Sanctuary of Emergence: A Reflection

 

Sanctuary of Emergence 2024, 120cm x 125 cm

Sanctuary of Emergence was created as an evolution of my previous piece, Citadel. I used an AI-generated image as a starting point, running Citadel through the app 'Wonder' and refining the outputs until I found a vision that resonated. This iterative process felt like a dialogue between past and future work, blending technology with my own handcraft.

The first version of a Wonder App 

generated castle scene based from an uploaded image of Citadel

An earlier version of a Wonder App generated castle scene based from an uploaded image of Citadel

I continued to generate new images and made amendments to image 

This was the image image I chose from Wonder app

For me, Sanctuary of Emergence is about transforming dreams into something tangible. Castles, as symbols of escapism and imagination, were central to my vision. By using recycled bedding, the piece connects this sense of fantasy with the familiarity of everyday life. The softness of the fabric contrasts with the grandeur of the imagery, mirroring the way our aspirations and material reality are often interwoven.

Citadel, 2023, 115cm x 116cm

The process itself was a journey of discovery. I experimented with a digital print of the piece to see if it could speed up my workflow compared to manually piecing together sections. While the print cost £100.87 through Contrado UK, I justified it by the time saved in redrawing the image. 

This is the Contrado UK print

It became a master template, offering the potential for multiple iterations of the work. Once transferred onto fabric, I painted using a mix of acrylic paint and fabric softener—a technique I had seen online and wanted to trial. The effect was fluid and layered, similar to watercolour, allowing me to build the image gradually.

I pinned the piece to our glass doors and traces over it will Calico

  However, sustainability has become more of a key consideration. The sustainability audit we conducted within seam collective made me question my material choices, from fabric softener to printing processes. While digital printing can be efficient, it comes with transportation and material costs that challenge my goal of reducing environmental impact. As a result, I am now researching alternatives such as natural dyes and eco-friendly softeners from suppliers like Big Green Smile. My discussions with fellow artists have reinforced the importance of balancing innovation with sustainability.

This is the traced image

I did also trail a wash with a low setting as I was told I should be able to wash the fabric and retain the pigment from the acrylic. I tested this out but I was disappointed to find that it really washed out the pigment, so I definitely won’t be washing this piece unless I have too!

you can see on the left what happened after one wash!

Once I had drawn out the image, I began to paint into the fabric using a combination of acrylic paint with fabric softener. I had seen this technique online and wanted to see if the method was effective. I really like the output; the acrylic becomes like watercolour and you can build up the image and spread the pigment around the surface of the material.

I built the image up in layers, like a process of creating a print. I painted out all the areas of the building yellow, then added blue sky and roof tops and then added green areas for the areas of garden. 

As the piece developed, I reassessed its composition. A critique session with another artist, Ella Abel helped me reflect on the image overall. It led me to adjust the density of the buildings, introducing more foliage to create a natural rhythm between structures. This alteration made me reflect on the iterative nature of my practice—the way ideas evolve, not just through AI prompts but through continuous, hands-on modification. Even with a master template, no two pieces will be identical; each will be shaped by instinct and experimentation.

Sewing into the piece brought another layer of transformation. Every stitch altered the fabric’s tension, requiring careful management to maintain consistency. Building up tonal variations added depth and realism, while adjusting thread weight allowed me to create highlights, shadow, and half-tones. This intricate process reinforced my understanding of how to construct an image in textile form—both technically and artistically.

close up of Sanctuary of Emergence during its creation

The final piece feels like an achievement in process as much as in outcome. Compared to Citadel, Sanctuary of Emergence is more cohesive, distilling disparate elements into a unified composition. AI played a role in its inception, even influencing the title—generated through ChatGPT, which articulated my own intentions back to me in a way that felt both validating and illuminating. While AI serves as a tool for rapid ideation, my preference remains working from life, where materials and hands-on decisions shape the final work in ways technology cannot predict.

Reflecting on this project, I realise how much it embodies the themes of evolution and adaptation. It has pushed me to question my methods, embrace new materials, and refine my process. With the support of seam collective and the Arts Council England National Lottery Project Grant, I’ve had the freedom to experiment on a deeper level. Moving forward, I see this work as a foundation for further explorations—integrating sustainability, digital tools, and traditional craftsmanship in a way that continues to challenge and inspire my practice.

Citadel: A Tapestry of Escapism

Citadel is more than a creation; it's a passion project that weaves together threads of escapism. Crafted from old work shirts I've physically and figuratively outgrown, this artwork represents a journey of transformation and a convergence of diverse ideas into a singular, visually striking image.

The genesis of Citadel mirrors my transition from bureaucrat to aspiring artist. Instead of being tethered to a computer screen, I found solace in the realms of my imagination, immersing myself in a world of fantasy and adventure.

Having a vast inner world, the pandemic introduced me to Dungeons and Dragons, where the allure lies in living an entirely different life with a distinct personality. I aimed to translate this escapism into a tangible creation—a haven for those trapped in a monotonous 9-5 work lifestyle, seeking refuge and excitement.

The desire to live the life of an artist, however, often feels like a fantasy itself. The hope embedded in Citadel is a beacon, a testament to my belief that I can create something beautiful and make it accessible to others.

Beyond a personal exploration, this project served as a canvas for experimenting with new techniques and technology. It posed the intriguing challenge of translating the solidity of brick and stone into the soft textures of fabric and thread.

In a year brimming with various projects, I sought to produce a standalone piece that would also be enjoyable to create. I decided to test my skills in landscape design and play with color theory to examine how an image would unfold through the medium of thread.

The genesis of this project can be traced back to a conversation with my driving instructor, who expressed concerns about Artificial Intelligence (AI) rendering artists obsolete. I countered with faith in the adaptability of artists, envisioning a collaborative future where technology enhances our creative endeavors.

While I harbor concerns about fair compensation for artists, the broader perspective is that both artists and AI draw from existing materials and references. Picasso's assertion that "a great artist steals" reflects the idea that art, in its essence, builds upon what came before.

Despite reservations, I acknowledge the inevitability of technology playing a larger role in artistic processes. In Citadel, I tested this concept, exploring how AI, specifically using the Wonder app, could be a tool to complement and expedite my creative practice.

My process involved experimenting with different statements and prompts in Wonder to generate various architectural styles. Drawing inspiration from well-maintained castles worldwide, I aimed to create a fantastical super castle, blending diverse architectural influences.

The digital collage phase in Krita, an open-source digital art program, brought this amalgamation to life. From this digital image, I hand-drew a large-scale version, embracing the inherent differences in colors and shading from the original castle references.

Once this new image had been created I approached construction akin to lithography or painting, I began with basic values—deep navy blue for shadows and white for light. Opting for a split-complementary color scheme, I meticulously selected blues, yellows, and oranges, seeking a harmonious balance distinct from my previous vibrant work.

Sewing freehand allowed me to layer the fabric, learning to manage stretch and warping as I progressed. Working with a limited space on a simple sewing machine meant cutting the image into five strips to manage material effectively.

Challenges arose in aligning uneven layers, compounded by the needle's influence on the fabric. Adjustments were made throughout the process to ensure a cohesive final piece, striking a balance between detail and a coherent overall impression.

Upon completion, I marveled at the results. This proved to be my most challenging large-scale quilting endeavor, and the satisfaction derived from the final product was immensely gratifying.

An intriguing revelation followed the completion of the project—Wonder's new feature allowing the upload of personal images as references. Could this pave the way for Citadel V.2.0? The potential for future iterations sparks excitement and further exploration.

In essence, Citadel is a testament to the intersection of art, technology, and personal growth—an intricate tapestry of escapism that transcends the boundaries of imagination.

Meadow Arts Commission: Watermark School Showcase; Engaging Young Minds Through Art, Education, and Activism

(Oliver Bliss Watermark School Showcase collaboration photographed by Meadow Arts)

I had the fantastic opportunity to collaborate with Meadow Arts, working closely with two local schools, Cherry Orchard and St. Barnabas in Worcester. Commissioned to respond to the artwork exhibited across Worcester, I found inspiration in Hilary Jack's evocative work, "Deluge." Jack’s piece focused on global flooding events and the rich tapestry of myths from various cultures, presented as dual streams of information akin to a newsreel running alongside TV news articles. 

(Oliver Bliss Watermark School Showcase collaboration photographed by Meadow Arts)

I proposed a response to the concept of a post-apocalyptic underwater world, where melted ice caps submerged significant landmarks. I saw this as a unique chance to educate students about cultural heritage, initiate discussions on climate change, and offer a platform for young people’s viewpoints.

(Oliver Bliss Watermark School Showcase collaboration photographed by Meadow Arts)

Recognizing that the upcoming generation will bear the brunt of climate change’s impact, I aimed to guide the creation of artwork contributing to both education and activism. I encouraged students to draw from their heritage, incorporating landmarks relevant to their backgrounds. Moreover, I strived to represent a diversity of religious sites, considering the display's location in a religious space.

(school visits seeing the landmarks sewn into their pillowcases)

(instructions for teachers)

What surprised me was the schools' enthusiastic support throughout the process. While I initially proposed using second-hand discarded clothing, the head at Cherry Orchard suggested tie-dyed pillowcases, a successful teaching tool at the school. I provided guidelines for the teachers, who conducted a workshop before my involvement. The vibrant blues and greens of the tie-dyes offered a subtle shades mimicking under water oceans that beautifully complemented the chosen landmarks.

(draft designs which didn't make the cut)

(pupils contributions from school visit)

St. Barnabas contributed a plethora of second-hand Calico fabric and scraps, which were instrumental in outlining the landmarks and creating backings for the sea creatures the pupils designed. This collaborative effort enriched the project, incorporating diverse inputs.

 

(pupils sketches from the Worcester Museum exhibition)

The project began with school visits to The Hive, where outdoor artworks lead up to Worcester Museum and Gallery. The pupils engaged in discussions about the represented pieces and shared their thoughts on climate change, contributing key statements that infused the pieces with political motivation, amplifying their voices.

(prep for pupils statements)

In hindsight, the intensity of the process wasn't adequately factored into my planning, particularly the time needed with the pupils. Stenciling and cutting over 1000 letters became a challenge. However, with my partner's assistance, we managed to create consistent, stylistically uniform letters for the statements the pupils had crafted. Subsequently, I guided sessions with the pupils to embellish these statements, acknowledging the varying skill levels and experiences in sewing.

(school visits)

I showcased drafted pieces to the pupils and utilized an interactive whiteboard to explore the locations on Google Earth. This exercise provided a visual understanding of the landmarks' global placement, fostering a sense of connection and distance from our own surroundings.

(examples of sea creatures created by pupils) 

The project also highlighted how essential motor skills like sewing were impacted by the pandemic. Some pupils had advanced skills, attributing their learning to family lessons during the lockdown, underscoring the pandemic's influence on fundamental skill development.

 

(examples of sea creatures created by pupils) 

Moreover, students contributed images of sea life, using references and encouraged to craft their own species, considering the underwater world of the year 3000. Upon assembling their contributions, we collectively crafted political protest banners displayed with bamboo reeds, offering a poignant portrayal at Worcester Cathedral. Families of participating pupils also had the opportunity to view the work, enhancing community engagement.

(School showcase at the Worcester Cathedral) 

The Watermark Showcase has become a journey through collaboration, education, and activism. It emphasized the necessity of involving younger minds in discussions surrounding climate change and its repercussions. Hopefully, this project amplifies the influential role of art in engaging, educating, and inspiring the future generation, underscoring the confluence of art, education, and social awareness.

(School showcase at the Worcester Cathedral) 

Join me as guest speaker for #Creativenetwork Artist talk

Hey folks, next week I am a guest speaker with #creativenetwork craft hosted by Creative Lives who have teamed up with Heritage Crafts which is happening at eve zoom 12pm 21 Feb 2023 if you want to join in it’s free!

I'm going to be speaking about my work as an artist and focusing on my previous projects including #SoftLads. This is an opportunity to learn about my artistic journey and raise questions you may have. If you want to book onto this session just click here!

A Visible THREAD is showing my work 'Queer Words are Fruit and Reeds' at ACE arts in Sommerton Launching today!

 

I am a member of the seam collective and we are presenting A Visible THREAD, an exhibition which explores the visibility and invisibility of thread at ACEarts, Somerton from 26 November until 24 December 2022. Through our unique perspectives and a diverse range of textile disciplines, eight seam artists have created new works to stimulate thought, connection and conversation. 

Read more about A Visible THREAD exhibition, our thoughts behind A Visible THREAD in Making thread visible, how it started as a research residency in Spring 2022, and what we all got up to during our residency on our blog.

I am showing my work Queer Words are Fruit and Reeds

The work explores the nature of myths and legends as they change through time. It explores the visible threads of narratives conveyed through history as they become altered, preserved or erased. The two figurative soft sculptures in this piece relate to the Greek myth of love between two youths, Kalamos and Karpos. 

The story is told in Nonnus's Dionysiaca. The pair enjoyed swimming and racing; one day tragedy occurs, Karpos drowns, and in his grief Kalamos commits suicide. In the story Kalamos is turned into a water reed ‘Calamus’. The sound of rustling reeds is thought to be Kalamos sighing and lamenting Karpos forever. 

‘Then Calamos gave his form to the reeds which took his name and like substance; and Carpos grew up as the fruit of the earth.’ 

It has been suggested that this myth inspired the title for Walt Whitman's "Calamus" poems in Leaves of Grass. Whitman’s poem, in turn, inspired David Hockney with his painting “We Two Boys Together Clinging” a title line lifted directly from one Whitman’s poems.   

The soundscape created for this piece immerses the viewer into a private experience of the work. A reading of “We Two Boys Together Clinging” has been slowed down to distort the reading and create a new experience, essentially ‘queering’ how the words are received and understood by the viewer.  

“Queer Words are Fruit and Reeds” is a culmination of research through experimentation during a Residency with Holborne Open. During the residency i was able to test approaches such as suspending work and creating soft sculptures.  I also experimented with tactile drawing approaches (drawing through touch) and embraced sustainability, through constructing the figures from rejected charity shop clothes. 

The combination of the soundscape and installation creates a new experience connecting the legend of Kalamos and Karpos and Walt Whitman’s poem. Investigation into the poems and the legend were discovered through David Hockney’s painting “We Two Boys Together Clinging.” The process of critical play and experimentation during the residency of Holborne Open enabled time and reflection to draw these elements together. The result produced this new artwork whilst unlocking and revitalizing some threads queer history. 

Listen to the Soundscape for the installation below