plastic waste, Louise Underwood, Northumberlandia,

Recent ‘Green Pledges’ made for Northumberlandia Residency

Over the Summer I have been busy working on making individual ‘Green Pledges’ to illustrate some of the environmental commitments visitors to Northumberlandia in June and July have made by making small lifestyle changes.

plastic waste, Louise Underwood, Northumberlandia,

‘We pledge to try and reduce the amount of plastic waste we are using’, Green Pledge.

In a couple of weeks, all of the ‘Green Pledges’ made by local school children, young visitors to Northumberlandia made onsite and those I have made to reflect visitors environmental commitments, will go on display within the woodlands at Northumberlandia.

Here are some photos of a few of the finished pieces, with brief information about the environmental commitment that inspired the piece.

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‘Reduce plastic waste’ Green Pledge.

The ‘Green Pledge’ above, illustrates some quite shocking statistics:

  • Over the last 65 years, more than 8.3 billion metric tons of plastic has been produced.
  • Plastic can take over 500 years to fully decompose.
  • But only 9% of that plastic has been recycled (12% incinerated, the rest landfill/litter).
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‘To use no more plastic folks’, Green Pledge.

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‘To recycle more plastic items’, Green Pledge.

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‘Planting bee bombs in our garden’, Green Pledge.

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‘No more nappy bags’, Green Pledge.

The above piece reminds us that over 3796 disposable nappies are used by babies up to the age of 2 1/2 years old. I tried visualising that – not a nice vision, and all that to go to landfill. The materials used in disposable nappies are extremely slow to decompose. Many children will use more…

vegan, green pledge, Louise Underwood, Northumberlandia,

‘To follow a Vegan diet to help save the planet’, Green Pledge.

I admire all the people who have been involved with this project and set themselves a challenge to improve things for the their local environment and, often, themselves. There are many statistics about the positive benefit to the planet if more people have days where they follow a vegetarian/vegan diet instead of meat – a big reduction in carbon dioxide reduction would be one benefit and the use of land purely for food production would be another, to just name a couple of things.

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‘Planting flowers in our garden for the bees’, Green Pledge.

One thing I must highlight is that the majority of all the pieces of work made for the residency and the Green Pledges, are either made from recycled, vintage materials or from ‘found’ objects, which I have then further worked on – some in great detail. A great deal of my work is made this way. I collect vintage fabric from markets and charity shops, often I am given textiles that are still lovely but are of no use to the owner. I also ‘find’ things on my walks and recently, I have been bringing home plastic bottles etc that I have found littered whilst walking the dog in the park.

One piece I have made for this residency is made from just ‘found’ pieces like bottles from the park, cardboard dumped in our back lane, recycled wood and yogurt pots our council will not recycle. This piece is my ‘Gull’ which you can see below – I hope you like him!

gull, seagull, plastic, recyled, art, Louise Underwood, Northumberlandia,

‘To do a litter pick every time we go to the beach’, Green Pledge.

 

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Needlecase community workshop

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Needlecase project and ‘maker’ essential equipment.

Last year I worked on a large project to create the Shipley Art Gallery Centenary Quilt, whilst doing that I worked with a small, lovely group of women who were part of the ‘Syrian Family Group’ who met up regularly in Gateshead. The women made about 10 of the hand stitched patchwork squares for the quilt that is now on display at the Shipley Art Gallery.

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Hand stitching a needlecase.

Recently, the women have asked if I could work on developing some other projects with them, to help them get back into sewing. We decided it would be helpful to make up ‘sewing maker packs’, so that everyone had the essential equipment to get them going back at home. The pack included and pair of scissors, needles, thread and pins. So it was decided to make a needlecase as the first sewing project, to keep the needles and pins safe.

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Sewing flower designs onto the needlecase.

The needlecase was made with felt, so that it was practical, versatile and gave a lovely finish. The cases could also be further embellished with buttons and extra stitching.

We meet this Saturday at the Shipley Art Gallery and had a very busy afternoon. When crafting in groups, I always love the social aspect of it: lots of nattering, laughing and cups of tea!

Here are some of the finished hand stitched felt needlecases made by the group on Saturday.

 

Portrait to commemorate the 100th Anniversary of the Death of War Poet Isaac Rosenberg

This weekend is the sees the 100th Anniversary of the death of war poet and artist, Isaac Rosenberg. Over the last few years, I have been working on a series of portraits of poets who died during the First World War: Rupert Brooke, Wilfred Owen, Edward Thomas and here are photographs, with a bit of background about my portrait of Isaac Rosenberg.

Isaac Rosenberg

Isaac Rosenberg hand stitched portrait.

Rosenberg came from a deprived, working class background. His parents were pacifists who had fled from Lithuania so that his father could avoid conscription to the Russian Army, first moving to Bristol then onto the East End of London. He was the eldest son of Orthodox Jews and “for his part Rosenberg claimed that Jewishness gave him and his fellow Jewish artists ‘that which nothing else could have given’”. (Jean Moorcroft Wilson, ‘The Making of a Great War Poet’, page 3.)

Isaac Rosenberg

‘Daughters of War’ detail.

Rosenberg was a painter and a poet, he attended the Slade School of Art and trained as an engraver. Due to his background, he was automatically enlisted to the 12th Battalion of the Suffolk Regiment (a Bantam regiment) as a Private rather than as an Officer, he therefore found that doing jobs such as a stretcher bearer gave him more of a gritty reality of war and this is reflected in his poetry.

Isaac Rosenberg - Daughters of War.

Daughters of War

Within this portrait, I have used hand stitched references to his poetry and his life. A number of his poems I found very pictorial and as I was reading his biography by Jean Moorcroft Wilson as preparation for the portrait, I was noting ideas for imagery. One such poem was Daughters of War, which drove my I need to find a way to illustrate these ‘spirits’ taking the souls of the dead and dying soldiers to be their partners. I stitched frenzied figures dancing, with a section of the poem hand stitched around them.
The figures of the Daughter of War, also symbolise the soldiers who also dance around a flame in ‘Louse Hunting’. This poem depicts some of the terrible issues the soldiers had to put up with day to day, besides fighting in a war.

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Detail from portrait of Isaac Rosenberg.

‘Break of Day in the Trenches’ and ‘In the Trenches’ were two poems which I have also used to aid the composition of this portrait. ‘In the Trenches’ talks of a poppy at the top of a parapet, not far from the barbed wire of no man’s land, and the terrible aftermath of a shell with the poppy strewn on the floor.

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Detail from portrait, poppy on the parapet of the trenches.

I have also included imagery of Whitechapel Library where, before the war, Rosenberg spent many evenings with his fellow artists and poets, in this portrait Whitechapel Library is positioned in the place of no man’s land, where he would die.

Isaac Rosenberg, framed portrait at the Sage Free Thinking Festival, March 2018.

Framed portrait of Isaac Rosenberg at this years Radio 3’s Free Thinking Festival, at the Sage Gateshead, March 2018.

Rosenberg died at dawn on the 1st April, 1918 during a German raiding party but his body was not recovered until the 16th April near Arras. His war poetry is now considered to be some of the finest from the First World War.

Edward Thomas (1878-1917), hand stitched portrait.

I have been working on this portrait for far too long and I had dearly wished to have had it completed for the 100th Anniversary of his death, at the Battle of Arras, on the 9th April, 1917. My only excuse is that life got in the way, as it does…

The portrait is part of my series of portraits of First World War poets who died during the war: Rupert Brooke, Wilfred Owen, Isaac Rosenberg and finally Edward Thomas. I work by spending a lot of time reading and researching about the person first, as I like my portraits to have biographical elements in them, so that you ‘read’ the picture – not just ‘look’.

Edward Thomas 1

The beginning of my Edward Thomas portrait and research material.

I write copious notes whilst researching, noting influences, interests, where the subject lived, loves, past times etc. I also spend a lot of time reading their poetry, to help me develop an idea of who the person really was and what I feel would be important in the portrait.

With Edward Thomas, it was his love of the countryside, how it influenced his writing, for a long time writing prose and being a major author of books about England. Later, through the encouragement of his great friend, the American Poet, Robert Frost, he turned to writing poetry.

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Stage 2 of Edward Thomas portrait, with the map of the Battle of Arras on the day that he died, stitched in the background.

This love of the English countryside and what it meant to Thomas, was one of the reasons he choose, finally, to sign up to fight in the First World War. He didn’t need to, he was older (39 when he died), but through his poems – three of which I have stitched sections into his portrait – go someway to explain why he decided to go (first and last verse below):

For these 

An acre of land between the shore and the hills,

Upon a ledge that shows my kingdoms three,

The lovely visible earth and sky and sea

Where what the curlew needs not, the farmer tills:

……

For these I ask not, but, neither too late

Nor yet too early, for what men call content,

And also that something may be sent

To be contented with, I ask of Fate.

 

This poem was written on the day he decided to sign up, much to his wife Helen’s great distress.

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Edward Thomas portrait, detail of ‘tea’ painting into the areas of ‘fields’.

As you can see from the photos above, my portrait of Thomas, has the battle plans stitched representing the Battle of Arras on the 9th April, 1917. The different vertical lines, show the different stages: red dotted line is the front line, then there is (difficult to see in the photos) the blue, green, brown and black lines. There are also the infrastructure elements of the area, including the roads, railway lines and settlements.

I thought, once laid out and stitched onto the portraits background, the lines from the map resembled the layout of English patchwork fields as seen from the sky, which is how I developed the imagery. Linking back to Thomas’s love of the countryside.

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Edward Thomas, portrait detail of the compass.

As part of the map design, I decided to use a large compass, symbolising Thomas’s own inner moral compass but also reflecting upon his writing before the war Also linked to the compass imagery: he helped train fellow soldiers to read maps, he ‘read’ the aerial photographs and his last post was on the Observation Post, where he died.

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Working on the portrait at the BBC 3 Free Thinking Festival this year.

Besides sewing partial sections of Thomas’s three poems: For These, The Sun Used to Shine and There Was A Time; I have also stitched a small section of Shakespeare’s Sonnet No 73, as Thomas was re-reading his poetry and had a small book of them, which his wife had given him, in his pocket when he died.

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Edward Thomas portrait, detail of the poem ‘The Sun Used to Shine’ – a poem about his walks with Robert Frost.

I have also included abstract representations of some of the flowers he loved and wrote about, including tansy and old man’s beard. These his wife took to his grave to plant, with cuttings from their garden.

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Edward Thomas, portrait detail showing embroidered abstractions of the tansy flower.

This portrait holds many elements and reflections upon Thomas’s complex character. Hopefully it will intrigue and inspire the viewer to read and find out more about one of our much loved writers of the 20th Century.

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Finished portrait of Edward Thomas, stretched, pinned and ready for the framers.

Charles Darwin portrait, finished.

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The Man from The Mount (Charles Darwin)

My textile portrait of Charles Darwin (1809-1882), is part of my series of ‘Cultural Hero’ portraits, including William Morris and W. G. Grace.

I chose Charles Darwin to be part of my series for many reasons including: he was a very cool naturalist, he had a great beard, he was born in Shrewsbury (where I am from) and he had a very interesting life! Simply, he has always been a hero of mine.

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Charles Darwin portrait, first phase.

When I am working on a portrait, I never have a finished overall plan of how it is going to look. It evolves, over time as I am working on it. I tend to do quite a lot of background reading and like to find out more about the person, where they lived, so that I can drop in links to their background in the portrait. So when I first start, I machine sew the initial portrait onto white cotton, then paint it with tea!

Phase 2 Charlie

Charles Darwin, with hand stitched background.

The background was drawn on and hand sewn, it includes images of the Tatochila Theodice Gymnodice butterfly which he found 1834; Scymnobius Galapagoenis found in the Galapagos in 1831; the Vermillion Flycatcher, also found in the Galapagos and sundew heads, which are found near where he was born at The Mount, in Shrewsbury.

Phase 3 Charlie

Working on a tapestry frame, hand sewing and painting the details.

Once the lines are stitched, I start to paint in with acrylic whilst working on a tapestry frame. This keeps the textile portrait taught, as I am not working on a canvas and the fabric would very easily start to shrink and stretch in all the wrong places.

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Vermillion Flycatcher, Charles Darwin portrait detail.

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Tatochila Theodice Gymnodice. Found by Charles Darwin in Chile in 1834.

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Detail showing the Scymnobius Galapagoenis (the Ladybug Beetle) and Sundew heads, embroidered onto Charles Darwin’s cloak.

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Detail from Charles Darwin portrait.

Since finishing my portrait of Charles Darwin, I have started again working on my portrait of the War Poet, Edward Thomas, which I hope to get finished by the middle of March, ready for the anniversary of his death during the First World War, on April 9th, 1917.

 

The Shipley Art Gallery Centenary Quilt, finished.

In 2016, I was asked to work on a lovely, large community project to help the Shipley Art Gallery celebrate their 100th Anniversary in 2017. The Shipley Art Gallery has a fabulous collection of the decorative arts and a very long, established link with the traditional technique of patchwork and quilting. Within their collection they have hundreds of hand quilted pieces, which have either been wholecloth designs or made using English Paper Piecing.

The project took over 9 months and was ready for the anniversary celebrations in November, 2017. We had over 100 patchworked squares made by members of the community, some local and few were posted from different part of the UK. The pieces which didn’t form part of the finished quilt (not because of quality as the standard of the finished, hand paper pieced squares was fantastic), have been made into pieces which can be used with schools, community groups and general visitors to help explain the process of hand paper piecing.

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Planning the final position of the patchwork squares for the centenary quilt.

Once all the squares were collected in and registered. A small group of people who had worked closely with the quilt over the last nine months, came together to help with the very tricky job of deciding where to place all the finished pieces. At this point, the paper templates were still in the back of the squares. Members of the group took a couple of rows away to join the individual squares together, then two rows together.

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Reverse of the centre panel for embroidering, with it’s paper templates still intact.

During this time, I worked on the centre panel, which was made up of cream and white self patterned ‘Grandmother’s garden’ hexagons, which would become the area to embroider the text upon. This section was then sewn into the middle of three rows of squares.

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Detail of the embroidery onto the central panel. The silk was hand dyed and hand spin by one of the members of the group.

Once all the rows and the central panel of the patchwork were sewn together, it was then placed, pinned and quilted to an organic cotton wadding centre and cotton backing. It took a long time to just pin the three layers together, accurately, as the quilt by this point was 200 cm by 220 cm.

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The finished patchwork ‘top’ being pinned to the organic cotton wadding and cotton backing, in preparation for hand quilting.

I decided to use a new tool, called a basting gun, which I bought from Cottonpatch to ‘pin/tack’ the three layers of the quilt together. A bit like the tools used in clothes shops to attach price labels to clothes, which can delicately keep the layers together but also quick and easy to remove. It made things much quicker and cut out the damage pins could do. It also allowed me to use a large hoop to quilt with, as it was too large for my frames.

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Binding the edge of the quilt.

The quilt needed to be finished a couple of weeks before the centenary celebrations, as it had to go in the large freezer at the Discovery Museum in Newcastle. This is something which the museum and gallery service will regularly do with new items to their collection to ensure that no new contaminates are brought into their collection.

Throughout November 2017, there were lots of different events at the Shipley Art Gallery to celebrate it’s centenary and the quilt was at the centre of this. People from the local community including the women of the Jewish community, women from the local Syrian community, plus local craft groups, the Shipley Quilters and all those who had individually made a square, were invited to a lovely afternoon of celebrations at the Shipley.

Local Syrian ladies community group

Some of the women from the local Syrian community who worked on the quilt.

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Finished Shipley Art Gallery Centenary Quilt on display.

The Shipley Art Gallery Centenary Quilt, 2017.

The Shipley Art Gallery Centenary Quilt, 2017.

New interactive pieces for The Sill, Northumberland.

The Sill, is a new landscape discovery centre in beautiful Northumberland, very close to many of the famous Roman sites along Hadrian’s Wall. The Sill helps visitors to look deeper into the landscape, culture, history and heritage of Northumberland.

View from The Sill roof

View from The Sill roof

Last year, whilst The Sill was still being built, I was asked by the Education Team to work with them on creating some interactive bags for schools and community groups to use whilst visiting their building and galleries.

Inside The Sill

Inside The Sill’s gallery, which explains many of the uses of the landscape, materials and habitats found in the area.

A large part of last year I spent working on the Shipley Art Galleries Centenary Quilt but as soon as that was finished, we started planning in more detail what interactive materials The Sill would benefit from first and how they would like them to look. So the first two interactive bags I worked on was the Moorland Curlew Bag and the Geology bag.

Curlew 1

Curlew Children’s mask

The Moorland Curlew bag was great fun to make. The bag itself is large enough to carry all the interactive pieces in plus room for teachers notes. I always find children love as much opportunity to dress up – so any chance to make wings and masks is great!

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Curlew wings, child size.

The Curlew bag also had a crochet nest, with eggs plus worms for the Curlew to eat!

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Curlew nest and eggs.

Habitat bags always need a predator and what better than a fox – great fun for interactive role play!

Fox mask

Fox mask.

The Moorland Curlew bag itself had two sides, as the curlews nest in the moorland building their nests on the floor and they also spend their time at the seaside amongst the mudflats – which you may have seen, with their long, curled, distinctive beaks.

Using bags in the Sill

Moorland Curlew (mudflat side) and Geology bag being used at The Sill.

The geology bag looked at how the stone and the Whin Sill had been created over thousands of years. The bag itself illustrates very simply how the stratigraphic layers in the area have built up to create the landscape and stone in the area.

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Geology bag cover, textile illustration of the stratigraphic layers in Northumberland.

To help illustrate to children visiting with schools and community groups, small textile panels were made to show how the local stone is used in Hadrian’s Wall, making roads, sandstone walls and limestone kilns.

This bag was also quilted so that rocks and stones, plus other materials could safely be placed inside.

Interactive 'stone' pieces

Four textile panels illustrating the use of stone in the area: top left – road building, top right – sandstone walls, bottom left – limestone kilns and how limestone enriches the ground and bottom right – Hadrian’s Wall.

These bags have now been delivered and I am now working on a ‘Dark Skies and Mythology’ bag plus a large, layered map which will be used up on the grassed roof, to assist discussions about how the landscape has changed over the last two thousand years.

The Shipley Art Gallery Centenary Quilt update

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100 finished hand patchworked squares positioned for sewing together.

Over the last five months I have worked with and meet with people from all over Gateshead, the North East and the UK to encourage people to be part of the Shipley Art Gallery Centenary Quilt. We have now received over 130 squares which have been made using traditional hand sewn,  hand paper piecing technique known as English Paper Piecing.

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Designing and making individual squares.

As part of the programme to make the quilt, there has been a weekly class held at the Shipley Art Gallery in Gateshead. Attending were a mixture of people who had patchworked before and people who hadn’t stitched.  This was a really vibrant and supportive group of people, who within a couple of weeks were advancing very quickly in their skill development and very confident in using the new technique they had learnt to create their own designs. There was also a great opportunity for skills sharing and even the embroidery silk which will be used to stitch the lettering was hand spun during a skills sharing moment by one of our very talented group.

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The Shipley Art Gallery proved to be a great inspiration for our designs.

I have also worked with local craft groups, visitors the the Radio 3 Free Thinking Festival, members of the local Jewish Community and a Syrian Women’s support group. This has been a lovely opportunity to talk to people about how sewing,  making and craft has played an important part in their family, community and culture.

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Just a few of the 130 squares made!

Members of the patchwork class have been helping me over the last couple of weeks to sew the 100 squares together into rows and then the rows together.  This has been a fantastic help, as I am working on the central panel which is white and cream hexagons sewn in the ‘Grandmother’s Garden’design. This will then be embroidered with hand spun silk to create the lettering. Next month, October, I will then start to quilt the piece ready to be hung in the Shipley Art Gallery for the 22nd November, 2017.

 

 

How to: English Paper Pieced Patchwork

Patchwork has a long tradition of using precisely cut, paper pieces to ensure that the complex geometric designs fit neatly into place, ensuring fewer mistakes and more economical use of fabric – which was and can be expensive.

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Finished, hand stitched Pinwheel design.

Follow these simple instructions below to help you with your own English Paper Pieced patchwork.

Patchwork 1

Stage 1

  • Pin the backing paper to the ‘wrong’ side of every fabric patch.
  • Fold over the seam allowance and pin it so that the paper and fabric are the same size.
Patchwork 2

Stage 2

  • Tack around this edge – contrast cotton works well as it can be easily removed later.

TIP: When sewing the corners, use your nails to ensure you have folded the fabric neatly to the points, then create ‘wings’ in the excess fabric, which will remain on the underside of your patchwork piece – giving you a neat sewing edge on top.

Patchwork 3

Stage 3

  • Place two patches, ‘right’ sides together, line them up carefully so that each corner you are going to sew from matches.
  • Pin along this line.
Patchwork 4

Stage 4

  • Then sew a very small whipstitch/over stitch, sewing this edge together – try not to sew through the backing paper.
Patchwork 5

Stage 5

  • Continue placing new pieces together.
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Right side of English paper Piecing.

  • Looking at the ‘right’ side of the fabric, you should be able to still see the hand sewn whipstitch you used to sew the two pieces together. This gives it it’s authenticity and adds beauty to the piece.
  • The tacking stitches you can see around the edge (and the paper inside) will eventually be take out, once all of the patchwork/quilt has been pieced together, before the backing fabric is placed on.
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Finished, hand stitched Pinwheel design.

 

Get involved! The Shipley Centenary Quilt Project

The Shipley Art Gallery in Gateshead, Tyne and Wear will this year be celebrating its 100th Anniversary, after being founded following a bequest by local solicitor Joseph Shipley (1822-1909). The gallery holds a beautiful collection of European Old Masters, to Victorian and more modern paintings. It now is also extremely well know and highly considered for its collection of decorative art including ceramics, textiles, wood, metal and glass by local and national makers. The Shipley Art Gallery has an amazing collection of whole cloth and patchwork quilts, which the North East has a long and strong tradition in making, either for private use or as a way of making money.

As part of the celebrations, I have been asked to work with and encourage creative people to work together to make a new patchwork quilt. As traditionally, patchwork would have been made using English Paper Piecing, this quilt will also follow in the tradition. To make this quilt, we need 100, 20 cm square (plus seam allowance) hand pieced panels.

 

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One finished 20 cm square patchwork panel for the Shipley Centenary Quilt.

 

If you would like to get involved, the individual patchwork panels need to be returned by the end of August, either to myself or the Shipley Art Gallery. The finished patchwork quilt will be on display for the centenary celebrations towards the end of November. So, this allows a couple of months to piece all of the panels together and to quilt it.