The Art of Grace

Amongst other mediums, I practice free machine embroidery. I came back to this practice a few years ago, and I found this a very freeing style of art. It suits my nature. In short, when it comes to art (and most things) I can be a bit of a perfectionist! Of course, this can be the most unhelpful trait when it comes to art and expression. I love machine embroidery, because it is an artwork that emerges. I accept the stages and don’t expect the piece to look ‘right’ at each step. I relax into the process, I adapt with more layers and colours, and move around the work, my focus on the zone within the stitching hoop, rather than a constant critical eye for the overall piece. Within the stitches, I shed self-judgement. I appreciate the shift in focus in the tools of the approach, the relaxed movement of the artwork around the fixed needlepoint, rather than the traditional approach of moving brush around a canvas. I relinquish some control; I set aside expectation and enjoy the process.

It is only through coming back to this form of art, and noticing these feelings, that I have acknowledged barriers for my development in other areas. For example, in oil painting, I now notice that I can hold a restrictive attitude that I want the work to ‘look good’ at all stages. I am learning to let go of this, to embrace ‘ugly stages’ of works!

My approach

I start with fabric taped to a board, and I will paint the picture in a loose manner. I seek to capture the form, the lights and darks and a general essence of the piece. I use acrylic paints here and generally paint thinly, as to not over saturate the fabric with paint, often allowing the fabric tone to be left unpainted.

Next, I will use small pieces of fabric, and lightly adhere them into place using a mildly diluted PVA mix. After drying, I use a fabric hoop to tension a zone at a time and stitch the fabric in place, using a colour matched thread. On the machine itself, I work with the tread depressed (so the machine doesn’t direct the fabric to move away from me as it would in dressmaking), and I used an embroidery foot which looks like a little circle hovering over the fabric, through which, the needle travels.

The process from here is very loose and intuitive, building layers and deepening contrast through choices in fabric, placement and stitch approach. Using a tension hoop limits the area that is worked on and I find that earlier in a piece, I will move the hoop frequently to bring the work on at a similar rate across the fabric, and as the piece develops, I focus on detail within a section at a time, then moving on to a similar toned area so I can keep using the thread colour.

Once the work feels complete, and if it is something to be framed, I sometime selectively pad the back layer, so the piece is contoured in 3D. I sometimes also add handstitched pieces of fabric to add softness and movement. I tightly stretch the fabric over board and lace stitch the rear to hold it in place and maintain tension. I am always grateful for the care and expertise in framing by Altered Images in Burwash, East Sussex. The clever box framing not only displays and preserves the work, but to me, adds the air of Victoriana, natural history, encasement.

A work in progress… 

The impression of dimension will develop with ongoing work, and the eye will come to life.

I was introduced to free machine embroidery at school in a subtle way. My form tutor was an art teacher and she had the unique skill of machine embroidery, and as such, our tutor room contained both her work, and some A level student’s, works in progress. I recall seeing the pieces develop around me, and noticed the interesting textural change as the fabric became increasingly worked over time. It was an appealing and peripheral influence, and I’d hijack my mum’s sewing machine to replicate it. I studied art at A level, with a focus on painting and print. In adulthood, painting and drawing was the realm I’d return to, the elusive endeavour to nurture any neglected natural talent. However, machine embroidery was the practice that would always feel casual yet satisfying. 

After having a hiatus in artwork, coinciding with having children, I felt an urge to return. A good friend encouraged me to enter an art exhibition. As I contemplated where to begin, I turned to a collection of textiles and fabrics that I loved. Cream, white, nude and pink pastel tones, I created a flamingo piece. The fabric was the starting point, and the commitment to the practice was the most transformative outcome.

Inspiration

I am inspired by nature and the fabrics that I select in equal measure. The textures and tones, the feel and the ambience are interconnected, and the process feels suitably organic and devoid of any sense of ego or pressure.  The fabrics that I work on, and incorporate, are all salvaged. I work flexibly, to create art that can be framed, worked into soft furnishings, or embellished onto garments. I am excited to allow my textile art to meld with Tuesday’s Bride and offer unique collaborations with clients.

I welcome any enquiries.

Amy x