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

Ettaline-mouse-PeterSometimes 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.

Et1But 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.

Ettaline-mouse-finishedAnd, finally after steaming, Ettaline Mouse.

Ettaline-mouse-close-up

ettaline-mouse-composite

 

 

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A creative process – medieval art, craft and artisans (part 1)

Ranworth-ceiling-decorationRecently I have been working on my ‘Ranworth Collection’, a series of painted scarves that have been inspired by the medieval rood screen of St Helen’s church, Ranworth in Norfolk. The painted rood screens of East Anglia make a stunning contribution to the region’s heritage. Also as they can still be found at their original sites they provide a very tangible connection to the past lives of medieval East Anglians within some physical context.

Nowadays, these painted screens are appreciated as exquisite examples of medieval art, yet at the time of their construction and painting they were created by artisans and craftsmen and were objects of religious piety. Of course, in the late-fifteenth century the very notion of ‘an artist’ as we understand it today was a developing concept that was only just becoming established.

I don’t call myself an artist, but an artisan as my current creations do not have an overt, considered content other than their visual design. Not even if my collection of one-off pieces was to be presented as a whole in an exhibition could I name it an ‘art installation’. I have made art in the past when I set out to produce a visual representation of a sequence of experiences that were personally significant to me. However, I arrive at the creation of a painted scarf in a very different way although I employ the same techniques.

For a textile design my creative process begins with a visit to a place that has caught my attention. Sometimes it is the exterior architectural details of a medieval structure or a small carved detail found inside a church that offer potential to be translated into a two dimensional design. But with the ornate detail of the painted screens it is not just the intricate patterns that are so carefully rendered, but also the delicate, fading colours of the images that I find inspirational.

On a visit I take between 50 to 100 photographs of the various panels that make up the rood screen. I check the website for the parish church before I visit to ensure I won’t be intruding on a service and I try to start early before the tourists and visitors arrive at the more popular places. It takes at least an hour to shoot an interesting screen and, of course, there is absolutely NO FLASH when photographing 500 year old paintings.

Back at the coal face, sorry computer screen, I then start the process of selection and elimination. This procedure clarifies my visual impressions from standing in front of the originals and my own designs for pattern and colour combinations gradually crystallize as I select images from which to work.

Painted-image-medieval-carving