Interview with Fiona Leech

Published on January 10, 2020March 14, 2023 by Feltmakers Ireland

Fiona Leech is a member of Felt makers Ireland. You may recognise the piece above as it was chosen by Filtti Finland to represent the Irish submissions for the “Something Red” exhibition brochure and flyers during the summer of 2019.

I started following Fiona on Instagram last year as we both undertook the #100daysproject. This is a free project that anyone can enter with the hashtag 100days. Creatives of all disciplines commit to undertake (as the name implies) 100 days of doing something, it might be painting, poetry, photography or journaling and the Instagram community supports you; Through sharing posts and following.

Fiona works under the name @feltathome and I know that I am looking forward to seeing more of her work in 2020.

fiona leech

Tell us a little about you as a person?

I am a sixties child, born in Dublin and a mother of three. I finished school and went to college in the mid-eighties – and yes, I had the dubious hairstyles too! I studied design at what is now D.I.T. specialising in theatre set and costume design. I worked as a freelance theatre designer, occasionally dabbling in scenic art from the early nineties until around 2009.

I’ve always had a passion for textiles; knitting, crocheting and sewing from a very young age. I was taught by both my grandmothers and was loved by the nuns for my enthusiasm! My father was an architect and came from a family of amateur artists. My parents were singers too, but I definitely did not inherit that particular talent! A weird fact about me is that I get tingly sensations when I see colour and texture and can’t visit a wool shop without touching all the yarns! (Probably too much information!!)

How and when did you start Felting… tell us a little about your journey with felt?

During my time as a design tutor at Ballyfermot College of Further Education, I was constantly drawn to the textile studio and was very envious of the students. So, a couple of years after my third child was born, I stopped working in theatre and began exploring other options that would allow me to create work while being at home. I had experience of working with many different materials during my years in theatre; from timber, metal, clay, fibreglass, plaster to name but a few. I even did a bit of brick laying on set once, but it was always the textiles that I loved working with, and I tried to incorporate textiles into my designs as often as I could. I harboured an ambitious dream to knit a theatre set one day but never found the right director to indulge me! I started to doodle in notebooks, collage, paint and stitch but it wasn’t until I took myself off on a basic felt making course, given to me as a mother’s day treat, that I became really excited about so many new possibilities opening up to me. I could now make my own textured blank canvases. That was about 10 years ago and have been slowly finding my feet since with this versatile new medium.

fiona leech

Tell us about your process from conception to creation

Coming from a disciplined design background, my work is mostly abstract. Quite measured. Simple with clean lines, using stitching as a drawing tool, rather like my ink pen that I used to do technical drawings with. I premake the felt that I use in batches and then chop it up, layer and stitch. Hand stitching is an integral part of my work as I like the control that I can achieve by slow stitching. The varying nature of the handmade felt background determines the unique look of each piece. I mostly make wall hangings and framed pieces.

Photography plays a large part in my creative process; I draw inspiration from the thousands of photos that I take. I love the details, the minutiae of everything from the mundane to the miracles of nature. Colour is also hugely important to me.

fiona leech 100 days

I recently took part in an online 100-day challenge to create a piece of art every day for 100 days. I’m no stranger to working within parameters, such as working with scripts, spaces and budgets so I set myself a strict brief. With the theme ‘circles and lines’ I could only use felt and threads on 10 x 10 cm felt squares. The objective was to help with intuitive creativity and force me to focus. I found the speed with which I had to work exhilarating and created something different every day. Some I love, some not so much but that’s part of the process. The project evolved in a way that I never expected. It was restrictive and challenging but hugely constructive. I’ve ended up with 100 small abstract pieces that stand alone but also work as a large tapestry of felt mosaic tiles. I now have the task of joining them all together.

Perhaps the most thrilling event of last year for me was being invited to be part of the

Felt makers ‘Something Red’ exhibition in Finland. It was exciting as I’d never exhibited anything before, and I felt honoured to have been included. Being part of the Felt makers Ireland community has opened my eyes to the amazingly talented women working with felt in such diverse ways. It’s truly inspiring and I’m looking forward to being more involved in the future.

What currently inspires you?

I am a fan of textile installation art. The work of Sheila Hicks and Shiota Chiharu really inspires me. I see it as the perfect union of texture and theatre. I love the drama of large scale works that take your breath away. I would jump at the chance to work on such a large scale if an opportunity ever arose. But for the moment I’ll concentrate on my next venture. A simpler brief I think…..

Felt makers Ireland would like to thank Fiona for taking the time to answer our interview questions and supplying the wonderful images of her work.

You can follow Fiona’s work on Instagram

@feltathome, she often also sells at @dublin8craftmarket and in Stoney Batter

fiona leech

Interview with Yaroslava Troynich

Published on December 4, 2019March 14, 2023 by Feltmakers Ireland

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

Interview:Tara Kennedy for Feltmakers Ireland

Published on October 23, 2019June 25, 2023 by Feltmakers Ireland

As part of our interview series and as we look forward to the Knit & Stitch show, Feltmakers Ireland is reaching out to participating and exhibiting artists. Tara Kennedy kindly agreed to respond to our interview questions about her journey and work. We have included links to her social media accounts at the bottom. Be sure to check out this inspirational artist.

Tara Kennedy for Feltmakers Ireland

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

Ever since I can remember I have only ever been interested in the creative arts. As a child I always had a pencil in my hand, drawing at every opportunity. Having a mother with an interest in the arts and supervising children’s art clubs she would spend time with me making and creating all kinds of creations. She always had a sewing machine, (and still does), with a little old chest of drawers next to it, full of sewing and crafting bits and bobs including a little lidded basket full of buttons. I now have this chest and the basket is full of much the same. She made endless clothes for both me and my sister and even for our dolls and toys as well as most of the soft furnishings for every room in the house. With all this creativity surrounding me I found it comforting and inspiring.

Tara Kennedy_ Hope Emerging_ 300dpi

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

I went straight to Art college as soon as I could, happy to leave the constraints of school behind. I studied fashion and textiles for 4 years at the Berkshire College of Art and Design specialising in Knitwear. In my final year I was sponsored by two yarn companies who gave me huge quantities of yarn on cones, many of which I still have and use. I was also given lots of embroidery threads and wools from a great Aunt who was a big cross stitch enthusiast and I have been using many of these in my work ever since. I like the idea of using these old materials, along with recycling many other unwanted textiles to create unusual surface decoration, something I became fascinated by.

After graduating I set up my own knitwear business. A year later I went into partnership with Tim Kennedy, a fellow student and who a few years later I married. We developed our business adding items for interiors, selling at craft fairs and in small gift shops and galleries.

Over the years I developed, added and altered what I made but knew I only ever wanted to create art working for myself. After many years, my sales started to fall as the British handmade craft industry struggled against cheaper handmade imports. I was also starting to feel my work was becoming repetitive and undemanding and felt the need to challenge myself and develop more as an artist, free from commercial restraints. This was a turning point for me and decided it was the right time to move my work in a more meaningful direction.

Tara Kennedy_ Empathy_ 300dpi_ photo by Beyton Erkman

I came across the OCA, Open College of the Arts, and enrolled in a distance learning BA in Creative Arts, specializing in Fine Art and Textiles. This course was very convenient at the time, enabling me to wind down my craft business at the same time and have a small part time job, which I still have to this day. The course opened new and exciting ways of working, using new materials and helping me to be freer and more experimental. It was a valuable experience requiring both dedication and self motivation. My studies developed around subjects of personal identity with the contrasting cultures and religions of my ancestors having a big influence on me. It led me down an intriguing path of Eurasian studies, embracing politics and history, social and cultural change. These concepts had become an integral part of my work and I felt I had only just touched on the surface of ideas. I needed to develop this theme further, so I applied for an MA in Textile art at the University for Creative Arts in Farnham. This turned out to be the best thing I have ever done! Being able to explore any creative pathway of my choosing and making whatever I desired was an incredible luxury and a significant journey.

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

My main motivation would have to be the reaction I have from creating and making. The feelings of comfort, tranquillity and wellbeing that come with the process is invaluable.
The work I undertook on the Masters course is the basis of my current work which continues to develop and change. My initial inspiration came from a need to express this unity of my mixed cultural heritage which then evolved into being less personal and became an expression of humanitarian unity. I made extensive research examining different cultures and religions in conflict and the effects of their suffering. The despair I feel of this suffering from conflict drives me to express important messages of acceptance, empathy and hope. I feel It’s possible through understanding these messages there could be more harmonious outcomes in the world.

My present work now is about creating expressions of hope emerging from this pain. I aim to leave an impression on the viewer, causing them to contemplate and consider but it’s not essential to me they understand what it’s about. People see different things and I find it intriguing to hear their views and how it makes them feel.

My sketchbook has been invaluable in helping me to progress and develop my ideas. I collect information connected to my theme alongside related images of colour, form and texture and use these to help create ideas. I then make numerous drawings, creating shapes, patterns and forms in various scales, out of which designs for finished pieces transpire.

Tara Kennedy_ Hope Emerging detail 1_ 300dpi

The materials I use are chosen for their soft tactile quality to create a comforting feeling which include yarns, threads, carded wool and fabrics. I use various techniques including knitting, wrapping, felting, knotting and stitch depending on the expression, for example I often use knotting to convey tension, felted holes to express suffering and shibori felting to suggest buds of hope.

I have also realised how significant process is and how the act of wrapping and binding not only feels therapeutic but adds to the feeling of protection and healing.

The designs of my pieces take the forms of soft sculptures, wall hangings and more recently works on canvas. I use the imagery of cages suggesting protection, bundles and wrapped lengths conveying togetherness and trailing lengths to convey the spreading of hope.

Colour is also central for the expression, using blood red to suggest suffering and ivory to convey hope and often using a graduation of the colours from one to the other.

I also create detailed drawings which provide an alternative viewpoint and compliment my 3D work.

Tara Kennedy_ Continuous_ photographed in Somerset_300dpi

What currently inspires you?

My work will continue to evolve, and I hope to work on many different concepts. In fact, I am presently planning other work on a very different theme after undertaking a month’s art Residency at the Textile Centre in Blonduos, Iceland with the ‘Textile Echoes’, a group of four textile artists. My work as a textile artist is usually inspired by emotional connections so the idea of coming to Iceland and using landscape and nature was to be a new and exciting challenge. After a few weeks of trips out exploring in the north I finally discovered the emotive feeling I had been hoping for. The awareness of immense space from the endless landscape became increasingly overwhelming. Being totally absorbed by these incredible surroundings and the continually changing scenery I started to develop some ideas for a piece expressing these sensations. It was important to me I use solely Icelandic materials applying all the colours of the land from the black sand of the beaches to the imposing white snow topped mountains and everything else in-between.

From all this inspiration I created a 37-metre-long wrapped piece using Icelandic yarn, horsehair, raw sheep’s wool, fish skins and yarn dyed from Icelandic plants. By making such an extensive piece using a repetition of technique it helped me to express this continuous landscape.

I took the final piece to the coast, a short distance from Blonduos, and photographed it stretched out along the shoreline. It felt appropriate and was perfectly positioned amongst all the colours involved.

This piece is just the start of new making, working with landscape, experimenting with natural dye and natural materials. Wool will always feature in my work, as my favourite material whether felting, knitting, stitching or wrapping it.

Thank you so much to Tara Kennedy for taking part, for your inspirational images and work. We look forward to seeing and hearing more.

Website: www.tarakennedy.co.uk

Facebook:@tarakennedytextileart

Instagram:@tarakennedytextileart

Tara Kennedy_ Becoming_ 300dpi

An interview with Daisy Collingridge

Published on October 18, 2019June 25, 2023 by Feltmakers Ireland

Some of you might know of the amazing and wonderfully fantastical work of textile artist Daisy Collingridge. I’m an avid follower of her work on Instagram and when I saw that she was coming to the Knit & Stitch shows including the RDS Dublin venue I was just delighted at the prospect of seeing the work up close!

Felt makers Ireland decided to get in touch ahead of Daisy’s exhibition to ask her a little about her journey as a textile artist. We realise that this work is not felt, nor made from wool but I hope, that you like me will love it and it will inspire you to develop your textile practice further.

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

Mum is a sewer, stitcher, patchwork maker. She decorates cakes and constructs curtains. It is her influence that has guided me towards being practical and ultimately towards stitch. My family home is full of fabric, threads, paints, wood. We are all hoarders so there is always plenty of materials to get a project started. I still return to my family home to do large parts of my sculptural work. My family play a huge role in what a do, whether it is practical or moral support they are always there.

The current form my artistic work takes isn’t the most financially rewarding so I am also an illustrator. I have my own greetings card company; DMC Illustrations. It is very different to my sculptural work, but keeps things fresh! When I’m not sewing or drawing, I like to run. Running has always been part of my life and it has given me the discipline to grow my card company and continue to sculpt with fabric. It keeps me sane.

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

From making over 40 stuffed toys as a kid. (I was a little obsessed with teddy bears) it has been a direct route through Fine Art GCSE, A-level, Art foundation and finally a degree in Fashion Design at Central Saint Martins that has led me to this point. There were always textiles elements to my work during school, which naturally led to fashion. On reflection my heart was never really in fashion, but the freedom to create and the people that I met during my degree were invaluable. Since graduating I have predominately left fashion behind focusing more on sculpture (though still wearable). These have been shown as part of the 62 Groups’ Ctrl/Shift group exhibition as well as part of the World of Wearable Arts in New Zealand. My best story is still making a dress for Bjork. That was unreal!

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

I like a deadline. It’s good to work towards an exhibition or competition. I take great pleasure in seeing a project from start to finish and more importantly to create with my own hands. I felt that I would lose that if I were to be a designer for a company. I never stopped making even during the years that I didn’t have a focus. It is impulsive and rarely planned. The act of creating makes me happy. So, I guess my motivation is happiness!

Projects usually start with a period of experimentation. My work is driven my fabric manipulation and experimentation as opposed to concept. It can be difficult to allow yourself to just play without an ‘end piece’ at the end. I think it is vital phase to keep your ideas moving forward. The ‘Squishys’ have been a development on from my graduation collection. They are the culmination of free machine quilting pushed to the extreme. I work in the same way as I would making clothes, I work mainly on the stand. Draping and physically wearing the pieces as I go to see how they hang and move. The result is no longer a ‘couture’ dress but a ‘couture squishy’!

The fabric is hand dyed. Once I’ve selected my colour palette, I used Procion dyes to create the pastel shades. This is done in the sink (my parents kitchen sink). Each Squishy is made from 5-6 different garments; mask, trousers, top and/or jacket and gloves. I build up the underlying volume at this stage using thick wadding; essentially build the silhouette. I then begin to build up the relief and shape by hand sewing on blobs of fabric with wadding and beans (both heavy and light). I always start with the head first. This informs the character of the person I am making. They are all made up in this way (rather than based on real people).

What currently inspires you?

Bringing things to life.

I worked with the animator Isabel Garrett to produce a miniature squishy for a short animation called ‘Listen to Me Sing’. It was pure magic to watch the small person I built around an armature actually breath and come to life!

Similarly, I love creating videos with my wearable pieces. I am excited to do more film work. They are the most fun.

Felt makers Ireland would like to thank Daisy for her time in participating in this interview process. We can’t wait to see the work in November. We wish her every success in her textile journey.

The Knit & Stitch show is on at the RDS Dublin 7^th-11^th of November- where you will be able to meet Daisy’s fantastical creations- in person!

Website: www.daisycollingridge.com

Instagram: @daisy_collingridge

www.dmcillustrations.com

Interview with Catherine Kaufman

Published on October 9, 2019March 14, 2023 by Feltmakers Ireland

12-Lee-Parkinson---Live-Magazines-Photography---Catherine---Sculpture-14 Catherine Kaufman, sometimes affectionately known as the “Woolly Queen”. Feltmakers Ireland requested an interview ahead of seeing her work in this years Knit & Stitch at the RDS, Dublin.

Following on from her win at the Ribble Valley Craft Open Exhibition 2019, Catherine Kaufman was asked to exhibit her work at Olympia in London, and she is set to showcase her sculptures in Dublin as part of the Knit & Stitch show 7^th-11^th November this year.

Catherine grew up in a household full of art –her father was an antiques dealer and as a small child, she recalls her mother drawing beautiful elaborate pictures.

“Our home was filled with beautiful art and furniture – this greatly influenced me. My mother drew dancing ladies with crinolines for me which I loved.”

As a young girl Catherine always had a love of nature, imagining a world of fairy tales in the forests, countryside and riverbanks as she played near her childhood home.

“I remember that I always gravitated to the nature table at school, it was a magnet for me. I was always making and putting things together. I loved sand, playing with water and my favourite was fuzzy felt.

36-Lee-Parkinson---Live-Magazines-Photography---Catherine---Sculpture-38 This was the start of things to come.

“I loved the smells of nature and the birdsong and noises. While among nature my imagination would be full of fairies and pixies and characters from stories I had read. It was all there, a rich tapestry just waiting to emerge.”

Attending a Catholic school in Altrincham, outside Manchester. Catherine left school at 16 but it wasn’t until she was living as a housewife in Rossendale, that she began to re-engage with her love of art.

“I began painting, I joined a local watercolour class, while bringing up my three children and I was asked to apply for a place at Blackburn University to study for a BA in Fine Art. At first, I thought it was crazy as I had no academic experience and I was a housewife with children! I wasn’t sure they had the right person to be honest!

“I made every possible excuse not to goas I was scared, but they kept pursuing meso eventually I decided to try it.”

Catherine went on to gain a first-class Fine Art degree in 2012 and is now one of the UK’s leading needle felt fibre artists.

39-Lee-Parkinson---Live-Magazines-Photography---Catherine---Sculpture-41

“Working as a felt fibre sculptor happened by chance. One morning I saw a lady who was demonstrating spinning and felting. I had never considered this medium before.

I asked her if she thought I could make sculptural figures with wool. She went onto teach me all the craft skills I needed to start creating my work.

That lady was Judith Beckett of the Wonder of Woollies and she became my guru and mentor. “Wool is now my love and being a fibre artist is my life.” says Catherine.

Catherine gleans inspiration from many things to create her beautiful life-size sculptures, as she explains: “It all starts with a thread of an idea. Where to start comes in many forms, I may find a figure whirling around in my subconscious – I often don’t really know who will surface so it’s very exciting!

“Then I get to work practically and physically, and the figure literally comes pouring out. It’s something that once I start, I don’t stop until its finished, so I never quite know how long it’s going to take or how I’m going to create it. It all happens naturally and organically during the creative process.”

Catherine admits that her creations are a reflection of her emotions. It is a way of working that suits my personality. I work for long periods with my pieces, so I can attach myself and immerse myself

completely into it. I find this very healing and comforting. The making process is so physical – it is very therapeutic and cathartic.”

Having chosen wool as her medium for her art, Catherine says it was important to her to select a material that is environmentally friendly and organic.

“In a world of synthetics there is no substitute for wool. Wool has a celestial symbolism that represents purity and truth.”

She sees her work as a ceaseless daily discipline: “It stems from my love of the making process, the physical repetitive act of making and assembling. I explore my own sense of self and that of the female narrative within the yarns.”

Her award-winning work showcased at the Spring Knitting and Stitching Show in London, was highly praised and she was delighted to be able exhibit there: I was chosen to be an exhibiting textile artist there and was lucky to have a large stand where I displayed my collection of sculptural needle felt. The show was wonderful, and I have had a great response to my work, and I met some wonderful people.

I hope to raise awareness of the value of traditional crafts. This at the heart of what I do and if I can inspire young people to keep these ancient skills alive, then I have succeeded.”

You can see Catherine’s work at this year’s Knit & Stitch show in the RDS 7^th-11^th November… support your fellow felters- and get along!

Catherine Kaufman

Interview with Valerie Wartelle

Published on August 13, 2019March 14, 2023 by Feltmakers Ireland

Into-The-Drift-#2SS-VALERIE WARTELLE Like many of our members I follow a few felt makers on Instagram and Facebook for inspiration. One Artist that caught my eye recently is Valerie Wartelle. When I saw in the spring that she was attending a Royal horticultural Show with an Artisan felt stand thus marrying my two loves of craft and plants I was inspired to make contact. I asked Valerie a few questions about herself and her practice.

Tell us a little about you as a person?

Brought up in France and French Polynesia, I enjoyed a loving childhood with my two siblings, French father and Scottish mother. My mother involved us from an early age in all kind of making, sewing and cooking. Therefore as a teenager you would have found me happily making my own clothes and involved in varied creative crafts.

Somehow predictably, on completion of my schooling, I left France to study in England – I attended an art foundation in Essex followed by a BSc Textile Design course at the University of Huddersfield (then Huddersfield Polytechnic) where I specialised in Knitwear.

Then followed a 10-year period working in Manchester as a knitwear designer. Whilst I loved it, I felt the need to bring my IT skills up to the 21^st century and in 1999 returned to University to take a Masters in Interactive Multimedia Product Development- such joy to be learning again! Strangely I then worked for over 13 years for my Local Authority mainly with Elected Members, and barely touching a thread or knitting needle.

The-Hum-SS-VALERIE WARTELLE

How and when did you start Felting… what is your experience, tell us a little about your journey with felt?

I was introduced to needle felting during my studies, though I must admit never explored it further. It was not till many years later that a friend showed a few of us how to wet felt. I remember the event well – a rainy Autumnal Sunday afternoon and more specifically finding myself utterly spellbound by the wet felting process…

Move forward to 2012 when I finally tackled my first wet felting project, slowly reacquainting myself with my love of colours and textiles. I initially made design products, such as notebook covers, laptop covers, scarves; but it wasn’t long before my interest solely focussed on mark making, textures and colour.

I quickly realised I needed more time to dedicate to my new hobby, and resolved to compress my working week onto 4 days. I started showing pieces at local art events, received good feedback and in September 2014 decided to take the leap and establish myself as a full time artist.

I now have a studio near my home in Halifax in an old Mill – it’s a lovely space if a little dusty and unfinished, but has plenty of light, and critically some heating!

Tell us about your process from conception to creation?

My inspiration comes mainly from the rural environment – sometimes from a collected object (pebble, fossil, and grasses), sometimes a photograph, and lately more often than not a drawing or sketch. Whatever triggers my interest, I draw on its colour, texture, form and light… curious about how to translate it using wet felting.

Understanding the craft and behaviour of materials is very important to me, but so is the manipulation of fibres as an expressive art form. I love the properties of wool and I feel it lends itself well to the dramatic and moody landscapes we have here in Yorkshire. I start with a pre-felt, which equates to having a blank canvas, and I apply fibres in fine layers in a painterly way. I enjoy bringing in other elements (fabric, thread, printing…) to create depth and transparency within the composition. The analogy with painting is significant, making the viewing inquisitive and challenging people’s perception.

What currently inspires you?

Currently I am experimenting with working BIG… size and weight brings a new set of issues to have to resolve along with working flat, working wet and with shrinkage. However solving issues is to me intrinsic to the creative process – it is by seeking out solutions that I achieve small breakthrough. The organic and at times unpredictable response of the medium will keep me curious and engaged for some time to come.

Thank you Valerie for taking the time to respond. Your story is inspiring. Valerie plans to exhibit at the Knit & Stitch show, Dublin in 2020. You can find more information on workshops she runs and her work at her website below.

www.valeriewartelle.co.uk/news

Drifting-Thread VALERIE WARTELLE — VALERIE WARTELLE

We at felt makers Ireland plan to keep in touch and perhaps link up with Valerie to run a workshop in the future.

Workshop: October 2019 Anna Gunnarsdottir

Published on August 8, 2019March 14, 2023 by Feltmakers Ireland

ANNA GUNNARSDOTTIR OCT 2019

Hi Folks,

We are so lucky to have a visiting international tutor booked for October 2019.

This is a 3 day course on 4^th, 5^th and 6^th October with the talented Icelandic tutor, Anna Gunnarsdottir. The title of the course is “Sculptural Felt Making”. Anna is known for her large scale sculptural pieces.

The course is limited to 12participants, ensuring that everyone will receive attention. Existing members will be given priority in the event of over subscription. The closing date for application is 06.09.19 (after which in the event of oversubscription a draw will take place). It will be first come first serve after this date- if not full already.

We hope that you are as excited as us about this opportunity and anticipate that this course will be filled quickly.

Application forms should be sent to:

workshop@feltmakersireland.com

You can read about Anna in the blog post interview we did earlier in the year.

Interview with Anna Gunnarsdottir

APPLICATION FORM ANNA GUNNARSDOTTIR

Interview with Elaine Peden

Published on July 17, 2019March 14, 2023 by Feltmakers Ireland2 Comments

IMG_0022 (1) Elaine has been a member of Feltmakers ireland for 10 years now. She also exhibits her work with the Element 15 group. Elaine was kind enough to hold a Sunday session on her beading work earlier in the year at the Knockmaroon gate studio. She continues to be active with FI in a voluntary capacity- helping out at workshops etc.

We decided to ask Elaine a few questions about how she became involved in Felt and textiles.

Tell us a little about you as a person?

I work Three days a week as a nurse in TU Dublin the rest of my time is divided up with family friends and my work as a fibre Artist.

Using a needle and thread and stitching with beads comes naturally to me as I embroidered as a child; my mother made our cloths as small children, my grandmother knitted, sewed and in her 80’s started to paint.

My Gran started painting in her 80’s she was self-taught. She painted every day and watching her paint, her ‘oneness‘ immersed in her world of brush and paint, absorbed and content , influenced my work as an artist. She went on to exhibit into her 90’s.

dav

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

Fifteen years ago while holidaying in the Jersey shore with my family I happened upon Manasquan bead gallery, l signed up for a series of classes with exceptional Bead artists, after emptying my wallet and stuffing my suitcase with glorious vintage and Japanese glass beads in various sizes and shapes I started my journey designing and beading neck pieces, choosing colours and designing patterns in my sleep.

As l don’t have a studio l mainly work from home , for larger projects l have used my dear friend Coleen’s studio and FMI studio .

I mostly work with strong felt making 3D sculptures.

My pieces take between 5- 6 hrs to make. I have exhibited and sold my work at various craft fairs and taken private commissions.

My work is mainly process led l try not to control the process, I let it lead me. While l sometimes sketch and draw plans l mainly work intuitively.

10 yrs ago l spotted a friend packing her car with strange objects, bubble wrap, noodles, towels, intrigued about this l joined her on a trip to Lucan parish hall.

There l saw Maureen Cromer making a white cobweb scarf, the process immediately grabbed me. I was hooked. l filled my bag with fibre.

I became slightly obsessed with learning many felt making techniques. I started using fine merino wool from DHG. My 1st w/shop was with Lyda Rump, an amazing textile Artist making a complex felt bag with multiple resists using Icelandic wool which is one of the fastest and easiest fibres to felt.

I fell in love with strong felt, using multiple resists mounding and shaping the fibres after the fulling stage.

As my creative circle of friends grew my need to experiment with other mediums followed.

Fibre artist, Colleen Prendiville introduced me to stitch various mediums and processes. I joined Element 15 Fibre Arts group.

“Element 15” was originally Naas felt and fibre. The group explored and expanded over the years. We have exhibited in many venues including Carlow arts festival, the Blue Egg gallery, and last year a site specific exhibition at Castletown house.

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Tell us about your process from conception to creation and what is your motivation?

My career as a nurse plays a role in my work. After doing a post grad in NUIM (‘Art in a health care setting’). I have worked with Alzheimer’s patients in Brook lodge nursing home and other community projects. I have facilitated felt workshops in a health care setting and my work is about concentrating on the process rather than finished product, this enables creativity to blossom for participants.

I would like to expand on the therapeutic aspect of play, connection to self and others both in my personal work and working in groups.

FMI has organized incredible overseas tutors over the years , sharing ideas with exceptionally talented felting friends and colleagues sharing methods, ‘mishaps’ and working through play in the studio, has been a very rich and creative experience which continues to shape my work.

cof

What currently inspires you? What are you working on now?

I am currently researching poetry and text in preparation for Element 15’s next exhibition in Inniscara Gallery in Rathcoole. I will put this work on hold for a few weeks as l am travelling to Finland in Jamsa to see my piece which was selected as part of the joint exhibition between “Filtti” and Feltmakers Ireland, for our international exhibition … exciting times ahead.

On behalf of Feltmakers Ireland, thank you Elaine for sharing your inspirational story of your life and work, we look forward to seeing your new artworks in your next exhibition.

cof

Interview: Pam de Groot

Published on July 3, 2019March 14, 2023 by Feltmakers Ireland2 Comments

Fully Charged This spring I decided to take my first on line course with a textile artist. I enrolled with Pam de Groot on her- “Surface form and Space- April 2019” course.

Pam de Groot is an Australian textile artist who teaches at home and internationally.

The quality of Pam’s online tutorials, her teaching methods, videos and her clear instruction has all helped. The course was easy to follow and I have learnt so much. It was also really beneficial to be able to be part of a workshop in my own time and on my terms. Never feeling exhausted because I could choose when it suited me to work -and I still have access to the tutorials for the next 6 months, so I hope that I will have a chance to re-watch and really solidify the learning.

At first I was concerned that I wouldn’t feel “part of a group” but in fact all fears have been alleviated by Pam’s swift and direct response to questions and queries. As well as that, the community atmosphere generated by fellow felters regularly posting photos of their work and process helped to motivate me.

I have looked forward to my Friday mailbox when I would have my treat of “the next lesson”. Now that this course has finished, I am a little sad, but eagerly looking forward to my next opportunity to take a workshop. My biggest learning in fact has been to discover a new found discipline. Keep up the working habit, felt weekly, and felt better.

Pam has very kindly agreed to take part in an interview for Felt makers Ireland. We will also stay in touch and I hope that with a European Tour on the horizon for 2021 that Pam might plan a visit to Ireland, when maybe I ( and we) will be lucky enough to meet her in a face to face in a workshop scenario!

Tell us a little about you as a person? Upbringing/ where you work/ work other than felt etc

I come from a background in Studio Ceramics and also Primary Infants teaching. I moved to textiles when my children were small as it was more forgiving. Children need you right then and there and I could drop and pick up the work when time allowed.
OPEN HEART

How and when did you start Felting… tell us a little about your journey with felt?

I was introduced to a textile group by a friend and we experimented with many different media. Felting being just one. I loved the felt and how its transformational qualities reminded me of the clay. I slowly had a couple of very beginner classes and then worked on my own for some years occasionally taking a class with those I really respected and admired. I particularly think my work took a new turn after a class with Marjolein Dallinga. Her approach in walking into the unknown really resonated. I haven’t looked back. From beginning this around 18 years ago I have changed my methods and built a wealth of knowledge around wool.

What is your felting process from conception to creation and what is your motivation?

I have really tried most things felt over the years, but more recently I am drawn to work in sculptural felt. I am using the felt as my medium for self expression. Each year the work becomes less about the techniques (though they are there too) and more about the concepts. The flexibility of the wool never disappoints me. It teaches me so much every time I venture somewhere new. I am always its student.

I have been teaching locally here in Australia and abroad for many years now and have in the last couple of years begun teaching online also. I am really enjoying this new way to share and develop the interest of so many the world over.

What currently inspires you?

I am currently creating work which is delving into my own world of personal feelings and emotions around family, friends and relationships. I feel these are topics that we all share and relate to. A common thread, a connection. I have a couple of works that will be part of a travelling exhibition next year, and I am quite proud of the work and the story they tell. Sorry!! no images of those pieces yet but they will be released later in this year.

Pam signs her email with the following quote, which I think gives all of us who are not quite at her stage of mastering this fine art of felt making, a little hope…

“Every artist was first an amateur”
Ralph Waldo Emerson

You can get more information on Pam de Groot on her social media platforms.

https://www.facebook.com/pamdegroot.fibreandtextileart

https://www.instagram.com

http://pamdegroot.blogspot.com/

You will also find regular updates on her website of upcoming on-line workshops- and these I can now personally recommend!

http://www.pamdegroot.com/

Thank you Pam for taking the time to answer our questions and supply your highly inspirational photographs. Looking forward to your travelling exhibition and your European tour in 2021- watch this space fellow members!

pollen 1

Interview with Anna Gunnarsdottir

Published on May 28, 2019March 14, 2023 by Feltmakers Ireland1 Comment

Anna Gunnarsdottir is a textile artist from Iceland with many many years’ experience in felt making. Felt makers Ireland will be hosting a 3 day workshop in Early October 2019. The focus will be on large sculptural felt. The application form for this workshop is below. We anticipate that this will be a very popular workshop. Members will be given preference and in the event of over subscription a draw will be made. 12 places are available.

Ahead of travelling to Ireland we asked Anna a few questions about herself and her work.

Tell us a little about you as a person? e.g. upbringing/ where you work etc.

My name is Anna Gunnarsdottir. I am a Textile Artist residing in Akureyri, Iceland. I studied Textile Design in my home town, Akureyri. I then went on to study leather work and sculptural felt making in Denmark for one year. I have worked with my art for more than 35 years. Now I run my own workshops and a gallery in Akureyri.

My work has been exhibited in various countries such as Australia, USA,

Germany, UK, Sweden and France. I’m lucky to have won International awards in Los Angeles USA and South Korea.

I now teach felt making and am lucky to be able to travel to many countries like USA, UK, Australia and Germany.

Tell us about your process from conception to creation and what is your motivation?

I focus on traditional felt making technique; however I try to combine it with a contemporary and fresh approach. My signature style of felting has a strong sense of Scandinavian and minimal art.

My work is inspired by Icelandic nature which is absolutely unique. Based on the idea of light and shadow I create large sculptures and 3D wall pieces for both indoor and outdoor use.

All my work is hand-felted from Icelandic wool with soap and water. I use only my hands and no machine. When the work is ready and I am satisfied with my work, I use a method to stiffen in order to hold the proper shape.

Some times I use other materials together with my felt, such as fish line, wire, willow and/or stones for extra decoration.

What currently inspires you?

All my work is inspired by the Icelandic nature which is unique and splendid. The shell form is very imp[orant to me and close to my heart. I use it in various sizes, all the way from a small brooch to a lamp to a big sea-shell.

I have been making this shell-form for more than 20 years.

I will be teaching a large sculptural workshop in Ireland in early October 2019. I‘m really looking forward to it.

To find out more about me and my work you can visit my webpage.

annagunnarsdottir.com

Application forms for this international tutor workshop will be available later in the summer, ahead of her Oct 4th-6th workshop. Watch this space!