I thought it might be of interest to record and share some of the creative thinking behind the project and the steep learning curve as it progresses…
At the start of the project I am faced with a blank canvas. No colours, fabrics, set themes, images, words are decided upon, the artwork can go in any direction. But I don’t want to go and meet my fellow collaborators with nothing, I prefer to go with a framework, ideas that can be discussed, elaborated on, edited or even teared up. So the fun begins.
Everything starts with the war widows themselves. Thankfully a lot of interviews and background material has already been gathered by Nadine Muller and her team. For me the artwork is another way to communicate the stories. So what might war widows’ want to communicate? And how do we celebrate their stories, their lives? their individualality? They have been left out of the history books, out of the museum collections, this quilt and poetry collection aims to make a small contribution to addressing this, it’s a domestically sized artwork with big ambitions.
Some of the most successful artworks I’ve collaborated on in the past are the ones that play the materials and techniques against the subject matter, for example in the artwork Fresh Air and Poverty, a quilt illustrating how the World Wars impacted poverty and strife, I choose sumptuous fabrics, associated with wealth and splendor, silks, satins, velvets, colours associated with royalty. I aim to make artworks that make you look twice, surprise and gently challenge. So this time I’m taking a selection of fabrics that have been worn by the armed forces, masculine, formal, speaking of authority. I bulk buy 50 shirts, and carefully take them apart, as I’m doing so the material whispers to me, some still smell of their last owner, are stained around the collar or cuff, some have a name written in marker on a label or hem. The structure of the shirt suggests things, the shoulder epaulet when removed from the shirt, becomes a decorative edge for the quilt. The shirt pockets could hold secrete messages, love letters…
I’m looking for inspiration for the quilt technique, something that is relevant and meaningful. A memory comes of a quilt seen at the Quilters’ Guild. ‘Crimea Quilts’, quilts were made by soldiers, sailors and regimental tailors, at around 1860-1880s… from military felted woollen fabric. The romantic story is that these were made by convalescing military men in their hospital beds. The actual history is rather fuzzy around the edges, we don’t know who taught men these skills, or exactly where they were made. Each quilt is unique, but many share a similar look. They are a intricate, beautiful, ambitious artform and seem a perfect starting off point. I start collecting images.
Each element of the artwork is thought through. I take to my first meeting with the War Widows’ Association the fabrics, images of the Crimea Quilts and suggestions for the sizes of the individual pieces we work on. Phil Davenport (the lead writer) has been talking about letter writing as part of the inspiration for the poetry collection. I’ve taken that idea and run. I’ve sampled tiny postage stamp size squares, patchworked together. I’ve used the size of airmail letters and envelopes as templates for fabric rectangles, these I hope will be stitched onto with words or images. I suggest the war widows write and stitch their names and the husbands with their date of birth and perhaps their husbands date of death.
Our first meeting is a wonderful mix of laughter, lively discussion and food. Lots of food. The fabrics are examined and given approval and as I hoped spark of conversations. The ironing of those shirts, the men inside them. I am reminded not to leave anyone out- I put on my shopping list red fabric to represent the War Widows’ Association and tartans, how I love tartan.
I am rather taken a back when members of the War Widows’ Association don’t just want to write their signatures and DOB, but they start to stitch, it’s 10 oclock at night and we are having a fabulous impromptu embroidery session. Un-finished work is carefully wrapped to be completed on train journeys home, in precious moments of peace.
I couldn’t have asked for more. Time now for more sampling, cutting out and preparation of hundreds of rectangles and squares of fabric. I might just have to get the iron out.