Since this is a new blog, I thought I’d give you an insight into how and where I work.
This is my studio room of my Brighton flat. My little embroidery empire. Just as my work is fairly meticulous and detailed, so am I. Everything has to be in its’ place – books shelved, thread colour-coded and categorized, all ready for me to be creative.
I also have trestle tables for use with larger slate frames: when the fabric is applied to a rectangular slate frame, these enable you to work with both hands free. Not only is this a useful thing when you need both hands to guide tricky things like couched thread into place, it can also be a time-saver by keeping one hand above and one hand below the fabric, and passing the needle up and down between each hand.
What else do I need to work? Well, a decent daylight bulb (or even better, a source of sufficient natural daylight!) is absolutely essential. I keep a notebook on the go, which I write everything from to-do lists to annotations in, commenting on what went well about the day’s stitching and reminders of what I should alter or attempt next. This is vital in remembering particular peculiarities of one stitch process, should you need to refer to a personal method of working a technique 6 months later.
My sources of inspiration. Other artists’ work I admire, either in terms of subject matter or technique. My cork pin-board, with work in progress, inspirational matter, post-it notes with to-do lists on and my own sketches. My digital radio, with either Radio 4 Extra or the rock station. My vintage ‘Singer’ sewing machine, a family heirloom and the first machine I ever learnt on, age 11, with my grandma – a visual representation of how much I love my chosen career.
And since I have ‘issues’ with ‘everything under my control and in its place’, all my Anchor / DMC stranded cotton floss has to be wound onto cards: not only does this help keep it tangle-free should you need to pull a length out, it satisfies my OCD desire to keep them all strictly colour-coded….