Highlights of a Decade – Part I

Anybody who knows me in real life knows that I am not big on marking so-called milestone events or celebrating significant dates, birthdays, Christmas, etc, but I am going to make an exception for once.

I am not having a party or anything like that, but I thought I’d just blog a couple of posts remembering some of my favourite scarves to mark my business being in existence for a * * * DECADE * * *.

If anybody had told when I launched ‘Agnes Ashe Silks’ I would still be in business 10 years down the road I would have fallen about laughing.

Back at the beginning I attended a week’s course ‘Starting a business and being self-employed’. One attendee, a helpful chap, told me and I quote “Nobody will fork out 95 quid for a scarf”.

Well, I have sold scarves for £95 and sold others too ranging from £45 to £125.

But back to my favourites. During the process of remembering and choosing my personal standouts I was pleased that I had kept each scarf’s product photo file in my ‘Sold’ folder. It turns out I had completely forgotten some. Perhaps not such standouts after all then, but on re-acquaintance I have been pleasantly surprised and included some of the forgotten.

Of course, much of my work is memorable to me particularly when the original inspiration is associated with specific places or specific works. For example there have been scarves inspired by medieval rood screens (Ranworth and Southwold), painted panels (Lady Drury’s Hawstead Panels) stained glass windows (Long Melford and Bury St Edmunds) and even golden coins (The Wickham Market Hoard at Ipswich Museum).

I have even taken inspiration from 20th century artists. This scarf, below, was inspired by an oil and pigmented wax picture painted by Paul Klee in 1940.

But I mustn’t neglect the floral scarves. There have been quite a few to choose from featuring my go-to motifs for flowers, leaves, curls and bows in various colour combinations using pinks, blues, turquoise, black and old gold.

Our Moon

Formed in a violent collision when Earth collided with another small planet, the Moon is our closest and most familiar cosmic neighbour. Last week I went to see ‘The Moon: Meet Our Nearest Neighbour’ a touring exhibition at Ipswich Art Gallery.

The Ancients Greeks made the link between the Moon and the tides here on Earth sometime during the 4th BC and then later the Roman Philosopher, Seneca writes in ‘De Providentia’ of the tides being controlled by the lunar sphere. And, when you enter this exhibition space a very, very large plastic version hangs from the double height ceiling. It is hard to get the scale from my photograph, but it does make you stop and consider how that small orb we are so used to seeing in the night sky could indeed influence the tides.

A very large plastic version of the Moon hangs above the exhibition showing the topography of the Moon. The Moon is one of the few places in the Solar System with no erosion, so its surface has remained unchanged for billions of years.

On display, apart from the modern plastic model, there are several maps and diagrams detailing the topography of the Moon including the oldest printed map made in 1707.

Original of one of the oldest printed maps of the Moon. Made in 1707. It shows two views of the nearside of the Moon with different namings. Despite being made with primitive telescopes over 300 years ago, these maps are surprisingly accurate.

This colourful picture is a map of lunar craters.

The Moon is Earth’s only natural satellite and, so far, the only off-world body visited and walked upon by man and included in the exhibition are two tiny pieces of actual Moon rock.

This is a sample of Moon rock. This white rock is called anorthosite and makes up much of the topography on the Moon. It is what the lunar mountains are made of, and what craters are blasted out of.

And the other Moon rock on display is this black rock. It is a sample of solidified lunar lava, called basalt. It erupted from a volcano on the Moon billions of years ago flowed downhill into a large crater or depression, and then solidified into rock.

Throughout recorded history and no doubt before, humans have gazed at the Moon and found inspiration for beliefs, assigning meaning and portents. Various peoples have used the moon for calendars, timekeeping and as a navigational aid and a selection of examples are on display in the exhibition.

Small pieces originals and facsimiles line the Upper Gallery.

I was fascinated by the Moon rock, but there were two other very interesting items in the exhibition. One was a facsimile of a 3,500 year old bronze disc from Germany showing the earliest-known depiction of the cosmos. The Nebra Sky Disc shows a clear representation of the Sun and Moon surrounded by stars.

Nebra Sky Disc (facsimile). Bronze disc from Germany approx 3,500 years old.

And, the other item that captivated me was a magnificent chart. As history records twelve astronauts have walked on the Moon with the first and most famous landing taking place on 20th July 1969. Below is a large wall chart of the GOSS-Mission Profile. I looked it up, GOSS means Ground Operations Support System. The schematic was an engaging and intriguing end to an an interesting exhibition.

There aren’t suddenly two moons. The chart is showing two journeys, the one from the Earth to the Moon and then the return trajectory back to Earth.

Chart dated 1 May 1967

Share the Love

As artists, artisans, creatives and makers we all form part of the visual culture community and as such it is always a joy to see and be inspired by the work of others past and present.

One commendable opportunity offered by the Internet is the ability to share our finds and photos of inspirational art particularly the unnamed work of past artisans. Sharing our appreciation gently reverberates across the net as pleasantly, every now and then somebody pops up and leaves some much appreciated positive feedback for my own work.

Just recently I have received a couple of delightful mentions one by Sheri 42 from the blogging world

and one by ‘Suffolk Artists’ on Instagram. And, so I thought I would blog a ‘thank you’ post for both mentions and share the love as they say.

Evocative art: The Family of Man, To Give Light and The Siren Installation

Last week I accompanied my father to a summer’s evening concert at Snape Maltings. I am old enough (just) to remember being driven past the old Maltings when it was being converted into a concert venue from 1965 to 1967. It was one of the earliest examples of an industrial building being repurposed for arts use. The whole site has expanded considerably over the intervening five decades. As well as the main concert hall there is now the smaller Britten Studio, rehearsal rooms, cafes, restaurants and bars, holiday accommodation and a variety of retail outlets including the Snape Antiques Centre and The Maltings Gallery.

The Family of Man is an unfinished sculpture by Barbara Hepworth, which was created in the early 70s and unfinished at the time of the artist’s death.

All round Snape Maltings has pitched itself as a cultural centre and as such hosts visiting art installations that are placed amongst permanent works by Henry Moore and Barbara Hepworth.

‘To Give Light (Northern Aspirational Charms)’ (2018) – Ryan Gander. Close-up of No. 3 Southern Lighthouse Optic (1871)

When I was at the Maltings back in June, for a sublime performance by Vox Luminis as part of the the Aldeburgh Festival, a fitting installation was on display called ‘To Give Light (Northern Aspirational Charms) by Ryan Gander.

‘To Give Light (Northern Aspirational Charms)’ (2018) – Ryan Gander. Commissioned by BALTIC Centre for Contemporary Art, Gateshead, as part of Great Exhibition of the North, 2018.

1 Lighthouse lamp (1847) – the gas-powered lamp from the first coal-gas powered lighthouse in England, in Hartlepool
2 Cat’s Eye (1934) – invented by Percy Shaw (1890-1976), born in Halifax
3 Southern Lighthouse Optic (1871) – the optic (lens arrangement) from the first lighthouse to use electricity in Marsden, South Shields
4 Incandescent Light Bulb (1860) – invented by Joseph Wilson Swan (1828-1914), born in Sunderland
5 Geordie Lamp (1815) – miner’s safety lamp invented by George Stephenson (1781-1848), born in Wylam, Northumberland
6 Cloisonné Vase Lamp (1878) – the first lamp to use an incandescent light bulb at Cragside, Northumberland; Cragside was the first house in the world to be lit by hydroelectricity
7 Quick Break Light Switch (1884) – invented by John Henry Holmes (1857-1935), the light switch was designed and patented in Newcastle upon Tyne
8 LED light (1907) – the technology behind LED (light-emitting diode) was first discovered by Captain Henry Joseph Round (1881-1996), born in Staffordshire
9 Flamborough Lighthouse (1674) – built by Sir John Clayton in Yorkshire, the first lighthouse in England
10 Safety Match (1824) – the world’s first friction match

‘To Give Light (Northern Aspirational Charms)’ (2018) – Ryan Gander. The walking couple give you some idea of the scale of this work.

Last week, we saw another art installation had joined ‘To Give Light’. Round the other side of the Concert Hall, near the main entrance, there is a slightly raised mound between the Maltings and the River Alde. Set on the lawn, unmissable and incongruous, currently stands a fisherman’s hut complete with ‘A’ board pavement signs.

The Siren Installation – Roger Hardy. Commissioned for ‘Siren Festival’ Aldeburgh, 2019.

However, there’s nobody selling fish from this hut. Instead, a small crowd of carved people trapped inside the hut gaze out at our world in dismay at the polluted and damaged oceans. (This work was originally sited on Aldeburgh Beach facing out across the North Sea. It had been commissioned for the Siren Festival, Aldeburgh.)

The Siren Installation – Roger Hardy. (2019) Humanity separate, desolate gazing out at the damaged marine environment.

The pavement advertising boards draw our attention to the plight of marine mammals and

The Siren Installation – Roger Hardy. (2019) Announcing marine mammal destruction.

the sign written boards hanging on the hut further detail many of the shocking facts regarding the precarious state of the oceans.

The Siren Installation – Roger Hardy. (2019) Rising sea levels.

‘Siren’ is an ecological art installation that disturbs and informs. It is the type of intriguing and evocative work that affirms a place for visual culture within the wider environmental discourse.

Lady Drury’s Melancholy Pines

Of all the 61 painted panels that originally covered the wall of Lady Drury’s closet at Hawstead House, only one panel was painted without an emblem or a motto. This ’empty’ panel, consisting of a hilly background and two Scots pines, offers a melancholy scene.

The Reverend Sir John Cullum did not discuss this particular panel at all in his eighteenth-century account. Perhaps he simply considered it an unfinished section. However, the twenty-first century scholar, H L Meakin, suggests the ‘blank’ panel may have been deliberately left empty to encourage spontaneous meditation.

It is also possible to read the two, stark, thin pine trees as visual metaphors for Lady Drury and her husband. They’re standing mature, living apart from each other within a dark and hilly landscape. After all they had existed in a world of challenges and grief following the loss of their young daughters.

Bottom panels painted with herbs and flowers.

More generally, in her summary of Lady Drury’s closet, Meakin offers ideas from Seneca and Montaigne as well as current research considering the lives of early modern women. She suggests there was not a simple division between the public and private spheres, and proposes this tiny, private room offered a space to both think about as well as retreat from the wider world.

Despite the gloomy appearance of the ‘pines’ panel, I find the silhouetted trees make a compelling composition.

Scarlet pimpernel and wild pansy

And, I also admire the painted herb and flower decorative panels displayed at the bottom of the panel collection.

Deadly nightshade and dandelion

These panels show bugle, corn marigold, speedwell, dandelion, deadly nightshade, honeysuckle, scarlet pimpernel, wild pansy and a wild strawberry plant.

Wild strawberry

Bird’s eye speedwell, corn marigold, bugle

Honeysuckle

Overall, the panelled room is both intriguing and inspirational. So inspirational I decided to paint a series of neckerchiefs using the two pines, the scarlet pimpernel and the corn marigold. Here’s the first of the series showing how the scarlet pimpernel rapidly morphed into a larger, less delicate flower to balance the composition.

Painting finished and now ready for steaming.

St Edmund’s, Southwold. Revisiting Rood Screens, Suffolk VI – An unexpected offshoot!

Sometimes I stick quite closely to my source inspiration as with the first two of my recent Edlyn series of silk scarves. Picking a panel and details from one of the panels of the St Edmund’s rood screen and working up a design.

But sometimes I get diverted.

After I have drawn out some patterns and motifs a few times I start to wander off down my own road. I think it is a similar to when authors say that their characters somehow take on their own lives beyond the control of the writer. I feel this scarf is my version of my ‘visual’ characters marching off in their own direction especially regarding the colours.

This affair is probably better shown than described. As you can see from the photographs, the outline drawing still has a feel of the medieval panels about it, but it is loosening and the choice of colours has clearly moved away from the rood screen originals.

The creative process is not entirely describable, but here is the finished silk on the frame.

And, finally after steaming, Ettaline Mouse.

 

 

St Edmund’s, Southwold. Revisiting Rood Screens Suffolk V – Working from ‘David with harp’

Here is another of my Edlyn series. Working with the same design, but this time choosing colours from another panel.

Rood screen detail showing part of the panel ‘David with harp’ in front of the Lady Chapel of the south aisle. St Edmund’s Church, Southwold. Oil on panel with gesso and gilt original circa 1480, but heavily restored during the 19th century.

I rather liked the melancholy of the ‘David with harp’ panel and I thought the blues, the very pale grey, and the faded lilacs seen on the surrounding woodwork would make an interesting scarf.

Adding more colour to imitate the golden feel of the original David panel.

At this stage again as with the first of this series, the colours were all looking too clean and all more 21st century than 15th century. So I used my hard bristle brush again and swept lightly across the silk with a thickish greeny-grey resist over the blue.

And, finally I added black dye to the background to give the overall design some depth.

The piece was finished and ready for steaming.

And here’s the scarf after a couple of hours in the steamer.

 

St Edmund’s, Southwold. Revisiting Rood Screens Suffolk IV – finishing the first Edlyn

When I last posted about my Edlyn series I had just begun painting the first Edlyn scarf.

With continual reference to my photograph of the Isaiah panel of the rood screen, I began selecting my colour combinations and mixing up the dyes. Then I started painting.

As the colour was added the whole piece began to take shape.

At this stage I felt the painting looked too flat and clean, so with a wide stiff brush I added sweeps of thick, brown resist to give a hint of ageing. Edlyn gold is now finished and awaiting steaming.

St Edmund’s, Southwold. Revisiting Rood Screens Suffolk III

Four years ago during the autumn of 2014 I blogged a sequence of posts relating how I was inspired by the Ranworth rood screen to create some silk scarves. Now is that time of year when I turn to looking at all those warmer, rich shades of autumn and feel the need to work with old gold and dusky damsons. Or, as Hilary Mantel so beautiful wrote “wearing their fallen fruit silks of mulberry, gold and plum” when describing the gentlemen’s clothing at the Tudor court.

Part of the rood screen of St Edmund’s Southwold showing David, with harp; Isaiah, with book and Jonah.

Looking at my recent photographs of another medieval rood screen this time in Suffolk, there is much to admire and inspire. Despite its age, over 500 years old, the screen at St Edmund’s, Southwold still has a wealth of medieval painted panels filled with faded colour and I have found plenty of inspiration.

Firstly, I decided to work with a delightful motif repeated on the cloak of the prophet, Isaiah. I copied the motif and worked up a whole scarf design on paper before using three templates to transfer the completed work to a square, flat crepe scarf.

This part of the process is surprisingly controlled to ensure I get balance and movement across the whole scarf. Next it is time to add the specific details, drawing lines and shapes using the gutta resist. This part is a little more loose and random as the resist flows freely and quite rapidly from the applicator pipette.

Finally, once the outlining is finished and has completely dried the softer and unfettered painting can begin. This is the first of my Edlyn Series of silk scarves inspired by the St Edmund’s rood screen.

Revisiting Rood Screens – Suffolk I

It was just over 18 years ago that I spent several months visiting a number of medieval churches in East Anglia to photograph their painted rood screens. At the time I was working on the rood screens as part of my research for my Master’s dissertation. Often my mother accompanied me and helped out with the photographs. I was surveying the painted details found within the cloth of gold worn by the saints and prophets. She would patiently hold a cardboard scale slightly in front of the painted motifs embellishing the robes depicted on the screens. It was in the days just before digital cameras became widely available (and affordable!) and I had to wait for my film to return from the developers before I knew if my prints were a fair record for my work.

Page 27 of my dissertation ‘Inspiration and Aspiration: The Patterned Silks in the Painted Rood Screens of East Anglia’. Photographs of the ‘hunting dog on nesting swan’ motif.

Following my recent house move my dissertation has surfaced. Looking for fresh inspiration I scrutinised the photographs I used to illustrate my text. What a disappointment! At the time I wrote and produced my dissertation the finished printed version appeared good enough, but compared to my photos today they are, well, of exceedingly poor quality.

Part of the rood screen at St Helen’s, Ranworth, Norfolk. From the left St Paul, St John, St Philip, St James the Less and St Jude. Oil on gesso on a wood panel with gilding. 1470s (recent digital photograph)

There are six rood screens in East Anglia that are particularly fine and are known as the ‘Ranworth Group’. These late-fifteenth-century screens include from Norfolk; St Helen’s, Ranworth; All Saints’, Filby; St Mary’s, Old Hunstanton; All Saints’, Thornham; St Mary’s, North Elmham and from Suffolk, St Edmund’s, Southwold. Maybe one day I will be back up on the North Norfolk coast and visit Old Hunstanton and Thornham again, but for my immediate needs Southwold is my nearest resource. (I have already been back to, rephotographed and worked from Ranworth – see here.)

Part of the rood screen at St Edmund’s, Southwold, Suffolk. From the left St Paul, St John, St James the Great, St Bartholomew, St Jude and St Simon. Oil on gesso on a wood panel with gilding. 1480

It is the case that the Ranworth screen is by far the best preserved, but Southwold is also in a reasonable condition despite some Victorian renovation work. All six rood screens of the Ranworth Group appear to have been made and painted by a single workshop. The designs and motifs for the cloth of gold used to adorn the saints and prophets probably came from the same pattern source book. If you look carefully at the examples above (Page 27 -apologies for the poor quality) you can see a dog with collar attacking a nesting swan. This motif is found clearly on five of the painted screens, the exception being North Elmham which was too dark and damaged to see the detail clearly. All measured 6 x 7 cm suggesting the motif was traced from an original source. There are other motifs and stencilled patterns that are also seen repeated on the rood screens, including the screen at St Edmund’s, Southwold, providing consistent evidence to support the long held view that a well-respected artisan workshop from Norwich created these masterpieces during the period 1470 – 1500.

Earlier this week I went back to Southwold to rephotograph its glorious rood screen and you can see from the image below that modern technology, a better camera and a better lens have enabled me to record this treasured medieval art as it should be done.

Sunflowers

There is something perennially charming about a jug of fading sunflowers. You can see why Vincent Van Gogh was so taken with them. Famously, he painted sunflowers many times including the seven ‘Sunflowers’ canvasses which were ‘nothing but sunflowers’.Of the original seven sunflower paintings, five are now in museums around the world, one was destroyed in a fire during World War Two and one, amazingly, is still in a private collection. These paintings have been frequently reproduced and used to decorate all kinds of merchandise. I recently spotted these Vans on the Internet.When I was younger I had a small print of this version below.

‘Sunflowers’, Vincent Van Gogh. Arles 1888/1889. Oil on canvas. 92 × 72.5 cm Philadelphia Museum of Art, Philadelphia, United States.

I copied these exuberant flowers onto a couple of metres of silk which I made into a top.

During the intervening 25 years, I, as well as the top have faded a wee bit, but here’s me earlier this year during the heatwave caught on camera mixing up some dyes wearing my old sunflower silk. It may have been very hot in Ipswich this summer, but nowhere the 45 degrees we had experienced in Egypt.