A proper introduction for my ‘Arch’

 

I completed this quilled collage picture last year, but never wrote a blog post about it because, at the time, it was destined to be a competition entry into one of the creative arts categories at Taunton Flower Show 2016 and needed to remain unpublicised to preserve the integrity of judging.

I feel it deserves a proper introduction now, however, since I’m thrilled to say that the piece has just been accepted for inclusion into the CICCIC (Creative Innovation Centre Community Interest Company) Contemporary Art Open Exhibition 2017 after I took the decision to enter it into their recent national competition.

The panel of judges (mainly fine artists, I believe) were looking for “work which considers new ways of exploring media, composition and subject material”, and I guess that my pioneering approach of combining collage with quilled tracery patterns and decorations in the style of a stained glass window managed to ‘tick’ all three of these criteria ‘boxes’.

‘Arch’ was the first, and definitive, collage piece that I created, exploring the possibility of segmenting an arch in the manner of a modern stained glass church window, using shapes derived from intersecting curves.  The various segments in the picture contain carefully-selected pieces of background paper, sourced from magazines, gift wrap, marbled paper off-cuts and even a road atlas.  Quilled shapes (some traditional and others ‘deconstructed’) are used as decorations inside the segments, which are delineated using bundles of crimped black quilling strips.  The tracery arcs were created using specialist silver-edged silver and gold-edged gold quilling strips, while the edges of the arch are multi-strip ‘sandwich’ constructions which I moulded to fit around a pre-embossed outline. Because I always like to be ‘different’, I deliberately positioned the tracery on the inside of the arch.

My creation will be exhibited alongside 19 other selected pieces of innovative multi-media art and sculpture that were selected from what I understand to have been 80 competition entries submitted by artists from across the UK. This means that “many were called, but few were chosen”, as they say, and so the sense of honour and achievement that I feel is truly profound.

The exhibition will run from 4th – 29th April 2017 (opening hours 9.30am – 5pm Tuesday – Saturday) at the CICCIC Gallery, Memorial Hall, Paul Street, Taunton, Somerset, TA1 3PF, UK, with a special preview evening event from 6pm – 9pm on Wednesday 5th April. I am delighted to say that I have managed to resolve (diplomatically!) an unfortunate clash of social commitments in order to be present on that night, when the winners of the competition are to be publicly announced. I would not miss it for the world!!

Taunton here I come!!

The programme for the Taunton Live 2016 arts festival has just been published – and I’m so delighted that my name is on it in three different places!

Here’s a summary of the events I’ll be involved in:

Taunton Live 2016 poster

And here are the two sections of the programme in which my name appears:

Adopt an Artist 2016 Taunton Live supporting programme

You can download a complete copy of the festival programme here.

If you scroll back through the recent posts on this blog, you can also see the quilled tracery collage pictures which I will be putting into my church exhibition.

My involvement in Taunton Live all springs from a chance meeting that I had with one of the festival organisers last October – and what a serendipitous meeting that proved to be! I introduced Go Create Taunton‘s Jenny Keogh and Diane Burnell to the art of quilling a couple of weeks later, and before I knew it I had two workshops booked, an exhibition arranged, and two Taunton Live logos to quill!

I was privileged to be present at the local Creative Club meeting back in January when several of the events on the programme were first discussed: the yarn bombing (even bigger and better this year!); the decorating of the fabulous copper beech tree outside Taunton Castle (can’t wait to see that!); the rounding-up of the town’s numerous buskers for the Music Day etc. etc. It’s so exciting to see it all coming to fruition at long last!

If you can make it to Taunton Live, do try to come along to one or more of my events – I’d love to see you there!

And the best news of all? My husband and I are now seriously discussing a move to the Taunton area in the not-too-distant future … something I’ve wanted so, so much for such a long time. Taunton Live is just the beginning … I’m coming back home where I belong.

Tudor Timbers

 

Tudor Timbers #2

The title of this collage – Tudor Timbers – refers to the picture at the top of the arch which shows one of Taunton’s most iconic landmarks, dating from the 16th century.  This lovely half-timbered building stands right in the centre of the town, and always used to be known as the Tudor Tavern. Today it is a coffee shop, but I remember it back in the 1970s as a Berni Inn (oh happy days!!), with a separate room at the back called the Hangman’s Bar. The hangman in question was the infamous Judge Jeffries who presided over the so-called ‘Bloody Assizes’ in Taunton in the late 17th century. This followed the suppression of the ill-fated Monmouth Rebellion at the Battle of Sedgemoor, in which many local citizens had unfortunately been involved. Despite this somewhat grisly association, the Tudor Tavern remains a potent symbol of Taunton’s history, and seemed to me to be the perfect centrepiece for a Tudor-style collage. I like the way the steep roof of the Tavern zig-zags down towards the right hand side of the arch, highlighted by a subtle patina of moss on the richly coloured roof tiles.

Like my other collages, this piece is divided into brightly coloured black-bordered sections reminiscent of a stained glass window, with quatrefoil tracery shapes positioned on the inside of the arch. The tracery is constructed from 3mm pastel yellow/silver-edged quilling strips, crowned by my quilled interpretation of a Tudor rose. Two of the window panels contain typography: look closely and you will see that the one positioned towards the lower right includes the opening words to the famous Tudor song, ‘Greensleeves’. I decided to decorate this particular panel romantically with a folded paper rosebud. The interlinked silver spirals in the gold panel above it were made with a punch – I had to insert the paper first forwards and then backwards into the punch to form each pair, because the paper I used was only coated in silver on one side. (I’ve had to learn how to think both upside down and back to front when making these collages!) The serrated decorations on the left hand side of the arch were made by cutting paper with pinking shears, and I’ve also included numerous tight pegs made from gold and silver edged quilling strips throughout the design. The borders for the arch were created using the quilling strip ‘sandwich’ technique described here.

DSCF7393I promised to share the pattern for my Tudor rose, so – for the quillers amongst you – here it is:

I worked with 3mm (1/8 inch) wide quilling strips, cut into lengths as detailed below. These lengths are necessarily short, since the main body of the finished rose measures only 30mm (just over 1 inch) across – yes, be warned, it’s fiddly to make! However, the pattern could easily be scaled up if required.

Make 10 closed loose coils out of 26 mm (1 inch) lengths of crimped white paper, and five tight pegs out of 26 mm (1 inch) lengths of grey paper. Create five pairs of white coils by gluing them together side by side. Then add one grey peg to the base of each pair as shown in the photo. Glue these three-coil sets together in a ring, working over circular graph paper.

Use a yellow strip to create a tight peg big enough to fit inside the ring, and glue it in place.

Make 5 teardrops from 3 mm (1.25 inch) lengths of dark green paper and glue these in position between each pair of white coils, pointing towards the centre of the rose.

Make 5 crescent/bunny ear shapes (refer to photo) from 225 mm (8 inch) lengths of dark red paper for the rose petals and glue these in position above the white coils, separated by the dark green teardrops. Glue the tips of each petal together.

Make 5 teardrops from 3 mm (1.25 inch) lengths of lime green paper and glue these in position as shown in the centre of each red petal.

Voila!

If you use this pattern and post a photo of your Tudor rose online, I’d be grateful if you could please include an acknowledgement to me and a link to this blog post – thank you.

Tudor Timbers will be placed on public display at various locations in the coming months, including the Taunton Live 2016 arts festival. Should you be interested in purchasing something similar (custom-made), please contact me by emailing quilliancemail@gmail.com or leave a comment below.

Viva Vivary!

Viva Vivary #2

One of the many treasures to be found in Taunton (the county town of Somerset in south-west England) is a classic Victorian park which was first laid out for the public’s enjoyment in 1895.

Known as Vivary Park (after the medieval fish farm or ‘vivarium’ that was once sited there to serve Taunton’s ancient castle and priory), it features prominently in my memories of life in Taunton in the 1970s, and is still one of my favourite places to visit whenever I find myself in the town.

Vivary Park is the venue for the famous Taunton Flower Show which takes place annually in August, at which I was thrilled to win some prizes for my quilled art last year.  If you like, you can read about that particular adventure here and here.

The park has now become the subject of my latest quilled collage featuring gothic-style tracery, which aims to create a decorative ‘window’ on to this peaceful and colourful oasis in the town. At the centre is a digitally stylised picture of the gorgeous fountain which was unveiled as a memorial to the late Queen Victoria in 1907, and which is regularly re-painted in vivid bright colours which preserve its original magnificence even in modern times. The beauty of the fountain is echoed by fabulous displays of flowering plants throughout the year. There is also an elegant Victorian bandstand in the park, plus a peaceful sensory garden area – it really is such a delightful place!

I have tried to capture the rich colours of the park in this collage through my choice of background papers and the quilled flowers I made to complement them. Quillers will notice a little combed work along the edges of the deep magenta panels, nestling in between crimped-strip teardrops. The tracery is constructed using 3 mm gold-edged gold strips, triple-rolled to create ring coils around dowels. By cutting the ring coils, it is possible to make arcs that form the basis of classical gothic architectural shapes. I’m learning more and more about the geometry of tracery every time I make one of these pieces!

This picture will be placed on public display at various locations (including Taunton) in the coming months, unless previously sold. Should you be interested in purchasing it (or maybe even something similar, custom-made), please contact me by emailing quilliancemail@gmail.com or leave a comment below.

Viva Vivary!!

Gold beneath Burrow Mump

Gold beneath Burrow Mump

 

So, this is the style that I’m adopting for my gallery collection: a segmented collage of different background papers, individually bordered with black crimped paper strip ‘leading’ like the panes of a stained glass window – all contained within a rigid framework made from ‘sandwiched’ multiple quilling strips and selectively decorated with various forms of paper filigree. Continuing the stained glass window analogy, each piece is going to be framed by tracery shapes, constructed from metallic-edged quilling strips. In church architecture, tracery forms an integral part of the window, crossing the panes, whereas mine positions itself – perversely! – around the edges.

If art provides an insight into a person’s soul, this speaks volumes about my affinity with bold shapes, ideas and colours. I’m so excited that others have seen and responded positively to this unique new style of mine … and I feel as though my creativity has been unleashed in a way that I’ve really never experienced before.

Yes, it’s moving away from quilling just a bit … well, away from ‘traditional quilling’, anyway, and for that reason I suspect it may not necessarily find favour with all of my friends and acquaintances in the ‘quilling blogosphere’. However, quilling still underpins the work in so many different ways: in the tracery (ring coils, cut and joined); in the edging (straight and crimped quilling strips sandwiched together); in the decorative detail of the window panes (open coils, ring coils and delicate huskings – the very essence of filigree as practised by our ancestors).

Because the piece shown above speaks for my soul, it had to contain just a little bit of Somerset. You’ll find this in the uppermost segment: a tiny image showing the summit of Burrow Mump – an iconic hill which rises dramatically out of the flat lands of the Somerset Levels.

King Alfred the Great is known to have climbed Burrow Mump to scan the distant landscape for marauding Danes in ancient times. During the time of his reign as the King of Wessex, the area of the Somerset Levels was a vast, marshy sea in which this natural knoll stood out as an island, making it an ideal lookout post. The ruin at the top of the Mump is the medieval church of St Michael which was used as a refuge by Royalist soldiers during the Civil War. Soon afterwards, the King’s army occupied it again during the Monmouth Rebellion of 1685. The views from the summit of Burrow Mump are spectacular to say the least. As you catch your breath beside the ruined church after your steep climb, you can look out towards other ‘islands’ standing in the Levels, such as Glastonbury Tor and Alfred’s own royal Isle of Athelney. The Rivers Parrett and Tone converge at the foot of the Mump and flow away together to the Bristol Channel. It’s a truly magical place.

When creating this piece, I imagined that there might be gold deep inside the Mump, stretching out beneath the strata of the rock. Go deep enough down, and you might eventually discover subterranean water, whose colour echoes the brilliant blue of the sky above. However, I will leave my image of the Mump to speak to you in its own way …

For those who are interested in the technicalities of these things, I created the outline for this collage using a cross formation assembled using blank jigsaw pieces, which then provided templates for the individual segments of the design. The borders of the cross are delineated using my quilling strip ‘sandwich’ technique , glued down on to an outline shape which I embossed on to the blue background card over mounting board, using the crooked end of a crochet hook. In this photo, you can see how I applied tiny dots of glue into the indented outline and allowed them to go ‘tacky’ for a minute or so before placing the ‘sandwiched’ strip into position on the background card:

DSCF7358

 

I am proud of this piece, which will be placed on public display at various locations in the coming months, unless previously sold. Should you be interested in purchasing it (or maybe even something similar, custom-made), please contact me by emailing quilliancemail@gmail.com or leave a comment below.

 

 

The opportunity I’ve been hoping for!

All too often over the past few years, I’ve been unable to share photos of ‘work in progress’ here on my blog because the projects have had to be kept ‘under wraps’ … usually because they were destined to be competition entries. I very much enjoy entering competitions staged by The Quilling Guild (and other organisations I’m connected with such as Taunton Flower Show), but I love my blogging too – and now, finally, I’ve got a new objective in view that I’m able to ‘go public’ with right from the start!

I have been invited by Freda James, the owner of Gallery Fifty Five (in Hartley Wintney, southern England) to submit a collection of framed quilled/collage artworks for display in her Spring 2017 Exhibition, where I will be introduced as a Featured Artist.

This means I now have twelve whole months in which to work on creating the pieces that I plan to exhibit (and hopefully sell!), bringing me exactly where I want to be in terms of featuring my activities publicly on this blog and perhaps even enhancing my reputation as an aspiring artist.

This very exciting opportunity arose for me after I had shown Freda a quilled/collage picture that I’ve just completed. Now, true to established form, I cannot show you this particular one in its entirety just yet because I’m intending to enter it into a couple of competitions in 2016 … but I am going to share a tiny section of it here so that you can see the kind of style that I’m going to be developing for my Gallery collection:

Window section

 

It features cut-out sections of various background papers on a black background, embellished with quilled shapes and bordered with ‘sandwiched’ lengths of bundled quilling strips … all linked together with a network of the quilled tracery that I’ve been developing in recent months, and which has already been featured in several of my earlier posts this year. Once the competitions are over, this particular collage is going to be the centrepiece of my 2017 exhibit.

I’m really excited by the potential for these tracery shapes in quilling, echoing the wonderful curved and intersecting patterns that are found in gothic-style stained glass window architecture. Now I have the opportunity to develop them fully and explore their potential in some ‘proper’ art pieces.

I started with some experimentation this past weekend, after obtaining a quantity of silver-edged mixed pastel coloured 3mm strips which have allowed me to try making some ‘multi-coloured’ tracery pieces:

Coloured tracery

 

The initial results are quite pleasing, I think. I obtained these pastel-coloured strips privately, but will be happy to share details of the supplier on request.

I also plan to do lots more work with the wonderful solid gold/gold edged and solid silver/silver edged strips from JJ Quilling Design that I now have in my stash and which have brought me the closest I’ve ever been to feeling that I’m actually working with precious metals.

Right now, I’m starting to put together my next piece in which quilled tracery will be featured centre-stage … and I’ll definitely be sharing it here as the work progresses. Maybe there are some potential buyers out there who are going to like what they see – well, you never know!!

 

 

Mullions, transoms and tracery

Tracery bouquet

Quilled tracery design by Philippa Reid; lace effect graphic courtesy of Karen Stimson

In Somerset – these things always seem to happen to me in Somerset – I was struck last year by an aspect of church architecture which I had never really noticed properly before.

I used to live near to the lovely old country town of Langport, and like to return there whenever I’m in the area – these days, it’s quite a ‘hot-bed’ of contemporary and traditional arts.

During a visit to the town’s breathtakingly beautiful All Saints Church, I stopped to look – really look – at the wonderful stained glass windows in the church, which are complemented by beautiful examples of tracery.

As I mentioned in my last post, tracery is the network of interlaced ornamental stone ‘ribs’ which can be seen supporting the panes of coloured glass. The upright posts in such windows are called ‘mullions’, while the horizontal cross-pieces are called ‘transoms’. Now, I’m not entirely sure where mullions and transoms stop and tracery begins, but I do know that the overall effect can be stunning, and the patterns which are formed can – with a little imagination – be effectively translated into quilling.

This has set me off on a real ‘quilled tracery kick’ which is taking me on an interesting journey of experimentation and discovery.

The basis of the tracery I’ve been making has been ring coils cut into consistently-sized incomplete circles (horse-shoe shapes). By gluing these cut circles side by side, I’ve been able to create patterns like this:

DSCF7275

… which has then led on to some new ideas for card designs:

Tracery fish

Tracery #2

Last week I was in Somerset again, and took some time to check out the fabulous church architecture to be found in the county town of Taunton. I took this photo of St George’s Roman Catholic church, whose main tower window is a classic example of the way in which tracery patterns can be linked together:

IMG-20160113-00065

Then I visited the amazing church of St Mary Magdalene where I discovered that these tracery patterns are also evident in carved wood pew-ends, the font cover and ornamental seats like this:

IMG-20160113-00067

The pattern in the photo above interested me, because in a way it’s ‘tracery within tracery’ – take a close look and you’ll see what I mean. So I had a go at reproducing the shape using metallic edged gold and silver strips – and this is the result:

DSCF7288DSCF7290

I love these patterns – they really to offer SUCH design potential. So please bear with me, because I suspect I am going to be continuing on my ‘tracery kick’ for quite some time to come!!