Wednesday, 23 May 2018

Commonwealth flowers in lace


I was intrigued to see that Megan Markle’s lovely wedding veil was edged with the floral emblems of the 53 Commonwealth countries. For my recent Battle of Britain panel I also use the floral emblems of some Commonwealth countries to represent the allied airforces involved in the battle (some are shown in the image above). My task was easier than that of the royal embroiderers as I only had a few to find, however, I do understand the process they must have gone through as trying to embroider plants you’ve never seen is not easy. I had to look on the internet for images of wattle (for Australia) and silver fern (for New Zealand), which is probably what the royal embroiderers had to do, and I guess that Harry Cross, the designer of the original Battle of Britain panel in the 1940s would have had to use an encylopaedia. Our styles of lace are also different, Harry Cross’s design was produced on a lace machine, while mine is handmade needlerun lace on net. I haven’t seen good close ups of the royal lace yet, but some of it seems to be applied to the net rather than worked into it – it may be a mixture of the two. Some of the images I’ve seen suggest that the flowers were embroidered on organza which was then cut out and appliqued on to the veil. It is certainly stunning and I hope to see some more images soon.

Thursday, 17 May 2018

Lace designs in Nottingham


I’ve had a very exciting few days in Nottingham looking at the lace and designs in several archives. The lace in the image is a lovely piece of mixed Brussels lace I saw in the lace archive at Nottingham Trent University. The main focus of my visit though was to look at curtain lace designs. I saw so many interesting things but the highlights were a collection in the textile archive at Newstead Abbey from the Town family, which included three generations of curtain lace designers and some lovely designs for curtains and napery from the John Ivor Belton collection in the industrial archive at Nottingham Castle. Those two collections were quite a contrast because the Town one included lots of inspiration drawing and training pieces with some small and medium size designs whereas the Belton collection included some very large designs that covered the entire table. Both included letters and newspaper cuttings and images the designers had kept for inspiration. It’s so good to find that this material is being kept and archived. I’ll definitely be returning to do more research.    

Thursday, 10 May 2018

Fashions at the 1831 royal coronation


My 1831 edition of The Ladies Pocket Magazine contains a section about the coronation of King William IV and Queen Adelaide  - shown in the image in her coronation robes. It explains the details of the service, the order of precedence and the regalia but unfortunately does not go into great detail about the clothes and lace worn by the royal couple. However, a chapter entitled ‘Reminiscences of the coronation’, which is set out as a letter from Lady Julia F to her friend the Hon Maria is much more entertaining. She tells us her chaperone was her cross aunt, Lady Jane, and how they disagreed about most of the fashions, which her aunt found quite revealing, either because they were low cut or for their use of flimsy fabric. Julia describes the fashions in general as comprising a lot of tulle, crape, and gauze, mainly in white and light colours. There seems to be a fair amount of lace on show, mainly blond, which her aunt seemed to disapprove of, preferring point lace. Julia describes her own dress as ‘white gauze de Paris, which offers a perfect imitation of blonde lace over a white gros de Naples slip’. She continues ‘A low corsage, trimmed with a double fall of blond lace, set on very full, comparatively narrow at the back and front, but forming very deep epaulettes’. It seems blond lace was more fashionable than the point lace preferred by Lady Jane. Julia is quite forthright about some of the fashions she sees, describing some of the noble ladies as beautifully dressed but others as vulgar with mismatched clothes. Unfortunately she does not describe the queen’s attire only saying ‘Everyone agreed that the queen never looked so well’. The service was clearly quite lengthy and Julia reports that many of the ladies produced biscuits or sandwiches from their reticules and one even produced a small silver goblet and bottle of Madeira wine. Inevitably Lady Jane considered eating in church vulgar and would not partake, as for sharing wine from the silver cup ‘ she shrank from it as if it had been a poisoned chalice’.

Thursday, 3 May 2018

Needle lace sample


This beautiful little piece of needle lace epitomises what I love about lace – with just a needle and thread, and obviously a lot of skill, you can make the most exquisite lace. The whole thing is handmade using mainly buttonhole stitches looped through the row above. There is very little shading or use of filling stitches but the fineness of the design and the outlining with the thicker cordonette gives it some depth. In fact I think the worker has used a cordonette composed of a bundle of the threads she used to make the main lace rather than using a thicker thread. The stitches in the more open ground work are a little haphazard but I quite like that evidence that the work is handmade. There is also a bit of variation in the motifs at the dip of each arch with some having more ground stitches than others. It’s a lovely piece of lace and I bought it for next to nothing in a bundle with some other lace samples!

Wednesday, 25 April 2018

Painted lace curtains


I was recently given an interesting lace curtain (thank you Gail!) - the image shows a detail of the main motif. It has been coloured not by using differently dyed threads within the lace, but by printing colour on to it after it was made. This was probably a quicker way to add colour than rethreading the lace machine with different coloured threads, which would also have had to be wound on to bobbins and disguised within the body of the lace net in areas where they weren't needed. A similar technique of printing on to lace is used in the famous Magga Dan lace panel made by Stiebels of Nottingham, which celebrates the ship’s history of Antarctic exploration and includes ice floes, explorers and penguins in its design. The lace curtain in the picture also shows an interesting use of floss thread to form the crests of the waves and the main design of the setting sun. The lines of floss representing the rays of the sun would also have caught the light when hung at a window and, especially with the yellow colouring on them, would have given a warm depth to the design.

Wednesday, 18 April 2018

Mother and babe lace bobbins

I’ve got four mother and babe style bobbins on my lace pillow at the moment. Christine and David Springett in their book ‘Success to the lace pillow’ define mother and babe bobbins as ‘miniature bobbin or bobbins enclosed in a pierced shank’. Three of the bobbins in the image would definitely fit that classification. They would probably describe the wooden bobbin as a lantern as it encloses small beads in a pierced shank. However it is also a whittled bobbin, which they describe separately, and the bobbin and beads were probably carved from a single piece of wood. T L Huetson in his book ‘Lace and bobbins’ describes all bobbins with pierced shanks as church window bobbins whether they contain a smaller baby bobbin, beads or nothing at all. The Springetts use the term church window only for bobbins with empty pierced shanks. I think the Springetts have done an enormous amount of research into bobbins and their makers and I find their use of the different terms helpful in describing bobbins more precisely so I think I’ll stick with their terminology.

Wednesday, 11 April 2018

Instructions for tambour lace


I’ve been looking at some of the net-based embroidered and needle-run laces as I found the technique quite successful in my Battle of Britain lace panels. This week I’ve been reading Irish lace making by Eileen C O’Connor (the image comes from the booklet), as these types of lace are particularly associated with Ireland and, in fact, are now most commonly known as Limerick and Carrickmacross lace. I was very surprised to read her instructions for tambour lace which say that the working net should be tacked onto the design marked on linen paper. If you have ever done any tambour lace you will realise that the tambour hook passes through the net and picks up the thread that makes the chain stitch from below the net, therefore you can’t do it with something tacked on to the net! Further reading discloses that the designs ‘are intended to be worked with a needle and thread’. That makes sense as far as the working is concerned – you are making chain stitches with a needle and thread through the net, above the pattern, which is removed when the lace is finished. However, can it be described as tambour lace? I had always thought the definition of tambour lace was that it was made with a tambour hook. Perhaps that’s wrong, and it just describes lace patterns on net utilising chain stitch, after all if the result is the same does the technique matter?

Wednesday, 4 April 2018

Mind maps and lace nerves


Now I’ve finished my Battle of Britain lace commission I’ve been thinking about a new project and I’ve been considering extending my work on the link between biology, science and lace. The image is of Mind maps a piece I made several years ago looking at nerves and body tissues, using a combination of bobbin lace and silk paper. I’m interested in making something on a larger scale using the needle run lace technique I used for the central panel of the Battle of Britain commission. I’ve been looking at some histology book to get inspiration from the images of tissues they contain but I don’t want the work to be purely representational. I’m interested in looking at sight and the cells of the eye which would also tie in with my recent net curtain and veiling projects on concealing and revealing and things that can be seen and not seen. I haven’t quite worked it out yet but that’s the way my mind is working at the moment!

Wednesday, 28 March 2018

Special Nottingham lace curtain parcels

After all the excitement of conferences and exhibitions I’m back doing some curtain research this week. In particular I’ve been looking at a catalogue from the Peach company of Nottingham for 1904. Peach sold lace, curtains, linens and hosiery but I’ve been studying their special lace curtain parcels. These were assembled and sold for specific types of houses. The cheapest at 12/6 is the Triumph parcel which ‘is recommended where large size curtains are not required’ and boasts of their hard-wearing qualities. However, although aimed at the less well-off home, it contains one pair of curtains for a dining room, a sitting room, and a bedroom as well as one lace guipure sideboard cover and two fancy lace mats. There are also country house parcels, a frilled curtain parcel, a wedding present parcel and at £5 10/- a mansion parcel! The latter includes two pairs of curtains for the drawing room and two for the dining room. One pair for the breakfast room and four pairs for bedrooms. Also for the bedroom are a lace bedspread, a table centre, and six dressing table mats, while for the living rooms there are two antimacassars, a table cover and a sideboard cover. These are all described as ‘exquisite designs and the curtains are the best machinery can produce’ – however they may not be so hard-wearing!

Wednesday, 21 March 2018

Lace Unveiled at Newstead Abbey, Nottingham

This exhibition of contemporary art presented throughout the Abbey was part of the Lace Unravelled programme. It included two new works by Shane Waltener. A canopy of threads woven between a row of yew trees alongside the medieval fishpond, which framed the view along the walk and invited contemplation (see pic below); and a tangled web of threads across the centre of a four poster bed in the house, reminiscent of fairy tales and mysteries.
Another interesting work was ‘Boom’ by Joy Buttress and Manolis Papastavrou which visually expressed the rise and fall of the lace factories in Nottingham, based on information from Sheila Mason’s book. It includes a drawing of part of a lace parasol cover and a film of it being made (see pic at top). Lucy Brown’s ‘The secrets we keep from ourselves’, an installation of deconstructed second hand clothes and lace, filled Lord Byron’s dressing room and explored her interest in the revealing and concealing qualities of lace. In another bedroom, Joana Vasconcelos used crochet lace to challenge ideas about femininity, tradition and modernity, by using this ‘feminine’ product to mummify two ferocious ceramic wolves. It was interesting to see lace inspiring such different projects and also to see the works exhibited in the house rather than in a white cube space.

Friday, 16 March 2018

Lace Unravelled at Newstead Abbey


The theme of the second day of the Lace Unravelled symposium was ‘creative lace’. Wollfgang Buttress opened the day with a fascinating talk about expressing the ephemeral through light and architecture, in particular the ideas behind his Hive structure which is now at Kew Gardens. Sara Robertson and Sarah Taylor then told us about their collaboration with MYB Textiles and Mike Stoane Lighting to produce light emitting lace, some of which is on display in Lace Unarchived at Bonington Gallery. Sylvie Marot then discussed her forthcoming exhibition at the Calais Lace Museum entitled ‘Haute dentelle’ combining couture fashion and lace. During the lunch break we had the opportunity to see the artworks displayed throughout the house as part of the Public programme (more of that in another blog). After lunch, Cecilia Heffer described her research exploring ephemeral material processes in a contemporary lace practice. She considers the making of textile as a contemporary response to the transient nature of place. Shane Waltener, who had constructed two installations at Newstead – one in the Abbey grounds and the other in a bedroom - talked about his site specific work. The day was summarised by Janis Jefferies who reflected on the themes of the symposium and facilitated a final discussion. It was a fascinating day celebrating the ephemerality of lace and the continuing relevance of lace in practice today.

Thursday, 15 March 2018

Lace unravelled at Wollaton Hall


Lace unravelled is a series of events in Nottingham celebrating the history and contemporary uses of lace. I’ve previously blogged about the Lace unarchived exhibition at Bonington Gallery which runs until the end of the month (see blog of 1 March). The day at Wollaton Hall was the first day of the symposium and is also the venue for my contemporary response to the Battle of Britain commemorative lace panel. The day started with a keynote talk by Sheila Mason about the history of the machine lace industry, followed by Ann Inscker and Judith Edgar discussing the mentoring sessions they have been running during which they have discovered some interesting lace history hidden within the Nottingham lace collection. Dr Amanda Briggs-Goode then spoke about the importance of the Lace Archive at Nottingham Trent University and it’s use within the School of Art and Design.

All the delegates were then taken to the Prospect Room to see my new lace panels and a facsimile of the original Battle of Britain lace panel. I talked about the genesis and production of the original panel and then discussed how I had designed and produced my own panels. After that we had a tour of the Nottingham Industrial Museum and were shown a working Leavers lace machine.

After lunch, Anne-Claire Laronde and Sophie Henwood talked about the lace held in the Calais Lace Museum and the uses of lace in contemporary fashion. They were followed by Professor David Hopkin discussing the use of lace tells (songs which the lacemakers sang as they worked) and the often dark stories they revealed. Lindsey Bristow, finished the day with a talk about the manufacture of plain net or bobbinet and its varied uses today such as conductive lace and in parachutes. I’m looking forward to another interesting day of talks tomorrow.

Wednesday, 7 March 2018

Battle of Britain lace panels completed


I’ve finished my new Battle of Britain lace panels and they’ve been sent off for their first exhibition at Wollaton Hall in Nottingham. The image shows a detail of the central panel. They’ll be exhibited there as part of the Lace Unravelled event taking place throughout Nottingham over several days at the end of next week. I’ve been working on them for so long it seems strange to have finished them and no longer having them in the studio. Packing them up and sending them off seemed a bit like sending a child off to school for its first day – you hope all will go well but you are no longer in control and they have to make their own way! They will be exhibited at Wollaton from 10 to 18 March and I’ll be giving a talk about the whole project as part of the Lace Unravelled symposium on 15 March at Wollaton. After that they will be back home again until their next outing at Gawthorpe Hall in Lancashire between 7 July and 4 November, and then to Bentley Priory, London, from 17 November to 30 March 2019. I’m looking forward to seeing them displayed in the lovely Prospect Room at Wollaton Hall as they are quite large and it will be good to see the three of them all together with some space around them rather than squashed up in the studio.

Thursday, 1 March 2018

Lace unarchived exhibition at Bonnington Gallery, Nottingham


This exhibition celebrates the heritage of the Lace Archive at Nottingham Trent University as well as recent collaborations between archives and commercial lace manufacturers. As you enter the gallery the pieces that dominate the view are some beautiful lengths of black lace from the manufacturers Sophie Hallette, Timorous Beasties and Cluny Lace as well as some lace dresses by Oasis made from fabric inspired by lace in the NTU Lace Archive (see the pic above). The stunning shadows produced by those fabrics on the wall are complemented by ethereal images from Sophie Hallette’s video installation ‘Silhouette en dentelle’, a series of net jackets and lace produced in collaboration with Mal Burkinshaw.
Collaboration is a feature of the exhibition, with lace garments from Hobbs and Burberry, made in association with MYB Textiles and Cluny Lace, respectively. MYB also worked with Sarah Taylor and Sara Robertson to produce some subtly glowing digital light-emitting lace. James Winnett’s collaboration is with lace draughtsmen of the past in his series of re-appropriated lace draughts, which he has embellished to enhance their imagery (see the pic above). Matt Woodham has collaborated with the NTU Lace Archive to produce a sculptural video, highlighting stories inspired by the artefacts.
As well as the contemporary lace and the works of art, several historical pieces have been selected from the Lace Archive to illustrate the development of machine lace production. The lace sample book illustrated above is part of a handling table for visitors to enjoy, but there are also samples of lace both handmade and machine made as well as lace draughts and designs by William Pegg and Charles Lawson, both former students of Nottingham Art School. Also on display are two sections of the Battle of Britain panel designed and painted by Harry Cross, another Art School pupil, as well as a digitally printed colour representation of it. If you want to see the actual lace panel, a full sized facsimile of it will be on display at Wollaton Hall, from 10 to 18 March, in conjunction with my contemporary response to it – yet another collaboration.
Lace unarchived runs at Bonnington until 29 March and is definitely worth a visit both to get a feel for the range of material held in the archive and to see how lace is being used today in fashion and art.

Tuesday, 27 February 2018

Harry Cross lace designs


I’m spending an interesting day studying some lace designs by Harry Cross in the Lace Archive at Nottingham Trent University. Harry Cross is the designer of the Battle of Britain lace panel that I’ve been researching for the last couple of years so it’s very interesting to see some of his other designs. These are all more floral than the Battle of Britain panel which is much more figurative and are more typical of his work in general. I was pleased to see wheat ears on one of them which also feature on the famous panel. It’s also interesting to see the way he shades his designs and his use of different colours to achieve that. In some he indicates the type of stitches to be used but in others just shades an area and presumably leaves it up to the draughtsman to decide how to achieve that effect in stitches. Interestingly some of the designs are quite similar to bobbin lace in appearance, which I suppose is not unusual as lace designers studied old laces for inspiration. I’m certainly having an inspiring day studying these lovely designs!

Wednesday, 21 February 2018

Lace archive research


Having spent the last few weeks finishing off my Battle of Britain panels I’m having a change and spending next week doing some archive research. I’m going to Nottingham to study some of the archives relating to lace curtain manufacture held at the University of Nottingham and also hoping to spend some time in the lace archive at Nottingham Trent University looking at samples of lace curtain patterns and design. I’ve been searching online to see what the various archives hold but it’s difficult to know exactly what to order- some things seem promising but turn out not to be useful, while others turn out to be hidden gems. I’ve ordered a selection of material and hope it will be useful, or at least lead me on to things that are! I’m also going to the Museum of Domestic Design and Architecture in London to see some of their net curtain designs as well, so it will be a busy week. 

Wednesday, 14 February 2018

Flowers and leaves in lace


Last year, when I was designing my response to the Battle of Britain lace panel, I made a study of all the different leaves and flowers Harry Cross had used in his original panel. However, whereas Harry Cross had used them in borders to separate the images of the bombed areas of London and as adjuncts to the various air force badges, I decided to include them in my central panel. After much thought, I decided that the central panel would have a sweep of flowers and leaves going upwards, which would be contrasted with lines of aircraft sweeping downwards, above the image of St Pauls Cathedral. I started my upward sweep with the protea of South Africa, followed by acorns and wheat ears. I had originally thought the wheat ears looked like barley but on doing some research discovered that there are various types of wheat, including one with long whiskers! After them came the thistle for Scotland, shamrock leaves for Ireland, maple leaves for Canada, the rose for England, and daffodils for Wales. After the daffodils, the line of plants diverges to give the silver fern of New Zealand on one side and the wattle of Australia on the other. Just above the wattle is my addition to the panel – two poppies, which were not on the original but which I have added for remembrance.

Wednesday, 7 February 2018

Love and romance lace bobbins

Many lace bobbins have a story to tell and these five are all concerned with love and romance. You can envisage a young man giving his girlfriend a bobbin inscribed ‘Love give me a kiss’ or even ‘Kiss me quick my lovely darling’. But you wonder what has upset the romance when you see ‘Love don’t be falces [false}’ inscribed on a bobbin. And ‘Wright [write] my altard [altered] true love’ brings to mind images of a lacemaker working at her pillow and expecting a letter from her boyfriend in the army or navy, which never comes. Let’s hope she eventually received a love letter from her absent true love. And what about the lacemaker who declares ‘I wants a husband’ – let’s hope she wasn’t disappointed when she found one!

Wednesday, 31 January 2018

Lace net embroidery

I’ve been looking through my Weldons encyclopaedia of needlework at the section on embroidering on net to produce lace. It gives some lovely filling stitches and a great variety of them. One of the other things I like about this book is that it also gives examples of antique lace for all the techniques. I realise that during my recent foray into net embroidery for my Battle of Britain lace panel I have broken most of the rules! For example it says that you should use only the best quality net and the way to measure that is by inserting a stiletto (like the ones used for broderie anglaise) through a mesh, if it stretches without breaking it’s a good quality. I deliberately chose a net that didn’t stretch at all and was as rigid as possible. However, I did use a blunt needle and a long thread for working as recommended. Luckily I didn’t tear my net, or cut through it while I was using a Carrickmacross technique, but had I done so, Weldons has step by step instructions for repairing a hole in net, which looks very effective and the result blends in beautifully with the surrounding net – I suspect that kind of result takes years to perfect though! 


Thursday, 25 January 2018

Commemorating the Battle of Britain lacemakers


As part of my response to the Battle of Britain commemorative lace panel I wanted to remember the people who made the lace as well as the aircrew and civilians involved in the battle. To do that I decided to include representations of their tools in the panel, in the sections separating the images of the bombed buildings. I took photographs of the equipment used in machine lace making and decided that I would represent the draught pattern, the jacquard cards, the bobbins and their holders. The draught pattern is used to transfer the original design into a grid form and to distinguish the threads used for the pattern and for shading. It is a skilled job, as the success of the design rests on how well it is converted to the grid. Harry Cross the designer of the panel obviously recognised that skill as he acknowledges the two draughtsmen, J W Herod and W R Jackson, in the panel. The next step after draughting is punching the jacquard cards from the draught. These are sewn together in a long line and as they run through the machine they control the stitches being made. Also essential to the process is the smooth running of the thread from the bobbins so I decided to include the bobbins and their holders as well. I’ve made textile representations of these four tools and used them to form the patterns between the main images to remember all those people who made the production of the lace panels possible. Unfortunately I can't seem to add new images to my blog atm so I've had to use a picture I've used before of the bobbin and holder.

Friday, 19 January 2018

Bayeux tapestry




The original Bayeux tapestry is displayed in Normandy but I discovered in 2012 that Reading Museum has its own copy, embroidered in1886 by 35 members of the Leek Embroidery Society. It tells the story of the Norman invasion of England in 1066 and like all history is written from the perspective of the victors, so William’s right to the throne is emphasised and much is made of the oaths of fealty William forced Harold to swear. It is over 70 m long and about 40 cm deep and is displayed in a purpose built gallery so you can walk round and see all of it. The original is thought to have been embroidered in Kent but the names of the embroiderers are not recorded. In contrast, along the lower edge of each panel of the 1886 copy the name of the worker is embroidered. This is the only indication that the panels have been worked by different embroiderers as the work is an exact copy of the original, apart from one naked man who has been given a pair of shorts in the Victorian copy. The tapestry is beautifully displayed and well worth a visit. The Museum website about the tapestry also provides images of the entire work and lots of extra facts.

In 2013 I discovered that embroiderers in Alderney had completed three new scenes to complete the story of the Bayeux tapestry. The famous tapestry (in fact it is embroidered) ends in frayed threads and several embroiderers over the years have designed and worked panels to complete the story. The three new Alderney panels show William dining on the battle field, accepting the surrender of the English noblemen, and his coronation at Westminster Abbey. Previous endings to the tapestry have been made by Jan Messent, Annette Banks, and Jack Thomas. Jan Messent also published a beautifully illustrated book (The Bayeux tapestry embroiderers’ story) describing her research into the project and her new panels.


Wednesday, 17 January 2018

Silk paper and presentations


Another busy week working on my Battle of Britain lace panel. I’ve made some silk paper, which I’m using to represent the smoke and flames around the image of St Paul’s Cathedral. I always find making silk paper very relaxing. Assembling all the equipment and finding a spray dispenser that works can be frustrating, but I love the feel of the soft silk as you pull it from the skein and place it on the surface. It also has to be made in a calm mood as sudden movements are liable to displace everything, causing the cushion of silk fibres to blow away in a tangle. I also like the unpredictability of it. It isn’t an exact science and the final results are always a combination of how the fibres and medium are interacting on that day. The piece I made this week is still drying so I won’t know the final outcome until it dries completely and I can remove the outer holding layers of net.

As well as the silk paper, I’ve also been finalising a talk I’m giving at Bentley Priory next week about the old panel and my new ones. Putting that together has been very interesting as I’ve had to think through all the steps I’ve been through and the reasoning behind each decision in order to make a coherent presentation. I’ve also had to choose images to accompany the words and take more photos to fill the gaps where I don’t have an image of what I’m talking about. It has been very helpful to get everything sorted into a proper account and I’m sure it will be useful for talks later in the year as well.

Wednesday, 10 January 2018

Biographies and summaries


Over the Christmas break I had to write three biographies and summaries about myself and my work for three different lace events I’m taking part in during 2018. Each one was for a slightly different audience so I felt I had to emphasise different things for each one and supply images that went with what I was writing. It made me realise how important these summaries can be in defining what you do and how you promote yourself. For example, should I call myself a lacemaker or a textile artist? I decided on lacemaker for the exhibition aimed at fellow lacemakers, but textile artist for the one aimed at the general public. Also should I mention qualifications? They are obviously necessary for academic events and my work has developed from my PhD research so I do need to explain where it’s coming from, but I don’t want to put people off by sounding too esoteric. Images are quite tricky too as lace is notoriously difficult to photograph, however I did find cropping some of my images improved them. Basically I think writing about yourself is always slightly uncomfortable even though it has to be done to promote exhibitions, but it’s also hard work!

Wednesday, 3 January 2018

Lace plans for 2018


This is the traditional time of the year for looking back at what you’ve achieved and looking forward to future plans so I’ve been assessing my lace plans. The past year was mainly taken up with my Battle of Britain lace response which involved designing and working on the panels but also included photography and talks about it as well. That work will continue this year with a talk at Bentley Priory on 26 January and another on 15 March at Wollaton Hall where the panels will be displayed for the first time. After that the panels and the associated parachute installation will be exhibited at Gawthorpe Hall from July to November and following that at Bentley Priory from November through to March 2019. 
Other lace plans include a stand at the ‘Living lace’ exhibition during the World Lace Congress in Bruges in August and an exhibition of my work at Cranmore Park in Solihull as part of the Makit Christmas Fair on 1 December. I think for both of those exhibitions I’ll concentrate on my veils as they are a coherent body of work with a definite theme and I’m currently making a new one so there will also be something new to show too. As well as all this practical work I’d also like to get back to my research into net curtains and panels, which has been concentrated on the Battle of Britain panel for the past year. It would be good to get back to some of the earlier machine lace I was studying previously and drawing some of that research together. So, in summary, an exciting year ahead with lots of new projects and exhibiting opportunities.