Why did I start? Where am I now!

I have been making these figurative wet felted sculptures for over 10 years and people often ask me when, why and how, I started to make them – not the easiest question really!

Several thoughts though –

  • I have worked figuratively since about 2005 and the first sculpture I made was for the final show of  my BA Embroidered Textiles 2008. She is now a feature in my garden and it’s amazing how long she has endured through weather all year round!
  • If I hadn’t discovered wool fibres and felting I would work in clay – I love to mould and sculpt and shape and use the energy of my hands.
  • I had an idea to see if I could mould the wool fibres as I would clay – and it worked!!

I have shown my figures at Prism and SDC exhibitions in London and Birmingham and have sold them in local galleries.

This year I made ceramic and mixed-media figures for the first time!

RBSA Prism 2019

Then, out of the blue…..

I was asked to teach at Felters Fling 2019 – I had a wonderful time and met amazing felters and friends – and I realised that what I am doing, with wet felt sculpture, is very different and of interest as a new technique.

So….I am embarking on another new venture, to teach online! It’s been a huge learning curve for me and I have had a lot of fun finding out and mastering many skills and processes:

  • Studio lighting
  • Filming
  • Talking and making at the same time!!!
  • Editing videos
  • Creating written content and illustrating handouts and worksheets
  • Finding the best course platforms and learning how it all works
  • Classroom discussion forums
  • Selling and marketing

…and I have had a great group off Felter’s Flingers to trial the course with me –  their advice and encouragement has been invaluable! Thank you, thank you xxxx

Maybe you’ll join me?

Contemporary Dancer Online Workshop

My new 5 week online workshop

Contemporary Dancer – A Unique Felt Sculpture

Friday 17th January till Friday 21st February 2020

Registration for the course is open!

 

This is an exciting online workshop where you will make a free standing figure 20″/50cm tall. You will learn a new, energetic wet felted process that has similarities to clay sculpting and can be easily adapted to make any shape or form. 

The course is suitable for intermediate felt makers and will include simple hand sewing techniques. 

The online classroom is hosted on RUZUKU – each lesson contains multiple videos, presentations and downloadable course information and worksheets to show you, step-by-step, exactly what to do in a simple, clear format.

I am so excited to have developed this course and hope you will join me in January!!

Be on the first course……

Head over to my workshop page for more information:

Experimental ceramic figures

I have been developing a way of creating sculptures with a clay and textile mix on a wire frame.

The figures (usually felted) are changing in response to the theme of ‘Fragility’ for the Prism Textiles Exhibition at Hoxton Arches gallery, London next month.

 

There is nothing the least fragile about my felt sculptures that go through a very vigorous, wet felt process. By creating a ceramic sculpture I have introduced an element of fragility to the form – or that is my intention!

 

 

The process thus far:

The figures have a twisted wire skeleton – 2mm and 2.5mm to reinforce the standing leg.

I made a paper clay slip with stoneware clay, paper and water and used this to soak ribbons of cut knitted woollen fabric to bind around the wires – then left to dry.

I repeated this process with the same material to shape the arms and the hips and legs. The torso was formed with solid clay to add a textural contrast.

Once dry I polished the torso clay to bring it up to a smooth shine – but only possible in places so not very sucessful!

Firing the figures

I have placed the figures in a foil ‘saggar’ with a range of colouring materials.

Materials:

  • Seaweed powder (spirulaena)
  • wire wool rusted
  • copper wire
  • banana skins
  • salt

I wrapped fine wire wool and banana skins around the figure securing them with copper wire. Spirulaena and salt was sprinkled on last and wrapped the whole in layers of foil.

Figure wrapped in foil

 

Then out to the yard and my steel bin!

I put a good 30cm of sawdust in the bottom of the bin and lined the sides with wood. I then placed two foil parcels of figures onto the sawdust base. Long ribbons of fabric soaked in white spirit were tucked into the this layer and then filled the rest of the bin with smallish pieces of wood. Finally I pushed more spirit-soaked fabric through the four vent holes, into the layer of sawdust, at the bottom of the bin.

I lit the kiln from the base of the bin – lighting the four fabric ribbons.

Once the fire was really going – about 8-10 minutes – I closed the vents with fire proof fabric kept in place with bricks.

Finally, once I was sure the fire was hot and fierce, I put the lid over the flames and there it stayed for 18 hours (over night).

Link to Raku firing

The materials have added plenty of colour to the figure and happily there are no cracks in the clay!

My final task is to find a suitable base in which to set the figures!

Question – do I add a wire head dress? Gold leaf to highlight? Lacquer? Hmmmm……

 

 

 

Ceramic & textile sculptures

Finally ready for the fire.

To create these figures I started with a twisted wire skeleton and covered it with ribbon cut from a medium weight wool/acrylic sweater. I then coated the wool fabric liberally with paper clay slip. Once this layer had dried I applied ribbons of wool fabrics soaked in the clay slip – wound onto the legs and arms, shaping as I went.

Paper Clay Slip – Add 5–15% paper pulp to the stoneware clay slip mixing it thoroughly with a drill mixer. I soaked shredded loo paper in water, with a capful of bleach, over night and then pour the lot through a colander, pressing out the excess water before adding to the clay slip.

Next, I used stoneware paper clay to form the torso – making a smooth surface to contrast with the wool texture on the legs and arms. Once I had the shape I wanted I left the figures to dry slowly to prevent the clay from cracking.

 

Firing plan

I have a large steel drum and also several metres of ceramic fabric to insulate from the outside. A local joinery has lots of sawdust and there is plenty of wood in the shed.

Plan to cover with figures in organic material such as banana skin and may wrap in aluminium foil before placing in the drum kiln.

Colours

  • Hardwoods- Black/dark grey
  • Drift wood – Blue/greys, aqua shades, grey/black
  • Seaweed roots – Brown, rust, beige
  • Kelp – Yellow, orange
  • Table salt – Orange, yellows
  • Sea salt – salmon pink, orange, yellow
  • Copper carbonate – green, black, maroon
  • Ferric chloride – iron reds, yellow, orange

The ceramic network

You can place colourants in the bedding, around each piece, on top of each piece, or even throw it at the pieces during the firing. Each can result in different effects in the coloration. When you bury the colourants, it will add color late in the firing. If you place in around or on the piece it will colour in the middle of the firing. When you throw it in you can get instant colouring much like a star burst pattern.

  • Copper Carbonate – greens, blues, maroons, reds
  • Copper Sulfate – greens, blues, maroons, reds
  • Cobalt Carbonate – blues
  • Ferric Chloride – reds, yellows, oranges
  • Steel wool- blues, greys, pinks
  • Banana peel- greens, grays
  • Copper wire – red, black, blue, green, whites depending on wire
  • Sawdust- black, grey, blue-grey,
  • Cow pies – blacks, yellows, greens, greys, browns
  • Bacon Grease – brown/greens
  • Sodium Chloride- Orange, yellows, salmon, peach, gold
  • Coffee Grounds – browns, greens, blues
  • Leaves – brown/greens
  • Grass – brown/greens
  • Miracle Grow fertiliser
  • Red Iron Oxide – browns, maroons, rust

Up in smoke pottery

 

Colourants I will use:

  • Copper sulphate
  • Copper wire
  • Ferris oxide – rusty tub
  • Banana skins
  • Table salt
  • Tumeric
  • Leaves from perennials -robinia, laurel
  • Hard woods

Before placing the figures in the drum I will put them in the kitchen oven and to heat to a good temperature – hoping to prevent stress fractures.

Firing day is Tuesday 26th February!

References:

Pit Firing

http://www.eduardolazo.com/pitinstruct.html

Pit Firing Using a Good Old-Fashioned Charcoal Grill

http://www.upinsmokepottery.com/pit-firing.html

video

 

 

 

Figures in ceramics – work in progress

 

The Prism 2019 theme is ‘Fragility’ and knowing just how robust the process of making the felted figures is I really can’t imagine them as fragile. However by combining clay with the fibres on wire would create a fragile form – the fibres being burnt out in the kiln….

Problems:

  • I am not a ceramicist! – I did experiment with this technique during my degree but is was rather unsuccessful.
  • Finding a kiln – could ask the lovely people at Brighton University where they have huge kilns that I used to experiment and the Phoenix centre rent kin space – not as big….. or I could pit fire the pieces myself…..

Chris Dunn – great teacher

First attempt 22.10.18

Looks good – shows potential however the clay cracked on drying and on further research realise that I should use a paper clay…

As I have already bought a large slab of stone ware clay and a pot of slip I need a recipe!

Next… paper clay making!

 

Making fab soap for felting

Chemistry in the kitchen

I make my own soap and have done for over 10 years and I always use it to make felt.

There is nothing quite so good as handmade soap and it can be made in bar or liquid form. There are many great websites and YouTube videos now that recount the history of soap and how to make the stuff – not the melt and pour variety but the cold process method  – it’s Chemistry in the Kitchen’!

If you would like to view the my soap course please click on this image:

For the ingredients I can’t find in the supermarket I go to The Soap Kitchen (UK) and there are also plenty of good suppliers on Ebay.

Enjoy!!

 

Prism 2018 Hoxton Arches Gallery

One of the best Prism exhibitions!

‘TRANSIENT’

A selection of artworks from the exhibition

My submissions

Life dance

Comprised of 28 small figurative felt sculptures.

I use the wet felt method to create these little figures

Exploring the Senses

Two large figurative sculptures suspended

Both pieces together in the gallery

My art work is for sale and I also welcome commissions.

Please contact me for further information.

Molly

Tunbridge Wells Artisans

Tunbridge Wells Artisans!

A new and exciting Arts and Crafts venue is opening in Tunbridge Wells, Kent on 17th November 2017 – just in time for Christmas.

The Stables, at the The George pub at the top of Mount Ephraim is a beautiful old building and perfect to host local artists and craftsmen!

 

I have booked my gallery space amongst the beams and rafters and there are still a couple of gallery spaces left – so check out the website!

Tunbridge Wells Artisans

 

3 Jackets

I have been experimenting with hand dyeing and painting fabric and the fabric I have chosen for this development is a beautiful ottoman rib viscose/cotton fabric.

The fabric has behaved beautifully during the dyeing processes and has been a joy to make into garments.

So to recap:

Three dye techniques:

  1. Shibori kimono

A simple kimono design – medium size 14 -16 UK

Shibori pattern – 2 metres ready to cut the pattern pieces.

Kimono pattern:

Kimono pattern

 

2. Ikat design jacket

A short boxy jacket with machine stitched ribs

I made the fabric into a short boxy jacket – size 14/16. Great with black dress or trousers or team with jeans for a BOHO look!

3. Shocking pink jacket

Hand painted twice with a rich, deep pink dye I have used this lovely fabric to make a kaftan style jacket with some shaping at the waist  with set in sleeves and lined.

To embellish the plain fabric I cut sections of gold embroidery from an old Zari sari and have stitched it down one side of the front.

See examples on my Etsy shop