Category: Blog

ReCover, Commemorative Harpoon Cover

I don’t drink, so I can’t blame this project on a drunk DM, just a moment of madness!

Hi, I hope all is as good as can be expected with you at the moment.  I have a possibly daft question for you.  What would your reaction be to a suggestion that I want to make a big, embroidered cover for the big harpoon gun and use it to commemorate/ remember the south Atlantic whales and whalers, possibly installed to coincide with other related events?  It’s just a germ of an idea at the moment, but I keep seeing images of mounted harpoon guns covered to protect them from the weather.  If you don’t think it’s bonkers, I’ll have a longer thought and email you something a bit more considered.

Detail of sewing text panel for ReCover

Detail of sewing text panel for ReCover

That was in July 2021.

Charlotte Connelly, the Curator of the Scott Polar Museum in Cambridge replied favourably, and almost a year later I’ve just finished making the commemorative tarpaulin (now titled ReCover) to the Museum. It ended up being a 2 x 3m dark green tarpaulin, pleasingly I was able to source one that was the right size commercially (from a chain of DIY superstores).  I added some brass eyelets to the black plastic ones already on it and sewed 12 panels of light grey tarpaulin with images of South Atlantic whales and whaling.

ReCover, commemorative harpoon cover at Scott Polar Institute, Cambridge. Front

ReCover, commemorative harpoon cover at Scott Polar Institute, Cambridge. Front

The panels are

  • The outline of the island of South Georgia, the base for South Atlantic Whaling
  • Four species of hunted whale; Blue, Sei, Fin, Humpback (I have been fortunate enough to have seen all four species in the wild).  The images of the whales are ones I have used in previous works, most notably Cetology, 2017.
  • Three images of whaling; two whale catchers and a harpooner at his gun. One of the catcher images and the harpooner are inspired by two 1927 Ogden cigarette cards from a set on whaling which I own.
  • 4 small panels depicting groups of krill.  The main source of food for the whales.

    ReCover, commemorative harpoon cover at Scott Polar Research Institute, Cambridge, back

    ReCover, commemorative harpoon cover at Scott Polar Research Institute, Cambridge, back

And the rope which gathers and secures the tarpaulin around the harpoon, that has a story too.  In July 2017 I was fortunate enough to have a research residency at Bressay Lighthouse on Bressay Island, Shetland.  I wanted to explore the Arctic Whaling archive at the Shetland Museum and Archive in Lerwick.  I was particularly interested because they had some amazing accounts from Hay and Co, a whaler agent based in Lerwick.  It took a couple of days before the penny dropped and I realised that the Hay Dock where the museum was situated was the same Hay.  One of the archivists told me that the BuildBase builders’ merchants on the short cut between the museum and the Coop where I did my food shopping was a descendant of that whaler agent.  I bought a pair of workman’s gloves and some sisal rope there, reflecting on the supplies that the old whaler agent had sold to the whalers.  It felt like a direct link to the Arctic Whaling I had been researching.  The receipt even had Hay and Co on it.  That is the rope I used to secure the cover.

Detail of sewing panels onto tarpaulin for ReCover

Detail of sewing panels onto tarpaulin for ReCover

The Utility of Whales

It feels a little strange writing this. In my work plan for Scoresby’s Arctic (long before the exhibition even had that title) high on my to do list for just before the exhibition was due to open in May 2020 was the task of writing a blog about the one large textile panel that I was making specially for the exhibition. Whilst its creation (which had been a challenge) was still fresh in my mind I would describe how I came to be making a reproduction of a mid-nineteenth century Victorian poster in textile, fabric paint and hand embroidery.

It is Spring 2022 as I write this. The Covid delayed Scoresby’s Arctic opened at Whitby Museum in October 2020, for a week, before it had to close due to new Covid restrictions. Thankfully the Museum decided to restage it in the second half of 2022. And so I am now writing this just before the exhibition is going to open at the end of May 2022. The making of this work now feels like a distant memory from another time. It was completing it during the first lockdown and I was very glad at the time that I had work to do that kept me busy at home.

In the exhibition this is the second framed piece of mine that you come across in the Scoresby’s Arctic exhibition. It’s above a display cabinet that contains a corset with whalebone stays some baleen and a harpoon. The original Victorian poster has the title Graphic Illustrations of Animals, Shewing their Utility to Man, In their services during life and uses after death. The Whale. My piece’s title is The Utility of Whales, but I think of it as Utility for short.

Utility of Whales. Fabric paint and embroidery

Utility of Whales. Fabric paint and embroidery

When I first visited Whitby Museum, particularly the Scoresby Gallery, I was delighted to find so many artefacts associated with the Whitby Whaler I had learned about through the pages of Herman Melville’s whaling classic Moby-Dick. One disappointment was the reproduction of a poster about why we hunted whales. It was an A3 laser printed copy that had been laminated so the colour was bleeding, but the subject matter was fascinating and told a lot of the story of whaling in a concise and visually attractive way.

Sampling and making the Utility For Food Panel

Sampling and making the Utility For Food Panel

A series of images illustrated the uses of the products from whales; baleen in umbrellas (the Victorian sensibilities didn’t allow for an illustration of corsets!), candles and lighthouses for the oil used in lighting, a somewhat uncomfortable image of representations of indigenous arctic dwellers cooking whale meat.

The two central images showed whale hunting and one of the smaller imaged was of a dead whale being processed next to a whale ship. So I decided I’d make a textile version of it (and secretly hope that the Museum might buy it to display in the gallery).

For Whalebone - Umbrellas (and Corsets)

For Whalebone – Umbrellas (and Corsets)

The work was made in a series of panels, one for each image and the title across the top (I changed the layout slightly to put all of the original text at the top). This would make assembly easier, as I was not confident of my sewing-things-together-neatly skills. After making a number of testers and samples I transferred line drawings of each of the panels writing the accompanying text in lightfast ink (too small to sew) directly on to the unbleached calico I was using and worked systematically through them, starting with fabric paint. The decision to do them separately paid off when the lid of a jar of paint I was shaking came off and flew across one of the drawn panels. Luckily I only had to redraw it (and clean up the mess, and buy a new pot of fabric paint).

Sewing Utility's title

Sewing Utility’s title

To add some interest and texture to the painted panels I added hand embroidery to each panel. The panel showing waste products being used as manure being shovelled off a cart was fun to do and I had to expand my collection of embroidery threads buy buying all sorts of brown colours that I had not needed previously.  For the large title I somewhat foolishly decided to use satin stitch (tight parallel stiches) which was a real test for my still quite basic hand embroidery skills. It took ages, but the effect when it was finished was worth the effort.

When all of the panels were finished I sewed them together in sections and assembled the whole thing. It took a few goes of unpicking repining and resewing to get it (mostly) right. My framer did a fantastic job and the final piece looked great, and it was a really useful addition to the exhibition as being a beautiful thing in its own right.

And my plan worked, Whitby Museum did buy it!

The completed Utility panels sewn together showing the embroidered details

The completed Utility panels sewn together showing the embroidered details

Scoresby’s Arctic. It’s all about the whale!

My co-curator Fiona turned to me and said, ‘This isn’t an exhibition about Moby-Dick you know’.  I had bought a copy of the book for possible display in the exhibition, one of my 50 odd versions, the one that laid open flat best.  ‘But it is for me’, I replied. ‘I found William Scoresby through Moby-Dick.’

This is all about Moby-Dick for me. I discovered Scoresby because of it.  This is why I’ve been so obsessed about his snowflakes – Scoresby is Captain Sleet, and Melville makes fun of him for it, though he respects Scoresby’s whaling knowledge and experience.  The more you look (and read around the subject) the more he appears in the book. And Scoresby is our whaling history, not the American three-year sperm whale voyages. British East Coast ports, ships sailing each spring up to the harsh but exotic arctic in the Nineteenth Century to hunt the Right and Bowhead whales, and seals, walrus, polar bear, narwhal, near mythical creatures, hunted, divided up into the commercially valuable or disposable waste.

In 1820 Whitby whaler and scientist William Scoresby Jnr published ‘An Account of the Arctic Regions with a History and Description of the Northern Whale Fishery’. A two-volume work that brought together current knowledge of the Arctic with Scoresby’s experiments and observations from his years as a whaler. He sailed from Whitby every spring to go whaling but also using his learning from his scientific studies at Edinburgh University. Our exhibition at Whitby Museum is celebrating 200 years since the book’s publication (a fact difficult to capture in a snappy title).

1820 edition of An Account of the Arctic Regions

1820 Edition of An Account of the Arctic Regions

When I first read Moby-Dick in 2001 I noted that Scoresby was mentioned several times and on researching him I found a finding a fascinating story. I eventually visited Whitby and the museum that houses a display of his scientific instruments and other objects connected with him in 2010. I knew that I wanted to make work about him, his connection to Moby-Dick and his place in British Arctic Whaling, but I knew timing was everything and the time never seemed right.

In October 2018 my husband was working in Yorkshire and we visited Whitby one weekend when I was visiting him. I thought that, with a couple of good exhibitions under my belt and a busy 2019, now might be the time to make an advance to the museum. I emailed the museum explained who I was and what I did and enquired about seeing some of the Scoresby Archive. Got a date, organised another visit to my husband and off I went.

I met Fiona Barnard, the Scoresby Curator, and I looked through and photographed log books and journals, hand written crew lists on scraps of paper. And then there were the drawings! The originals of the illustrations I’d seen in ‘An Account’! I think that one of the reasons that Fiona and I got on so well was the obvious delight and enthusiasm I showed for the work as well as my knowledge of the subject. I’ve been fortunate enough to visit Spitsbergen and some of the places there that Scoresby mapped and illustrated. We shared a table at lunch and as my mind was on literary anniversaries (with Herman Melville’s 200th birthday in 2019 very much the focus of much of my work then) we discussed the possibility of an exhibition on 2020 celebrating 200 years since the publication of Scoresby’s extraordinary book. At Fiona’s suggestion I put together a proposal and two years later here we are!

Utility of Whales. Fabric paint and embroidery

Utility of Whales. Fabric paint and embroidery

It is early October 2020. I’m writing this sat in the Caffè Nero in Victoria square in Hull, it’s the place I have coffee when I’m in Hull. This is my first trip away since COVID lockdown. Since February I have not been out of my home county of Norfolk.  Yesterday I loaded my car up with four large framed textile works and 12 fabric snowflakes in embroidery hoops and delivered them to Whitby museum. At the end of the month our exhibition ‘Scoresby’s Arctic’ opens. It’s not an idea title for an exhibition that covers so much, but I’m still extremely grateful that it’s happening at all (it was a close-run thing). I am co-curating it with Fiona at the museum (a woman whom I have since discovered has infinite patience). It’s been two years in the planning (for the museum at least, it’s been a much longer-term thing for me).  It’s the first time I’ve jointly curated and it’s been a great experience.  We are both ‘Scoresby enthusiasts’ and that has enabled us to work together very effectively to produce an exhibition celebrating 200 years since Scoresby published his ‘An Account of the Arctic Regions’.  It’s a long drive from Norfolk to Whitby, and I chose to break the journey in Hull on my way back. I’ve not been to Hull this year and it feels like a weird second home. The café is next to the currently closed Maritime Museum. The Museum might be shut, but the building itself is gorgeous object in its own right. Being here makes me feel great joy.

I have one more work to produce before the exhibition opens, a simple installation that will consist of a photograph of all 96 of Scoresby’s drawings of snowflakes on tracing paper in 16 pages of 6, layered on a light box and then photographed, printed onto A0 sized Perspex.  It’s a bit of a leap in the dark and I am quite anxious about it. I hope it looks good!

Whaler Cloak

I belong to the Artist’s Programme run by the Sainsbury Centre for Visual Arts in Norwich. The group, run by the wonderful education department, encourages artists through a programme of workshops and regular meetings to consider issues around a range of practice related topics. Although I love the built environment of the displays there are not many objects that relate to my particular subjects of interest (Moby-Dick and British Arctic Whaling).

Over the last year I have been thinking about the context of the collections and made an experimental piece of work that deviates from my normal practice. It is a double-sided semi-circular cloak, rather like a Bishop’s Cope. The imagery on it is inspired by the whaling, maritime and Inuit collections I’ve seen on my travels.

Whaler cloak European side

Whaler cloak European side

One side is about European Arctic Whaling – a large chart of the region from the 1800s with parts blank where they had not yet been explored and a border of quadrant and compass – the tools that enabled navigation and mapping of the area.

Whaler cloak Arctic side

Whaler cloak Arctic side

On the other side are Arctic images of the Northern lights (from the city crest of Murmansk), an Icebound sea, species of whale that were hunted and a representations of the little whale figures that Inuit attached to spears and buckets (from the museum at Nanortalik, Southern Greenland/Kalaallit Nunaat). There are also images based on designs from a ‘19th C Alaskan souvenir whalebone mug’ in the reserve collection at the Sainsbury Centre. It is fastened using a reindeer antler toggle (bought from a Saami stallholder in Tromso).

 

Whaler cloak Arctic side folded

Whaler cloak Arctic side folded

Whaler cloak European side folded

Whaler cloak European side folded

It has taken a while to complete, or rather, I think it has taken the amount of time it needed. The design – the border and fastening have evolved as the garment was made and I have been surprised at how much presence it has and how I feel when I wear it. If I wore it at the seashore, I wouldn’t be surprised if I could charm the whales to come to me!

Spitsbergen 2019

The waters around Spitsbergen are where British Arctic Whaling began. I first visited Spitsbergen (one of the islands in the Svalbard Archipelago north of Norway  in 2012 and despite a busy summer schedule I managed to visit again in the summer of 2019. I sailed from Dover, up the North Sea with a couple of stops in Norway on the way up (Andalsnes and Honningsvag) and on the way down (Tromso and Stavanger) The last three of these stops also gave me a chance to reacquaint myself with maritime/polar collections in the local excellent museums.

Longyearbyen, Svalbard, 2019

Longyearbyen, Svalbard, 2019

The first stop in Spitsbergen was at the main town of Longyearbyen with the wonderful Svalbard Museum. This has some outstanding early whaling displays.

Svalbard Museum, 2019

Svalbard Museum, 2019

 

 

 

 

 

 

 

 

 

Sketchbook page, Svalbard Museum, 2019

Sketchbook page, Svalbard Museum, 2019

Then on to the Russian ex Mining settlement of Pyramiden, a bizarre, mostly deserted town with decaying wooden buildings and an adjacent breath-taking glacier.

Pyramiden, Svalbard, 2019

Pyramiden, Svalbard, 2019

Although there were few stops on this two week voyage, the ship was relatively small and so we were able to do a great deal of coastal cruising, around all of the breath-taking scenery of the south half of Ice Fjord and along the south west coast of Spitsbergen. I saw my first blue whale and some of the early whaling sites at Green Harbour. I was also able to see the coastline around Horn Sound that Scoresby drew, and engraving of which can be found in his 1820 book ‘An Account of the Arctic Regions’.

Engraving of Horn Sound from Scoresby's An Account of the Arctic Regions

Horn Sound from Scoresby’s An Account of the Arctic Regions

Horn Sound, Spitsbergen, 2019

Horn Sound, Spitsbergen, 2019

 

 

 

 

 

 

 

 

 

At a time when I am focussed on Arctic Whaling it was a great opportunity to sail those seas, experience the constant daylight, sent a lot of time on deck looking for (and seeing) whales.

Melville’s 200th Birthday at Burton Constable

 

August 1st 2019 was Herman Melville’s 200th birthday. I celebrated it at Burton Constable Hall, near Hull which was probably one of the most ‘Moby-Dick’ places in the UK at that time. Not only is there a sperm whale skeleton mentioned in Moby-Dick there, but there was also my exhibition of British influences in Moby-Dick.

Cutting the cake for Melville's 200th Birthday at Burton Constable Hall

Cutting the cake for Melville’s 200th Birthday at Burton Constable Hall

 

It was great – we had cake! It was also Yorkshire Day so there was lots of activity on site and after a great talk by the Dave Nassau the Groundskeeper we jointly cut the cake shared it with the audience and visitors to the exhibition. Dave has done much to preserve the whale skeleton, and has been a huge help and support to me in my various artistic endeavours at Burton Constable Hall.

Whale and Cake for Melville's 200th Birthday

Whale and Cake for Melville’s 200th Birthday

 

The Leviathanic Museum (Hull)

In Chapter 102 of Moby-Dick Ishmael discusses the size of sperm whales and he uses one fictional and one real example (the sperm whale skeleton at Burton Constable) for his measurements. He also explains that ‘there are skeleton authorities you can refer to’ in order to test his accuracy.

There is a Leviathanic Museum, they tell me, in Hull, England, one of the whaling ports of that country, where they have some fine specimens of fin-backs and other whales.

It is not clear how Melville heard of the Museum at Hull as it is unlikely he ever visited. It may have been via descriptions of whale skeletons in Gray’s account of whale species in The Zoology of the Voyage of HMS Erebus and Terror or in the report of the stranded sperm whale at Burton Constable, a summary of which was in Beale’s A Natural History of the Sperm Whale, which Melville is known to have owned.

The Leviathanic Museum mentioned by Melville was that of the Hull Literary and Philosophical Society. This society, founded in 1822, had several early locations before it found a permanent home in Albion Street, Hull. A copy of the beautiful 1860 guidebook for the museum and collections exists and can be viewed (by appointment) at the Hull History Centre. It contains a wealth of information about the wide range of specimens (not just whale skeletons) on display.  The plan of the museum and book cover have some wonderful decorative lettering. Early photographs of the Albion Street Museum also exist, and I have taken inspiration from these images, particularly the suspended blue whale and the entrance hall, along with the decorative lettering to produce two textile pieces for the Leviathanic Museum as imagined by Melville. I have also produced a small illustrated hand-made book telling this story.

The Leviathanic Museum (Hull), Textile

The Leviathanic Museum (Hull), Textile

The Grand Plan, Textile

The Grand Plan, Textile

 

Pulling the British Threads in Moby-Dick

Prints, artists books and textile work inspired by the British sources Melville used in Moby-Dick

When the curator at Burton Constable suggested I return to the Carriage House Gallery with an exhibition to celebrate Herman Melville’s 200th Birthday I knew I had to do something that would appeal to non-readers of Moby-Dick, but would be for me an interesting and well-researched exploration on some aspect of the novel.  I already had a body of work inspired by the Burton Constable whale skeleton mentioned in Moby-Dick, could I build on that to produce something special, unique and very much something only I could do?

Exhibition at Carriage House Gallery, Burton Constable Hall 2019

Exhibition at Carriage House Gallery, Burton Constable Hall 2019

After much reading and thinking the idea of looking at the British influences in Moby-Dick became more and more attractive.  Melville read widely using many sources as well as his own experiences aboard a whaling ship to produce the story and digressions.  Although Moby-Dick is an American story there are significant and interesting British influences and content. There are three main British-authored books that Melville uses; Thomas Beale’s The Natural History of the Sperm Whale (1839), Fredrick Bennett’s Narrative of a Whaling Voyage Round the Globe (1840) and William Scoresby’s An Account of the Arctic Regions (1820). I also wanted to include some more local/personal mentions – the Norfolk based polymath Sir Thomas Browne (b, 1605), the ‘Leviathanic Museum’ in Hull and, of course, the Burton Constable Whale.

Over a year I made a body of work that, along with a few existing pieces, is my part of the celebration of Melville and Moby-Dick. I read the three source books, visited archives and research libraries looking for ideas I could turn into visual, textile pieces.  The resulting exhibition of 17 works contains 11 new textile pieces, four works from my 2015-16 residency at Burton Constable Hall, and two from my ‘Arctic Whaling Year’ Exhibition in Dundee last winter. There are navigation charts, ships, icebergs, mountains and whales in all shapes and sizes!  I’m looking forward to spending time in the exhibition with my sewing machine space over the summer, talking to visitors about my work, my inspirations and whales.

Exhibition at Carriage House Gallery, Burton Constable Hall 2019

Exhibition at Carriage House Gallery, Burton Constable Hall 2019

 

The Arctic Whaling Year

I’m just back from an amazing trip to Dundee for the installation and opening of my exhibition ‘The Arctic Whaling Year’ at the Verdant Works.  The exhibition has been over a year in the making, but much, much longer in gestation.   As I have been researching British Arctic Whaling I have pondered the idea of doing a series of work linked to the development of the British Whaling trade.  When Dundee Heritage Trust offered me the opportunity to have an exhibition in their Verdant Works Gallery with a lead-in time sufficient (just!) to make a new body of work for that space I took the opportunity to produce a cycle of works, stand-alone pieces that would also tell a story together.  Each work is inspired by a particular aspect of whaling, but is informed by my travel and research, so I can incorporate personal content.

British Arctic Whaling was a seasonal industry with ships leaving British Ports in the spring to head to northern arctic waters to catch whales, returning in the late summer before the ice retuned.  The cycle of work starts with ‘Victualling’, the process of getting the supplies needed for the voyage, using details of accounts from the University of Dundee Archive.  Then Calling At Shetland where the whale ships picked up more supplies and extra men. My Shetland Residency in July 2017 researching at Shetland Museum and Archive provided the text and my photograph of one of the museum buildings.

The development, through both economic necessity and innovation, of early spring sealing trips along with the fantastic collection of early photographs at the Dundee Art Galleries and Museums the inspired the triptych Sealing’ showing the ships and sailors on the ice.  Some of the rituals and superstitions of the whalers are used as the basis for the Cape Farewell including Neptune coming aboard to initiate the new sailors with a joke razor (from the one on display at Hull Maritime Museum).  The hazards and locations of arctic whaling are depicted in ‘Stoved!’, ‘The Whaling Grounds’ and BesetJute is inspired by the architectural features and story of the location of the exhibition – the Verdant Works jute mill in Dundee, where whale oil and water were used to soften the jute fibres prior to processing.  The final piece ‘Right Whales Historically Regarded’ uses the heart-breaking image of an unborn right whale foetus hanging under its mother, itself hanging over a range of the harpoons and other implements we have used to decimate Right Whale populations, including ship strikes and ghost tackle, causes that are currently driving the Northern Right whale towards extinction.

Verdant Works Exhibition Display case and works

Verdant Works Exhibition Display case and works

In addition to the 9 works, there is a display case containing a harpoon, kindly loaned by Dundee Collections Unit, whale baleen, from the Dundee Heritage Trust Collection, a set of 1927 Whaling Cigarette cards from my collection and two of my whaling related artists books (in concertina format so the books can be read in their entirety).  Some of the sample pieces I made in preparation for this exhibition have been collected onto two panels with labels describing some of the techniques used, available for visitors to touch and examine.

Verdant Works Exhibition Touch Panels

Verdant Works Exhibition Touch Panels

I think the exhibition achieves what I set out to do, to tell a story of British Arctic Whaling through a cycle of artworks, supported by information panels describing the aspects of the industry that inspired each panel and with real artefacts of the industry.  Although the exhibition was made for the space at the Verdant Works with new location specific works could enable the exhibition to travel to other venues to tell their stories of Historic British Arctic Whaling.

Commission for Whalebone pub

My artist statement currently states that “I make work inspired by Moby Dick and British Arctic Whaling, inspired by my travel and research. I am aware that this is quite a niche practice, but I carry on regardless, and for once this approach has paid off!

The White Hart in Downham Market, Norfolk has been returned to its original name of the Whalebone by its new owners Wetherspoons (a UK chain of pubs) and as part of their redevelopment of the pub they were looking to commission some related art. Their designer found my web site and thought I might be just what they were looking for. Because of my research I knew enough about whaling and Norfolk Whaling heritage to be able put the Whalebone in context. So, I set myself the interesting challenge of making something that explained Arctic whaling around the 1800s (when the pub had last been called the Whalebone) but understood that this was a pub and restaurant so couldn’t make it too explicit and gory. The added complication was that I only had a couple of months for some focussed research and then to design and make the piece, which turned out to be the largest textile piece I’d made to date.

I was already working on related imagery for another exhibition and in a short space of time I’d looked at a range of sources. I was aware of the illustrations in William Scoresby’s Account of the Arctic from 1820 and a wonderful circular map of the known arctic from a journal written by his surgeon on one of his earlier voyages. I had also been looking at and thinking about arctic panoramas.

Whaling Grounds Whalebone textile commission

Whaling Grounds Whalebone textile commission

A composition soon emerged of the semi-circular map showing the whaling grounds at the top and the arctic species of whale hunted at the bottom would sandwich a panoramic image of whale ships. The panoramic image would include whaling ships, arctic landscapes, icebergs, and some scenes of whaling. To make this a more personal design I used my drawings of the Spitsbergen coastline (early arctic whaling grounds) from my trip there in 2011, and some of the icebergs were inspired the ones I saw off Greenland in 2014. Two roundels containing images of the products of the whaling, a whalebone corset (from one I saw at The Royal Albert Memorial Museum, Exeter in 2014) and a whalebone arch suggesting the one at the original whalebone pub based on one still visible in Kings Lynn.

Once the design was finalised it was transferred to the three main pieces of fabric and the making begun. I used several techniques, fabric painting, freehand machine embroidery, quilting and layering coloured sheer fabrics to give blocks of colour. Once the components were sewn together it measured 48 x 36 in (122 x 91 cm).

I was invited to the soft opening of the pub in March 2018 and enjoyed a delicious meal with a great view of the work!

Having a drink overlooking my work

Having a drink overlooking my work