Tuesday, 21 April 2015

MAKE/CREATE exhibition

For the all new LONDON CRAFT WEEK I've been invited to be take part in an experimental collaboration with a contemporary artist.

Painted Cloth: distressing the surface
Painted Cloth: distressing the surface
MAKE / CREATE will pair 13 craft scholars (me included) from the Queen Elizabeth Scholarship Trust (QEST) with 13 contemporary artists selected by Griffin Gallery, for a creative dialogue with each other. 
MAKE/CREATE event
MAKE/CREATE event

The Crypt Gallery, St Pancras Church, Euston Road, London, NW1 2BA


The exhibition will take place at the pop-up, underground Crypt Gallery in St Pancras Church, Euston. It is one of many events taking place during LONDON CRAFT WEEK (6 - 10th May). 
London craft week logo


The city's new annual event will showcase "exceptional craftsmanship through a journey-of-discovery" and will feature hidden workshops and both celebrated and upcoming makers alongside famous shops, galleries and luxury brands.

The spirit of the Griffin Gallery's MAKE/CREATE exhibition "lies in the desire to demonstrate the contemporary nature of craft, and the craft involved in contemporary art – changing perceptions of both" (Griffin Gallery)

Test pieces for the final painted cloth
Test pieces for the final painted cloth
I am collaborating with conceptual artist Chantal Powell on a work that combines my large Tudor painted cloths (such as the one pictured below) with her theatrical installation pieces.  


Reproduction Elizabethan painted cloth: "Kent Multivine"
Reproduction Elizabethan painted cloth: "Kent Multivine"

Titled “Veneer” our installation will play on notions of imitation, illusion and deception.

At this stage the components are still coming together as we work from separate studios 100 miles apart (Southampton and Hastings) so for now, here's my perspective. 

The collaboration began when we first met in February 2015, paired because Griffin Gallery saw potential creative connections between our very different artistic practices. 

With Chantal's focus on concepts of truth and illusion, reality and deception, she honed in on similar elements in my Elizabethan work.  The wall paintings and painted cloths I reproduce from the 16th and 17th centuries are laden with imitation. Our domestic ancestors covered their walls in aspirational motifs designed to express status, intellect and allegiance. For example the painted cloth below mimics expensive wooden panelling.


reproduction Elizabethan painted cloth
Our reproduction Elizabethan painted cloth for
Shakespeare's Birthplace, Stratford-upon-Avon
These decorative paintings often imitated expensive tapestries, wainscotting and woven textiles. Motifs could be borrowed from craftsmen's patterns books for ironwork or knot gardens, glazing patterns or embroidery stitches and re-appropriated as wall decoration. The C16th wall painting below references luxurious gold thread embroidery.


Original Elizabethan wall painting in Oxford
Original Elizabethan wall painting in Oxford

And so grew the idea of creating a dramatic painted cloth with historic faux elements and setting it amongst sculptural objects that present us with more falsity: pretend panelling, artificial floorboards, the illusion of aged surfaces and expensive materials. 

An exploration of how both then and now we create domestic settings that reflect a reality we aspire to.   


Sewing 3 panels of my cloth together
Sewing 3 panels of my cloth together to make one big piece

The installation will be animated by amateur footage of a guided tour of Hearst Castle, William Randolph Hearst's pastiche laden mansion in California. Shoehorned with genuine and reproduction architecture and antiques, this Hollywood fantasy both deceives and beguiles visitors as we hope to do on a smaller scale at The Crypt Gallery in May.

We hope you can make it to MAKE/CREATE for a show that promises some intriguing collaborations between artists and craftsmen. 

We can't wait to see what our fellow collaborators have been working on too. 


map of Crypt Gallery near St Pancras Station, London
Map of Crypt Gallery near St Pancras Station, London




Friday, 3 October 2014

The Triumph of BACCHUS

My latest design for Lewis and Wood has won BEST PRINTED FABRIC at the Homes and Gardens Fabric Awards 2014.
Bacchus linen in Meade colourway
Bacchus linen in Meade colourway
The awards were announced at a glamorous breakfast event at Ham Yard, the stunning new Firmdale hotel in Soho. Homes and Gardens editors Giles Kime and Deborah Barker hosted the event and Firmdale's design director Kit Kemp gave a talk about the development of this fabulous hotel. (I am now completely besotted with Kit Kemp style - it's a blast!)

The Judges said of Bacchus: "Different to anything else, Lewis and Wood’s fabric is interesting and beautiful, with a stunning soft palette.”

Homes & Gardens Fabric Award for Bacchus
Homes & Gardens Fabric Award for Bacchus
Bacchus is part of Lewis and Wood's English Ethnic Collection launched in March this year. I joined artists Su Daybell and Flora Roberts in creating six distinctive designs united in their dynamic and large scale format.

The English Ethnic girls:
The English Ethnic girls: Melissa White, Flora Roberts & Su Daybell

Lewis and Wood, being a fairly small UK fabric house, are unhindered by trends and seem to thrive on innovation and originality. It was fascinating and exciting collaborating with them and I'm thrilled with the resulting Bacchus and my other design; Rococo (below).

Rococo wallpaper in Heraldic colourway
Rococo wallpaper in Heraldic colourway
Read more about Rococo in this post

Bacchus in meade colourway.
Bacchus in meade colourway. 
Seen here in front of a Swedish bureau by Lorfords Antiques 

Bacchus is a large scale swirling multivine, derived from a rare black and white Elizabethan wall painting in Kent.

16th century multivine wall painting in a private house in Kent
16th century multivine wall painting in a private house in Kent

It's a masterful, full wall painting  that would have been carried out by itinerant craftsmen during our late flowering Renaissance. I've interpreted the design in various ways over the years so it has become an old friend:

Multivine painted cloth by MW, Norfolk
Multivine as a painted cloth battened to walls in a Norfolk castle

Multivine curtain by MW on hand painted linen
Multivine curtain: hand painted linen 

Multivine cushion by MW
Multivine cushion: hand painted grain sack

Multivine fresco secco by MW
Multivine fresco secco: hand painted, plastered wall panel
The original painting is very large scale (about 5m wide x 2m high) so to coax it into a manageable repeat I pulled out a central element to maintain the scrolling flow, nudging it into a more formal arrangement. All the while trying to maintain the spirit of the original.

Melissa painting Bacchus artwork
Melissa painting Bacchus artwork for Lewis & Wood

The design is finished with the original border which, in the 16th century frieze, runs across the top. Here we have placed it down both sides of both the fabric and the wallpaper so that it can be left in place or detached to use as a trim.

Bacchus in "malt" colourway
Bacchus in "malt" colourway
The whole repeat runs up and down vertically and, if you trim the border, it joins horizontally as a half drop repeat.

The images below show how the trimmed border can be cleverly used to frame walls and furniture.

Bacchus wallpaper in Grigio colourway
Bacchus wallpaper in Grigio colourway

Bacchus linen in Grigio colourway
Bacchus linen in Grigio colourway

I adore the Kent wall painting with its honest, spontaneous and bold execution. It exemplifies why I pursue the wall paintings of this period and thrive on reviving them to be appreciated today.

Detail of 16th century multivine wall painting
Detail of 16th century multivine wall painting
Homes and Gardens also nominated Su Daybell's turbulent Force 9 wallpaper from the English Ethnic collection:

Detail of Su Daybell's Force 9 wallpaper
Detail of Su Daybell's Force 9 wallpaper in Big Blue colourway

It was up for Best Wallpaper over £40 a roll. See all the Homes and Gardens winning fabrics and papers on their Living Beautifully website.

Meanwhile here are all 6 of the English Ethnic designs:

English Ethnic all 6 designs
English Ethnic all 6 designs


Further exploration:

Lewis & Wood

Homes & Gardens magazine

Su Daybell artist and florist aka Twig of Tetbury

Flora Roberts artist

Firmdale Hotels

Mike Garlick photography (for Lewis & Wood)

and of course me and all my stuff






Thursday, 31 July 2014

MEANDERING POMEGRANATES a painted cloth (part 1)

A commission to reproduce a striking mid-C16th wall painting as a large painted cloth.


Painted cloth in situ
Painted cloth in situ

Bayleaf is a beautiful, early C15th, timber-framed hall-house. It sits in the bucolic 50 acre grounds of the Weald & Downland Open Air Museum near Chichester. This really is a fascinating and magical place to visit.


Bayleaf at the Weald & Downland Open Air Museum
Bayleaf at the Weald & Downland Open Air Museum

This commission was prompted by the need to replace the existing woven backcloth. It had become faded and darkened with soot from the open fire since it was hung in the 1980's. The museum decided to replace it with a painted cloth which was a very popular decorative device in the Sixteeenth Century.


The central hall with the woven cloth before it was replaced
The central hall with the woven cloth before it was replaced

In this 1st of two posts I'll introduce the design and its setting then next time we'll go behind the scenes at my studio to see how it was done.

So the design for this cloth is a reconstruction of a surviving wall painting at Althrey Hall, Flintshire, North Wales. It's a lovely example of imitation paned textiles with alternating grey and yellow stripes (though it is tricky to make them out now as the plaster and studding have aged differently)


 original wall painting at Althrey Hall
The original wall painting at Althrey Hall
Like many wall painting designs of the period this one is aspirational; representing expensive, high status fabrics imported from overseas. These textiles were often produced in narrow widths that would be sewn together in contrasting strips. The yellow stripe may represent Renaissance "cloth of gold";  brocaded silks or velvets with large meandering stems bearing pomegranates, thistles, artichokes...these became known as "pomegranate" designs and are often to be seen on clothing in portraits or as backdrops such as in this scene by Mantegna:


"Ludovico Gonzaga, Marquis of Manua, and his family"  fresco by Andrea Mantegna at the Palazzo Ducale
"Ludovico Gonzaga, Marquis of Manua, and his family
fresco by Andrea Mantegna at the Palazzo Ducale

Meanwhile the grey stripe features a feathered trellis with rooted sprigs of flowers. This criss-cross device was also very common in wall painting and could feature floral motifs inspired by herbales or knot gardens.


Detail of the original wall painting at Althrey Hall
Detail of the original wall painting at Althrey Hall
We don't know for sure that the motifs depict pomegranates, they could be another plant but running across the top of the design is a frieze that most certainly does feature open pomegranates baring their seeds interspersed with large acanthus leaves.

The iconic pomegranate motif is laden with symbolism both religious and secular. The crown-like flower has regal connotations, for its ability to thrive in arid places it is associated with immortality and its abundant seeds represent fertility and regeneration. I won't delve any further into the iconography of the design here. Suffice it to say the design is what one might call conventional and traditional; well suited to its setting at Bayleaf where it would have served to frame and elevate the status of those seated in front of it.


New painted cloth in Bayleaf hall
New painted cloth in Bayleaf hall
As I worked on reconstructing the design I was struck by how bold and graphic it was. Whilst it blended with the abundance of colour and pattern at my studio I wondered how it would work in the stark, neutral interior of the hall house. I was fascinated to visit Bayleaf after it was installed and to find it well suited to the space. Dwarfed by the imposing height of the hall its impact is very localised and draws the eye to the important end of the room. It's easy to forget how little pattern there would have been in an interior of this period. Some in the clothing, some on ceramics and carved into wood but no soft furnishings, carpets or curtains. With textiles still being very expensive, a patterned cloth painted on relatively cheap linen with basic earth pigments was an affordable and immediate way of getting pattern and bright colours into an interior as well as offering some insulation.


The painted cloth and head table
The painted cloth and head table

When we supplied painted cloths for Shakespeare's Birthplace Museum in Stratford-upon-Avon back in 2000 the change of scene was equally impactful and quite controversial. Visitors often expect a Tudor interior to be all white-washed walls and dark oak beams whereas in fact pattern and colour were prevalent and far bolder, far louder than we are accustomed to nowadays. It is challenging for a museum to reinstate such features but it is a wonderful opportunity to instigate a conversation about what it was actually like to live in these interiors.

In September the museum is hosting a series of talks that will explore the domestic interiors of historic homes. 

COLOUR IN HISTORIC HOMES
Sunday 21st September 2014, 10am to 4pm

The Museum also commissioned film maker Darren Mapletoft to produce a film about the process of creating the cloth. It includes conversations between Catherine Richardson, Danae Tankard and me both at my studio during production and later on site once the cloth has been installed.



Many thanks to the museum's social historian Danae Tankard and Catherine Richardson (see below) for making this an intriguing and fascinating journey.


Recommended Reading:


Catherine Richardson, reader in Renaissance Studies at the University of Kent, has written an insightful post about her visit to my studio on her blog "Material Histories"

"Early modern design in the age of  mechanical reproduction?"


There is lots of interesting information about Cloth of Gold and Pomegranate designs in Lisa Monas' sumptuous book:


 Merchants Princes and Painters: Silk Fabrics in Italian and Northern Paintings 1300 to 1550


And if you're interested in Tudor wall paintings and painted cloths you must read Kathryn Davies book:


"Artisan Art: Vernacular wall paintrings in the Welsh Marches 1550-1650"

Tuesday, 25 March 2014

DESIGNER FAIRS: Show Tell & Sell

I'm pleased to be exhibiting and selling at two local Designers & Makers Fairs in March and April:

Melissa White Studio setup

I rarely take part in fairs as generally I work to commission and don't hold much stock - as it were. This year I'd like to get some product lines going so I thought I'd put some bits and bobs together and see what people like.

If you're local or fancy a trip to the seaside I hope you'll pop by.

UPMARKET

Designers & Makers Fair


Upmarket invitation

March 2014, Fri 28th to Sun 30th
Baker Mamanova Gallery, St Leonards-on-Sea



ARTISANS at the ABBEY

Fine Handmade & Original Design


Artisans at the Abbey invitationinvitation

April 2014, Fri 18th to Mon 21st (Easter Weekend)
Battle Abbey, Battle

Both events will showcase top notch designer/makers mined from a rich seam of talent that runs through this neck of the woods. Honestly you can't move for craftsmen and creatives in East Sussex!!

I'll be displaying current work and selling cushions, hangings and fresco secco panels. This kind of thing....

fresco secco panels
fresco secco panels

hand painted and printed cushions
hand painted and printed cushions
The Arden Collection for Zoffany
The Arden Collection for Zoffany
designs for Lewis & Wood
designs for Lewis & Wood

If you'd like to come to join us at the preview evenings please contact me for an invite: info@melissawhite.co.uk









Monday, 21 October 2013

Going Loco for ROCOCO

Swirls, Curls and Pearls adorn my first design for LEWIS & WOOD

Rococo Wallpaper – heraldic
Rococo Wallpaper – heraldic

Rococo is an exciting new collaboration with innovative fabric and wallpaper producers Lewis & Wood

Rococo selvedge
Rococo selvedge

When Stephen Lewis and creative director Magdalen Jebb came down to visit my Hastings studio back in winter 2012 their enthusiasm was contagious. 

Melissa White studio
my studio on a sunny day

My studio is always chockablock with painted panels and fabrics, experiments and samples but with their designer goggles on Stephen and Magdalen were instantly focusing in on pieces they liked and within an hour had pin pointed several designs they wanted to develop with me.

I then transformed my paintings into repeats, painted the final artwork and handed it over to be translated into printable fabrics and wallpapers. 

The first of these designs, Rococo, launched in September 2013 during FOCUS (I posted about it here).

Detail of my original artwork for Rococo
Detail of my original artwork for Rococo, 
painted in a burnt orange colourway

This damask-y design fuses ornate, scrolling, shell-like motifs reminiscent of the rococo period with floral Indian motifs, all painted as if wood-block printed.

Rococo comes as a wide width wallpaper in 4 metallic finishes....

Rococo Metallic Wallpaper – Gilt & Platinum
Rococo Metallic Wallpaper – Gilt & Platinum
and 3 matte colourways....

Rococo Matte Wallpaper – Oasis
Rococo Matte Wallpaper – Oasis

As a fabric, Rococo comes printed on a fine, tumbled linen in 3 vintage colourways....

Rococo Linen – Fritillary
Rococo Linen – Fritillary

...and finally as a sumptuous velvet in cranberry and slate blue with an irresistible "teddy bear" finish.

Rococo Velvet - Imperial
Rococo Velvet - Imperial

There are more designs to come next Spring when Lewis & Wood join forces with me and another two amazing artists in a truly adventurous new collection. Stay tuned!


Pricing, dimensions, composition etc are available on the Lewis & Wood website