Criminal Quilts film

Roll out the red carpet for the premiere of my new Criminal Quilts film!

This will also be shown at Festival of Quilts and most other exhibitions, technology-permitting.

Made by the lovely R & A Collaborations, filmed at Staffordshire Record Office and University of Wolverhampton, with thanks to Jan, Jan, Jan and Ann. Yes, I got all three Jans on one film!

Exploring quilt history

As I develop new work for my Fragments exhibition in the summer, I am investigating and exploring a lot of old quilts. I am continuing to explore my photographs and notes from the research visit to the Quilt Association’s collections in February and creating new technique ideas based on the structures, designs and history of the quilts. I am also investigating the antique quilts and pieces which I own myself and working out ways of incorporating elements from these pieces into new work.

 

 

I have also been investigating my own collections of quilts and bits, engaging in Quilt Archaeology (credit to someone on Instagram but alas I forget who). What interests me is not the fineness of the stitching or the patchwork patterns but the textures, the tactility and the reasons these quilts were made and used (or not).  I’ve been using drawing, painting, mark making and print techniques to explore my ideas, some of which are very large scale which will have dramatic impact and some much smaller and more intimate, like the quilts themselves, and invite close consideration.

 

Meanwhile, my Harefield Hospital Centenary Quilt project has been featured this week on the People’s History of the NHS blog.

Rowan leaves to represent Rowan Ward. Hand embroidery.

Fragments – Researching a new series of work

Small fragments of cloth combined to make a greater whole. Each stitch, each thread, each moment of the maker contribute to a broad canvas of narrative.

I have been invited by the Quilt Association to showcase some work in their summer show and chose to spend time developing new work inspired by their collections. Fragments is a series of work in textile and mixed media developed from my research with these quilts, from years of considering antique textiles and the stories they hold and from my desire to express my thoughts about museum collections through making.

For me, the joy of this collection is that it is mainly rescued quilts – saved from charity shops, from life as dust sheets and from languishing forgotten and unloved in garages. This collection does not aim to be a representative array of fine Welsh quilts it merely (and importantly) aims to save old quilts so others may study and enjoy their making. While the quilts vary enormously in age, provenance, quality and condition, they share a defining characteristic of narrative. Many of the locally-made quilts come with priceless stories about their making or their family history (accurate or otherwise) and those which do not have equally exquisite (to me at least) stories of tragic retirements in sheds and subsequent rescue. The stories which these quilts embody interest me as much as the cut of the cloth and the finesse of the stitching.

The quilts speak of poverty and extravagance, of luxury and desperation, of comfort and of tragedy.  They tell stories not just of their making but of their long lives. Some have been repurposed to catch paint or oil spills when handmade quilts had no charm or value. Some were made from the humblest of materials to keep loved ones warm and were never intended to be preserved, admired or studied. Others have had harder lives in the more recent past – badly repaired and hacked about or nearly ruined by machine washing with the best of intentions but with the most damaging effects.

 

To quilt enthusiasts, my preference for the discoloured reverse, the wrecked by laundering, the oil and paint-spattered and the pieced army blankets may be puzzling. But I am not a quilter, not a quilt scholar (except I admit of trapunto quilting) and I do not look at these pieces of old cloth as a someone who wishes to chart the piecing pattern or pass judgement on the number of stitches per inch. The humbler the better for me. The feel of the quilt is most important to me. What it says about those who made it, bought it, sold it, used it, abused it, preserved it and mended it interests me far more. My training in museum work taught me to look at objects from every angle, exploring every possible story to understand the thing as a whole, not as a purely visual object. As an artist I choose to look from one very specific angle and to explore that rich seam of narrative in as much detail as I can. I am interested in sharing, through my making, how these quilts make me feel.

I will be sharing the development of this work over the next six months on the blog and social media. You can also keep in touch via my email newsletter once a fortnight.

Alongside this new work I will also be showing my Fine Art Quilt Masters winning piece and other pieces from the Criminal Quilts series. The exhibition takes place at Minerva Arts Centre, Llanidloes, Mid Wales 5 August 2017 – 16 September 2017. I am also running a three-day Summer School on Experimental Quilting 31 August 2017 – 2 September 2017 (full details to come shortly).

Ruth Singer Criminal Quilt

Festival of Quilts

The Festival of Quilts at Birmingham NEC starts on Thursday 6th August and runs until Sunday 10th. This year I have a stand (E6) where I will be displaying some of my recent work, collecting textile memories and showing work in progress. I’ll have books, fabrics, trapunto quilting supplies and kits for sale too.

Star Quilt

Star Quilt

The Harefield Hospital commission quilt is in the main competition area too.

***I have some free tickets, so please get in touch ASAP if you would like one ****