My Criminal Quilts exhibition has been touring since 2018 and after some pandemic cancellations and rescheduling, the last hurrah is coming up in February 2022. The exhibition will be on show at Llantarnam Grange 5th February – 2nd April.
I will be hosting an an online preview event accessible to all on Friday 4th February time TBC.
The exhibition will include lots of new work made in the last couple of years which you can see here as well as other pieces still in progress plus new collaborative community work.
There will be events in the gallery and online during the spring including a collaborative project inviting contributions from around the world.
After the exhibition, I’m creating an online live gathering event with other artists to share stories about making craft with powerful social and historical narratives. If you are interested in sharing your work at this event please contact me.
Do you have someone on your list who likes crime? What about concrete ? Maybe some silk ruffles to beautify a Zoom background? I’ve got quite a selection of unusual gifts in my online shop mainly under £50. A lot of my shop has been hibernating since I moved, so if you spot something that says ‘coming soon’ just drop me a line and I’ll see if I can find it for you! I’ll be posting until Monday 19th December so there’s plenty of time for UK shoppers.
Back before I moved house & studio I did a bit of making and completed some new work and then they’ve been packed away and I forgot to share them. So this is one of them, to be shown in the new, and final outing of Criminal Quilts exhibition in Feb 2022.
It seems to have taken me a long time to get this one finished. I had hoped to source more of the patchwork pieces and make this larger, but that hasn’t been possible so it is finished. This work is made from old patchwork pieces, Victorian cloth with original papers still inside. Before I bought them, someone had cut them apart, slightly ruining the edges as the fabric was cut as well as the stitching, making them very tricky to stitch back together
I’ve reassembled the pieces together, using a contrasting red thread. The paper inserts include prints of prisoner photos, documents and details as well as some of my own designs, along with the original papers where they survived. The original stitching is tiny white stitches joining the flowers, while my interventions are all done in red thread, both tacking the papers in place and joining the patchwork flowers. It’s important to me to show where I’ve worked, separately from the original work, like in textile conservation where all interventions can be reversed if needed.
These new pieces will replace some sold works and I am also selling some of the older work from the show and retiring a couple of pieces, to keep the exhibition fresh for the new venue.
It is interesting how much work has become smaller again, now I am working in the confines of my small studio with one table, rather than the larger pieces I made when I had access to university workshops in 2018. But I started Criminal Quilts with miniature pieces and I have always loved the small so this a return to my roots in a way. Having said that, one large Criminal Quilts piece is in development too, also for the new show at Llantarnam Grange Arts Centre, South Wales, opening 4th Feb 2022.
If you are inspired by the way I create work with meaning and research, you might like my Maker Membership, a group where I share resources to help you develop your own work. There’s also a social side with online chats and zoom meetings. It’s a really lovely community and it’s open now.
I’m an artist & maker exploring personal and collective narratives through textiles. I create for exhibitions, commissions and projects. I also write books, support other creatives through mentoring and consultancy / research work and I love generating my own projects, artist residencies and making things happen.
All of my work, across all of these different aspects is centred around making with meaning. I am fascinated by the hidden stories in all our lives and in historic objects and places. My work grows from research and contemplation and from collaborating with others.
This end of series episode of Making Meaning is just me. I wanted to reflect on the series, to share my thoughts and feelings about the amazing conversations I’ve had. I also wanted to add a bit more context about my own work and share more about myself and some of the projects I have worked on in the past, present and future. The themes that come up again and again in this series are about connection and collaboration, about the creative impulse and the value of our ideas, about research, about materials and making and about change, movement and belonging. I also introduce some ideas for the new series of Making Meaning, including a live event and longer, even more in-depth conversations.
And of course, there’s more of me asking for you to support the podcast with a contribution towards my crowdfunder to cover the costs of the new series and make it even better.
My Making Meaning podcast of conversations with creatives is coming to the end of 2021 series. I want to make the new 2022 series of Making Meaning even better. If you have enjoyed these episodes, please consider making a donation to my crowdfunder campaign before it closes on Monday 13th December at midday GMT.
So many of you have loved listening to Making Meaning over the last 6 months. It’s been a wonderful project for me too. I planned and recorded most of it while we were still in lockdown as a way of connecting with others and now being able to share these rich and inspiring conversations is a joy.
The podcast has really resonated with you, enabling you to learn more about your own making or creative work and to understand how artists think and work. It’s made connections across creative work and within and outside of my own textiles discipline. I’ve been able to share stories from museum work and other kinds of creative practice as well as craft and they are all so relevant and inspiring to hear.
I’ve been doing this out of my own pocket for the last year but really need to make it financially viable for 2022. I have to pay hosting fees, editing and marketing costs and then there’s my own time.. and I would love to be able to pay my guests something too as they have so generously given their time. There are a range of rewards including episode and whole series sponsorship.
My Maker Membership is now open for all makers wanting to explore their motivations and to build meaning and research into their practice and be part of a supportive creative community. We meet once a month and I share resources, tips and research to help you develop your own work. Find out more here.
It’s taken months and several funding applications to get off the ground, but I am pleased to say I have at last got my wellbeing project for foodbank users in Leicester up and running. I’ve been part of the foodbank / community hub volunteer team since early in lockdown last year, and I’ve had this dream of adding more than just food to what we can offer to support people. I wanted to use my community arts experience to create a programme of activities that support the wellbeing of people who are struggling with poverty, poor housing, insecurity, isolation and many other challenges brought on by or worsened by the pandemic. Volunteering during the pandemic really focussed me on trying to develop arts activities which really impact those who don’t have the privileges and access to the arts that I have.
I’ve now got a small pot of money for some consultation with foodbank users and to try a few different activities to see what people like & want. I’m also working with a local school who will help me create local history guides and walks and add their own touches to the wellbeing packs I plan to give out to those who sign up. Once the weather warms up, I will run some sessions in the foodbank too (it has no heating!) and involve local artists, writers and community practitioners to share their expertise too.
I only have 6 months of funding and I am already doing more than I am being paid for, but I have great ambitions to make this a long-term project and to support more people in the city, not just the foodbank users. I’m working with partners to find additional sources of funding and making use of my extensive funding application experience! It’s been such a great challenge to establish this new way of working and combining my volunteering / community work with paid project development work. I’m really excited to see where this goes and how it works with the community. If you would like to support the foodbank and the work we do, you can donate to our winter crowdfunder here. If you let me know I will ask for your donation to be put aside for the wellbeing work I’m doing.
In my Maker Membership group, sketchbooks come up a lot. Some love them, some are terrified by them and some are just not sure. I thought I would write about my own use of sketchbooks or project books as I prefer to call them. Using books to collect ideas, information, images, notes and samples is something I’ve come to later in my practice but I am so grateful for it now. I love making books about the work I am developing and find them enjoyable and inspiring to make and endlessly useful and fascinating to revisit.
I don’t like the term sketchbooks as it implies drawing and like many textile makers, drawing is not part of my process. I sometimes do annotated simple drawings but I don’t sketch. I struggled through my A-Level art aged 18 with some additional drawing tuition and have done very little representational drawing since. It’s just not a process I enjoy. I love mark making and creating patterns with pens, pencils and crayons and created a book of patchwork-inspired designs for colouring a few years back.
My ‘sketchbooks’ are usually created for a specific project. The first one I properly worked on was for a commission called Metamorphosis . The people who commissioned the work were keen to show sketchbooks as well so it was a good exercise for me in creating something I was happy to share.
I didn’t fill the small sketchbook for this project so it became a more general studio book instead. Studio books are where I keep samples, ideas, notes, fragments and other inspiring things that are otherwise loose in my head or in my studio. I go through phases of keeping these but I never regret it.
Since that project / studio book, I have created many others. I usually have a very general studio book on the go which has measurements, calculations, lists, sums, designs and working notes for whatever I am working on at the time. I don’t have one at the moment, it has tended to be when I am doing a lot of design work and exhibition planning and that’s not what I am doing these days.
What I have kept up is the project books. For the Leicester University genetics residency in 2017, I used an A3 book which gave me space for lots of drawing, notes, images and mind maps.
For the first part of Criminal Quilts, I had notes and sketches and ideas in a lot of different notebooks and studio books and really regretting not keeping it all in one place. When I started the 2017-18 Criminal Quilts residency, I knew I needed to keep a project book which I would share as part of the project. It has been to many workshops, talks, events and open days. Although I started making it as a public resource, it is also my working sketchbook or planning book. I have notes of pieces that I have since made or since abandoned, and things that are parked for the future. It has a lot of notes, lists, scribbles, mind-maps and drawings as well as the collected materials of inspiration. It helped me to have all this in one place while I was doing the residency as so little of the project happened in my studio. I was able to carry it all around with me. Having said that, the huge heavy hardback book I chose, whilst being perfect for display, was a pain to carry around on the train / on foot! I used a wheelie suitcase a lot for that project as my sketchbook was too big for a rucksack.
For the Libraries Live commission in 2019 I made a quilted book and a series of activity kits for library visitors. Throughout the residency I kept a decorative sketchbook intended as a record of my workshops and to inspire workshop participants. I decided to include the sketchbook as part of my commission as I felt it belonged with the other elements. As this was a commission, it was very different to my own work and has quite an unique identity. These photos are professional shots taken for the project and a nice record of the work for me to look back on.
My current studio books and project books are quite experimental including collage and print work and some gathering of inspirational materials. Before I packed away my studio to move over the summer I started working on a book of things that were lying around but worked well together. Postcards, samples, fragments, old paper and cloth, images and notes. This is not about a specific project but a process for me of making use and sense of the inspirational things I have around which might otherwise be on the walls or getting in the way in my studio. I refer back to this a lot – I simply enjoy looking at it and letting my ideas flow.
I have also got one which is purely for experimental collage and print work which I have just re-found after moving.
For my textile projects I have two ongoing project books, one about quilts which I started when I did my Fragments exhibition in 2017 and another which I don’t have a name for which is about my long-term research about damage and decay.
Writing this has made me think more about sharing some of my sketchbooks in a digital form which may or may not happen, but either way it has made me excited about getting back to my project books and adding more to them. Do you use sketchbooks or research books to gather your thoughts and inspiration? I’d love to hear about them.
There’s more about creating and using project books within my Maker Membership site. Membership is open now for anyone who makes and wants to build more depth and meaning to their craft practice, connect with a like-minded community and work with me. It costs £25 a month and you can join for as long as you need to. Find out more here or use the button below to join.
For this year’s Leicester Society of Artists* exhibition, I chose to show my tiny but powerful Protest Pincushion. Since this piece was made, the Police, Crime, Sentencing and Courts Bill has been passed by Parliament, putting an end to many of our protest rights and has criminalised stepping on land owned by someone else.
By including this protest piece in a generally traditional exhibition, I hope that different people will see it than otherwise might do on my website, and lead them into new ways of thinking about this issue. The exhibition is at Newarke Houses Museum in Leicester until 31st October.
Maker Membership with Ruth Singer, for textile makers who want to be inspired, creative, imaginative and make work with meaning.
When I was starting out as a textile maker, I really struggled with the reality of making a consistent body of work. I made all sorts of things in all kinds of designs, textures, patterns, colours and materials. I just wanted to make what I wanted to make. I don’t have a textile degree or any formal education as an artist / maker and really hadn’t had to create a consistent style for myself. As things progressed I became more and more aware of this being a problem and that it was holding me back from making an impact with my work. Fabric manipulation became my trademark and that helped me refine my style quite a lot. I used one technique on each piece of work and mostly used the same fabric throughout which really simplified and toned down all my colourful and textural excesses. I also fixed on making pieces on frames / panels which again slowed down my need to make clothes, bags, cushions and ALL THE THINGS.
Even while making this work I had other creative outlets including designing for books and magazines, so I did get to use some of the extra ideas without confusing my actual exhibition work too much. I never really got the hang of a consistent colour palette though, using the excuse that I worked with recycled fabrics and had to use what I could get rather than buying within a colour range. It was a slow development from this kind of work to what I do now but there were two projects which really forced me (in a good way) to change the style of my work for good.
These pieces, Monumental Folly, were pivotal in changing the way I worked. I chose to work with fabric manipulation techniques but add in a few other materials and processes and work with a very subtle palette. Above all though, these pieces had a narrative and meaning for me and that was what really worked. It then took me years to show these to anyone and exhibit them as I struggled to know if they were good. I was lucky to get some amazing feedback from the brilliant Emma Daker (Craftspace) who encouraged me to show them and later awarded me a prize for this work. That really helped me press on with the idea of making narrative work with limited colour palettes and with a strong underlying thread of history, building on my previous career in museums.
Around the same time I also started on the first Criminal Quilts pieces, directly as a result of making the Monumental Folly pieces. It was a huge creative challenge to create work from a criminal justice building rather than purely textile inspiration but it was a steep learning curve that has set up my career for the last 10+ years and helped me find exactly the right niche in textile art where I belong.
This process of creative challenge, revision, limitation and experimentation has helped me find my unique creative voice and allowed me to be consistent and considered in my ongoing work. I diverge and do slightly different things, bring in new techniques and sometimes colour palettes, but I feel now that I have a recognisable style and theme which brings all my work together.
Maker Membership is my online programme which I hope will take makers (and aspiring makers) towards finding this special place themselves. Creating work which is meaningful, consistent and imaginative.
What is Maker Membership?
It’s about tapping into your own interests, researching, thinking, considering, editing, testing and rejecting lots of ideas until the right one filters out. My approach to teaching in Maker Membership is about growing your confidence in exploring and refining your ideas. It’s about seeding those ideas with research prompts and exercises in exploration and investigation and then refining your thoughts to filter out all the excess to get to the thing that’s important.
This programme is not about learning to make what I make, it’s about learning to think like I do and applying textile skills that make sense with the meaning of your work.
What will it be like?
Each month I will create resources (audio, video, written – it will vary) around a theme which fits into a quarterly over-arching topic. Members can then develop their own ideas, sketchbooks (if they want), samples and research in a way that works for them. There’s no testing, no right or wrong and no fixed outcome that you have to produce. Everything is digital so you can join from anywhere in the world. There will be a monthly live ‘thing’, probably on Zoom but I will tweak that as we get going and adapt to what suits the members best. You can fit it in around your commitments and make it part of your daily /regular studio practice. The membership runs through the established teaching platform Podia and you will get emails with all the content. You can find out more here.
Are you ready to learn and grow with me?
Membership is £25 per month and you can stay as long as you need.
A new version of Ruth Singer’s Criminal Quilts exhibition is now open at Erewash Museum, Ilkeston, Derbyshire until 15th June 2021.
Museums are open again! I’m so pleased to have got this version of the exhibition open just a couple of week’s later than it should have been. Erewash Museum is a lovely old building, just perfect for showing a smaller version of Criminal Quilts in an intimate domestic scale space. With social distancing in place, I installed this entirely by myself so the small gallery space was welcome! I have added a time-lapse of putting up one of the piece at the end of this post for your entertainment. The exhibition is free and the museum is open Tuesday, Thursday and Saturdays 10.30am-3pm. You will need to book in advance with the museum.
I’m pleased to have been able to fit in most of the larger exhibition pieces but I have now retired the small framed mini quilts from the show to make space for new 3D collaboration work, some of which is shown for the first time. I’ll add more information about these works to the website soon so those further afield can also enjoy them.
Protest Pincushion is a craftivist approach to activism and protest, making clear my objection to the proposed Police, Crime, Sentencing and Courts Bill. I have used textile techniques and a gentle kind of object to make my point. I wanted to use text in textile, reflecting protest banners but in a small and personal way. I took my inspiration from historic pincushions with text made in pins giving in remembrance and as gifts at a birth. This approach also works for me as decorative pincushions are folk art, created at home for creative expression, not commercial pursuit. I’m also influenced by the new Craftspace exhibition We Are Commoners which explores collectivism and community. This piece is part of my commitment to making work which has social justice at its core and will, I hope, give viewers pause for reflection, consider the issues, research and investigate and form and express their own opinion, and take action where possible.
The Police, Crime, Sentencing and Courts Bill went through the first stage of parliamentary approval a couple of weeks ago, but there has been huge opposition to the bill which seems to have surprised the government. Civil liberties groups have expressed concerns about the proposed changes to police powers and there is widespread anger that the bill would impose 10 year sentences for damage to statues, which is considerably harsher than many sentences for violent sexual offences against women. And then there was the policing of the Sarah Everard vigil in London. I recommend this article in the Guardian for a simple outline of the issues. There are also issues with this bill about trespass laws which will have a huge negative impact on Gypsy and travelling people.
I have a complex relationship with public protest and have been to a few events over the years but I don’t personally like going to protest events. But it’s not about what I feel comfortable doing, it’s about our right as citizens to express our feelings about policy, laws and government activities in a meaningful and public way. I wholeheartedly believe that we should be able to and that they should be policed proportionately. Violence and criminal behaviour is what gets the press attention but it really is only part of the story. Peaceful protest is incredibly powerful and meaningful.
As a child, I watched tv coverage of Greenham Common protests with both pride and fear when my mum and her friends were there. It has become one of the most important stories of UK protest of the late 20th century. I’m interested in other people’s relationship to protest and what we take a physical stand for. Do you have a protest story you would be willing to share? I hope to create a piece of work reflecting on our feelings about protest.
Find out more about the Police, Crime, Sentencing and Courts Bill and the implications of it.
As well as the Guardian article above, there are petitions galore including this one from 38 Degrees.