Sketchbooks, the 90s

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My first entry for 2017 and it’s a look at my sketchbooks in the 90s. All the drawings here are from 1991-92 and there’s quite a change of direction. I started looking at architecture and architectural features, so here are drawings from France and Spain. I also show two embroideries that evolved from the drawings.

Carol Naylor Beach Umbrellas 1993

Beach Umbrellas, Costa Brava.( machine embroidery onto muslin) The embroidery came after making about six drawings. The first, which is the delicate pencil drawing below, was made in situ on the beach. Then I made several others, extracting shapes and lines until I felt I was ready to stitch. The final piece in no way copies my drawings but I hope shows the developing ideas

beach-umbrella-sketch001

beach Umbrella sketch 3

I visited France on a field trip with students, Chartres and the Matisse chapel at Vence were just two venues. Here are some designs I did after looking at Matisse’s amazing windows.( the on site sketches are difficult to show here) I eventually did a series of embroideries based on stained glass but with my own take! So you see. I didnt always makw landscapes! Art evolves all the time– The embroidery below was onto calico that I painted and then stitched.

matisse-chapel001

 

matisse-chapel002

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Sketchbooks revisited, the 80s part 2

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Some more drawings from my 1980s sketchbooks to look at, from a garden in France to a student field trip to Munich via Garmisch Partenkirchen. I  did not always draw with end products in mind, but to record where I was, what I was thinking and so on. Many pages are too messy or sketchy to put here, but I’ve found a few that show my journey They are shown in chronological order . Next post-the 90s! The first drawing was made in a garden in Cesson, France 1982. One of my followers might recognise the venue!

All drawings approx 20cm x 18cm French garden 1982 Detail followed by full page .

french-garden-1982001_edited-2

french-garden-1982001

The alps at Garmisch in 1986 and yes it was cold drawing outside so it was done very quickly!

garmisch-86-001

Fruit bowl 1985, pencil and coloured pencils, drawing what’s in front of whilst the TV was on

fruit-bowl-001

This is a pastel drawing from 1989. I was looking at landscapes and playing with potential ideas for embroidery. I did work  up a series, but only have a couple on old fashioned slides!

landscape-abstract-001

In 1989 we seemed to keep coming across standing stones, dolmens, rocky formations on our travels, so lots of drawings did lead to a series of works in handmade pulp with additional stitch and fibres. Here’s a drawing and one of the final pieces which I made for an exhibition in 1990. The drawing uses pastel and a tippex pen

dolmen-1982001

carol-naylor-1988-dolmen

see you in the 90s next time!

Sketchbooks revisited, the80s

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With over 35 years of sketchbooks in my studio I decided to look back to see what I was doing at various times during my career. It has been somewhat revelatory! I drew differently, often more boldly, without holding back, used a wider variety of media, and  frequently explored ideas that I thought I could use with my students. Back in the 80s with a fulltime lecturing post and a young family, I did make my own work, and had several exhibitions in the south of England, but I have no real record of those in visual terms. Do take a look at my drawings and ideas from the 1980s. You might be as surprised as I was!

This is from 1986. I photocopied some images, including pieces by Henry Moore, cut fragments up, pasted them down, then drew freely from them, inventing a surreal landscape. It was an exercise I did quite often, I found several in different books during this decade. I did quite a lot of mono printing and also batik at this time.

journey-1-henry-moore001

Here’s a more formal drawing from 1983 and its one of the few drawings I remember doing. On a field trip with students to Florence and Venice, on a cold, rainy March day, I sat in the Duomo in St Marks Square, and drew what was in front of me. You can see the date in the bottom lefthand corner. Its bolder and more direct compared to my current architectural studies and stays in the memory far longer than a photo!

journey-st-marks-1883001

The following mixed media piece shows me playing with pastels and pencils, thinking about land and sea in an abstract way. Its dated 1986. I did a lot of papermaking at this time, and this would have been part of my thought processes. I rather like it!

journey-1-mixed-media002

We spent several years as a family on a gite in France in Brittany. Here’s a drawing I’d totally forgotten, of the lake at Le Lendu. 1987 Pencil, pen and pastel

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and finally, from my 1989 sketchbook, an abstracted drawing from a friend’s garden using pastels. Now I’m thinking I need to look at these again and start stitching from them! More to follow in my next post–

journey-garden-89

Spanish Studies

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Four weeks away from home in our favourite Spanish haunts gives plenty of time for drawing, absorbing and thinking about art. Each area we visit has its own charms, from the sierra south of Salamanca, to Sepulveda and Covarrubias, both stunning  little medieval towns, and finally to Isla in Cantabria in the north. Here are a few drawings that might simply act as my visual diary, or could lead to further work on stitching on my sewing machine. I have 35 years of sketch books in my studio. Maybe in my next post I will revisit some of those.

Las Batuecas, parque nacional de la Sierra de Francia

Las Batuecas002

Sepulveda

Sepulveda001

The road from Santo Domingo de Silos to Covarrubias

Road from Santo Domingo001

and our favourite beach in Isla in Cantabria

Isla beach001

Art in Action 2016

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I am really lucky to be demonstrating and exhibiting at what is going to be the very last Art in Action at Waterperry, in Oxfordshire from July 13th-17th. This extraordinary event was started 40 years ago and has gone from strength to strength. It is surely the best of its kind in the UK and will be sorely missed. Where else can you see hundreds of artists working in every media imaginable, showing you how they create their work, alongside concerts, performances and lectures all held in the stunning grounds at Waterperry. So if you havent got a ticket and can make it come along and see it, its your last chance! You can even watch a flamenco performance this year! So if you come along you will find me in the textiles Demonstrators Marquee working on my sewing machine!

I’ve been busy making new pieces all year, from small portfolio ones to a range of stitched and framed canvases. Here are two of the smaller pieces.

“An Abundance of Poppies” 12cm x 15cm aprox (South Downs UK)

An Abundance of Poppies small

“Amber Glow” 11cm x  14 cm approx (Spanish memories)

Amber Glow

News Update June 2016

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It’s been a busy few weeks for me with some great promotion. Firstly my first spread in an Australian magazine, TFF (Textile Fibre Forum) #122 June 16, which shows the way in which my work has changed and progressed over 40 years of making and exhibiting, and then a piece from the wonderful Diana Springall collection of contemporary embroidery was featured and discussed on “MAKE! Craft Britain”, an hour long programme presented by Martha Kearney, on mainstream UK TV BBC4 June 9th 2016. This foray into the world of stitching set about de-bunking the theory that embroidery is craft  rather than art, and Diana eloquently explained why  Britain is still at the fore of embroidery. From the mid 1950s art schools taught  embroidery students alongside the painters and sculptors. Students had to draw, and had to acquire the same skills as well as heir own technical expertise, and I was lucky enough to study at Goldsmiths Art School in the mid-late 60s in this way. Drawing has been fundamental to my own personal progress in textile art, and I have all my sketchbooks since 1980 in my studio, a permanent  reference library, as well as a visual diary.

Here is Spanish Lavender, the piece featured on the TV progamme, 43cm x53cm approx.Spanish Lavender DS collection

and here one of my many drawings Drawing Castille 2

and another

Cepeda drawing001

www.textileartist.org

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The owners of this terrific website have started producing ebooks for sale. This is such a good idea, bringing the world of contemporary textiles to a wide audience at very affordable prices. I am delighted to say that I have a chapter in their most recent book, A Response to Landscape. This includes some fabulous work by other artists so well worth taking a look. I’ve now created a new PAGE here on my blog called http://www.textileartist.org which has links to several books including the aforementioned one. Do take a look.

In the meantime here are some of the images of mine that you can see. I talk about the way in which landscape has been a major influence on my life and my work. Both these images are based on the South Downs where I live. A summers day catching glimpses of poppies in the distance, and the Downs near Goodwood, which I see as soon as I start to travel north out of my home town Chichester

CN Where poppies bloom

downs near Goodwood

Petworth Revisited

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I wrote about my work for the Capability Brown Festival in my last entry, explaining how Petworth House in West Sussex was my inspiration, but this was not the first time I had used this beautiful venue for my work. Back in 1997 I relinquished my  post as principal lecturer in the Fine Art department at Chichester University in order to free lance and concentrate purely on making my own work. This was a pretty scary step at the time, waking up each day with no timetable and no commitments other than going ot my studio to stitch! I began to apply for anything that looked possible for textile art, and saw a Festival of Craftmanship advertised. This was being organised by the Surrey Guild with Crafts Council support. Nothing venture, nothing gained, they wanted applications for commissioned pieces. I had  carried out a commission for St Richards hospital in Chichester earlier in 1997, and this had been the catalyst that made me stop teaching. The brief for the commissions was to make work inspired by Petworth as the festival was to be held there in 1998. I was delighted when my ideas and designs were accepted.

As you will see from the images that follow, my work was completely different nearly 20 years ago! At that point architecture was the theme I had been working with, so the house provided me with wonderful starting points. I made a diptych (approx 55cm x 130 cm) each panel for the commission, and made several more pieces that explored architectural features in Chichester and Petworth. I don’t have really good photos of the work, but I think the following gives a clear idea. Here is the diptych where you can see the architectural features of the house and gardens, followed by a detail.

Petworth hanging

Petworth detail small copy

 

drawings of building features Petworth drawing 4 copyPetworth urn 2

and finally one of the other embroideries I made which I still have at home! September Haze, Petworth, 76cm x 60cm approx

Petworth, September copy

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Capability Brown Festival

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Capability Brown Festival with the Embroiderers’ Guild Guild CB logo - Docs res copy

This year is the tri-centenary of the birth of the landscape architect Capability Brown, often referred to as England’s greatest gardener, who in the 18th century transformed the gardens of many of the country’s stately homes by his radical approach. The formal layouts so popular in France and Italy that had influenced the UK, were abandoned in favour of the natural landscape. This is what the UK Embroiderers Guild say-

“As the first ever celebration of Brown’s work, the Capability Brown Festival brings together a huge range of events. The Embroiderers’ Guild is delighted to be a Festival Partner and is contributing to the celebrations with a series of unique textile exhibitions at venues across the country throughout 2016”

For more information visit the guild website at https:// http://www.embroiderersguild.com

I am honoured to be amongst the textile artists invited to exhibit in a series of exhibitions throughout 2016. For this, I visited Petworth House near our home in West Sussex. I’ve been there many times, and indeed nearly 20 years ago made work for a festival in 1998 there, when I used the house and the iconic temples in the grounds, as my starting points. This time the grounds were much more significant. I walked, looked, made mental notes and took photos, as early winter isnt the best time to draw outside. 

The piece I have made especially for the Festival is called “The Lake at Petworth” as the lake proved both a challenge and a change of imagery for me. The paintings of Turner, who drew and painted there provided additional food for thought, and I used his glorious golds to inspire my sky.
You can see this at venues that include the NEC Birmingham and the Knitting and Stitching shows in London and Harrogate.  I am delighted that it has already featured on the guild website to advertise the Festival, and by the Landscape Institute (Royal chartered body for landscape architects) in their February newsletter.
Lake I never try to imitate what I see, but I adapt aspects of form, colour and light and once I start stitching, the photos and sketches are put away, so that I simply create my own response. The whole piece follows where you can see the free edging. This has been sewn to a white box canvas. Embroidery size 35 x 45cm approx, mounted to 50 x 60cm

Naylor, C The Lake at Petworth 1 new

And here is the centre part so that you can see the detail. In my next post I will show you the work I made in 1998!

Petworth Lake, Autumn_edited-1

Looking back

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I’ve recently been looking back at some of my much earlier work and can see how much it has changed over the years. When I lectured full time I spent most of my time exploring ideas and techniques with my students. I began using a mixture of hand and machine embroidery, but made paper, explored felt making, used dyes, batik and other textile media. Behind it all were my sketch books. Observation and experience was always my starting points, no matter how much I abstracted or changed the initial imagery. Here are some much earlier pieces going back to the 80s and 90s  to compare and contrast for those who are familiar with my recent work.

This piece was based on the local landscape meeting the sea. 1983, 60cm  x42cm approx. Hand made paper with mixed media drawing, embedded pieces of dyed of silk and threads, and some simple hand embroidery

Paper sea001 copy

The next piece from 1988 uses pulp poured onto a ground of handmade paper with additional fibres and stitch and is part of a larger piece which was 50cm x 37cm. The starting points were menhirs and other standing stones

Dolmen006

Moving on to the 90s I went back to machine embroidery, where I’ve remained ever since despite huge changes in imagery and style

Carol Naylor Beach Umbrellas 1993

The piece above was based on drawings from the Costa Brava in Spain, made in 1993. Some variegated threads were used alongside a limited palette of bright colours to reflect the heat of the day

Heres the first drawing done in situ. pencil, so quite delicate but I hope it’s clear enough

beach Umbrella sketch001

and one of the designs I made from it, although I only used aspects of this in the embroidery as I felt it was too fussy!

beach Umbrella sketch 3