headgear, usually gets the biggest 'oooooh!' when he comes on stage!
My friend Jane Bissett http://thekennixtonflock.webs.com/ had entered some of her Poll Dorset fleeces into the fleece competition, and when I went in straight after the judging had finished, I was delighted to find that she had won third prize in the fine category! Having texted her to tell her the good news, I then spent a couple of hours in the sheep pens, talking to various owners and, naturally, the sheep, and taking some photographs - I am keen to have a library of photographs of as many breeds, and especially rare and British breeds, as possible, and agricultural shows are great opportunities.
One noticeable effect of the awful summer weather was the fact that sheep had evidently been sheared much later - even the teddy bear Ryelands were still looking a bit recently shorn, and not as fluffy compared to previous years. This was visible right across the breeds, and the contrast with this year's lambs was even more than usual - they were the only ones with wool!
Obviously, much of my time was spent with the sheep. A highlight of the Royal Welsh for me is the Welsh Sheeptacular, where an assortment of amazingly tolerant and well-behaved rams representing a range of Welsh and other breeds take their places on a kind of ziggurat-shaped stage in a large marquee. The show is aimed mostly at children, but it's very well done and educational for adults too. Fly the sheepdog presides over proceedings from his kennel stage left, and there's a shearing demonstration, but mostly it's a rare chance to see so many breeds in the same place at the same time. The Jacob, with his impressive headgear, usually gets the biggest 'oooooh!' when he comes on stage!
My friend Jane Bissett http://thekennixtonflock.webs.com/ had entered some of her Poll Dorset fleeces into the fleece competition, and when I went in straight after the judging had finished, I was delighted to find that she had won third prize in the fine category! Having texted her to tell her the good news, I then spent a couple of hours in the sheep pens, talking to various owners and, naturally, the sheep, and taking some photographs - I am keen to have a library of photographs of as many breeds, and especially rare and British breeds, as possible, and agricultural shows are great opportunities.
One noticeable effect of the awful summer weather was the fact that sheep had evidently been sheared much later - even the teddy bear Ryelands were still looking a bit recently shorn, and not as fluffy compared to previous years. This was visible right across the breeds, and the contrast with this year's lambs was even more than usual - they were the only ones with wool!
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| Wiltshire Horn - magnificent |
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| Ryeland rear! |
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| Suffolk tup - his name is George and he belongs to Rebecca Meredith |
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| Welsh Sheeptacular |
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