illustrated textile accessories and inspiration
It is no secret that I have a great fondness for foxes, and regular readers may remember several posts outlining or illustrating various reasons for this. Although it has been many months since I have mentioned them, do not assume that this is because I no longer think of them; it is merely because I cannot seem to find the time to make as many declarations of my love as I would like!
I have, however, been taking quite a few country walks recently, and these have given me some lovely quiet moments with a sketchbook. In true British summer style, the weather has been a little intermittent in the last few weeks, pouring with rain one moment and overflowing with warm sunshine the next, but on the dry occasions I have taken a few art essentials with me on my wanderings. There are some lovely worn footpaths which trace lines across fields of long grass and it is not uncommon to spot wild rabbits and deer in-between the occasional dog walker.
I quite often find a seat on a dry-stone wall or patch of mossy grass and fill a few pages with doodles and thoughts. The process verges on therapeutic, and these quiet moments are wonderful for planning new designs for my shop. Last week was perhaps a more obvious example of this, when I caught sight of a red fox along the edge of the wood across the field from me. Without my glasses on she looked like an orange smudge in the distance, but she slid into focus once I had retrieved them from my bag.
Perhaps she wasn’t used to humans, or perhaps she didn’t see or smell me sat upwind, or perhaps she simply did not care that I was there, but she came towards me in an unconcerned trot.
It was one of those instances when you daren’t move for fear or spoiling it, so I sat very still as she approached. She was a healthy fox, unlike the ones that has moved into my garden some years ago who had been covered in mange. She had a sleek coat, and a thick tail, although she was a little smaller than I had expected so I wondered if she were young, or if it were just because she was a vixen? I briefly wondered what she was doing out, being a nocturnal animal, but then decided it was relatively early in the morning and she may be on her way home for bed.
When she was about five meters away she caught sight of me and froze. We had one of those frozen and assessing moments, that seem to last longer when you’re involved in them than they do to those on the outside. Then she turned tail and melted into the shadows of the wood.
I had been thinking of heading back to my studio at that point, but instead I rummaged in my bag for my flask – for I sometimes bring a flask of tea with me on these occasions, never knowing if I will stay out longer. It is a lovely mustard coloured flask that came with a picnic set I got last winter in the sales, and I am very fond of it. Settling down with a cup of tea, I began another series of drawing of foxes. But once I had finished a few, I moved on to rabbits, who had been frolicking on the other side of the field during my drawing, and then an Eurasian Eagle Owl, which I had not seen, but had been on my mind a lot these days.
When the weather began to turn, I packed up my sketchbook and pencils and continued my walk home. Back at the studio, over another cuppa (raspberry and Echinacea herbal tea, this time, my favourite right now,) I coloured my drawings and scanned them in for preparation to transfer them onto tote bags for my etsy shop.
I have set up my video camera in the garden at various points over the last few days to capture footage of the birds. I’ve managed to collect clips of sparrows, blue tits and robins so far.
Back in my second year at Dartington College of Arts I discovered the installation work of Claire Morgan. At the time I was working on Imitation of Life, exploring the use of birds within contemporary art, and I stumbled across her use of taxidermy. Hanging in mid-air, these installations seem almost magical, a stunningly detailed frozen image.
Looking back, I remember a sense of wonder of her use of strawberries, as they slowly drew mould throughout the exhibition, joining together and creating an almost-solid suspending form. A year later, when I was working on Childhood Field Studies, I had completely forgotten about Claire Morgan’s work, although the subconscious part of my mind had apparently clung onto the inspiration for dear life. A shame really – had I consciously remembered her work I could have referred it in my documentation.
These days I find myself draw to her even earlier installations – Fantastic Mr Fox (2008) being perhaps the most obvious relation to my current project.