#sparkchamber 030722 — Barbara Shaw
While it is said that material things can’t bring happiness, well, if by material you mean fabric, we strongly disagree! A big #sparkchamber welcome to textile artist, Barbara Shaw. Barbara creates stunning, impressionistic collages by hand-stitching layers of carefully selected scraps of fabric together to form an image. She “paints” with textiles — “patterned and tactile materials in vibrant or subtle colors are useful, as well as chiffon ribbons for shading, sparkly fabric for light, lace for intricate detail, and tweed for texture” — to capture the essence, touch, and energy of her subject matter. Her work aims to engage the viewer in looking afresh at familiar images.
Barbara is completely self-taught — “As a child, I was encouraged to focus on academic studies and art was not a priority. At the time, I longed to learn the basics of painting and drawing. However, the lessons encouraged students to experiment with patterns, woodwork, and abstract studies. This did not interest me, so I gave up the subject at school when I was thirteen. Later, as an adult, I tried several “beginners” classes but was extremely disheartened and disillusioned with them. So I decided to teach myself how to understand and use color, shading, and perspective. I avidly read books, studied illustrations, and practiced drawing and painting exercises. I taught myself how to see in a different and detailed way.” — and has found her place in the world as a professional artist. An Artist-in-Residence at two National Trust properties [grand, historic houses], her work has been exhibited at — and in the permanent collection of — numerous museums, as well as in the Houses of Parliament.
Barbara regularly posts on social media about her work and what inspires it. You can find her on Facebook, Twitter, and Instagram.
1.] Where do ideas come from?
Ideas seem to come in flashes after mainly random thoughts, which then crystallise into something tangible: something which can possibly be interpreted in a practical way. With no art background and being self-taught, throwing seeds in any direction comes naturally to me. There are no barriers to the string of abstract connections, which result in producing something creative. At the draft stage of an idea, sharing these initial thoughts is not easy as they cannot be processed into something another person might find meaningful. Some of the methods of generating ideas such as using “mind maps” and “brainstorming sessions” to prompt original thinking are not the preferred methods for all creative people. They rely on turning ideas on and off at given points in time rather than letting original thought progress at its own pace. For art, observation is key: looking at shapes, angles, shading, light and colors, these form the starting blocks of ideas.
I interpret the world in pictures therefore I struggle for meaning if I am unable to envisage an outcome to ideas. Becoming a textile artist was not something I deliberately pursued. Quite late in life, the discovery of patchwork and quilting as a hobby sent me in a new direction. Tentatively making cards with the leftover scraps, I then experimented with pictures in a larger format. My confidence increased after I taught myself painterly techniques such as understanding perspective and shading — but with fabric rather than paint; I also learned how to mix patterns and shapes to produce recognisable images. The complex layering produces an impressionistic artwork, where the threads appear like brushstrokes and the materials are the raw beginnings of the composition.
2.] What is the itch you are scratching?
The itch that I am scratching is to create a picture in textiles of what I experience. By “painting” what I see, this satisfies a deep-seated need to express myself for myself. Words do not convey the joy of colours and textures, which are linked to my emotional responses to the fabrics I use in my work. The pleasure I get inspires me to continue and it is a bonus when my work is well received.
3.] Early bird or night owl? Tortoise or hare?
I am an early bird. Ideas can strike at any time but I am sharpest in the morning. That is when I experiment with different approaches to my art. I also need the light for blending subtle layers of colours. In order to find time for my artwork I am able to be single minded and focused, shutting out chores such as ironing and housework. Pictures may take anything from a few days to a few weeks to complete and I am quite disciplined about not beginning another project until the current one has been finished.
I am a tortoise rather than a hare, preferring to work steadily without the threat of a deadline looming. My slow stitching method ties in with this approach and enables me to carefully consider all aspects of the process of construction.
4.] How do you know when you are done?
The subjects I interpret are many and vary from landscapes to portraits, architecture and street scenes, to still lives, flora and fauna. I research the theme to understand the character and essence of what I will be creating. This is a very important part of the process and enables me then to work intuitively. I am not trying to achieve perfection but coherence, and there comes a point where I have to admit that what I have created is the best I can do. Then it’s time to stop!
From ideas to artwork, I invest a lot of emotional energy into the pictures and I am extremely touched when people pick up on this sensitivity and send me such positive feedback. Conveying and sharing my enthusiasm with other people is crucial to how I work: electronic communication and social media have facilitated this. It is the most fantastic feeling to know that not just my artwork but also how the ideas develop and become reality encourages and inspires others around the world on their own journeys of discovery.
