Monthly Reflections

One of the most useful habits I have developed over the last couple of years is to review my work & life every month. It’s such a simple thing to do at the end of each month but for me it has really helped me focus on what is and isn’t working in my business (and life) and has empowered me to make the changes I need to. It’s a little like having a mentor or coach to check in with every so often. It reminds me to think about what I’m doing and why I am doing it, rather than just getting on with the things I have always done or the things I feel I ought to do. I’ve used other people’s monthly review documents and found them really helpful in asking some difficult questions, and above all, giving myself a little bit of time to think and reflect before just ploughing on with the endless to-do list. Late last year I decided to create my own reflection sheet with questions that were specific to me and the way I work & live – so there’s a question about health and balance which I can so easily forget about until I’m ill and it’s too late.

This kind of reflection and writing about how things are going is fundamental to a lot of the mentoring, membership and courses that I run including Gentle Goal Setting which starts on Monday 10th January. I find it an incredibly powerful tool in my own growth and in supporting others to find their way and I want you to be able to use this to help your business or creative practice grow this month too so there’s a link to download the file for free below.

This is just a taster of what my Gentle Goal Setting workshop covers. The workbook for the course includes a thorough but empathetic review of what has been going on for you over the last year. There’s no judgement and no right and wrong, just reflection on what you have learned about yourself through what did and didn’t happen. From that review I encourage you to look at what success really means for you, not what society or your own self-criticism expects. We consider what is really important to you in making you feel good and how to make those things part of your goals. The goals we then create are more like guiding lights, principles of how you want to be, live, work and create, not hard, target-based things that you must push yourself towards, no matter what. There’s no setting yourself up to fail here, just creating gentle goals that empower you to feel expansive and excited about what you do, whether that’s a creative business or an art practice that’s just for yourself.

When you download the Monthly Reflection, you will get a discount code for the Gentle Goal Setting workshop and for mentoring too. Find out more about Gentle Goal Setting too here.

Introducing Textile Study Space

One of the things I have missed during the pandemic is getting together with others in the same room and sharing textile techniques, ideas, seeing samples and threads, textile treasures and books. In 2022 I’m starting to run a lot more online textile workshops but I wanted to also do something more modest and accessible alongside. I wanted a space where I could share my love of textile techniques in a smaller way. From late January I will host a Textile Study Space on Patreon, a subscription site where I will gather and share fragments of textile. There will be mini tutorials, technique ideas, historical examples, pieces from my work, sketchbooks, samples and also from my historical museum of old and usually damaged textiles collection .

I want this space to be low-key and unpressured, somewhere you can explore textiles at your own pace, pick the things that interest you and explore. There’s no fixed outcome, you don’t have to make anything, it’s just there to inspire. There will be very low minimum price per month of subscription but if you find it valuable and can afford a bit more, the amount you pay will be flexible. I hope that will be nice and democratic, allowing textile enthusiasts who love what I do to be part of my creative world without the cost and commitment of other online programmes.

To find out when Textile Study Space opens, sign up to my mailing list here and I’ll let you know. I hope you will join me, I can’t wait to share some of the textile treasures in my studio.

Gift ideas from Ruth Singer’s eclectic online shop

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.

There’s these wonderful concrete and cloth decorative bowls by me and Bethany Walker which start at £15 for a single bowl or can be bought in sets of 3 or more.
For fans of craft and crime, my Criminal Quilts book fits the bill. It’s just £16 for a signed copy
A good stocking filler for the creatives would be my Patchwork Patterns Colouring Book which is £8.50 including UK postage
My bargain boxes of older textile artworks to hang on the wall has some amazing pieces at fabulous prices.
A great virtual gift might be my Gentle Goal Setting course for January 2022. This workshop helps you reflect mindfully on the last year and plan goals that are meaningful, manageable and inspiring.
For those who would like an original piece of artwork, I have some of my print patchwork pieces available now too.
Several of these Pearly Pipes are still looking for the right homes at £50 each
And last but not least, my quilt blocks are a tiny £10 each.

New Criminal Quilts work

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.

Project Books

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.

Making Meaning Podcast Episode Nine – Paula Briggs

Graphic image with the text: Making Meaning in a swirl logo. Additional text saying A Podcast by Ruth Singer exploring the meaning behind what we make.

After 10 years of ceramic practice, I am currently part way through a Ceramics MA, and so my practice is changing and developing. I feel a little vulnerable show these images as they are in no way finished ideas, but do show some of my early exploration during a ‘Spode Heritage’ brief. During this project I began to recognise and enjoy the story telling within my new work. Used to working with unglazed porcelain with a focus on colour, texture and form, becoming drawn to transfer ware and imagery was a surprise to me that I continue to explore. A more recent project gave me the opportunity to explore my past use of colour and texture in a very different way, wonderful colour through glaze exploration and floral pattern, again, my enjoyment of the floral pattern coming as something of a surprise to me. I am excited about the possibilities of where these new found material interest lead, and how they will help me in the telling of stories, and I am determined to remain open to new ideas, skills and storytelling possibilities.

I love how open Paula is to learning and developing new work. I first came across her work in 2014 in a powerful exhibition called Torn: Grief in the Making and knew we would have so much in common. Since then our paths have crossed a few times through being in the same groups but we both felt slight outsiders in the commercial / retail craft products world. Like me, Paula is clear that she isn’t interested in repetitive making purely for selling and is focussing on narrative. She contacted me a few months ago to interview me for her MA research and that conversation led to this podcast.


Play here


Paula Briggs

Paula and her recent work


Support the podcast

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.

Maker Membership

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.

Scrap Patchwork Online Workshop

New creative workshop with Ruth Singer

Do you have a collection of tiny, precious fabric scraps just waiting to find the right project? I created this technique to use up some of the very tiniest pieces of hand-dyed or antique fabrics. It is inspired by Victorian crazy patchwork but it’s much less busy. I use this technique to create fabric from scraps and use in small projects or as backgrounds to other stitch work.

This online workshop is on Saturday 27th November – online video lessons are available from 10am GMT with the live Zoom session at 4pm GMT. It costs £75. You will have access to the workshop for 2 months.

Sample snippets from the workshop videos

Example workshop content

The workshop is the first of a new series of (almost) monthly series of textile and technique courses and workshops which will get going properly in January 2022.

This online workshop includes:

Four pre-recorded videos: Welcome. Techniques. Stitches. Examples I have made and from my antique collections.

Example workshop content

There are also some freebies including links to museum examples, a colouring sheet / template and some audio to listen to while stitching.

The live session will be recorded and shared so anyone who missed the live can catch up later. You will need access to Zoom to take part in the live session. All the videos and other resources will be accessible via Podia, the teaching platform I use. It is very easy to use, I promise! You will create a login when you book the course and you will get an email when the course opens and you can start. I’ll be around to answer any questions. You can join the course any time including on the day. Sign ups will close at 3pm to ensure everyone can join the live at 4pm. The live session is a chance to ask me any questions, meet other stitchers and share your work in progress. It will last about an hour depending on numbers attending.

Any questions please just drop me an email

This workshop last ran in February 2021.

Making Meaning Podcast Episode Eight – Ekta Kaul

Graphic image with the text: Making Meaning in a swirl logo. Additional text saying A Podcast by Ruth Singer exploring the meaning behind what we make.

Ekta Kaul is a textile artist known for her narrative maps that explore places, history and belonging through stitch. She works on public and private commissions and her work is held in several permanent collections including at the Crafts Council, Liberty of London, the Gunnersbury Museum and those of private collectors. Ekta is also an educator and teaches at the Victoria & Albert Museum, London and Kettle’s Yard, Cambridge as well as internationally. She has received awards from the Crafts Council and the Arts Council England and was the winner of 2021 Cockpit Arts Textile Prize. She works from her studio at Cockpit Arts in Bloomsbury, London.

I first met Ekta 10 or 12 years ago when we were both early on in our textile careers, doing retail shows and finding our way. Since then we have both branched out into creating narrative textile artworks, working with community groups, commissions and teaching adults. I love talking to Ekta because she is so thoughtful and considered in everything she does, including her textile making practice. In this conversation we start talking about her recent work on textile maps and then we take a journey through finding your own creative voice, sharing and communicating the love of textiles, community and the power of textiles to both soothe and connect. 

See below for links to things we talked about in the podcast.


Play here

Ekta Kaul

Ekta and her work


Ekta is also featured in my 2020 one-off podcast for the Textiles in Lockdown project. You can listen to that here for free.

Ekta’s Soothing Stitch Circle membership opens any minute now.


Support the podcast

If you have enjoyed the podcast, please consider making a contribution towards my costs to create and host these conversations. You can make a one-off donation below or join my Podcast Supporters Membership on Patreon for £4.50 per month. You can also support for free by subscribing, reviewing and sharing the podcast on your social media. Thank you!

Podcast donation

A small contribution towards the podcast costs

£2.00

Maker Membership

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.

Developing a body of work

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.

Where do you get your ideas from?

Maker Membership with Ruth Singer, for textile makers who want to be inspired, creative, imaginative and make work with meaning.

I get asked this question all the time, as though people are looking for The Magic Answer or trying to understand how I do my research and develop original ideas for my creative work. It’s something I’ve pondered a lot and for years had an idea that I could share some of this process in a workshop or course. One of the things I always say is that ideas take a long time to filter, percolate and turn into the thing you see. This is a case in point. It’s probably 6 or 7 years since I wrote myself a note to create a course which helped others through this process. And finally in 2021, here it is. I’ve created Maker Membership, an online programme which I hope will take textile artists (and aspiring artists) towards The Magic Answer.

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. 

But where do you get your ideas from?

Mostly I develop new ideas through research which falls into three areas: learning (by reading, listening to documentaries and talks and chatting to interesting people), visual research (which is generally visiting museums) and experimentation (thinking through making). Then comes the refining and selecting, editing and dropping ideas and selecting the one that is right for you. That’s what Maker Membership will focus on: generating ideas, refining ideas and creating work which is true to your unique artistic voice. There will be some textile technique in there too, as a way of exploring and demonstrating processes but it’s very much a thinking programme.

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 event on Zoom, repeated so those in different time zones have the chance to attend. 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. You can find out more here.

Are you ready to learn and grow with me?

Maker Membership is £25 per month and you can join for as long as you want. Membership is open now.