My Maker Membership is all about creative growth – learning new things, looking at your own work in new ways, connecting and sharing with others and taking your creative practice forward. I have invited current Membership to share their work in a new online exhibition focussing on how they have grown creatively through the membership and the community of other makers. I wanted to offer members an opportunity to show their work (some have not exhibited or shared their work at all before), to have a deadline to finish a new piece and to see what the others in the group have been working on. I am so pleased and proud to present a very eclectic but highly creative and thoughtful group of works. Have a look at the exhibition here.
The online exhibition of 13 members work, plus a group project and one of my new pieces of work, is available now until the end of April 2023.
If you would like to boost your creative growth through this group and the support I offer, membership is open to all makers. You can find out more about Membership here.
If you are looking for a creative community with ongoing support and resources to challenge your thinking and take your creative practice further, have a look at my Maker Membership. It’s a monthly rolling membership that you can join any time. I create workbooks, blog posts and videos about all kinds of things including research, creative development and reflection. There’s also a lively community who share their work and their thoughts via the members chat and we meet monthly on Zoom for a group mentoring session which is always really inspiring and encouraging. It’s £25 per month to join with no minimum term. Find out more here.
I’ve had a rather hard winter so far, but a small beacon of joy has been the success of a project application to work with the National Forest on an arts project about hedges. I’ve been pretty obsessed with hedges for a long time but since moving to the edges of a town in 2021 and walking along hedgerows pretty much every day, they have started to creep into my creative consciousness, not just my environmental consciousness.
Blossom & Thorn, a hedgerow homage for the National Forest
An exploration of the extraordinary and humble hedgerows of the National Forest with artist Ruth Singer. Over the coming months, Ruth & a team of volunteers will be meeting with hedges along the National Forest Way and sharing their stories. From this gathering of hedge learning from old maps, from observation and emotional connection, Ruth will create an artwork to be shared within an ancient hedge.
This project gives me the opportunity to explore some of the hedges along the 75 miles of the National Forest Way, a long distance footpath starting about mile from my home and rambling across the National Forest in Leicestershire, Derbyshire and Staffordshire I will also be working with volunteers to walk sections of the Way and report back to me on any hedges they find, and their condition. I will collate all these hedge stories into an artwork which I hope to present at an event in the summer (tbc). If you would like to get involved please let me know using the contact form below.
I’ll be leading a guided walk on Saturday 29th April in Leicestershire and tickets for that will be available soon.
On 20th April I’m giving a talk for a symposium at De Montfort University, Leicester. The programme is full of fascinating talks and presentations about biographies through objects. My presentation description is below. The event is free and all are welcome.
Emotional Repair: personal stories in cloth and stitch
My artist practice is entirely tied up with my first career in museums. Since my Museum Studies MA 25 years ago, I have been intrigued by our reverence for objects and the power of objects both to fascinate us and to embody stories. This has become a fundamental part of my research-led textile practice, in which I often work with historic garments as source or material. My work stems from my museum training of exploring objects from different angles and my passion for textiles and the stories we create around them. My artistic practice is counterpoint to museum practice by considering irreparable textiles as valuable. My work with old cloth is a thoughtful and considered interpretation of conservation and preservation methodologies and practices.
In this paper I plan to present two bodies of work which come from the same core interest in how cloth holds life stories. Garment Ghosts is an ongoing body of work created from badly damaged and irreparable antique clothing, to which I give new life by remaking. I unpick clothing and textiles beyond repair and the fragmentary cloth is brought back to life through trapping the disintegrating garment between transparent layers, keeping the outline of the piece but also opening up seam allowances and pleats to take the fabric back to its original form.
Imprint is a commission to make a new piece of work inspired by a family textile collection, where I was asked to preserve the garments intact which presented me with an intriguing challenge of working with a textile collection without cutting anything. Unlike much of my work using garments divorced from their humans, I had a clear provenance and stories to go with these pieces. I created an archive box of small pieces telling stories of damage, use, fragility and human experience.
I was thinking yesterday, on a museum visit, of the power of personal stories in heritage and in art practice. I often use objects as my source material but the stories about real, named women are what has made Criminal Quilts so impactful. It’s been important to me all the way through this 12-year long project to emphasise that the women in the photographs were real, troubled women with multiple challenges in their lives, in a harsh system which tried to remove their individuality in prison. Their stories deserve to be told and remembered. My Criminal Quilts book has short case studies of 37 women and I have added extended biographies to my website since the book was written which you can find below.
Criminal Quilts is my first self-published book and it’s been a joy to share it across the world. It’s 80 pages full of prison photographs, the background to prison photography and details of the 500+ photos of women in the Stafford Prison archive. It also covers all the textiles I made up to 2018 and much more besides. It’s £16 available directly from me here.
I’ve been asked a thousand times how I got into this project and how I got from prison photographs to the quilts and other work I have made over the years. It’s almost impossible for me to define my long, slow working process, but I have been working on ways to share my research and development processes with others. My Maker Membership is designed to do this: helping other creatives who want to build in more research, meaning and connection into their practice. It’s an online group with resources and workbooks to help you define your practice and a friendly group to share and connect with. Members always tell me just how brilliant it is to find your people – others that understand what you are trying to do with your work and are properly interested in your ideas and want to support you to do your best work. I am really proud of this amazing space I’ve created and I want as many of you as possible to benefit from the support and development it offers. I have some free Find Out More events coming up soon but you can always find info here.
I truly believe that connection and community are vital to creativity. It’s hard to be making work on your own without conversations, feedback and inspiration from others. I created Maker Membership, my online community, during the pandemic to bring makers together to share, talk and be inspired. One of the problems of running an online membership is that it’s hard for potential members to know what it’s like without joining first. I’ve been working out ways to share a bit more about the membership so that I can welcome more new members to benefit from the support and community it offers. I’ve got two live events coming up and I’ll be sharing some preview content in the next few weeks too.
Instagram Live
I’m going to be talking live on Instagram on Monday 27th Feb at 7.30pm GMT and you can ask me any questions.
Free online group session
On Thursday 16th March I’m hosting a free trial session of our monthly group mentoring session. There are 8 spaces available in this one-hour session. You can book here. I’ll be doing another one later in the year too.
Would you prefer to read about it?
You can read about the membership here on my website. I know not everyone loves a Zoom call or can access Instagram live. I’ve got a post coming soon on how to find out more and take part in the membership if you prefer to read quietly, not come to Zoom calls. All are welcome!
Any questions?
You can join either of those sessions to ask me questions or if you prefer, leave a comment here and I’ll respond.
Ready to join?
That’s great. New members can join any time, your membership runs monthly from the day you join. It’s £25 each month and you get two months free if you join for a year once you know it’s right for you.
Textile Study Space is my online school for all things stitch and fabric. It’s a subscription site for just £5 with monthly posts and a growing archive of things like this.
I’ve been slowly building my Textile Study Space over the last year with new content about textiles, inspiration, my work and some techniques and ideas for how to use stitch and cloth.
In the last few months I’ve added a mini video workshop on stitch meditations like these here.
There’s also technique posts about negative space embroidery and about this glorious antique stitched card.
There’s a video lesson on how to make these little irregular patchwork windows (left) and a study of an antique patchwork (below).
There’s a tour of my fabric stash which is quite extensive!
And lots of background posts about my work including my use of digital print and studies of antique textiles.
And it’s only £5 monthly subscription for all of these archive posts and something new every month. Find out more and join Textile Study Space here.
If you are looking for a creative community with ongoing support and resources to challenge your thinking and take your creative practice further, have a look at my Maker Membership. It’s a monthly rolling membership that you can join any time. I create workbooks, blog posts and videos about all kinds of things including research, creative development and reflection. There’s also a lively community who share their work and their thoughts via the members chat and we meet monthly on Zoom for a group mentoring session which is always really inspiring and encouraging. It’s £25 per month to join with no minimum term. Find out more here.
I’ve been working with the brilliant coach Sarah Fox for the last few months, trying to pin down exactly what it is that I want to do with my freelance / consultancy practice. One of the issues of building this side of my work is that I don’t talk about it online very much so people don’t know that I do it! Working with Sarah has helped me define what it is that I do now and what I want to do more of, focussing on supporting individual artists and creative businesses and working with organisations to do this too. So look out for more on this!
I recorded this podcast with Sarah back in early December when I was recovering from Covid and am pleasantly surprised to find that I could string a coherent sentence together! We talk about freelancing and changing careers, about finance and selling our work, about not working for free, about different business models and about my business model based on sharing and collaborating. This conversation was incredibly useful to me in starting to articulate what I want to achieve and what my purpose is. I talked about my Money Manifesto that I was working on… that’s fallen a bit by the wayside with ongoing family things happening this winter but I will get back to it soon.
We talk about how to create and sustain a business built on sharing and being generous, about the challenge of selling our creative ideas, about working for free or not and about the issues of pay in the creative freelance world. You can listen to the podcast below or find and follow the series on your own podcast app. I would love to know what you think. You can also watch the recording on YouTube here too (or below), if you would like to see us both.
The world is pretty distracting at the moment isn’t it? Creative practice is pretty distracting too. Confusing as well. It’s all too common to find ourselves wading through too many ideas and not knowing which to concentrate on, or struggling to know what ideas are worth pursuing. Running a business and keeping moving forwards with creative practice is even more complicated. There are so many potential projects, ideas, collaborators, ways of marketing, types of selling, different products and oooh that new shiny thing over there that is tempting us away from the stuff we’ve already started.
Do you struggle to find the right focus for your creative energy? Keep trying different things in the hope that this is the ‘right’ one? Want to do all the things and not concentrate on just one at a time? I really do understand. My early years in creative practice were pretty messy. I wanted to do everything even though I didn’t remotely have the time. I wanted to experiment and try new things but I also wanted, desperately, to be proficient and skilled and really expert in one thing. It’s all a bit much.
What I’ve learned in the 17 years I’ve been doing this is that focus is absolutely vital in making a success of a creative practice or business. You can’t do everything. And the thing(s) you focus on have to be the things that are most important to you, not what someone else told you should do.
That’s really what Find Your Focus is all about, honing in on the things that really matter, the stuff you love and want to put all your energy into, not what distracts you and that you think you ought to be doing instead.
Work at your own pace with this online course
I’ve created Find Your Focus from my Gentle Goal Setting course, workbook and live workshops over the last couple of years. After working with lots of people and doing the gentle goal setting process myself three times, I have refined and expanded it into a wider course looking at identifying your focus points or guiding lights for the year to come.
Over five weeks of online video courses, plus two workbooks, we will look at your creative core values, review the year in a realistic and gentle way, dig into what matters to you most, why you do what you do and how to single out those areas of focus that will be taking you forwards into the new year.
You’ll work at your own pace through the video lessons and workbooks but with accountability and reminders through the weekly course emails. There are two workbooks to download and keep too which you can refer back to whenever you start to lose your way. They include printable sheets of your key focus points and help you break down each focus into achievable goals and action steps.
I honestly find this process so valuable and have loved sharing it with many of you over the last few years. I hope this version of Gentle Goal Setting – now Find Your Focus will help many more in being gentle with ourselves and our plans while also achieving the things that really matter.
Find Your Focus starts on 3rd January with a pre-recorded video lesson and four more each week until 31st January. You can join any time.
If you find you want more support there will be a discount code for subscribers of the course to book 3 or 6 sessions of 1:1 mentoring with me.
Artist Mentoring
If you are feeling a bit at sea with your creative practice, I’m here to help. I’ve created my mentoring programmes after years of working with and supporting artists and really understanding the challenges of creative life. I’m on your side to help you figure out the meanings and the reasons behind your creative practice and how to move forwards. Find out more here.
If you are looking for a creative community with ongoing support and resources to challenge your thinking and take your creative practice further, have a look at my Maker Membership. It’s a monthly rolling membership that you can join any time. I create workbooks, blog posts and videos about all kinds of things including research, creative development and reflection. There’s also a lively community who share their work and their thoughts via the members chat and we meet monthly on Zoom for a group mentoring session which is always really inspiring and encouraging. It’s £25 per month to join with no minimum term. Find out more here.
Artists and freelancers regularly get asked to do unpaid work for organisations and institutions. In this blog post I discuss one of the common scenarios, share some thoughts on how things need to change and suggest some actions you can take.
This is a perennial complex problem for those of us working in the arts and one I regularly want to moan about. So instead I’m giving it some thought and offering some alternatives to approaching this thorny question. Opportunities to give away your artwork, time, expertise, knowledge, potential earnings and wellbeing are bountiful. The creative world is full of ways for you to not earn any money. Finding ways to do the opposite and make an income is one of the greatest challenges of creative practice.
There are some things in the sector that pop up again and again which involve working for free and I have been thinking a lot about about how to make these decisions for yourself and how to try and make changes in the sector so this happens less.
There is no one simple answer to whether or not you choose to work for free as it all depends on:
where you are in your career
what you are being asked to do for free
your own financial situation
the financial situation of the organisation offering the thing
what else you might get out if it
The main thing to remember and to focus on is exposure does not pay the bills. Artists cannot live on goodwill. Those of us that have to make a living cannot keep being undercut by those who can afford to work for free. What ends up happening is those who need to earn a living say yes to unpaid things because it’s presented as ‘good for their career’ and they don’t have the confidence or leaderships skills to say no and why.
Choosing to work for free is a different thing – writing a speculative application, a proposal, responding to an open brief, donating work for a charity etc is a matter of choice. The problem really is when artists are asked to do work which really should be paid, such as running events, providing design or creative work or giving up their time & expertise to help a funded organisation do their job. It’s the latter I am focussing on here.
Over the 17 years I have been self employed, I have done plenty of unpaid work and I still chose to do some now, but only if I don’t feel exploited by the organisation and when it is otherwise beneficial for me. I choose not to work for free when it is mainly beneficial to an organisation with paid staff.
I do consultancy work for organisations on artist support and development activities as well as offering mentoring, training and business support to artists and creative businesses in partnership with organisations. Please get in touch if this is something your organisation would like to develop.
In the last few months I have been asked to be on a selection or jury panel for open exhibitions, both run by organisations with local authority funding support and salaried staff. With exquisite irony, this is exactly the thing I have been writing a report about for Artquest – for which I have been paid a professional consultancy fee. The report I’ve written is about artist Open Calls and making them more equitable and fair for artists. There’s a lot in this project about unpaid labour for artists, about paying fairly, about appreciating the value that artists and freelancers bring to an organisation, and paying them fairly for their work, including those on selection panels. So in both these cases, I have declined to do the work. In the first case I asked about fee as it was not mentioned and then declined in a vague way citing busy on the day. But more recently I’ve tackled the issue headlong and said why I can’t do the work for free, that I understand their budget restrictions etc and why it is important to value artists time.
My own work in my Narrative Threads solo exhibition 2015
In both cases I’ve felt vulnerable doing this and sad not to do the work – it’s something I would really enjoy doing, but I have to practice what I preach and not take on unpaid work in order to (hopefully) further my professional relationships with the organisations involved. That’s the issue I’m weighing in the balance every time I consider some unpaid work –
Will there be other benefits to me in doing this?
What is the non-financial value to me in this transaction?
Is there a value to me in this transaction at all or is all the value benefitting the organisation?
Why should I give up several hours of my potential income-generating time in order to benefit their open call exhibition? They are not charities. The people asking me have salaried jobs. Would they do it for free?
1292 Foodbank Visits in 18 Weeks, Ruth Singer, 2020. Hand stitch on cotton.
Its really important to remember that it’s not the fault of the person doing the asking, it’s the fault of the structures they work within who expect freelancers and artists to work for free. There is a pervasive culture of creatives working for free, an established, but unspoken rule that artists will do stuff for free because we need to further our careers and being helpful to organisations who are the gatekeepers of exhibitions and other forms of paid work is seen as necessary.
As a result of this culture of unpaid labour, it falls to me, as the unpaid artist, to explain to them, to pass on to their managers and budget-holders why they shouldn’t ask artists to work for free. If you value my professional expertise in this project, I deserve a professional fee.
I freely admit I didn’t know or think about this properly when I was employed by an organisation. I employed artists but I did expect them to travel across London and come to an unpaid meeting to discuss the 2 days of paid work. That’s not fair. I know that now and I point it out to organisations as often as I can, where they haven’t already addressed it (some have).
In conclusion, the most impactful thing we can all be doing about this is talking about it rather than hiding our frustrations and disappointments and letting bad practice continue unchallenged. We can sign up to campaigns like the brilliant Paying Artists. We can also make conscious choices about what we do for free, rather than just accepting it as the way things are. If you feel able to share, I would love to hear your thoughts about when you are asked to work for free and how you responded.
If you are struggling with this issue, I suggest starting with this: record all the unpaid work you do in a project or in the development stages of a project with an organisation. You may not do anything with this but it is so useful to have some data. If you feel able, you could share it with the organisation and just say “This is the amount of [additional] work I did unpaid in this project, if I was charging, this would be £££ value.” Making our unpaid work visible is a great first step in opening up the conversation.
This is the first in a series of blog posts tackling money issues around artist and freelance practice. I’ll be sharing more soon as this stuff is really important for us to talk about and for organisations to be aware of, and ideally, act upon. Please share this post or my social posts to try and get the message across. It would be great if you wanted to write your own post addressing some of the issues and how you approach working for free / getting paid for your professional expertise. I would also love to hear from organisations about what you are doing on this issue! You can get in touch with me here.
My new Find Your Focus course starts in January. It covers core values, a realistic review of your year, looking at what matters most and then working on how to build in more of the good stuff and less of the stuff that’s not taking you forwards. The course is delivered through 5 video lessons starting on 3rd January, fresh and ready for the new year.
Artist Mentoring
If you are feeling a bit at sea with your creative practice, I’m here to help. I’ve created my mentoring programmes after years of working with and supporting artists and really understanding the challenges of creative life. I’m on your side to help you figure out the meanings and the reasons behind your creative practice and how to move forwards. Find out more here.
Creating great projects is all about the preparation and behind the scenes work. As my Community Spirit project is coming to an end, I’m reflecting on all the work and unseen effort, creativity and chaos that goes on to make things like this look seamless. I started working on the funding application last summer when my house move got delayed again and I suddenly had 2 weeks with not much in the diary. But the idea of the project was even longer ago than that. While I was deep in the middle of volunteering for the foodbank in 2020 I went for a walk in the park (because I couldn’t go any further) and was thinking about just how vital and impactful volunteering was proving to be. And I wanted something to show for it. Something that others could see and that would really shine a light on the amazing work done by volunteers. It took 12 months more before I turned it into a funding application and then it took three attempts to get the funding, taking me through to the very end of 2021. It was hard to write the application and even harder to revise and change it and keep the energy and enthusiasm needed to get it finally funded.
Luckily, one of the changes I made to the project in the re-submitting stage was to bring in an associate artist. I realised that I need to collaborate, to work with others and have a team to work with. I invited Mandeep Dhadialla to work with me on this because of her experience in running community workshops. In fact originally I thought she would be doing all of the workshops although it really didn’t work out like that!
Our first joint job was to create the concept for the artwork. I love coming up with different ideas for making projects where different people can collaborate and work towards a finished piece. The original application says that we’d make a quilt but I knew from the start that I actually wanted to do something different. I love a community quilt project but there are a lot of them around and I always want to take the least obvious route in a creative project.
Project colour palette
The other element in this project was that I was working with Mandeep not just by myself and I soon realised that the quilt idea wouldn’t work with Mandeep’s print on paper specialism. So I wanted to find a different way of working that would allow paper and textile to be used and I realised that it would also be great if the pieces made could be returned to the participants rather than produce one large piece which would then need a home.
One of the inspirations was Alinah Azadeh’s Medals for Everyday Courage, shared by Craftspace. I loved the idea of medals or tokens to celebrate the work volunteers had done. But I didn’t want to copy this idea for my own project, I needed my own concept. We bounced around a lot of ideas and eventually rosettes came out top. It worked perfectly – could be made in textile or paper, there’s space for words and images and they would make great mementoes of volunteering for makers to give as gifts or to keep for themselves.
We both worked on creative concepts that would be easy to make in workshops and at home with materials kits and put together all the stuff required and made prototypes.
I wrote instructions and printed booklets with photos to go with make-at-home kits while Mandeep prepared printed and hand drawn papers for the kits and workshops. And then we got started. Over 50 rosettes were made and contributed to the project over the summer and we then had to work out how to bring them together and display them in a way which allowed us to move it around easily and return the rosettes to their makers after the tour ended.
After a lot of research and experimenting, I decided to make a simple quilt for the pieces to attach to and went on the hunt for a suitable display stand which would work. I had a lovely time researching quilt displays but in the end opted for coat rack / open wardrobe style stand. The one I picked was designed to move easily and folds up for transport. It has a large box attached at the bottom which is not ideal in some ways but does mean I can store the packaging for the display all in the base and leave it at the venue.
So then I made the quilt to go on the stand, for the rosettes to attach to. That was a lot harder than I hoped, as I was running out of time and had to short cut to make a simpler version. I had intended to make a complex patterned patchwork but eventually realised that it would be impossible in the time I had left and also would be covered in rosettes so wouldn’t show anyway! So that rather lovely but wonky piece of patchwork is going to become my own artwork about volunteering – smaller scale and more visible as a standalone piece. Mandeep and I spent a day securing rosettes with extra stitching, backing, glue and other scaffolding to make sure they stood up to being moved and handled regularly.
Professional studio shot
One final inspection by my cat and it was ready to go on tour.
The showcase, along with the film and a booklet of my research is now on show in Loughborough at John Storer House. It’s there until 14th October and then has a couple of other venues in the county before it’s taken apart and the rosettes are returned to volunteers. You can also watch the film and download the booklet here. This is the last of a flurry of community projects I’ve been working on in 2021-22 but there will be more, in time. If you work for an organisation that would benefit from an artist-led project, please get in touch.
Creative Producer
Projects around making things happen and bringing together people, places and stories
I love working with people to explore places and stories. I create and deliver projects inspired by my three sources of joy: textiles, artists and heritage. I add in research, partnerships and funding to produce experiences around People, Places and Stories.
The experiences I create might be for artists, for textile-lovers, around heritage and stories, by, with and for communities.
Find out more about my Creative Producer work here.