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Holy Island Residency

By Inspiration, News

Fashion + Conversation with Joan Murray

As an Artist in Residence on the Holy Island of Lindisfarne, I was privileged to stay in St Cuthbert’s Centre for 10 days, 6 to 16 August 2024.. Before coming to the Centre, I researched colours and patterns in the Lindisfarne Gospels, noting influences from both Celtic and Latin manuscripts. Then, on arrival, I could see that much of the naturally occurring texture and pattern on the Island is also formalised in these Gospel illuminations. Early Christian and Byzantine artwork were starting points for my choice of coloured yarns to use in making and demonstrating my garments. Wandering around the island when the tide was in, I found the same colours on the rocks, the surrounding sea and the sweeping expanses of long grass. This deepened my appreciation of the artistic skill of the early monks who prepared inks and dyes to embellish the writing of the Living Word – the four Gospels – on vellum. In this, as in all areas of life, their initiative and commitment is still inspirational. 

As a presentation space, the church is truly welcoming. The changing light throughout the day, streaming through the tall windows, creates different moods for the displays. Another affecting experience is the tidal changes which have such an impact on island life. 

The Centre never became too busy, so my visitors  felt comfortable, whether chatting and asking questions, or just sitting with me in the quiet space. I answered queries about my techniques, outcomes for clothing and accessories, and about creativity itself, reflecting our Creator God. Conversations alongside this were wide-ranging: this Church’s long and chequered history going right back to St Aidan’s arrival as a missionary from Iona in 634AD; the growth in our own day of churches in some areas and their decline elsewhere; the splendid decision to have artists in residence; and for me as a believer, a freedom to speak in the name of Jesus within this building where folk of varying shades of faith and none could talk freely.  

On a practical note, my stay in the Bothy was very comfortable with all needs supplied. Local residents, the cleaners and hotel staff were friendly and helpful and the Revd Kay Blackwell, even while settling in as a new incumbent with her family, was hospitable, generous in her encouragement and helpful with my photographic record. I am grateful to the St Cuthbert’s Centre and the URC in the North East for opening up such a memorable experience.

 

Workshop: Exploring Global Textile Processes @ The Hepworth Wakefield

By News

Explore textile techniques with artist and teacher Joan Murray.

Using her collection of ancient and contemporary samples, Joan will highlight various weaves and methods of construction. As an introduction to handling yarns and using weaving equipment, she will demonstrate Peruvian braid making for traditional slings and slit tapestry straps.

You will guided to create samples, using card looms and other simple equipment to create small weaves, Peruvian braids, Japanese braids, and thread wrapping, inspired by Sheila Hicks’ organic and colourful pieces. You will have the opportunity to try working on a small rigid heddle table loom to explore simple colour and texture effects.

This session is suitable for beginners, though Joan will introduce techniques and approaches suitable to the experience level of individual learners.

Materials are provided, but you are welcome to bring your own materials to work with – bundles of threads, mixed yarn, scraps of fabric or hand spun yarn.

Sat 25 Jun 2022, 11am – 3pm

More details here

Life Drawing Teaching at the Hepworth Wakefield

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22-23 Sept 2018, 10.30am – 4pm

£100 / £75 Members

The Hepworth’s life drawing weekend offers a structured, supportive environment in which to gain technical advice in key areas such as proportion, perspective, anatomy, line, gesture, tone and colour. Led by artist and designer Joan Murray, you will be encouraged to use this technical knowledge as a basis through which to develop your own style of life drawing, using a wide range of approaches and mediums.

The weekend will be structured around four sessions, each developing different skills:

  • A general introductory session, incorporating discussion around measuring and proprtion, development of a confident, relaxed relationship to the page through different mark making activities, and a series of short and mid-lenth poses focused on limbs and muscles.
  • A series of poses, followed by a longer piece, using drapery , exploring translucent and opaque fabric and the use of natural light. 
  • An exploration of foreshortening techniques and the use of artificial lighting through floor based poses. This session will include both short, rolling poses and longer reclined positions.
  •  The incorporation of props through a series of simple challenges, working towards longer poses and the opportunity to work up a more realised drawing. 

Throughout the sessions you will experiment with a variety of media, from pencil and graphite sticks to charcoal and collage. The sessions will be adapted to suit the needs of each participant based on your skill level and preferences.

More details here: https://hepworthwakefield.org/whats-on/life-drawing-weekend/

Exhibition – Scarborough

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Joan Murray

With Great Pleasure

Private View

Followed by paddling and poetry on the beach (weather permitting)

7th October, 12 noon – 2.30pm

Main Exhibition

9th October to 30th November, Weekdays 9-5pm, Weekends 10-4pm

Location

Woodend
The Crescent
Scarborough
North Yorkshire YO11 2PW

Google Maps Location

Woodend Website

Joan Murray – With Great Pleasure

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Here at Woodend, Joan presents a selection of work from her 30-year career in textiles. It is a fitting venue, since she feels an affinity with Dame Edith Sitwell, whose uncompromising approach to her own work was matched by a flamboyant personal style – aware of, but not overwhelmed by, passing trends.

Graduating in textiles from Belfast College of Art, Joan went on to specialise in weaving at Winchester School of Art, then moved sideways into knitting for her MA at the Royal College of Art, London. Computerised knitting machines were rapidly expanding the scope for designers and she later adapted the new ideas to the domestic knitting machine.

Garments are now often completed using knitting machine techniques alone, with no additional cutting or sewing. In these, the apparent simplicity of the silhouettes has an affinity with Japanese designers: indeed, early machine-knit lengths or samples of fabric were bought by Issey Miyake and other designers in Japan, before she began to cut and shape it into her own garments and accessories. These have been sold to the collections of the V&A, the Whitworth Gallery in Manchester, Brighton and Hove Museum and other institutions, as well as to a growing list of private clients.

Long experience with a wide range of patterns, textures, colours, silhouettes and yarns means that many decisions are made by instinct as the work takes shape, usually around the idea of a living, moving body. Joan continues to knit, but is also now weaving again. This is slower and more contemplative, but equally experimental and just as painterly: the artist draws and paints constantly as her indispensible source of fresh ideas and inspiration. She continues with her drawing, collaging, monoprints, painting and taking photographs – at home in Skipton, in the surrounding landscape and in museums – and encourages all students to gather and store the visual information all around them.

For example, the intriguing geometry of ordinary things led to the black and white collection, while collage drawings of birds in the RCA conservatory were the basis for the industrially-felted, abstract work. For the doublecloth coat fabric and painted cushions, fluid repeats of the bird images were recreated onscreen and linked to an industrial knitting machine. Travelling, in the British Isles and in Europe, South America and South-east Asia, has been inspirational. Recently she was looking at Picasso’s and Karl Hofer’s Harlequin paintings, visiting the Louis Vuitton gallery in Paris and reading the poems of Dame Edith Sitwell: these mingled impressions resulted in the Harlequin collection made in pieced silk and jacquard knits.

Joan loves to watch and draw ballet and modern dance. She sees costumes as a key element in any performance, concealing or accentuating the movement of the body and the space it describes. Devising her own collaborative performances – involving photographers, film makers, models and animators – broadens the creative scope of all who take part. The short films shown here are two of Joan’s many and varied collaborations. As a part-time tutor with many years’ experience in further and higher education, Joan believes that every individual has something special to be drawn out. Imaginative and encouraging, she constantly develops new ideas and projects. For her enthusiasm in involving and motivating students at Craven College she was a finalist in the 2015 Tutor of the Year national award (NIACE). She keeps tabs on the many career options open to students in the Art, Design and Fashion industries. Teaching refreshes her own work and balances out the hours of discipline and solitude she devotes to knitting and weaving.

Joan Murray’s approach to life in general may be summed up in the words of Edith Sitwell: ‘It’s better with all banners flying – isn’t it?