Let’s be truthful here, if we wanted to have a truly eco Christmas we’d probably not even celebrate at all… but I love giving gifts, and I love any excuse for family to gather around a special meal together. And if once a year we all make the extra effort, perhaps it’s worth it. Also - it’s absolutely and totally possible to celebrate without forgetting the ethos that you live with the rest of the year, and also a great time to share that with othersRead More
Dyeing with coreopsis is like making sunshine. I haven’t even pulled the fabric from the dye pot, and I’m already in love. I’ll be honest and say I’ve been on the lookout for coreopsis flowers around me for a long time. When I saw some pots of colour at the little local nursery, I had to bring some home, as it seems there’s none growing anywhere nearby for wild picking.
This is pretty much one of the easiest dyes around. Flowers like this are full of colour, just waiting to imbue their warmth onto your cloth or yarn. You do need to prep your materials first, pre-mordant and all that. But apart from that you really can’t go wrong with dyeing with luscious blooms like this. I have the details of how to dye with flowers on online ecourse (and I’m working slowly on an ebook as well, join my newsletter list if you want to know when).
In the sunshine warmth that we have at the moment, solar dyeing is the best option. Any chance that I have to reduce the resources of my dyeing process, I’m happy to go that way. I wish I could solar dye everything, and often I do a lot, but some things do need direct heat, and some days the sun just doesn’t come out. But I am ever conscious of the impact of my dyeing - the gas used to heat the dye bath, as well as the water needed, and the mordants that I use. Not to mention the fabrics and yarns themselves.
Is this important to you, in your practice? The whole process of how you dye, where the materials come from, and what they’re used for?
I’ll be back with the results of the dye pots next week. Once the fabrics have soaked up all that colour, and have dried. For now, I really wanted to share these photos because they make me so happy - such glorious colour.
If you want to try it yourself, here’s a quick how-to dye with coreopsis flowers :
Scour, then pre-mordant your fabric or yarn*
Gather as many flower heads as you can. I’m using fresh flowers, but dried works as well. I’ll be adding extra flowers to the jar all week, as more bloom and are ready for picking. But aim to use at least 50%, ideally 100% weight of flowers to fibres. With most dyes (fresh flowers) the more dye stuffs you have, the more intense the colour, and the better results you get.
Fill a large glass jar with the flower heads, then pour kettle boiled water over it. Just like making tea. The colour will show itself straight away.
Put your rinsed material straight into the jar, on top of the flowers and give it a little stir. Close the lid and leave the jar in the sunshine for at least a day, and up to a week. Depending on a) what depth of colour you want and b) how much sunshine you’re getting. Move the jar around to get the most light / heat.
Stir the fabric every day, so that it is more evenly dyed. Or otherwise you can leave it, and the folds create little landscapes, patterns and designs. A very beautiful way to dye.
*(I use alum, but not sure if I’ll buy more once I’ve finished this batch up, but I don’t know that soya beans are any better. The ethics of it all is a bit much for me sometimes).
NOTE: If you’re dyeing yarn, it’s best to the put the flowers into a fabric mesh bag - like a large muslin tea bag or even a produce bag. This way you can add more flowers, and build up the colour over the days, but not have to worry about the petals getting stuck in your yarn. No need to worry about this with fabric, but you still can do it to create more of a consistent dye without patterns, if you’d like.
I used three different types of coreopsis. Also known as tickseed, they’re actually part of the daisy family. As far as I can tell there are a lot of different varieties - I’d suggest looking out for the yellow ones, especially these bigger fluffy ones. While the smaller two (in my photos) looked yellow-red tinged when I poured the water over them, the cloth so far is looking more brownish than the brilliant yellow of the larger coreopsis. Waiting to see if they turn out blugh-brown or ahhh-brown…..
Keep your eyes peeled for those bright yellow flower heads - I hear of people finding them on roadsides, council plots and cemeteries. You can pick them and freeze or dry them, while they’re in abundance. They like being deadheaded, so don’t worry about taking them from the plant. Leave one or two heads for the bees. I’m pretty sure they’re easy to grow in your garden, but this being my first time I can’t tell you from experience.
If you want to read more natural dyeing tips, how-tos or processes, these ones might interest you: eucalyptus & rust dyeing, garden bundle dyeing, dyeing with golden rod flowers (perfect for late-Summer foraging), and dyeing with turmeric (while not very lightfast, it’s such a satisfying & easy dye for simple projects).
I am working on some new pieces, with the hopes to get myself together to have a solo exhibition next year. I need to put the entry in by the end of this month.
Nothing ever stays the same > Pondering the way that my visual voice shifts & morphs, but I think still similar. Do you think? Do you see ‘me’ in my weavings and my stitch work?
I guess the only way is just to listen to my whisper, the quiet soulful voice of working with the muse and making my work. And if I make it with my own voice, then it must be my voice.
These pieces look totem-ish to me. They feel like trees of memories. I know what the exhibition will be called (I’m going to keep that quiet to myself for a little while). But it’s about memories, motherhood, self, ideas, thoughts, the shifting shadows in our souls & minds ... and other stuff. Haha.
Thought I should finally start using this blog to document my process as I happens. Small quick snippets of work. Would you be interested in seeing that?
Its raining here today. Again. Yesterday was pure glorious sunshine and now we are back to the moody skies, those feelings of internalising a day. It’s been raining for weeks. But the grey clouds have a good way of talking to me.
I saw the moon last night. A moment of wakefulness.
Heres the fabrics - naturally dyed with a combination of eucalyptus, iron-y water, seedpods & leaves gathered, bark (eucalyptus), silky oak leaves, rose leaves, onion skins. And the pinks are ranunculus & anemone flowers - the darkest purple ones. I can’t wait for more of them next Spring!
I’m using a combination of vintage kimono silk, scraps of other fabrics from my collections and also a little bit of new silk or linen.
This work feels, to me, like the ripe opening - the pulling of my soul. The near-whiteness of the external with the colours hidden underneath.. like caves of colours, pockets of what we keep hidden to protect us, to protect our internal thoughts, emotions, feelings. I wanted to share these pockets - to be opened up.Read More
This is the colour palette that I’ve been working with lately. It’s so very different than what I’d usually use or work with, and maybe that’s the reason I’m loving it so much. It’s always good to mix things up isn’t it - to push ourselves in a new direction. Maybe it’s just because seriously, look how good it all looks together.. So shimmery and lovely. I’m making tea quilts out of these pieces of my naturally dyed fabrics.
The goldens and yellows were all dyed with onion skins - if you’ve never dyed with onion skins before (either red or brown onions), they’re seriously the most satisfying to dye with. So much colour, so much depth and variation with different fabrics, weights and weaves, and different processes in the dye pot.
The greys are eucalyptus which was overdyed with iron. Here’s a little how-to if you wanna do this; it’s a great way to ‘fix up’ a piece that wasn’t so spectacular in the first dye pot, because sometimes that happens. And over-dyeing is the best ways to rework a piece of naturally dyed fabric or yarn.
Anyway - tea quilts. Ain’t that a sweet name. I’m not sure where I first saw it (somewhere on the vast amazing internet of inspiration - though I just did a teeny search and most images come up as quilts with tea cups on them… so mine isn’t that). These are lovely little placemats just for one person, for you to sit and enjoy your quiet moments of sipping tea.
A dreamy little moment we can all hope for. Quiet tea sipping and pondering some thoughtful words.
Lately I’ve been asked about my ‘process’, and sometimes it’s hard to articulate exactly what and where and how. Mostly - it comes in spurts and bursts. Keeping on trying, feeling and catching teeny glimpses of inspiration and working with that. And then pushing on without the inspiration. I feel like we have to be here ready and waiting, and working and always working, the inspiration comes and goes, but if we’re not here working then it will most probably slip on by without stopping beside us.
What do you think? Do you agree?
My process is mostly based on the materials themselves, and the pockets of time that I have to work within. I am learning to not limit myself to one form or one medium or only one ‘style’. Sometimes words come out, sometimes images, sometimes simply lines and rows of stitching.
The process of these pieces mostly came about by the dye pot colours. I have a vague idea of what colours or what dye stuffs (plants / flowers / etc) that I want to work with, but then I allow things to evolve. Once the colours showed themselves to me… quilt ideas started forming. The greys particularly keep talking to me and leading me somewhere further and further.
A lot of my work is a journey towards the next thing. While I’m working on something, ideas are forming and evolving and becoming more articulate, easily to recognise and put into form (rather than vague images / dreams in my head). The process of making a piece guides and informs the next piece.
I don’t often use a sketchbook or plan out what I’m making, because the piece becomes the sketchbook for the next piece. If that make sense at all.
So - my process for my creative making & art-making is :
having materials that inspire me - natural materials, in colours of the earth & sky & ocean (ie - naturally dyed. I am being drawn more and more to the more muted hues of things lately, as a general rule - but not always, of course!).
grabbing any and every moment when something sparks in me - and making it happen. Or writing little snippets of words down to guide me at a later time.
always having materials on hand - even just a small pile of fabrics, needle & thread. In my handbag, in the car, beside my bag, little baskets around the house
being open to what evolves. Not doing a lot of self-editing while the inspiration is flowing. Just moving with it, trying to listen and hone in my own voice.
when the inspiration strikes I get offline (no Instagram or Pinterest to distract me, or pull me away from my own voice), and I settle into where I am.
having lots of unfinished pieces. This is ok, because these often form and spark ideas down the track. Nothing is every complete.
remembering that I am ever evolving, as a person, as a creative, as an artist - and it’s ok for my work to keep evolving.
and just doing the work. Keeping on doing it, showing up again & again & again.
Every morning my husband gets up early, before 5am, which is dark during these Winter days. He makes sure the fire is still burning, or he starts it again, so that when we get up later the house is warm and cosy. This is what he does almost every morning, for us - his family. He also likes the quiet time in the house, all on his own.
He makes me coffee every morning, and wakes the kids up. He mostly makes breakfast for River, and sometimes the big two if they're communicative about what they actually want (sigh - teenagers / pre-teens!). All five of us somehow each morning manage to get everyone ready and out the door, lunches made, bags packed, dramas and lost notes and unbrushed hair, and unwashed faces. Mostly almost on time every day.
Sam does the school drop off. Every day, while I've been writing my book, he gathers the kids into the car and takes them to town. Monday and Tuesday are preschool days, so he drops River off too. Some days he'll check the post, go for a skateboard at the park, visit the hardware, or the healthfood shop, or the op-shop, or library, or get some more milk for our elevenses coffee.
Then he heads home (it's a 20 minute drive from our house into town). It's lucky he likes driving, because he does the trip into town often two times every day, for drop-off and pick-up.
When he came home today, me writing the final words on my book, pushing to get it sent before tomorrow's deadline, he cleaned the breakfast and lunch making stuff. He washed up - the epic mess from yesterday's meals (six people in one rainy day create a LOT of washing up). Then he made the coffee, which I drank while still writing. He drank while sitting down for a moment.
Before he left, to get the kids again, he brought me tea, and spilt extra firewood. I'm here writing a newsletter, and blog posts, and checking my emails to see if my editor has received my words yet (of course not because I live in Australia and she lives in UK, which means she's still asleep, or only just waking up right now... having her morning coffee).
Sam will take the big kids to drama class, he'll take the small kid to feed him (pre-school is hungry work for a three-year-old), and then do the shopping, visit the library, deal with a tired child, and the time frame of a kids' drama class, before he has to come home again.
Meanwhile, here I am... writing words, wondering about how to continue generating an income, tending the fire, and pondering my second cup of tea, perhaps a spot of sitting on the couch with some stitch work; my fearless quilt.
I ponder again and again life - the usefulness we each have, for our family, our community, what we give and what we get. Do we remember to say thank you, to look at someone when they bring us tea, or run up our goods at the supermarket, or re-new our overdue books at the library, or fill our car at the petrol station (yep, we have one of those local petrol stations in our town - amongst about 4 others that don't), or teach our kids be it in school or after school. The way that what we contribute has nothing to do with money, in a family or a community or society, or the world. What we contribute is more than that, bigger than that, outside of any financial countings.
And yes - there I said it. I sent my words to my editor today. 20,000 words. It will be some time before it becomes a book. This is the first edit, so I'm sure there'll be rewrites and such necessary. But there.... I'm on the way to becoming an author!
Last week most of my dye pots were giving me brown and more brown, which you know is sort of pretty, but can get a little tedious. Especially when I'm trying to get beautiful, fun, exciting colours to send out for my Little Moments of Creative fabrics. When I dyed with eucalyptus, or gum leaves and seedpods, gathered from around here a little while ago I got these lovely purples, with orange hints. But this time, just some brown with the very faintest orange-brown prints through it. So, I did what only i knew to do, and that was over-dye with iron water. Which I made from rusty things gathered from the shed and some vinegar.
I put the fabric and the rusty water, and all the old rusty nails and bits and pieces into a glass jar, filled it up to the top with tap water (we use rain or creek water) and left it in the sun for a few days. I only need a couple of days of solar dyeing here, and it warmed up quite a lot, more than I thought it would on these short Winter days.
Here's the beautiful results that I pulled from the dye pot. I wish I'd photographed the before-browns, but of course life doesn't always allow for the camera to capture everything.
Making iron water is pretty easy, and a great way to colour change your dye pots. You can make your own using white vinegar and whatever rusty things you can find, or you can buy iron as ferrous sulphate from a garden centre (or from a dye place, there's a few different ones online depending on where you live). Take care with using iron on wool because it can weaken the fibres, so don't leave it too long (ie not more than a day really). Homemade iron water, using rusty metals, will be gentler than ferrous sulphate, so if possible I'd suggest gathering and making your own.
Of course you can also dye directly with the rusty things, in a bundle dye, and get marks and patterns upon your cloth or paper, without needing to make an iron water mordant / colour modifier. Gathering rusty nails, bits of wire, unusual shapes and layering them into your fabrics when you fold or roll or bundle, then dye using any method you prefer (check out my course for different methods possible). I've used tins from our recycling box as a colour shifter, and while I know there's no iron in the tin, the metals created beautiful patterns and colours on this cloth, when heated in a dye pot.
This is just another way to create different colours from one dye pot. Iron is often 'saddens' or darkers the colours, but also shifts the ph somewhat. Pinks, reds and oranges can turn to purple before they change to greys. Sometimes blacks are possible, but do take care of how long you leave your fabric in the iron to achieve this black as it will weaken all fibres.
How to make iron water:
Put as much rusty things into a glass jar as you can find. Add more over the days and weeks when come across them. Once you start looking I'm sure you'll find them in the streets and the gutters, or hiding in the garden, or the shed, or if all else fails perhaps the demolition yard or op-shop, or a tip-shop.
Fill the jar with 1 part white vinegar to 2 parts water (or thereabouts; you don't have to be too accurate), and put the lid on (or cover it up somehow).
Leave for at least a week or two then add as an after-mordant / colour shifter.
I'd love to see what you've been dyeing lately. Or hear if there's anything else you'd like to read about on this blog, more tutorials, more mindful thoughts or parenting, or.... ?
I realised quite recently that the slow down that I thought was what I wanted isn't exactly what I want.need.
I realised that quietly is what I'm aiming for.wishing for.needing.
The slow living of the country life isn't as a real a thing as is imagined. Oh yes, in a certain way, for sure. There is a slowing - and not just the internet or the Sunday driver in front of you - a slowing of a lot of things.
But I'm finding my mind is moving at the wondering speed it always does. Jumping and flittering and mercurial. The way I am. The way I always am. always will be. That's my mind. My body has slowed, but my mind wants lots. And that's ok.
So - it's quietly I want.
Some days I find that I have three people talking at me all at once. Yes. Three people wanting to have conversations with me with, needing answers and responses and thoughts and ideas and opinions and .... I suppose all mother's know that. Some days all I want is no-one talking to me, no-one needing me, wanting me, calling me, asking me, demanding of me.
So. In order for me to find this quiet amongst the noise of life I decided that firstly I need to want it. To know I wanted it was the best direction in finding it and having it. If you're after quietly in your days, you need to realise that's what you want.
Say the word in your head.
Say it softly over your tongue.
Maybe, if no-one's listening speak it, whisper it.
Is that the word you want? Really?
Know it before you find it.
For me to find quietly throughout my whole day, I've found that I need to make it happen in small pockets of time. To actively seek quiet. And then to bring it into the other noiser aspects of my day. For me to be better equipped to have three people talking at me.to me, wanting and needing me I need to find quiet amongst that; within that. To know the quiet spots in my mind, my heart, my soul.
The first ever so tentative steps are to spend 10minutes being quiet. This, for me, doesn't mean meditation, as that's a different sort of quiet. For me, this means boiling the kettle and making a pot of tea. Real leaf tea in a tea pot. There's the quiet moments of rinsing the tea pot and waiting for the kettle to boil. Of finding which cup I will use today. And listening to the sound of the water as it heats in the kettle on the stove, the gas on the metal, the water moving in the metal kettle. And filling the kettle.
Sometimes my quietly might include some crochet or stitchwork, or putting fabric in jars for dyeing. Sometimes it might be sitting, with the sun across my shoulders and my tea cup in my hands.
Always just me being within and without whatever is around me. Actively hearing the sounds around me. And really tasting the tea as I drink it, feeling it, thinking about it. Not rushing.
No phone or computer or reading or music. Those aren't part of my quietly moments. You must actively make quietly happen to start, to find it.
Do you want to learn how to make the most beautiful colours on fabric, using gathered garden treasures? Here I've got a simple, yet ever so magical, tutorial so you can create your own. I love the whole process of this project, from the quiet joy of gathering your supplies through to the patience of waiting of it to 'cook' and be ready, through to the marvel of opening up the treasure that you've created.
Each time you dye in this special manner, you get different results, depending on the flowers, leaves and seedpods, and even the fabric that you use. To me, that's a big part of the whole natural & botanical dye process. I don't want things repeated exactly the same, but love the nuances that come out of working with nature, with variations of technique and the simple alchemy of cooking.
You can learn all about this in my online ecourse about Natural & Botanical Dyeing, but here's a little how-to for you, if you want to make your own this weekend:
Some fabric - silk or wool works best, but cotton is good too, something not too heavy or too sheer. You can use small pieces or one large piece, it doesn't matter at all
Flowers, petals, leaves, bark, seedpods gathered from the garden or nearby fields*
Kitchen scraps such as onion skins (brown and red), coffee or tea left overs, passionate fruit skins, avocado skins and seeds (I'll share a full tutorial for this alone soon).
String and scissors
An old saucepan - it's best to use one that you won't be using for cooking again. A second hand one from an op-shop is fine - stainless steel or aluminium.
Here's what you do:
Gather your supplies from the garden. This can be a beautiful way to get kids outside exploring and enjoying the sunshine, and noticing the beauty all around them.
Lay out your fabric and arrange your petals, leaves, bark, onion skins, etc in a pretty pattern. Don't be too worried about the pattern as things shift a little when you roll it up, but what we're hoping will happen is colour and prints (leafy marks) will transfer to the fabric, so keep this in mind when you're arranging. This is a mediation in itself - don't rush this part. (see photos). Don't overfill the fabric, leaves space.
Roll and bundle your fabric as tightly as you can. If you have one large piece you could fold it in half, then roll it up. I've had people aliken this technique to trussing meat, but being a vegetarian I don't know about that. If you roll the fabric into a log-shape as tightly as you possibly can, then you should be good.
Take the string and tie it, super tightly, around your bundle. I've included a few photos to show you the different tying options possible. The string needs to pull the fabric even tighter, because this is the way you'll get contact prints with the leaves. The string will make a mark on your fabric too, which I think is one of my favourite parts of the result.
Put your bundle into the saucepan and cover with regular water **, add in about a cap or two of vinegar and put the lid on. Allow the whole piece to gently simmer for a couple of hours, keep making sure the water is covering your fabric - top it up if necessary. Three or so hours of simmering should be enough, turn the heat off and leave it (lid on) overnight to stew in it's own juices.
The next morning you can unwrap the present you've made yourself. Don't wash straight away, but allow to dry in the shade (the pieces of leafery and petaly loveliness will fall off as it dries, so don't worry too much as picking it off). Once your fabric is fully dry you can gently wash under the tap; I don't use any soap, but you can use a ph-neutral soap if you'd like. You may find some colour runs off, so wash until the water runs clear, then line dry in the shade again. (Why do I dry, then wash? Because I find that the longer before I wash off the colour the more chance it has of embedding itself into the fabric, as it dried rather than washing it all away straight away).
+ The vinegar acts as a mordant (which helps to bind the dye colour to the fabric), but it's also a ph-colour changer, which means it will shift / alter some things in your dye pot. This is totally ok, and very wonderful, but just something to keep in mind. You can do this without vinegar, but you'll need to either be happy with the fact that some flowers might fade quicker, or know a little more about mordants. Adding some rusty nails / metal to your dye bundle helps a little too, as do other certain plants (barks contain tannins that act as mordant, as does avocado seeds).
+ The fabric in the top picture was bundle dyed in a pot of coloured dye water - so the parts that would have been white got dyed pink. Do achieve this you could add avocado seeds to your cooking pot, and you'll get some pink, apricot, brown-ish hues. NOTE: do not boil the avocado seed dye pot, as this will turn it brown.
If you want to know more, or delve deeper into Natural & Botanical Dyeing I have an online video course available here, or a downloadable Kids Dyeing booklet. And make sure you read my Natural Dye journal posts, which shares more tutorials and how tos, as well as notes from my dyeing.
One of my all-time favourite local weeds to dye with is golden rod, solidago. Which is funny cause yellow isn't usually my colour, but the brilliance of golden rod in the dye pot is enough to entice anyone towards to sunny disposition of life. Each year I wait, with an eager patience & delightful anticipation, for the flowers to grow and bloom. Dyeing in this manner, as things are in season, is for me one of the joys of natural dyeing - watching the landscape around me and waiting for things to be in their prime.
The first workshop I picked these for, quite a few years ago, was in Brisbane. My family and I cut stalk after stalk of the showy stalks and loaded them into the car with all the other workshop supplies, alongside three kids and their luggage too. Little did we know that the flowers were filled with teeny tiny greeny-white spiders, that over the course of the drive overtook our car! It took quite a long time for my family to forgive me, and they still remind me to this day. If you buy golden rod from a local florist or the flower market I'm sure it's been grown commercially and isn't covered in little bugs, but every time I pick the flowers now I make sure to give enough time for the spiders and grubs to crawl off before I load up the car!
Golden rod is a weed in our country, and I've noticed it growing along fencelines where the farmers can't mow them down. They die back after their flowering season, and grow up again each year. They're often used a filler in flower bouquets, so you can get them from a florist or ask your local garden centre to get a bunch in for you.
How to dye with golden rod flowers:
You need to pre-mordant your fabric with your desired mordanting technique. I used to use alum, but nowadays I'm moving towards no mordants at all, and allowing the colours to shine themselves through longer dyeing time. Though, alum does often make dye colour brighter, so do keep this in mind. I've noticed also that alum brightens dye colours more than soy mordanting does - from my experience. But the beauty of golden rod is that a whole lot of flowers make a brilliant colour on their own. *also remember that alum, if not used correctly, can colour shift yellows towards the green spectrum.
If you use the flowers when they're still closed, in bud form, you'll get more of a green-chartruese hue, whereas if you pick (or use) the fully opened blooms you'll get more of a clearer brilliant yellow. Don't use any leaves in the dye pot, only flowers.
Fill a saucepan with as many flowers as you have - separate the buds from the open blooms into two dye pots for different tones of colour. Cover with water and gently simmer to extract the colour. Don't boil your dye pot, but allow it to come to heat slowly, until just before simmering. Leave it at this point for about 15 minutes or so, and then turn the heat off and allow to cool. Check the colour - if you think you've extracted as much from the flowers as possible strain the coloured dye water into another saucepan or bucket.
If the flowers still have some colour left in them you can do a second dye bath, but it will be much paler.
Put the dye water back into your saucepan and add your pre-mordanted fabric. Remember that fabric and yarn doesn't want to be plunged into boiling water as it can felt wool, make silk loose it's shimmer, and affects cotton slightly too. Bring the saucepan back up to just-under-simmer point and leave there for about half an hour. Watch the colour on your fabric. If you're happy with the depth of colour you can remove it from the dye pot, or otherwise turn the heat off and leave the fabric in the pot to cool.
Allow the fabric to dry fully before washing it out. In our climate two days in the shade is good for 'curing', but you might find you need a little longer. Then gently wash, with a ph-neutral soap (or I use no soap) until the water runs clear. Hopefully you won't have much run-off if you've left the drying stage for long enough.
How to determine what colour you want when the fabric's wet? This can be hard, and takes practice to recognise, but think about when you do your washing and the clothes are darker when they're wet. Silks keep their colour a lot more, whereas cottons can be up to half the depth of colour from the wet stage. So, I always err on making my colours stronger than I think I want, rather than paler.
I find my creative outlets in many ways. I am not only a weaver, or writer or photographer or stitcher, or or or.. I am all those and something else too. I find that when I want to do something I simply pick it up and do it. I don't have to define my skills or talents in this outlet, but I do notice my artistic voice follows through with many different mediums.
So, if you're one of those people who thinks they're not creative. Then what I'm saying is... just do it. Just try something, and don't worry too much about it being perfect, or right, or that you're following the rules. Do what feels right for you, do what seems right at the time, do what looks right with your eyes.
Sure, there's some crafts or arts that require some certain ways of working to make them work, but in the bigger scheme of things I think it's so much more important to not get hung up on it having to be right or not, and simply just doing it. Going ahead and having a go. Making mistakes, learning lessons, throwing away someone else's rule book to create your own non-set of rules.
A couple of months ago my sister and I went to a term long clay class. Learning the very very hard craft of wheel throwing. I'm pretty sure to get to the art of wheel throwing you need to invest hours and hours and hours (years) of your life into this practice. But whatever, I'm not talking about the qualifying of it being good or bad wheel throwing. Just the doing of it. In fact many pieces were bad, they barely made it off the wheel. But that's part of the process, of the learning, the doing, the mistake-ing, and the pushing through.
I've had my fired pieces in my home for a few months now. And well... I actually freaking love them. Their imperfections, their wonkiness, their too heavy-ness, or too fat, or too thin parts. The glaze being messy and not applied right. All of it. Ok... some bits I love more than other bits, but that's good too.
They are not pieces I would ever sell. In fact ceramics would never be something for me (at this stage of my life) that I would make for selling. It's not my journey. But, hand crafted clay ware holds a special place in my heart, soul, memory, mind. I grew up with it, surrounded by it. My mum in her studio, at her wheel. My half-sister & half-brother's* dad being a full time potter. Our shelves and washing up stand as a child was full of pieces made by people we knew, or who my parents respected as potters. And our shelves now have as much as we can afford bit by bit slowly growing.
What I'm writing about is that it doesn't matter what you do, as a creative outlet, just do something. Teach yourself something new, go to a class, or an online school. Ask your kids to teach you what they're learning, or your neighbour, or your friend. Be ready and eager to make mistakes, to make a fool of yourself, to get upset and throw away the clay, to give over to the ideas in your head of what you might make.
And simply enjoy appreciate notice acknowledge what you do make. What you did make.
Some creative makings that I did wrong:
- I taught myself how to do bookbinding -- following some books from the library, some help from some people I know, but mostly my memories of making them with my sister when I was younger, and my own ideas of what I wanted. I pushed aside the fussy rules, and the strict ways of it having to be right, and just did what made me happy.
- I made some funny wonky pots. I had the memories of my mother at her wheel, and her frustrations and joys. And also a very good teacher, Todd, at Byron School of Clay (highly recommend if you live in the area). And I just kept on being content with what I made.
- I made some quilts that aren't really proper quilts, because they don't have a binding as such, and only lightly quilted. And they're wonky, and have bumps, and the wrong fabric used. And the corners don't line up neatly.
- Oh... yeah, I'm making (continually evolving) a business that has so many wrong things I must have turned back the corner to 'almost right'. Haha.
- I made cakes without following recipes and they were some of the best cakes I've ever made. Some were terrible and couldn't be even eaten.
- ....... I'm sure there's at least a hundred more things, and then some more... maybe you can remind me and I'll tell you why they're actually ok, and didn't need to qualify for being perfect.
*we don't call my brother & sister "half", we're all simply one big family. But some people find it a bit confusing to think about.
What are you going to make that might be wrong, wonky, funny to look at? But will be deliciously nourishing for the soul.
What are you going to just make, without over-thinking it?
And more importantly how is it going to make you feel?!
If you've spent much time around my blog, my Instagram, or my days then you'll know I do live a little slower and simpler than many people. That my days are focussed around thinking mindfully about bringing slowness into my life everyday. I talk a lot about it. But I do actually think I live it a lot too. Some days not so much, other days more so. Mostly through my creative work and my intentions with my days.
Being a multi-passionate creative I do have many different skills & techniques that I work with, but over the years I've found some that are more inclined to make me breathe deeper and think slower (in a good way!). Hand stitching work is one of those processes that really brings me back to the moment, to my self, to my thoughts, to my environment.
And I wanted to share that with you too. Because while some crafts are harder to learn, stitch work is something that I'm pretty sure at least 90% of you could pick up fairly quickly, if you wanted (I'm being generous, I truly actually think that 97% of people could learn to sew if they took the time and overcame some prejudice about it). You don't need much more than some fabric scraps and a needle & thread. The scraps could be worn out clothing, a linen tea towel, an old scarf, a piece of special child's clothing.... anything. The lovely thing is it doesn't matter what your scraps are. Just collect them and start creating.
I have a whole video session available for free on my online course teaching site, but I've also managed to work out how to embed a snippet of one of those videos here for you... a little preview to get you started..... and you can find the rest over here (*you do have to 'join' my teaching school, but that's a free sign up and gives you access to this FREE slow stitching video course).
Here's a few reasons why I think Slow Mindful Stitching is perfect thing to bring into your busy days and guide you towards a Slower & Simpler Living Journey:
It's fairly easy to learn, so once you've overcome the "it's not perfect" aspect you can be stitching within a very short amount of time.
You can create something useful & practical, or something simply just for the joy of creating.
You can stitch at home, with children or family by your side. In bed, at the kitchen table, in the garden.
You can put it all in your bag and take it with you for the day - stitching while watching kids at sport, or art lessons. Or on a picnic or at a school assembly, or waiting for the doctor or public transport.
You can stitch while sipping coffee with friends at a cafe, or slurping tea at home. Both bring you back to the moment; stitching while talking actually has this excellent magical way of making you truly present in the moment, not thinking about something else.
You don't need to invest in many or expensive equipment, and can fit a few stitches here & there around your day.
You can see some more of my stitchwork over here if you'd like a little of my messy inspiration. The first two pictures below are what I create in the free online video course, but you will probably make something a little different, check out #petalplummakers and #theCreativeYear to see what others have been making. And please share with me any that you make yourself. I'd love to have a little gallery on this website of 'made by you' collections.
There's colds and coughs here at the moment. And rainy coolish days. Perfect weather for gathering lemons from our trees, lemongrass from my friends garden and raw honey and organic ginger from the farmers market.
A remedy my mama used to make for us to nourish our bodies and warm our hearts. Holding a cup of warm lemon, honey & ginger is almost like a hug.Read More
Crochet string bags are perfect little additions to a simple living home - useful for taking to the farmers market, when visiting the library, carrying kids extra everythings about, finding scrunched at the bottom of your handbag when you get a few extra supplies at the supermarket. Simply put - they're sorta useful for a whole lot of things. Throw one over your shoulders full of Summer's beach supplies; carry wet towels and swimmers home, while the sand falls out the bottom of the bag on your walk back home. Load it up with fruit from your own trees, or while borrowing some from that roadside tree that everyone's been spying.
Make your own with my FREE crochet pattern.Read More