They called her Imelda

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At this stage, I relied on the fabrics themselves to provide textures and patterns. I really wanted to do some kind of course which would help me understand design principles and how to develop my textile skills. I would have loved to have been able to actually attend textile design classes somewhere but my home is in rural Ireland, a long distance from any art colleges. When I looked at online courses I found that they were not suitable for me since they were either too expensive or involved long course commitments or examinations.

I wanted to learn in a less pressured way. The course seemed to be very well organised but still allowed flexibility so that students could work at their own speed through the assignments. I was one of the first students to enrol in the original outing of the course in June A key takeaway for me has been to practice and experiment with stitches first, break down any challenge into smaller elements and take it slowly step by step.

Because each assignment was small with grids of only 5cm x 5cm, it was not a very daunting task and so it was easy to just try one little area and then the next and so on. This process encouraged me to stay calm and not to be frazzled by the work. Experimenting with running stitch in the first module helped me see that by varying the threads, spacing and direction of stitches, very interesting effects could be achieved. By the time we were introduced to the whole range of simple stitches — running stitch, backstitch, mock herringbone and couching and we could experiment with layering, mixing threads in the needle and weaving, an endless range of possibilities lay before us.

I could see that I did not have to continue to search for particular pieces of fabric to make my designs since I could make the patterns and textures myself, which was a big step forward. What elements of making textile art were you struggling with in terms of the creative process and how has your approach changed? Before I did the course I was very unsure of my creative potential, my textile skills and design abilities. However, my experience of doing the stitch experiments and getting positive feedback from Sue and the other students helped build up my confidence.

When the course ended I felt confident enough to join the Cork Textile Network CTN , a group here in Ireland, and within a few weeks of joining I was invited to submit work to an exhibition. Two small pieces were accepted into the exhibition and I was so thrilled and excited.

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I know that before I started the course I would never have dreamed of submitting work to an exhibition. Working within limitations in order to fuel the creative process is a core concept of the course. How did you find that limitations affected the way you worked? The assignments were achievable enough to change the focus from my own abilities to solving a small puzzle and using simple stitches to complete interesting patterns and textures.

It was great to see the novel way in which other students solved these puzzles when they posted their work and I think this encouraged all of us to be braver and try out different ideas without worrying too much about their success or failure. Sue was a great help to all of the participants and brought along many samples of her work to guide us.

When the self-portraits were completed they were exhibited in the Knitting and Stitching Show in London, Dublin and Harrogate. I am now working on creating landscapes which have depth and textural interest. Since I started making landscapes last year I feel I have developed my skills in this area and I have particularly enjoyed my recent work in which I tried to convey the 3D nature of rocks by using wadding, water soluble fabric and hand stitching.

Two of the most useful skills I discovered while doing this course were mixing threads in the needle see the picture below: Mixing threads in the needle and weaving assignment — influenced by Murano glass which I saw in Venice and couching.

I have continued to use these techniques in many of my pieces since taking the course. The greatest challenge was to keep going. It was sometimes tempting to put off starting the next assignment especially if it seemed initially difficult or unfamiliar. However, the practice of taking up the next challenge and trying it out in the small grids helped keep me motivated. How were you supported on the course and did the interaction with Sue and the other students play an important role in your development?

I suspect that students who study in art colleges can gain very valuable experience from showing, displaying and discussing their work with others. I never had that experience so I kept any work I did more or less hidden from others.

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Many people I knew from my teaching, musical or environmental working life did not know that I was interested in textiles at all. So my biggest fear was showing my work to others, worrying that it was and that my textile skills were poor. However, like a child taking their first wobbly steps in a supportive environment, I found that Sue and the other students helped me tremendously as I posted images of my assignments. Even if my posts were mediocre and many of them were the comments and feedback from the other students and Sue helped to give me the confidence to continue and begin to view myself as a textile artist.

What has been your experience of making textile art since completing the course and which elements of the teaching do you revisit when creating your work if any? It has been a great experience for me to be a part of this wonderfully supportive and creative group, who have provided me with an abundance of inspiration and opportunities to submit work to exhibitions. I would strongly recommend that other people interested in textiles join a similar type of active textile group and keep developing their skills. In September CTN invited members to submit a piece influenced by a book.

The curator selected my piece to go into the exhibition tour with the Knitting and Stitching Show and it was subsequently sold at the exhibition. I was also influenced by my own experiences of living in Canada and teaching First Aid to First Nation and other Canadian communities in the outback of North-western Ontario. This piece conjures up for me the harsh but hauntingly beautiful landscapes of wintertime in Canada.

Harris and Tom Thomson and their treatment of winter landscapes. I tried out a number of sketches, chose the one I was happiest with and outlined the sketch with pencil on Vilene also called Viceleen. I used fabric paints on the main background, cotton, recycled fabrics and silk for the body of the work, wadding to produce 3D effects on the rocks and water-soluble fabric and a wide range of threads to develop textural interest.

Have you ever harboured a secret love of art but lacked the confidence to share what you create? Joseph Pitcher is the son of textile artist Sue Stone. Find Joe on Google. Greetings, Yes! This is me. Now I must say I have displayed my fabric art in a coffee shop and in a herbal clinic but never have I mustered up the courage to display professionally. This is probably due to the fact that I do not have a degree in art…although I do in Anthropology and Environmental Studies.

That is why I use only recycled textiles and even some plastic objects. I love your content. It inspires me and makes me feel connected to other artists in this exciting medium. Kind Regards, Lisa Marchant. Who says you need a degree in art? You are an artist by your own ability.

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Hi Lisa Many thanks for your lovely comments. I know how you feel having qualifications in an area which is different from art. It can feel as if you are not entitled to consider yourself as an artist! But maybe that stems from specialisation in jobs nowadays but I think people can have a wide variety of interests and skills. You obviously have a strong interest in art and are exhibiting your art so go for it and move on to the next step of exhibiting in a larger venue.