Tapestry

Back in the day (we're talking the late 70s/early 80s)) I dabbled with a bit of tapestry, mainly linked to primary teaching, but the results were crude and offered little satisfaction. I somehow never got close emulating the vibrancy of Michael Brennan-Wood's work or the delicacy in Margaret Hodge's A Hill for my Friend (1975), my favourite at the time.

Anyway, it wasn't 'proper' weaving, was it? You need shafts and a loom for that!

On the long drive to Bradford, I'd always check out if there was an exhibition en route that might break the journey, stimulate thought and raise my spirits. I headed to the National Centre for Craft & Design in Sleaford in 2017 to see Here and Now the first major exhibition of contemporary tapestry in this country in 20 years. It was so worth the extra miles. This time it was Philip Sanderson's work that stayed with me - Windblown Tree (2016) - a 3.5 x 1.4m piece made from waste materials.

On a Common Threads trip to London Sue and I headed off to see Sheila Hick's Stones of Peace at the Alison Jacques Gallery, work that had a profound effect on us both. And while I loved the drama of the large installations, the small pieces were fascinating - As If I Did Not Know (2015-16).

And I loved the idea of taking a hand-held tapestry loom with me wherever I go. So I invested in a Jim Hokett loom in preparation for a new weaving adventures. Surprisingly it start in Walthamstow with an exhibition at the William Morris Gallery. Weaving New Worlds showcases the work of 16 female tapestry artists from across the globe. I combined the visit with a workshop led by Caron Penny (www.weftfaced.com).

My eyes were opened! For me, the input and generosity of those with expertise and experience is what takes my technique and thinking forward.

So there is now room for both in my life, and they dovetail beautifully.