Interview with Yaroslava Troynich

Published on Mar 16, 2021Mar 14, 2023 by Feltmakers Ireland

interview first published in dec 2019… yara will be leading an exclusive feltmakers ireland members only finger puppet online workshop on may 1st… limited to 30 places on a first come first served basis- this is filling up quickly. please submit your interest to FIONA- ADDRESS fmrleech@gmail.com

Felt makers Ireland follows several felt makers on Instagram to get our regular fix of inspiration. A member put us in touch with Yaroslava Troynich, a 41yr old Russian textile artist, based in Helsinki, Finland. Her specialty is felted animal puppets. She says “this is fun textile way to worship wildlife” we decided to get in touch to find out more…

Tell us a little about you as a person? e.g. upbringing/ where you work/ work other than textiles…

My life seems to me like a huge pile of wool, which I could transform into endless forms.

I was born in USSR and had no artistic background in my family. As a child I was fond of sewing textile toys and dreamed about art school and industrial design. The next big dream was to become a policeman to fight for justice and make the world better. However, the world itself captured all my attention so in the end I graduated from university as a journalist! For several years I have been traveling the world and contributing to Cosmopolitan and National Geographic in Russia and continued to write for local media after moving to Finland in 2007.

Most of all I loved to make stories about remote places, where wildlife, traditional lifestyles and crafts remain. The best moments of my life have mostly connected to wildlife – snorkeling with manta rays in Galapagos, planting rainforest for orangutans of Borneo or searching for the sloths in the Amazon.

Humans and wild nature cohabiting and environmental issues were always on my top interest list.

YAROSLAVA TROYNICH

How and when did you start your textile journey… what is your experience, tell us a little…

Once in 2009 I came across of artwork done by Stephanie Metz. Her meaningful sculptures made of white wool and some experimental textile pieces were shockingly modern, pure contemporary art.

In Russia felting is very traditional craft and to me it felt quite outdated. But this was the first moment I began to look at it differently. My inner artist woke up. I tried needle felting and was amazed of wool’s ability to take any shape. But I really fell in love with wool after my first wet felted piece. The feeling of soapy babbles on my hands and witnessing of wool fibers transformation into something totally new – this magic has forever bewitched me. Quite soon I realized that I want to work with 3D-felt. In my childhood I loved “bibabo”, traditional Russian hand puppets, with their history dated back to 17 century and originated in Italy and France. Ideas came fast and naturally. My first fox puppet was born, and it felt like a real gift from textile and craft gods. Surprisingly, combination of traditional felt with traditional toy turned in to very modern and unique art object. Suddenly everything came together: my love of puppets, of wildlife and of wool. That is the story of my own transformation into textile artist specialized in felted animal puppets.

My artwork is my small personal contribution to environmental awareness. These puppets are really great communication gadgets. They help to connect parents with children, create new stories and learn new things. They have strong social position – they support environmental education and promote love to animals. My special pride if they work with ecologists in the national parks and museums and with teachers and psychologists.

I have been learning a lot from great textile artists to develop my own skills, tried new areas of textile art but nothing makes me as happy as these animal puppets. Felting process itself has great art-therapeutic effect on me. So, I do share these benefits with others on my workshops around the world. I love to teach adults and transform them into artists and kids at least for a day. This transformation is no less amazing than wool metamorphoses. Sometimes I feel that it can be my real vocation to inspire people for creating via my puppets.

thumbnail_Bibabo_Puppets_3YAROSLAVA TROYNICH

Tell us about your process from conception to creation and what is your motivation? e.g. for hobby/ creativity/ art/ fashion/ health/ money…

My strongest motivation is a game with the world, special quest. I want to explore its secrets and search for opportunities to create new, positive and inspiring things.

Almost all my ideas I draw from the nature. Weird animals, beautiful animals, endangered animals. While visiting national parks I have chance to encounter wildlife closer. Even though I don’t follow physiological accuracy in my work, I study animals a lot, examine pictures, watch nature documentaries and read about their habitats and personal lives. I am minded in spirit of minimalism, restrained Scandinavian design and naive art, so I try to create live animalistic images using as little details as possible. But I also like to add some humor or bright travel and cultural heritage inspired details to my work. Especially, I feel free with my finger puppet collection. Some animals can wear Russian felted boots at some occasions and use the laptops at their homes. This kind of art makes me play all the time. I draw very poorly, so my rare sketches look like ugly construction schemes. More often I just have an idea inside my head and then test it directly on the wool. Complicated shapes I break into many simple forms and play with it. I combine different felting technics but my main one is wet felting. There are wool, soap, water and hands only. I use a lot of different fibers for creating animal hair, especially I love hairy goat mohair. I try to make my felt durable and flexible in the same time to keep the most of mobility for the toys. Sometimes my projects involve dyeing of materials and even painting on top of the wool toys.

It is weird, but 3D objects at first are just flat and in the beginning of my journey I was too depending on the patterns and constructive solutions but nowadays I become increasingly aware of limitless sculptural opportunities of felt. You can always change, reshape, improve. Felt makes me feel braver as an artist because in this process even apparent mistake can turn in to genius idea. Besides, it is difficult to make mistake with animals – they always come out wonderful. Probably, because they are born twice – at first from the idea and wool and then again become alive on top of the hand while playing.

il_570xN.762203968_7y1s — YAROSLAVA TROYNICH

What currently inspires you?

Lately I am passionate about the animation to give my puppets even more life and voice. It is inspiring to integrate and collaborate different types of art and creativity in to the one beautifully felted structure. Well, and sponsors of all my ideas and inspiration invariably remain wildlife and life itself, with all that everyday routine and new changes. The coolest ideas come to me when traveling or hang out in the mountains, through the forest or along the cold ocean. The Amazon jungle and Himalayan snowy peaks are my eternal favorites. But during my life in Finland, I fell in love with the north. Perhaps the northern animals are not the most vivid and expressive as objects for creativity, but the power of life in northern nature, with its short as a flash summer, is simply unique. This power nourishes me. In Finland, people are very respectful to their nature resources, and this gives me the feeling that I am in the right place. After all, partly my work is pure nature worship, and toys are a tribute to the nature.

Thank you Yaroslava for taking the time to answer our questions for supplying the wonderful images of your work and for providing the dose of Instagram inspiration that we need. If you want to see more follow Yaroslava at the below.

Instagram

@yara_bibabo

#yaroslavatroynich

A video Interview with Sharon Wells

Published on Oct 25, 2020Mar 14, 2023 by Feltmakers Ireland

To all our lovely feltmakers out there here is a short film we made for you- members have already received an email and link to this video- now we wish to share it furtehr with our wider community through the blog post… we hope that you are inspired!

As we still can’t get together and the country is once again in level 5 lock down the committee have been busy trying to find new ways to inspire and promote the craft of felt making.

New 2020 committee member Deirdre Crofts undertook the latest task- filming a video with Sharon wells- textile Artist.

The committee wishes to thank Deirdre for her hard work ( made even harder by social distancing).
We wish to thank Sharon for her participation again under difficult circumstances. We hope that you agree that this is a wonderful in depth look at how a felt maker artist works and their methods.

Sharon Wells is a fiber and textile artist working with wool and silk fibers born and bred in Co. Wicklow but her heart is in the Kerry hills. Sharon will explain how she skirts, washes and dyes raw fleece and will show us her beautiful work. You will find a link to her website below.

https://www.youtube.com/watch?v=gex4ELxwB5I&feature=youtu.be&ab_channel=FeltmakersIreland
Enjoy and remember to subscribe to the Feltmakers ireland youtube channel too!

https://www.sharonwellsart.com/

LIMINAL- a space between, Exhibition

Published on Sep 1, 2020Mar 14, 2023 by Feltmakers Ireland

‘Into the Matrix’ Exhibition: 2 pm Monday 31^st August to 4pm Sunday September 13^th.

Open every other day from 10-1 and 2-5pm. 7 people can visit at any one time

Liminal is a County Wicklow based group of four artists motivated by their shared experience of establishing a sense of place in their adopted county. They have come together to find strength in working collaboratively and explore contemporary ways of working with fibre arts and mixed media.

Fabienne Herbert, Christine Theobald, Anne Walsh, and Nessa McCormack met through their involvement in Feltmakers Ireland and have previously exhibited with FI. This is their first group show. Each artist has responded to the theme individually, producing wall and 3D pieces in their chosen art medium.

Instagram: Liminalart Facebook: Liminal Email: liminalvisual@gmail.com

Anne Walsh – Bio and Artist statement

Anne worked as a dress designer for 18 years before following her passion to understand the myriad and innovative ways that humankind have developed to exist in their worlds. This led to her completing a degree in Anthropology, later focussing on the Anthropology of Art in her Masters in New Zealand. It was there that she first learnt to felt, an artform that had enthralled her many years earlier during frequent visits to Co Clare. On returning to Ireland she continued to explore feltmaking, attending master classes with Feltmakers Ireland, constantly seeking out the possibilities that feltmaking provided.

“Throughout my life I have been drawn to the alternatives and possibilities of other worlds, to other ways of being. The exhibition theme, Into the Matrix, defined in one dictionary as ‘a mass of fine-grained rock in which gems, crystals or fossils are embedded’, led me on a journey to explore the otherness of the little known, the underworlds of limestone ecosystems. My personal quest was to interpret this environment through the patterns I saw, believing that even within the unknown, we recognise something, it resonates within us, speaking a language that we know in our souls, and it offers us a window to imagine and understand diverse ways of living, seeing, and being in our world.”

Email: Awesomefelt@gmail.com Phone: 086 8177326

Christine Theobold-outfeltdesign@gmail.com

Christine Theobald – Bio and Artist Statement

Originally from Switzerland, Christine studied Visual Arts and Art History in Geneva. Since arriving in Ireland, many moons ago, she has worked in the field of Special Education and Autism with a particular interest in facilitating arts and creative activities. After completing a degree in Early Childhood Education, she questioned the role that creativity plays in human development. With this vision, she found herself felting her way into the visual and design world.

“Wherever my eyes wander and play, I follow. Marvelling at patterns, I like to explore the underlying framework of all things. I am fascinated by the transformation of airy fibre into shapes, revealing geometric markings, with light and shadows playing their part. Smooth felted edges create harmonious lines and blends of colour emerge softly, adding to the understanding of the piece.

Free falling ‘Into the Matrix’ of my own creative experience, I made a series of pieces that tempted fresh boundaries. Upon self-reflection, my aim was to link natural patterns and ways to follow the fibre of my intuition, directing myself towards a space of effortless creativity that I remember having as a child.”

Email: outfeltdesign@gmail.com Instagram outfelt.design

Nessa McCormack: Bio and Artists Statement

Nessa is an Irish artist living and working in County Wicklow. Having worked in the IT industry for many years, she returned to college as a mature student in 2015 and studied Visual Art at the National College of Art and Design, Ireland. Over the past 10 years she studied and worked with screen printed and sculptural fibre art which inform the layers and textures in her paintings.

“Vibrant abstract paintings that celebrate colour and simplicity in composition, combined with a deep connection to intricate patterns, form the basis of my work.

My paintings begin with colour investigations, usually derived from sketchbook studies and evolve intuitively through play, and a considered response to emerging layers of hand printed marks, spontaneous drawing and textured paint surfaces. I strive to keep an energy and freshness going throughout the process by working in a series of paintings, taking risks, moving quickly from one to the next interpreting and responding to what each one is telling me.

I have discovered a sense of place and a deep connection with beauty in the intricate details observed in my environment: in particular, communities of abundant thriving life forms in nature, their connectivity and constant renewal.

Indigenous global cultures have embraced this deep wisdom in the natural world and offer inspiration through symbols and vivid colours found in their textiles. My current body of work is an exploration and celebration of the beauty evident in their daily rituals.”

Email: nessamccormack@gmail.com Instagram: nessamccormackart

Facebook: Nessa McCormack Website: www.nessamccormack.com Phone: 086 6022511

Fabienne Herbert-www.mellowgoatstudio.com

Fabienne Herbert – Bio and Artist’s Statement

Fabienne grew up in western France. The daughter of a dressmaker, she was drawn early on to the process of creation. After working in software localization for many years, she studied, graduated and worked as an Interior Architect. This experience reinforced her belief in the value of simple forms and that materials awake our senses, evoking memories. She also studied Visual Art Practice in NCAD, where she won a prize in Embroidery. Her art is inspired by observations of her surroundings, an experience or a moment in time. Using printmaking and thread work, her work evolved towards abstraction, influenced by cubism and the Bauhaus movement. Fabienne has now taken a more experimental approach to her work by making and using natural and plant-based materials.

“How I perceive my surroundings, and what engages my senses, drive what I do. I seek to capture a shape, an outline, an element and build upon this. By expressing myself, I can find a balance between a sense of order and the unexpected. My process can start with a mark, a colour, a material or a series of experiments. I use printmaking and thread work to construct simple forms in wall art and sculptural pieces. I make my own colours using plants which I turn into a natural print paste, dye or ink. Having a direct link with the raw material is fundamental to my creative process.

Into the Matrix evokes the idea of repeated forms and actions, as seen all around us. For this exhibition I explore the relationship between repetition, pattern and space and how it impacts us. Based on my observations of the San Francisco city scape, this body of work looks at how materiality and repetition define our environment. I interact and move through the city where space, form and place meet.

All my pieces in this exhibition include natural dyes, pigments or inks made either from my garden plants, local flora foraged in Wicklow and during my journeys in France, or from food and plant waste.”

Email: fabienne@mellowgoatstudio.com Instagram: mellowgoatstudio

Website: www.mellowgoatstudio.com Phone: 087 6482996

‘Into the Matrix’ Exhibition: 2 pm Monday 31^st August to 4pm Sunday September 13^th.

Open every other day from 10-1 and 2-5pm. 7 people can visit at any one time- PLEASE GO ALONG, SUPPORT LOCAL ARTISTS AND BE INSPIRED.

Meet the Maker- Tamzen Lundy

Published on Aug 31, 2020Mar 14, 2023 by Feltmakers Ireland

Detail of Coral Bleaching by Tamzen Lundy

I joined the Feltmakers Ireland committee back in 2018. I took over the role of Chair back at the start of this year, ah, and what a year it has been.

A Global Pandemic wasn’t on my prediction list for 2020 and it certainly was not on the FMI “aims and objectives”! Who would have thought it? How our lives could be changed, futures altered and humans “Endangered”.

The title for our 2020 exhibition had already been decided at the end of 2019. After a few brainstorming sessions and with the Climate action protests at the forefront of our mind, we all agreed it was an appropriate topic. Ambiguous enough to give scope to creativity but clear enough to hopefully link the incoming submissions.

I am terribly proud that as a group we managed to put on an exhibition at all this year. Our proposal was for a gallery space at the Knit &Stitch in the RDS, this was cancelled… we had a plan B in place, a lovely space in the visitor centre at the Phoenix Park- 3 weeks before we were due to open this space changed too!

We flexed a little and changed course, in the end the judges- Gabi Mc Grath and Jane Fox were extremely impressed with the standard and marked and ranked the pieces. This we communicated to the applicants.

As a committee however, we decided we would try to show everyone’s work. With the year that’s in it, our aim is to keep the community motivated, to promote the work of local artists and to support… and so it was- all applicants work was shown albeit in a smaller location in the Phoenix park and we hope that you have enjoyed the on-line “meet the maker” interviews and photographs too…

Here’s mine. Tamzen x

The Exhibition title- Endangered?- how does your piece respond to the title? your inspiration and methods etc

My piece is titled “Coral Bleaching” it highlights the topic of habitat loss, specifically in the Great Barrier Reef, the phenomenon of coral bleaching linked to elevated sea temperatures.

It is a textural piece using wet felt techniques including cords, attachments and shibori as well as hand embroidery and bead work.

I love colour and texture, so I’ve used bright fluo combinations. I interspersed these highly coloured sections with neutral undyed “ bleached” out wool, where hopefully the textures speak for themselves.

Last year I undertook the #100day project and many of the small pieces I created reminded me of coral or sea creatures. I spent some time collecting plastic waste and ghost fishing nets and incorporated small pieces of these into my work. I suppose that this “Coral Bleaching” piece is a continuation of that work.

some of my #100days of felt- Tamzen Lundy

Crafting through the current crisis, with the pandemic have you found time to craft, has it inspired you or have you found it more difficult- discuss

In my family this really has been a crisis year. I was acutely aware of the Global situation as it unfolded. I watched Covid 19 news closely as it emerged in China back in January. Back in 2003 I was working in Hong Kong when Sar’s emerged. I remember the nervousness of having my temperature checked at the airport en route home from a business trip.

With my own fashion design work, I travelled to Germany in February this year to consult with a large retailer ( and took a face mask with me “just in case”, but it stayed wrapped and sealed in my pocket).

By the end of that month, our relatives in Milan, Italy were in lockdown.

My Indian boss, whose family live in Madrid- had already started home-schooling.

On 12^th March I picked up my 3 Children from school. My partner and I still didn’t realise then that by the end of the month both my freelance business of 15years would have ended ( I hope suspended, but I simply don’t know) I would have become full time- “home- school” teacher on PUP!

As large European retailers simply cancelled orders for knitwear, product that was already designed, manufactured, and shipped, the knock-on effect to the manufacturers and all their auxiliary partners (including me) was extreme. Capital dried up, goods stopped at ports and contracts abandoned, claims of “Force majeure” as European retailers shuttered their doors and passed the problem to the Asian manufacturers, ( and freelancers like me) who soaked up the losses.

I turned my focus to staying healthy, keeping mind and body together, working on my own creative projects and my family.

Luckily for my birthday my folks sent down a great big package of fibre, so materials weren’t a problem and crafting as always played a huge part in my life.

Art and Craft is not something I do in my spare time; it is the thing I do. The Earth without Art… Eh.

I’ve used this time to make 2 videos for DCCI and to start to video my work for future on-line felting tutorials. I am also organising a local #madeinmaynooth market for artists and crafters to simply set up a socially distanced stand and hold a “art and craft walk” on a designated day in the month.

I’m doing this as well as setting up an etsy store, supporting my kids as they transition back to school and volunteering with the FMI committee.

100 days of felt Tamzen Lundy

Felt- how you discovered it, what it means to you

It was at a Knit & Stitch show a good few years ago now that I first saw a demonstration. I studied Fashion and textiles at university and design knitwear ( very commercial, colour and trends) but felt was not something I had done before. I loved the versatility, 2d and 3d. It was almost like magic, fibre to cloth, with no needles!

Felting means I can be creative at my kitchen table. I can be present in the house, I can chat to the kids, but I can also work creatively for me.

I have an output for my creative madness that is both flexible and forgiving, qualities I respect and strive for in life.

FELTING ONLINE WORKSHOPS
INSTAGRAM/TAMZENLUNDYDESIGNS

FACEBOOK: TAMZEN LUNDY DESIGNS

I’d like to take this opportunity as the “Endangered” exhibition closes to thank our hosts the OPW, Phoenix Park visitor centre, The DCCI, The feltmakers Ireland voluntary committee for their hard work, our two esteemed Judges- Gabi Mc Grath and Jane Fox and all the applicants for their wonderful work.

We hope that through these tough times you have been inspired to keep crafting, keep creative and keep safe.

Meet the maker- Deirdre Crofts

Published on Aug 30, 2020Mar 14, 2023 by Feltmakers Ireland

We asked artist Deirdre Crofts the same 3 questions that we asked all the “Endangered” applicants…

The title of the exhibition is “Endangered” how does your submission relate to that concept?

My piece was inspired by the wonderful Irish Bee. 30% of the Irish Bee species are threatened with extinction, this is because of intensive farming practices, monocropping and excessive use of agricultural chemicals. I wanted to show the bees disorientated over the Irish countryside. I used a wet felted resist background. The bees I needle felted with galvanised wire support with free motion embroidery voile wings. I enjoyed making this piece.

How did you first come upon felting?

I was first introduced to felt work by the genius Sharon Wells and then I met the very welcoming feltmakers Ireland group. They were so friendly and helpful, the magic of being able to take colourful raw wool and with warm water and soap you could make such wonderful things.

The coronovirus lockdown, did it help or hinder your craft?

The covid pandemic, tho terrible it was, gave me time to breathe and spend time with my family, we walked and worked in the garden. We had time to enjoy what we had.

I am lucky I live on three quarters of an acre on the foothills of the Dublin mountains where I have a studio. I love sculpture and I had some ceramic exhibitions that I had to prepare pieces for. They took place in August and September.

Ceramics Ireland, Dublin Castle, Montenotte Cork and Birr Castle Co Offaly.

So I was busy pottering away.

Meet the Maker- Fiona Leech

Published on Aug 29, 2020Mar 14, 2023 by Feltmakers Ireland

Fiona joined the feltmakers Ireland committee earlier this year. Some of you may know her from her “Feltathome” handle on instagram or as a regular seller in Dublin markets- back in the day when that was a thing!

We asked Fiona to provide us with a little information about her piece “Touch”, submitted to the Endangered exhibition. Due to the change in space and location of the exhibition changing at such late notice we even had to display Fiona’s wonderful piece vertically! When really it should have been shown horizontally- it is 2m long!

Fiona was very obliging to let this happen. For those of you that did manage to visit the show in the Phoenix Park- here is how “touch” should really be viewed, and hopefully in the future we will get the chance to exhibit it again in a more spacious arena!

What inspired your piece submitted for “Endangered” and how was lockdown for you?

Before the lockdown,I was beginning to work on a totally different piece for this Endangered exhibition but quickly abandoned it as the impact of the rapid life changes soon diverted my focus.Glued to the news and watching with horror as our lives were suddenly ruled by daily numbers.On March 11th when the first life was lost to Covid 19, I stitched a small dark circle on a scrap of pre made felt. (I always saw the soul as a dark circle as a child!) I continued stitching one circle for every life lost and it soon became an evening ritual.The inability to touch,hug or even handshake had a huge impact on me and those around me.This piece evolved daily with no plan. I used dark and light scraps of previously made felt and ended up with 41 separate pieces of varying sizes (On April 20th the day that the state recorded its highest number of deaths of 77, I decided to stop) and felted a charcoal background to put it all together. The piece measured 2 meters in length, the required social distancing measurement so I added in that visual ( that we’re all so familiar with) in red stitching. Then added newspaper cutout words and red threads to connect the circles. This was to symbolise how that we are all connected somehow. We all know someone who’s been touched by this sadness.

I found that during the lockdown,I worked more than I ever have.Getting up at 6.30 every day to enjoy the quiet hours before everyone else got up.I was working on a large commission throughout the entire lockdown from design, sampling and 11 weeks of felting and stitching.It was a piece 2.3m x .5m and as I don’t have a designated studio, I needed the kitchen table, hence the early start.The bright mornings helped too!.The piece was very detailed and based on the clients love of maths, physics, Star Wars, astronomy, Doctor Who and cycling!.All handstitched.It’s finished now and hanging in it’s new home in London.Having a routine and a focus allowed me the few hours to forget all that was going on and out of my control.Working on the endangered piece was also very cathartic for me. I think it kept me grounded.I’m not sure if that’ll last as the kids go back to school.

HAND CRAFTED FELT ARTWORKwww.feltathome.ie

Meet the Maker- Annika Berglund

Published on Aug 28, 2020Mar 14, 2023 by Feltmakers Ireland

The Exhibition title- Endangered?- how does your piece respond to the title? your inspiration and methods etc

The hat I have entered for the exhibition was my first idea for this theme. It is titled “Still here?” It is modelled from a photo I took on a trip to Costa Rica last year with my 12 year old daughter. The sheer exuberance of life in that tropical country amazed us, but we were constantly aware that this fantastic eco system is fragile and needs to be protected.

My second piece, “In Danger, Who?” is very much inspired by the pandemic. In the middle of March my daughter had had a cough and a high fever so we stayed totally isolated for a couple of weeks. That surreal sense of isolation together with the constant array of images of the virus, spherical, spiky and ominous, seemed to demand an artistic response. It was slow going, making all those spikes for the three viruses, but it seemed to lessen my sense of anxiety and help me to summon up the patience to follow the guidelines and carry on.

Crafting through the current crisis, with the pandemic have you found more or less time to craft, has it inspired you or have you found it more difficult?

I thought I would have all the time in the world to do stuff being confined to the house for months during Covid-19. My house is not at all as clean and tidy as I had envisioned, but I have found time for a lot of making. Just before the pandemic, I was gifted a few sacks of raw wool, and just had time to do a spinning course before the lock down. The cleaning and drying of wool, learning the rudiments of using plants to dye it and then carding and spinning gave me a sense of connection to the past. It also gave me a sense of self-reliance. even if I did not really expect that the pandemic would make a home spun economy necessary. Still, I also planted potatoes 😊.

My usual materials for making are ceramics, glass and bronze. However, I found the indoor pursuits of felting, spinning and other textile pursuits worked better for me during the lockdown as I could spend more time in the house together with my daughter.

Felt- how you discovered it, what it means to you…

As I mentioned, I usually work with glass, bronze and ceramics. These are materials I really enjoy working with but they are probably the most energy hungry art forms imaginable. The problem this posed for me came to a head for me when I participated in an exhibition about global warming 2 years ago. I was very happy with the visual aspect of my pieces that were made using all three materials, but could not stop feeling a bit hypocritical thinking of the energy cost of making them.

In November last year I attended a number of workshops at the knitting and stitching show. I really enjoyed the felting workshop I attended and joined Feltmakers Ireland as soon as I could. Since then I have been focusing on wool, recycled textiles and stitching. Working with wool somehow gives me a feeling of stronger and more direct connection to human history and traditions.

Website

www.annikaberglund.com

On Instagram I am Berglund69.

Meet the Maker- Ramona Farrelly

Published on Aug 27, 2020Mar 14, 2023 by Feltmakers Ireland

When faced with the question endangered, my thoughts immediately turned to the sea and the life that exists within it. It’s a place that can easily be forgotten, as life under the surface may not be immediately visible unless one seeks it out.

It was a by now famous image made by photographer Justin Hofman for National Geographic, in which a seahorse swam holding on to a discarded cotton bud, that highlighted to the world the issues of pollution in our oceans. This image has stuck in my mind ever since and it became the inspiration for this piece.
I wanted to convey the beauty of the sea whilst still showing that there was an issue. I went through various ideas of trying to represent the pollution but in the end decided to keep the beauty visible and show that life in the sea is hanging precariously in the balance by using the cotton buds to hang and connect the pieces together.

I wet felted the pieces using the cracked mud technique and folded the upper sections under to represent ocean shelves. I then stitched in various forms of sea life from plants to fish to populate the piece. After consideration I left the edges of the three sections of the piece feathery so as to seem watery and with less of a defined edge.

I enjoyed the challenge in making the piece even though I’m quite new to felting and have a lot to learn. The current crisis has allowed me more time to pursue some of my passions at home so in one way it has been a blessing. It has allowed me to slow down and consider more what I would like to do with my craft in all its various forms and I’ve enjoyed being able to take the time to do so. I’ve always loved working with wool and felting is another aspect of it that I am looking forward to exploring in greater detail over the coming years.
Ramona Farrelly joined feltmakers Ireland only last year. Thank you for being brave enough to enter your work in the exhibition. On the day we hung the exhibit, committee member Maria McGivern photographed some pieces outside. This piece looked beautiful, swaying in the breeze.

Meet the Maker- Sinead Doyle

Published on Aug 26, 2020Mar 14, 2023 by Feltmakers Ireland

Sinead joined the committee last year and took up the position of secretary. Our guild is run by volunteers like Sinead, committed to the craft but also spreading the word, promoting felt, teaching and helping to run an organisation. We asked her the same three questions about her submissions to the “Endangered” Exhibition, which is currently running the Pheonix Park visitor centre.

The Exhibition title- Endangered?- how does your piece respond to the title? your inspiration and methods etcMy piece of art depicts the effect social distancing has had on our mental health. Physically connecting is essential for a healthy mental state, however this is the one thing we cannot do for a healthy physical state. The inspiration came early in the lockdown when virtual hangouts were the only way to socialize with friends. The noisy voices chatting and laughing in a room only I was in really played on my mind. I hope to have captured how we have all been feeling. Alone together.I used prefelt to create this popart poster, cutting out each element and piecing it together like a jigsaw before wetfelting it. I then needlefelted in the details and embellished it with some stencilling using fabric paint. Finally I embroidered the lettering.

Crafting through the current crisis, with the pandemic have you found more or less time to craft, has it inspired you or have you found it more difficult- discuss
I actually really enjoyed being hunkered down with my little family. Being unable to leave the house was strangely liberating. On the downside, it became increasing difficult to find some creative time for myself. The only way I could carve out some time to create was to involve my children, that didn’t always go as planned but I found I was relaxed and happy to play and explore feltmaking, and other crafts, with them. It’s important to create without an agenda and a child’s eye is always a great reminder of that.
Felt- how you discovered it, what it means to you
I honestly can’t remember how I discovered feltmaking. I did teach myself wetfelting first about 9 years ago through the university of youtube. Then I moved into needlefelting, which I gravitated towards for a long time. It’s only in the last few years my wetfelting passion has been reignited, and this is totally thanks to the wonderful community Feltmakers Ireland has created. I took their basic and beyond course and started attending every Sunday session. I couldn’t believe the wealth of knowledge everyone was willing to share with me. I have been so focused and creative since joining and I’m inspired every day by all the amazing women I have met through Feltmakers Ireland.

Here is another piece of Sineads wonderful work- the Green man. A needle felted piece.

Thanks to Sinead both for her submissions and for her continued voluntary work as part of Feltmakers Ireland

Meet the Maker- Niki Collier

Published on Aug 25, 2020Mar 14, 2023 by Feltmakers Ireland

The Exhibition title- Endangered?- how does your piece respond to the title? your inspiration and methods etc

The sculptures are the culmination of a conversation in wool which started for myself a decade ago.
Today I witness with overwhelming sadness that ”my viruses” have brought the whole world to a standstill in 2020.
The dichotomy between function and form in viruses is commonly an immediate reflection on their existence measured to our own.
You would see it in the narrative of artists who are just starting on their journey with microorganisms as a result of current realities.
Humans have the weakness to put ourselves in the centre of the universe rather than grasping the idea that more often than not we are part of it.
And more often than not we are threat to every living organism – including our own kind.
A virus veteran myself I study the impact of viruses on a personal and global level.
The work has been a mechanism to explore humanity, how we operate in a crisis and how we process the impact of trauma within our relationships and our belief system.
The lessons I have learned are of growth, hope and kindness.
I strive to share this experience through my practice.

The choice of Common Cold and Corona are not random.
Common cold is probably the most resilient virus and arguably one of the older organisms in the species.
It evolves and our bodies do as a result of it.
This strain of Corona is registered during this millennium and is presenting us with the challenge to evolve and work together outside our comfort.
Are we going to live up to the challenge and live to tell the tale?

I believe constructive textiles allow the privilege to embody materials which authenticate the experience.
I use this in making my work.
The Two pieces are constructed by a crust and a core. The crust is a combination of animal and plant-based fibres which communicates the spread of the virus and the impact it has on our bodies. The respiratory spread is embodied in undyed wool to emulate sensory experience. The fearmongering of geographical containment is communicated by silk and Italian fibres. The core is a combination of rubbish created during the pandemic which has been covered in wool to develop felt.

Crafting through the current crisis, with the pandemic have you found more or less time to craft, has it inspired you or have you found it more difficult- discuss

I do not sneak in time to craft – I do craft as a core of who I am, both through my full time practice and in my life.
What I did as soon as we were in lockdown was to donate classes, felting kits and tools and products.
I was lucky to get a big commission to develop online teaching content for Cruimnniu na nOg- a project commissioned by Creative Ireland, RTE and Art Council.

https://youtu.be/nFKZC2AZxYE

Meanwhile I found it a special time to become part of international artist led tutorials which connected me with artist from all over the world.

I tried to use the time as a resource to do my bit- I donated materials and classes. After all who knows better the joy of receiving a craft packet in your mailbox?
My family was somehow more roped into craft. My girl was on light duty for 30 days with the 5 feet felt moon we lit every night on our roof.
I used the time to give time to others.I would like to use this opportunity to remind every member of Feltmakers Ireland that they could have 20% off niki&nikifelting tools, craft kits and classes through my website, just say you are a Feltmaker Ireland member.

It also gave me more time to develop my pieces and apply to opportunities that I sometimes miss. I was humbled to have three pieces accepted into Kaleidoscope-
International Felt makers Association exhibition of contemporary felt art.

Felt- how you discovered it, what it means to you
I discovered felt through an idea for a lampshade.
Felt came to me to save me from my failures.
For almost six months I tried various materials and ideas to make the light as it was in my head.
It wasn’t till I was shown the process of felting that I knew – That was it!
I am delighted that it was mutual love as the craft community has given me some of the most illuminating experiences. So for me it means hope and love.
Each happening in my practice has been a gift. From solo exhibition in Shanghai to being part of international exhibition in National Design and Craft Gallery Kilkenny each steps is a privilege. The way I see it I engage with folk who loves craft and art. Whether I teach in corporate setting like Facebook, or a group of underprivileged girls in a small village in Bulgaria it has always been just a way to create meaningful experiences for others.Currently I am working on residency with University of Atypical as part of Craft Month Northern Ireland.
My big joy is my solo show Viruses Nov-Jan University of Atypical which would include the pieces from Endangered. First art residence by invitation.