Late last year I made a gift for Prime Minister Malcolm Turnbull – a Wagga quilt adorned with 121 hand stitched messages for the PM from over 100 Australian citizens who contributed to this project. When I reached out and asked people to contribute their messages for the PM my promise to them was that I would ensure the quilt gets to him.
Above are a few examples of the 121 messages hand stitched onto this quilt.
This is just a bit of an update about what I’ve been up to lately and what projects are coming up just over the horizon… in no particular order.
Firstly, I was extremely honoured to have recently visited “Knit Your Revolt” superstar Shannon Morton in Brisbane to talk all things Craftivism. She said that my figurative quilting has inspiered her to create a story quilt about the “Knit Your Revolt” gang. So we met up so I could show her some techniques and talk more broadly about the power of craftivism. We made this little prototype portrait of one of the gang members:
After which Shannon made gave me a “Knit Your Revolt Tricycle Gang” patch and made me a member of the gang (even though I can’t knit!). I’m so stoked about it – watch this space for future Craftivism actions taken as part of this inspiring group of dissenters.
After this exciting trip to sunny Queensland it was time to head back to Melbourne and get started on the next two projects:
The ‘Great Stash Swap’ and ‘fGeneration: Feminism, Art, Progression’
I was very excited to be invited to take part in these two totally separate really awesome projects. The Great Statsh Swap was a week long event organised by fellow Craftivist and Crafiti artist Sayraphim Lothian. The project involved getting a bunch of crafty people to get there fabric stacks together at Gallery 314 in Richmond, Melbourne and then to basically swap it for other people’s stash. Over the week this was happening Sayraphim held a sort of pop-up artist in residence, where she invited one artist/crafter to sit and make in the space with her every day. I was one of those lucky artists invited to raid the loot and make something out of it. This was super timely because I had just been invited by artist and curator Caroline Phillips to contribute to an upcoming exhibition at the George Paton Gallery, Melbourne titled: fGeneration: feminism, art, progression. So I ended up making a mini-appliqué quilted hanging titled “Girls just want to have FUNdamental human rights” as my contribution to the exhibition while at The Great Stash Swap.
I’m also going to show another little mini-embroided quilted hanging at fGeneration, this one is titled “Feminist KillJoy”. I made just for fun not long ago and luckily for me it fits right in with the exhibition theme!
Another really exciting art-making project which I’m happy to finally be able to share is my first ever commission. Venus Court is a Melbourne based band made up of two talented brothers Jake and Sam O’Brien, I’ve known them forever and my partner George Carpenter produced their upcoming EP at his Gold Coast studio ‘Little Pink’. They have both been big supporters of my work and at the start of the year they asked me to make them a quilted banner for their band that they can use on stage. I made them this hanging below (2m x2m) and they were so stoked with it that they’ve decided to use it as the cover of their upcoming EP!
Below is a super close up to give you a sense of what the work looks like up close and in 3D.
In between these bigger projects I’ve been playing around with some smaller crafty ideas. I’ve started hand making patches using felt and embroidery and I’ve also started a very ambitious cross-stitching piece as my response/contribution to Peter Drew’s “Real Australian’s Say Welcome” campaign.
As you can see this cross stitch is nowhere near finished – I can’t believe how long it takes! Luckily I was in bed for three weeks with pneumonia recently otherwise I would never of got as much as I have done. I guess its going to be one of those ongoing labour of love type pieces.
Finally, I have three really exciting projects coming up in the next 6 months that will make up the primary case-studies for my practice-led PhD research. They are all socially engaged craftivism projects that involve a partnership with different non-profit organisations.
The first is a non-traditional residency with Igniting Change, a charity that works to support some really outstanding organisations including the Asylum Seeker Resource Centre. I will be spending about 4 weeks over Oct/Nov this year in their office space making a story-quilt that celebrates the values of the organisation and shares some of the impacts they’ve had. I’ll be donating this work to Igniting Change so they can use it as a story telling device to help with communicating their complex work going forward.
The second will be a project delivered when I’m a guest-in-residence at the Billilla Historic Mansion in Brighton thanks to artist and craftivist Kate Just who has kindly given me her studio there while she is overseas. The project will involve raising funds and awareness for the International Woman’s Development Agency through me making and giving away a appliqué quilted portrait of the first 50 people who donate $50 to the organisation as part of this campaign. I’ll be launching this project in December so keep an eye out for that.
The final project is a series of Crafternoons which I will facilitate at the Museum of Australian Democracy at Eureka in Ballarat. These workshops will hapen around March 2016 and focus around the issue of getting young people engaged and excited about voting. Again I’ll have more information to share about this project later in the year.
Oh yeah, and I nearly forgot – I am also going to be contributing a quilted/appliqué hanging to an exhibition that the Ballarat Quilters Association is holding at the Museum of Australian Democracy at Eureka in Ballarat. Contributors to this exhibition were asked to create works in response to the lyrics from a selection of songs about freedom and democracy. My contribution will be called “this old freedom train is such a long time in a comin'” and above is a work-in-progress shot of the piece.
That’s all for now, thanks for stopping by and keep an eye out for more updates in the coming weeks.
This is a post about two contemporary artists that I am currently totally loosing my shit over:
Peru born artist Ana Teresa Barboza and, Melbourne based artist Lucas Grogan.
What I love about textile art is its ability to stop us in our tracks and look again at a work, considering not just the image but the materials, its construction, the labour involved, the way the work triggers associations in our minds. In my opinion, both Ana and Lucas incorporate textile and needlework into their practice in such a way that for me truly highlights the tantalising and sensual potential of textile art.
Ana Teresa Barboza
Ana Teresa Barboza, who studies to be a painter, uses needle and thread as an invitation for audiences to engage with her works not just visually but using touch and memory and their imagination. Many of her works explore the body, femininity and domesticity as well as our relations with one another and with a fantastical imagining of the animal realm. I’m really inspired by the way she incorporates figures into her works alongside flora, fauna and patterns of colour and texture.
Her bold use of colours, pattern and texture and the way she contrasts these against one another is so satisfying. Plus I love the playful way Ana incorporates her painting practice with her needlework in several of her body’s of work, such as these:
Sophie in her Blog Le Fil Conducteur has written a great post including an interview with Ana in which she talks about how needlework is something she learned from her grandmother, you can check it out at: https://lefilconducteurinenglish.wordpress.com/2013/07/21/ana-teresa-barboza-gubo/
Some of Ana’s more recent work has involved taking inspiration from natural landscapes, plants and she has started to stitch onto photographs as well as canvas. You can take a look at some of this work on Sam’s post on the Textile Artist blog: http://www.textileartist.org/ana-teresa-barboza-handcraft-nature/
Ana has got me very inspired to continue developing my own embroidery skills.
Lucas lives and works in Melbourne and really likes the colour blue. Like a lot!
He works across a whole raft of mediums including quilting, embroidery and cross stitch and I just adore everything he does. His body of work is so vast that it is pretty overwhelming, but here is a bunch of his textile work for you to drool over…
As you can see the way he incorporates text is really interesting and really compelling, for me they are little micro narratives, snippets into contemporary life, the thoughts that flash across our minds and then are gone – captured and memorialised in the use of this time consuming and thoughtful textile practice.
So yea, inspired!
Image credits: Unless stated otherwise all images are from Ana’s Blog: http://anateresabarboza.blogspot.ch/ and from Lucas Grogan’s website: http://www.lucasgrogan.com/ – please go check out their sites and acknowledge them if you share these images ❤
As promised here is my full PhD Confirmation Report, submitted in April 2015
as a PDF document: Confirmation-Report-Tal-Fitzpatrick-2015
Alternatively, below is the Title/Research Question/Abstract for all those of you who “aint got time fo’dat!”
Research Title: Craftivism and the Political Moment
Research Question: Can craftivism create Political Moments?
- How is craftivism different from other forms of activism?
- Can a material, craft based practice such as craftivism be understood as a socially engaged art?
- In light of a post-political critique of participation is it possible to initiate political moments through socially engaged artistic practices?
- How do feminist new materialist and post-humanist conceptions of agency and matter reshape our understanding of power and the potential of art to enact social change?
This practice-led research project is shaped by an artistic practice that plays in the spaces between craft, socially engaged art, activism, community development and autoethnography. It looks to explore how a particular style of figurative appliqué quilting might be used to initiate what philosopher Jacques Rancière describes as ‘political moments’ in a post-political environment. Through a series of creative case studies delivered in and with different community groups and organisations, this project will test the material-discursive potential of appliqué quilting to act as a socially engaged strategy for activism.
Importantly, this project doesn’t aim to develop a set of tools for leading revolutions or even to create a methodology where outcomes can be reliably repeated. Instead it looks to develop a practice based methodology for becoming more mindful of the patterns of consequential differences and of the overlapping ideas between: art, craft, activism, socially engaged practice, feminist new materialisms, post-political critique, post-humanism and community development theory.
However, if anyone actually does read my full report – I would love to hear your thoughts, feedback, reading suggestions, artists I should know about and constructive criticism. As always you can get in touch with me via email: email@example.com
Finally – just for fun, below are some of my powerpoint slides from my PhD Confirmation presentation.
Okay – So, I took a month off after my confirmation presentation and went to the Gold Coast to spend some time with my partner and my family… and now there is a bit of a backlog of things to fill you in on, including:
- How the exhibition at Emerald Community House’s PAVE art festival went
- The final PhD confirmation report in full
- A sneak peak of some of my most recent artworks
- Upcoming projects with Igniting Change and Emerald Community House
- Updates on artists and crafters who are inspiring me at the moment
- Upcoming projects
- Plus a bunch of thoughts about books I’ve been reading
In the coming weeks I will get to all the above, but for now let’s just focus on a bit of a show-and-tell about the opening of my exhibition at the Emerald PAVE Art Festival.
Above is a photo from the opening, you can see Mary Farrow pictured as she introduces our project. I would like to say a big thank you Mary Farrow and Noelene Blair from ECH – for all their generous support and encouragement during the development of this project and of course for having me at ECH. I’m really excited that we will be continuing the work we have started later in the year (more information on this will soon be anonouced).
I would also like to take this opportunity to thank Bruce Esplin (below) and his wonderful partner Roz for coming to officially open the exhibition and for your ongoing support of my artistic practice and my community resilience building work. Thank you for sharing your knowledge and experience with us through your unique and engaging brand of story telling at the opening. Your support is invaluable to me.
Finally I would like to thank Katherine and Lisa who participated in the 8 week long workshops which I facilitated in Emerald and who made their own quilted hangings to exhibit as part of this exhibition. Ladies, it was a pleasure to get to know you and a real treat to see your textile works take shape week by week, keep it up! Here is a photo of what the full exhibition looked like in the space including the two works by Lisa (far left) and Katherine (third from the right).
Below is the finished quilt I made as part of my 2 week residency at Emerald, titled “Resilience, Resistance and Responsibility” (made of new and recycled material, 2m x 2m, 2015). I officially gifted this artwork to Emerald Community House and the Emerald community at the opening of the exhibition, this way it will always hang in Emerald where it belongs and where it can function as a story telling device for passing on local knowledge about the people and events which inspired me to make it.
Briefly, this work tells several stories about the resilience of the local Emerald community and its strength in advocating and preserving the things that are important to it; that is the natural and built environments that are unique to the area and which enable the community to come together and continue growing stronger. If you want to know more about the meaning behind this work you can read my previous posts about it.
This is a photo Bruce took of me at the exhibition opening in front of my work… that should help you with picturing the scale of it! In summary, it was a fantastic day and I’m really humbled by the turn out we got. Lots of people came to look at the work over the week it was installed and gave lots of kind and interesting feedback to the team at ECH. Thanks everyone!
Anyway, that’s probably about enough for now… expect to hear more from me soon 🙂
As promised, here is my full PhD Confirmation speech which I presented at VCA on April the 16th, 2015. If you read it I would love to hear your thoughts, so please don’t be shy!
Full presentation with slides: Confirmation-speech-TF
Here is an outline of what I covered in this 40min presentation: Once again thanks to everyone who was there, and for those who wanted to come but couldn’t be there. I am really excited by the fact that other people are interested in my research.
My panel meeting with my supervisors and assessors is on Wednesday so wish me luck!
This weekend is the official opening of the exhibition of my Emerald ‘Resilience: Stories in Cloth’ project. The exhibition, which opens on the 12th of April and continues until the 17th of April, is being held as part of Emerald’s annual PAVE Arts Festival. This will be the first public exhibition of the work I am making as part of my PhD research into ‘Craftivism and the Political Moment’. I’m very proud to announce that my good friend Bruce Esplin will be opening the exhibition, it’s worth coming just to hear that man talk about resilience and the Arts!
As well as the work I made during my residency at Emerald Community House the exhibition will also include two works by local community members who took part in the workshop series I facilitated at Emerald Community House. If you are in Melbourne or somewhere in nearby Victoria please come join us, there will be cheese and biscuits, plus lots more things to do around Emerald as part of the PAVE festival’s Fun Fest!
Here is the official invite, consider yourself invited!
Update: here are some lovely words about the project from Emerald Community House coordinator and powerhouse extrodinare Mary Farrow
It’s now ten days until my PhD confirmation, which is the first major hurdle I have to get through in order to formalise my PhD candidature with the VCA . For those of you who are in Melbourne you are welcomed to attend my presentation which is scheduled to happen at VCA on Thursday the 16th of April, at 1pm (Room 216). For those of you who are interested by can’t be there keep an eye on the blog as I’ll put up my slides and some highlights from my speech afterwards. For now, here is my official up to date title and abstract:
Craftivism and the Political Moment
Grounded in a feminist history of using craft as a strategy for activism and using a new materialist/posthumanist conceptual framework, this practice-led research project will explore how craftivism can be used to create what political theorist and philosopher Jacques Rancière describes as ‘political moments’ in a post-political environment.
Today was another rainy but all around lovely day at Emerald. After a long chat with Mary in the morning about the ‘bushfire lifestyle’ I started working on the panel of the Emerald Community House hall again. I’m not sure about these trees yet. I have to think about it.
Other than Mary, I had several people come into the hall today and have a chat to me today. First was a mother and her 10 year old son. They poked around at looked through what I’ve been doing, touching everything and moving it about. She seemed interested in the making process and asked about the workshop but unfortunately she works at the times they are scheduled. She told me that her mother used to quilt, but that she is currently in hospital. Her son and I talked about the Cockatoo kindergarden and I was able to fill him in on the latest of what’s happening with the rebuilt – he knew about the building and was happy that it is being turned into a museum. He looks forward to the project being finished already – time goes so slow when you are young, a couple of months can feel like forever.
Separately, two older gentlemen meandered in over the course of the day. The first, a local, who heard about the residency thought the promotional work that Emerald Community House has been doing about the project. He was expecting some kind of exhibition and was a bit disappointed but we had a nice chat anyway. He commented that he was always surprised by how much these ‘little old ladies’ charge for the quilts they make, but recognised they involved a lot of work. He said that he would come back and say hello on Sunday during the markets where I will have a stall. He goes to the markets every month to buy flowers. The second gentleman was a tourist from the UK, he and his family were in town as a stop on their trip on the Puffin’ Billy, a century old steam train that still operates through town. He wanted know if the hall was still a chapel, I informed him that it was not but that couples do hire it out to have their wedding there. He didn’t have much more to say.
My favourite visitor today was Lee, a member of the Emerald Sustainability Committee. Lee bought in a quilt she had made to show me, telling me how she sometimes makes them to raise money at local charities. Featured on the quilt was a flower, which she proceeded to explain is known as the Emerald Star Bush. A very local, and highly endangered bush with tiny white flowers “about the size of my fingernail”. This is it:
Lee and I spoke for about 20min about her work on the sustainability committee and about her experiences of living locally. Like Donna had yesterday Lee also talked about the struggles of trying to take on a leadership role in the community as a women. Its becoming a theme here it seems… so many talented, driven, experienced and capable ladies – so much resistance to women in leadership positions. *sigh*. I’ll have to find a way to address this somehow.
Anyway… Alongside many other projects, like helping out the local bee population and working to save two local bird species from extinction: the Helmeted Honeyeater and the Orange Bellied Parrot, the Emerald Sustainability Committee are working hard to ensure that this unassuming but precious little plant isn’t decimated. I was very inspired by our conversation about the local environmental issues and think that Lee made a really good point when she said that although the two building I have chosen to represent are important, the natural environment around them is equally important to people in the region. I promised to incorporate some of what we talked about into the piece I make during the residency.
With all these people taking time to have a conversation with me about their local community today I realised something, or rather put into words: often, communities feel like their stories aren’t told, which makes them feel unimportant and unappreciated. By simply being there, to listen and learn about the local community, I – as the artist in residence- am validating these stories. By being there to listen I am creating an opportunity to share and celebrate what it is that’s important to people locally. This act of validation may be small and simple but potentially it is very meaningful for those concerned.
I am always surprised when I go in and work with communities at how much I get out of the experience. I am not really a ‘people person’ and I don’t often talk to strangers – but through my practice (whether that is workshop facilitation or my arts practice) I am able to engage with people in a very open, honest, meaningful way. People tell me their stories, even though I am a stranger – precisely because through my practice I am positioning myself as an active listener. Its a performance. My practice acts as a catalyst that invites strangers to engaged and be vulnerable. Yet it’s not me performing… the practice – the act of making or facilitating – performs this function of creating a safe space for sharing (with me as the artist as just one part of that material and social process). That is what I want my textile work to do – not to tell a story per say, but to act as a catalyst – to prompt people into sharing a thought, an anecdote, an interpretation or a story with the person next to them.
This is what awaits me when I return tomorrow: