Jenni Burrows

Jenni Burrows' work is featured in 'Wood and Fibre' at Walford Mill Crafts until 26th October 2014. Jenni's practice is about ‘embroidery’ and ‘thread work’, producing artifacts to express concepts influenced by her cultural heritage. Here Jenni tells us more about the processes and thinking behind her work.

Through my investigation of indigenous and traditional embroidery, specifically hand embroidery, process is fundamental but within a context of traditional embroidery. Taking time to reflect through process has enabled me to take more care in my practice, developing a deeper understanding of my work; and to articulately express the message I give to the audience.

The core ingredient of my practice is thread; thread connects the key themes; care, value, process, memory and connection. The role of thread in handwork is the foundation to my practice. The physical interaction between the materials, thread and me and the repetition of the stitching process consolidates my thoughts, enabling me to reflect in practice and after practice. 

The meaning of thread derives from my cultural heritage, not only does it begin with my own relationship to thread, as a small child making my own embroideries, it travels much deeper, acting as a metaphor, connecting me to previous generations in my family. This is significantly apparent when working on objects passed down to me.

Before working with thread, the process begins with foraging gleanings ‘left by the reaper after the harvest’. The gleanings I select, possess an enticing material property, an opportunity to be re-invented from a pre-existing life. Gleaning everyday materials and found objects combined with traditional thread work are a celebration of both historical and cultural practices that have been handed down to me from the women in my family.

 I take discarded and unloved pieces to give them new life and value. The ‘gleanings’ absorb the energies, thoughts and stories of other people; each piece reveals a story lost in time. The land together with my memories and experiences is fundamental to my practice.

For 'Wood and Fibre' at Walford Mill Crafts I have restored a new seat for a maid’s wooden chair that has been in our family for the last seventy years. The chair has stood as a silent testimony to my creativity, waiting to be reinvented. A perfect opportunity to bring value to the valueless; breathing in new life. The cane seating has deteriorated and though no longer functional but it has been kept, broken for many years.

The exhibition is the perfect opportunity to create a piece of art depicting the correlation between furniture and textiles; encouraging the audience to view embroidery, not only as decoration but as a functional discipline to repair. I have used hessian (a supermarket bag), found electrical wire and old, beautiful discarded silk and viscose threads to create drawn thread work. The hessian replaces the hessian cushion my mother uses on her old ford tractor.

I also make my own threads combining the strength of the hessian with the delicacy of silk threads and skill of drawn thread work. I have used different shades of threads to illustrate wear and tear as the colour fades through usage. The different threads give a hint that this chair has been repaired by many different people. As I manipulated the threads, my memories joined those of the generations before me and the skills that have been handed down continue to survive.

If you would like to find out more about Jenni's work she will be giving a free artist's talk on Saturday 25th October at 2pm in the Gallery at Walford Mill Crafts, Wimborne, Dorset , BH21 1NL

You can also find out more about Jenni via her website  

Textile Artist Angie Parker

Textile Artist Angie Parker

Angie Parker's work is featured in Walford Mill Crafts' latest exhibition 'Wood and Fibre'. Angie is a weaver of exquisite rugs and vibrant textiles derived from Scandinavian rug weaving techniques. Here Angie tells us all about her background, current work and what is next. 

I love producing distinctive and intricate fabrics and rugs which I hand weave on my Glimakra Floor loom. Traditional patterns, such as Krokbragd, have become like handwriting to me over the years. The designs flow so naturally now, and by combining them with my instinctive and daring approach to colour I have found a craft that never ceases to thrill and excite me. 

My journey began when I specialised in Rug Weaving on the Design Crafts course at Cumbria College of Art & Design in the 1990’s

Tutored by the late Susan Foster I gained an insight into traditional Scandinavian rug weaving techniques and was hooked from the first day. After graduating I went on to win the Floorcovering Design award at New Designers.

I then had an accidental but very happy separate career in costume for Musical Theatre & TV. (Miss Saigon, Joseph, Jesus Christ Superstar etc..). This allowed me to develop my weaving without the pressure of earning a living from my Craft-a luxurious creative time indeed!

I now live in Bristol and have a workshop at B.V studios after setting up my practice in 2012.

It was the arrival of my third child which made me re-evaluate my career options and I realised that I wanted my children to see me doing the job I trained for...and love.

Setting up a business whilst caring for my young children has been challenging, fun and mainly hard work and careful planning. I can dip into my weaving quite easily for short periods of time if the kids are playing, and get long sessions done when they're in bed…I find my craft a symbol of fluidity in my world of interruptions!

 I was selected for the Craft Councils Hothouse Business Programme which was a huge step in my professional life and I now have a very clear vision of how I can proceed creatively in business.

Time spent living in India in 2006 and more recently the graffiti in my neighbourhood in Bristol have influenced the fabulously gaudy palate which is intrinsic to my weaving.

Each woven piece is a celebration of colour and pattern, and having the chance to show my work has confirmed that the pleasure I get from weaving shines through in the finished product. Having a cheerful nature myself, I love that seeing work makes so many people smile.

Salvaged and restored chairs are one of the uses I have found for these original and durable handwoven pieces. I have 'elves' all over the country helping me to find abandoned, forgotten pieces of furniture that are crying out for a little care and am unfazed by the complications of upholstering with these irregular fabrics.

Working in fine mercerised cottons, silks, chenille, and as much glitter as I dare, I hand-weave, restore and finish all the pieces myself. My weaving is weft faced on a strong cotton warp and much of my designing is done at the loom. By working this way I can retain the balance of colours whilst keeping each design fresh and exciting during the long production process. I love the surprise element of technique.

The next stage for me is to return to Rug Weaving and I am very excited to be launching my new collection of Rugs in January 2014, at the Devon Guild’s Get Fresh exhibition.

You can see Angie's work at Walford Mill Crafts, Stone Lane, Wimborne, BH21 1NL as part of the Wood and Fibre exhibition until 26th October 2014. Free entry.

You can find out more about Angie's work via her Website, Facebook and Twitter accounts.