Art

Hawthorne & Heaney visits Bridget Riley at the Hayward

November 20, 2019 by Natasha Searls-Punter

On Thursday we were lucky enough to visit the eagerly anticipated exhibition of Bridget Riley’s most comprehensive body of work (spanning an incredible 70 years), on display at the Haywood Gallery.

It was quite a unique experience in the way that the concept behind the paintings made you really think about the theory behind colour, art is about looking; and this exhibition really brings that to your attention. It was also unique in the physical way that the paintings made your eyes and brain hurt – (but in a good way of course!)

The following images are from my favorite series of works:

Stripes and Diagonals. “At the core of colour is a paradox. It is simultaneously one thing and several things – you can never see colour by itself, it is always affected by other colours.” (Bridget Riley, 2009).

Bridget Riley, Chant 2, 1967

Finding that colour is unstable and tangible, Riley used stripes and to bring about powerful colour interactions – pairing or grouping colours along horizontal or vertical stripes, mixing and creating an illusion of hues.

This was one of my favorite series as the work is simple, in the form of perfect clean lines of pigment, but the mixture of colours really make your eyes work and see colours that aren’t there. It isn’t until you go close up to the painting that you can really see what colours the paintings really possess.

Curves “When colours are twisted along the rise and fall of a curve their juxtapositions change continually” (Bridget Riley, 2009).

This series really made my head go in a spin – I think that even from the photos that I took, you can see the illusion of the waves moving and swirling. It is amazing to think that the paint is static, yet with the application of line and colour, there is so much movement.

Bridget Riley, Drift 2, 1966

Studies “The working process is one of discovery and it is worth remembering that the word discovery implies an uncovering of that which is hidden.” (Bridgit Riley, 2019). – I love this quote – it complies the meaning of creative experimentation perfectly.
I found this part of the exhibition fascinating as it showed us the ideas and some of the mathematical and theoretical workings behind the pieces. They were in themselves, very much pieces of art – intricately applied and thought out. It also made you really appreciate just how much thought and time goes into creating the final pieces of work.

Riley produces full-scale preparatory drawings, from which studio assistants under her assistance complete the final work. This gives her the time to solely work on the theory and studies behind the paintings.

Black-and-White “The basis of my paintings is this: that in each of them a particular situation is stated. Certain elements within that situation remain constant. Others precipitate the destruction of themselves by themselves.”(Bridget Riley, 1965).

Bridget Riley, Fall, 1963

Bridget Riley, Blaze 1, 1962

Even with the absolute basic level – simply black and white paint, the illusion is arguably even stronger. Maybe it’s the contrast or the simplicity that draws it back in but it was an amazing way to end the exhibition.

Overall I was really impressed by the exhibition, I thought it was well laid out and portrayed a real story. The surroundings didn’t take away from the paintings but added something to them – they really made you focus in on the work and allowed space for reflection.

“The eye roams and the brain roams with it. You think you get it, and then you don’t”.

(Guardian, 2019)

The exhibition is on until 26th Jan 2020 and I highly recommend a visit if you get the chance.

Hawthorne & Heaney Visits Mary Quant at the V & A Museum

August 14, 2019 by Natasha Searls-Punter

”From miniskirts and hot pants to vibrant tights and makeup, discover how Mary Quant launched a fashion revolution on the British high street, with over 200 garments and accessories, including unseen pieces from the designer’s personal archive. ”

Thai Two Piece (top circa 1960)

This time, the V&A’s fashion and textiles display has brought us straight into the swinging sixties with the ‘Mary Quant‘ exhibition which it is currently housing. Covering many aspects and influcences of the brand, this exhibition explains how Quant built such a sucessful label and how it came to influence the way we shop today.

Coat with Frogging Details

The begins of the brand were humble, with Quant stitching together pieces of an evening upstairs from her shop ‘Bazaar’ to be sold the following day. The inspiration for her pieces was drawn from necessity. Quant saw that girls didn’t necessarily want to dress like smaller versions of their mothers and wanted to make their own fashion choices. She identified that these people thought of themselves as more ‘easy going’ and ‘broad minded’ than the previous generation and wanted to express themselves as such; stepping away from the constrictive gurdles of the 50’s and into more flexible, playful pieces. You might say that what Mary Quant did for fashion in the 60’s was a kin to what Chanel did in the 20’s, providing a more comfortable alternative to the restrictive fashions of the previous decade and in turn allowing the wearer to make socio-political statements about themselves their beliefs (women’s roles in society and decorum for example).

Cotton Wrap Dress

The Quant brand started as a way to offer an alternavive way to dress, however there was always a strong undertone of inclusivity in the designs, and here we can see how Quant channels the 50’s shape she had previously moved away from. Reimagining it in a more comfortable wrap around style in a soft cotton fabric, she started to appeal to a whole new group to expant her following.

Manhattan dress (circa 1970)

Mini-Culottes dress

Upstairs the exhibition moves on to more about how the brand expanded as times moved on, displaying pieces from the 70’s onwards. You can see how the styles developed with the times, but Quant managed to balance the changing styles with some of her classic brand features.

Another area in which Quant was a revolutionary was in her makeup range. Like with the fashion, the makeup grew out of necessity as Mary felt that the people who were buying her items, needed to be able to do more natural, lighter make up to compliment the fashion choices they had made. Other make up brands available at the time promoted a much heavier made up look, which didn’t necessarily reflect the look people wearing Quant’s clothes wanted to create for themselves.

Here we can see how the strength of the branding comes into play. They focused on simplifing the process of making yourself up in the products which are often have multiple uses, were made to be able to fit into palettes for easy storage. The names also simply state what they do whilst having a sense of humour: ‘Cheeky’, ‘Tan Trap’ and ‘Grease Paint’ for example.

Mini Crinkle Dress

From an embroidery perspective, there unsuprisingly isnt much featured in this exhibition as it is more of a luxury technique (particulally during this time). However it isan interesting exhibition to look at from a textiles/ production view point as the brand being one of the first high street shops aimed at a younger market. Though there is an emphasis on accessibility for more people into fashion and therefore a lower than their contemporary competitiors price points for the items, there is still great quality to these items. This testament is shown in the vibrancy and how well the garments have still held their shape, particulally on pieces you can see have been worn and loved, but still are in great condition. It draws a stark contrast to some of the throw away fashion we have come to know when we think about ”accessibilty” on today’s high street. There are echos of the global responsibility we have for the planet in the fashion industry which was introduced in the ‘Fashioned by Nature‘ exhibition the V&A Museum held last year.

If this has tickled your fancy, the Mary Quant exhibition is on at the V&A Museum until 16th Feb 2020, tickets start at £12.00

Hawthorne & Heaney for FKA Twigs

July 31, 2019 by Natasha Searls-Punter

It has been three years since FKA Twigs has given a live performance so when she announced her return to music with new songs and the ‘Magdalene’ tour, it was a safe bet that it was going to be epic. From all accounts, she has not disappoint as many people have been describing as ‘a masterpiece’ (anothermag.com) ‘feels at times more like an avant-garde dance piece than a pop show’ (NME).

Unsurprisingly, when superstar stylists Ed Kay and Matthew Josephs contatcted us, we jumped at the chance to work on the embroidery for the tour costumes. We produced a series of 5 pieces which formed a part of this visual treat and are delighted with how they turned out!Bandana and head scarf with leopard print sleeved corset

Leopard print sleeved corset

Monogram silver corset

Hawthorne & Heaney on ‘Threads of Life’ by Clare Hunter

July 17, 2019 by Natasha Searls-Punter

”You cut a length of thread, knot one end and pull the other end through the eye of a needle you take a piece of fabric and push your needle into one side of the cloth, then pull it out on the other until it reaches the knot. You leave a space. You push your needle back through the fabric and pull it out on the other side. You continue until you have made a line, or a curve, or a wave of stitches. That is all there is: thread, needle, fabric and patterns the thread makes. This is sewing.”

(Beginning)

A few months ago, we got a lovely little surprise in the post of a book about embroidery. Whilst we have quite a few books on embroidery in the studio, specific techniques or historical references and so on, this one differed in that it was about embroidery as a cultural vehicle, and so it had our attention. The book is called ‘Threads of Life’ by Clare Hunter who explores embroidery as the chosen method of communication for many great examples of noteworthy people during the course of her book.

Whilst we do not want to ruin the book for you should you wish to read it yourself, there are a few parts which we hope might grab your interest as they did ours. The book is split into well defined chapters on particular themes which makes it very easy to dip in and out of as the feeling takes you.

Chapter 2: Power, was a particular favourite of mine as it is all about Mary Queen of Scots who was an avid embroiderer, something that I previously had no idea of but can’t help but be captivated by this idea of an embroiderer Queen. Hunter explores her relationship with embroidery from both an external and more personal level where she uses embroidery as her weapon to try and exert some influence over her future:

”Female Monarchs had greater need of the advocacy of textiles than their male counterparts. The public display of their hand crafted emblems and symbols meant that for women, even when physically absent from court through childbirth, banishment or imprisonment, the textiles they had commisioned or sewn remained on display as their representatives, still messaging their lineage, still acting as a presense of sorts.’ (Page 24-5)

”In desperation, she began to woo Elizabeth with embroidered gifts. It was a calculated generosity. Such presents in court etiquette represented a bond or inferred an obligation: used publically, they declared intimacy.” (Page 31)

The book is semi-autobiographical as Hunter includes stories from her own past, one of which made for another highlight of the book for me. In the ‘Journey’ chapter, Hunter tell us of a visit she made to Kaili, Southwest China where she shares a non-verbal conversation she has with a Miao woman she met there. It demonstrates the passion that people interested in embroidery all seem to share, which transcends spoken languages:

”I think she is about to leave, but instead she unties its knot and lets it spill out textiles, which she then lays out one by one onto the bed… The bed becomes canopied in encrusted cloth. She beckons me overand we examine the textiles together, her touching and stroking, lifting up this corner and that, willing me to see an intricacy here, wanting me to notice a technique there.”(Page 110-111)

I think what is really lovely about this book, as an embroiderer, is that it really examines embroidery as a craft and as an art form. Personally, I felt gratitude to Hunter for shining a light on embroidery and really felt that ‘yeh, i’ve been there’ moment when she talk about sharing a segment of the book with her writing group and the somewhat despondent attitude to the subject prior to reading the piece. Any works like this that seek to re-educate societies attitudes to something which can be perseved as irrelevant, elitist or outdated to the vibrant and ever evolving art form that we know it to be, must be a good thing in my opinion.

All quotations courtesy of ‘Thread of Life’ by Clare Hunter (Hodder & Stoughton)

Hawthorne & Heaney on the World Illustration Awards 2019

July 15, 2019 by Natasha Searls-Punter

The Association of Illustrators (AOI) have partnered with the Directory of Illustration to bring another year of the World Illustration Awards. With over 3,600 entries, the judges have whittled them down to the final shortlisted 200, showcasing some amazing and diverse up and coming talent. The show has been held annually, in various forms for over 40 years now. Categories range from children’s books to experimental designs.

Full of clever, quirky designs and powerful messages. Important and popular themes such feminism, gender equality, environmental change and the power of technology were all covered throughout the art shown. As well as a broad range of subject matter and mediums, with works in graphics, embroidery and even plasticine!

If These Walls Could Talk by Astrid Jaekel, 2019.

One of my favourite pieces, shown below, Karolina Miękisz has focused her work based on a New York Times article “CSI: Earth” by Gavin Schmidt, where the idea that fingerprints can be traced to find out who and what is responsible for climate change. In the small but effective little artwork, the image slowly moves to show the finger prints moving and spreading into the sky, like smoke out of a factory chimney. Hopefully this gets more of us thinking about our own environmental fingerprints and encourage us to do something to reduce them and help tackle the huge problem of climate change.

Who is to blame? By Emilia Karolina Miękisz, 2019.

Modified Man by Tim Easley, 2019.

Tim Easley’s brief was to design an album cover for the band Modified Man. Taking into account the bands electronic sound, his vision to create a circuit board visual has come to life. Using plasticine and hand techniques to create the intricate work, piece by piece of plasticine layers, the overall effect looks quite something. A really original way of creating this circuit board pattern, Easley shows there are other ways to take illustration.

(Left) Stand design for Freda at Stylist Live by Hazel Mead, 2019. (Right) Alphabets: Phenomenal Women by Elen Winata, 2019.

Gender equality and the promoting of female empowerment were other strong themes within this years exhibition. I was especially drawn to these two based on the bright colours, cool layout and little female icons covering both. In Stand for Freda, the message ‘Period products for all.’ as one of the many slogans within promoting a no shame policy when it comes down to the topic of periods and that free sanitary products should be a basic human right.

Alphabets: Phenomenal Women, show a different branch to female empowerment through capturing our most famous and treasured female icons through time in these fun, stylistic illustrations. The idea that this could educate and teach girls to look up to these kind of role models and inspire them to achieve greatness.

Under the Skin of Endangered Animals by Under the Skin (Duo, Ed and James Harrison), 2019.

Of course, in the current state of the world, issues of the environment, ocean plastics and our endangered species have been another strong topic I’ve seen. Duo Ed and James Harrison are brothers and have teamed as designers to make ‘Under The Skin’, who donate 20% of print sales to charities that specifically work to protect the animal within the print.

Under a UV light, the beautiful animal illustrations show the inner skeleton of the animal is seen, “all that remains if a species falls into the darkness of extinction”. This thought provoking and clever way of incorporating design, activism and unusual materials is a fun way of getting across a strong message and a lot of people stopped to have a go with the UV torch!

Overall, the finalists this year have impressed me. A range of entertaining, interesting and thoughtful works. An exciting exhibition and one to definitely have a visit too.

All images from:

Association of Illustrations, World Illustration Awards 2019: https://theaoi.com/world-illustration-awards/

By Abi Tominey-Smith

Hawthorne & Heaney on Textiles in Art

April 9, 2019 by Natasha Searls-Punter

Embroidery, much like fabric, is not made to last forever. So when we are looking for examples of historical textiles, sometimes, they simply do not exisit anymore as the fabrics disintergrate with age and use. However we do still have a source of what textiles might have looked like in their glory days in the form of painting.

During a recent trip to Amsterdam in the Rijksmuseum, we came across some wonderful examples of historical painting which showed great detail of the textiles that they protrayed.

Girl In White Kimono by George Hendrik Breitner

1894

most likely showing a print of Japanese origin

Pendant portrait of Oopjen Coppit By Rembrandt

1634

Demonstrating the fineness and whiteness of her flat lace collar

Portrait of Emperor Napoleon I by François-Pascal Simon baron Gérard

1804

Depicting traditional goldwork techniques and bullion fringing

We also have had one of our interns, Amy Pickard working on a project for us in house where she chose a painting which featured a beautiful piece of textiles and has been working to recreate it herself.

For the project, she starting point with a visit to the National and National Portrait Galleries. Here she collected primary research of examples of historical textiles. There was a lot of symmetry and geometric shapes as well as a heavy use of floral motifs. It was wonderful to see so many paintings with gorgeous details and being able to name techniques documented.

Hawthorne & Heaney on Textiles in Art London Hand Embroidery

After the trip, the photos were sorted through and drawing were made of some of the details. For this she used a lot of Ecclesiastical paintings or portraits of past nobels.

Along with the photos she assembled a moodboard to help to keep her on track with the aims of the project.

Having attended a tambour beading class with our partner company, (London Embroidery School) she decided to recreate one of the motifs using this technique.

And then followed up with two other samples on velvet in CAD machine embroidery using similar repeats from the isolated motifs.

All in all we are really excited by the outcomes of the project and think that Amy should be really please with them too!

Hawthorne & Heaney’s Special Project

March 29, 2019 by Natasha Searls-Punter

Here at Hawthorne & Heaney we had a bit of a special project on at the moment for a certain wedding that took place in September 2018. We were tasked with creating the chasuble for the priest to wear for our Director’s wedding.

Approaching a garment like this is a sizeable task because of the importance of the imagery and the congregation that will see it. Designed by our director, the cross shaped design features a large image of the holy spirit as a dove at the top. This was inspired by an old piece of cut work embroidery which we are reinterpreting for machine embroidery. We wanted it to retain some of the original cutwork movement which can be seen in the direction of the running stitches and feathers. This also informed the choice of metallic silver for the details to get that shimmer amongst the sheen of the white machine thread.

The middle section has a series of flowers which we focused on the shading of them amongst the raised scrolls and braid work.

Down the bottom we have the lamb of god: “Behold the Lamb of God who takes away the sin of the world.” John 1:29. For his imagery we wanted to emulate a similar texture to that of the dove but with a more ‘wooley’ nature.

Each section of the embroidery has to be tidyed and finished by hand which you may be able to see from some of the earlier photos where the design is still on the machine, the stitching looks a bit rougher than the polished finish we were going for.

We also added some crystals and small hamd details at the end which added those final details to make it sing.

But even when we were done with it, that was not the end of its journey as it was delivered to the tailors who made it into the chasuble itself.

Re-interpretting originally hand embroidered designs in machine embroidery can be quite challenging to give it a style of its own and not to look like a lesser version of the hand embroidered piece. We aim not to replicate it, but to reimagine it.

Hawthorne & Heaney on Roses

March 22, 2019 by Natasha Searls-Punter

By compairson to last week’s post and the scale of the embroideries that we produced for the patches, this little job may seem insignificant. However we can’t help but get excited about pieces like this whether we are producing 2 pieces or 200 of them in the end.

We were approached and asked to use this tudor rose image to create a pair of freestanding embroidered embelums to go onto a bespoke cape which one of our tailors was working on. By adding raisings into the piece we were able to give the piece some body despite the fact that they are not onto a fabric base.

You can see from the scale of the hand just how little they really are.

Here they are in situ where they will get to live against this gorgeous velvet collar. Aren’t they just so cute?!?