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Frequently Asked Questions
What is the main influence behind your work?
Inspiration comes from everyday things, antiques, a book, a song, or a specific commission brief, etc. but my work is very heavily inspired by things that have affected me personally, or events that I find poignant - this is where I find my conceptual influence. I like to use old objects and fabrics in my work - I imagine that there is a narrative contained within the warp and weft of fabrics; that objects contain their own memory. These memories, feelings or concepts are often conveyed within the piece through phrases, lyrics, excerpts from books, photographs or parts of garments. Recently, I have worked on a number of private commissions whereby customers have brought their 'boxes of memories' to me and I have created a personal, reflective piece which portrays their story. I try to encourage people to celebrate their memories and experiences, rather than hide them away in a drawer - in some cases, it is almost like a form of art therapy.
Are there any particular textile artists that influence you?
There are lots, such as Doris Salcedo, Caroline Broadhead, Marcel Duchamp, Meret Oppenheim, etc. I admire the concept behind their work, and their use of combinations of materials. I also adore the work of William Morris, and everything he pioneered in the Arts & Crafts movement. I am often more inspired by conceptual artists rather than technical artists.
Are you influenced by fashion?
I think anyone with a creative mind gets inspiration constantly from all around them. I don't purposefully follow fashion trends; I tend to work more conceptually like an artist rather than a designer, but I am most definitely influenced by what I see every day. There are so many other artists that inspire me, but most notably I love the work of Columbian artist Doris Salcedo.
How long does it take you to complete a piece?
I do everything by hand, as I prefer the quality of stitch that can be achieved. Timescale really depends on the size, although I have become very quick! For example, I recently completed 30 (5 x 5") handstitched canvases in 1 week (12 hours per day); I have also just finished a commissioned chandelier (all hand-stitched fragments 50cm diameter, 80cm length) which took me 6 months. It depends on each individual piece.
Where do you source your materials?
A lot of my materials are found or given to me. I prefer to work with old or vintage fabrics as I like their worn texture. I also buy fabrics from my local fabric warehouse.
Do you plan your work or is it just spontaneous?
It is a mixture of the two. Some ideas are built up from experience and technique - others are more sub-conscious creations, or happy accidents.
How do you think people perceive your work?
Hopefully my work is perceived as textile art - that is what I aim for with it. Occasionally, people try and pigeon-hole it as craft or design, and I find it does not sit well within these categories. I like to think of textiles as my medium for expression - I use it like some would use paint.
Did you always want to be a textile artist? How did you become introduced to being an artist?
I was sewing from a very early age, making clothes for my dolls. I was always very strong at art in school, but it wasn't until high school that I realised how important art is to me. Because I was good at textiles, my teachers initially tried to steer me towards fashion, but they soon realised that I used fabrics and threads more like a painter or fine artist. Textiles and art has been a lifelong interest that has developed as I've studied and gained experience. I have been running my business now for almost 3 years.
What were the stages you took after university in order to be a successful textile artist? Did you find any difficulties on the way?
I initially returned home to Northern Ireland and worked in a number of unrelated jobs to pay off initial uni debt, alongside doing some voluntary work for galleries. For a while I worked for a local jewellery designer, where I designed and restyled old and new precious jewellery. During this time, I rented a studio in Belfast, but my own work was just completed in my spare time, and it was beginning to suffer. A lot of ideas fizzled out by the time I got round to doing them. So I moved to Manchester where some of my friends had gone to after uni. Within 2 months, I managed to get a job working as a Product Development Executive for a large homewares company. There I designed and presented prints and canvases for mass production for companies such as Avon, Matalan and Au Naturale. Although I enjoyed the work, Manchester was not the place for me and I returned home to Belfast. I now had great experience of commercial artwork and a greater understanding of working to a set design brief for a client. With some advice from friends, I set up my business in October 2006. I have since been working on a variety of private and public commissions and have been teaching workshops in guilds, community centres and colleges. I am now also a part-time lecturer in textiles at Stranmillis University in Belfast (teacher training college).
What are the benefits and drawbacks of your job?
Benefits: being your own boss & doing what you love. Being in control of your lifestyle. Drawbacks: Erratic and often low income. Being unable to leave your work behind you.
What kind of techniques do you use in your work?
I use a combination of traditional patchwork and quilting techniques in very contemporary combinations. I feel it is important to not just learn and copy a technique, but develop it and make it your own. I mainly stitch by hand and am fascinated by war-time ‘make do and mend’ stitches.
What would you consider is your greatest success to date?
On both a personal and professional level, I would consider my greatest success to be my recent installation piece for Windsor Women's centre in Belfast funded by Arts and Business and Stratagem NI. It was technically a huge challenge. The piece entitled ‘Fragment’ is a chandelier-like installation made up of hand embroidered fabrics and Swarovski crystal. It was created using a combination of traditional and contemporary stitch techniques and represents the many aspects and experiences of life which contribute to each of our individual profiles.
What do you aim to achieve with your textile art? Do you have a particular vision in mind?
I feel that textile art is still an under-represented art-form in many ways. It tends to be pigeon-holed as craft or design because it often utilises traditional techniques, but people often forget about the concept involved. This is very important to me in my work. I would like to see textile art making an influential mark on the conceptual arts scene. It could be the forerunner of a new movement that comfortably combines tradition, meaning and aesthetics!
What price is your work?
For a bespoke piece of textile artwork, it ranges from £30 - £4,000. It really depends on the nature of the piece, but I can always work to a specified budget. I would encourage people to get in touch for a quote.
Do you sell at Craft or Trade fairs?
No. Most of my work is made to order to each client’s specific requirements, making each piece unique and personal to the customer. I like to involve the client in aspects of the process, quite often incorporating photographs, materials, words and letters in the artwork.
Where can I buy your work?
I have recently started selling smaller pieces of work through a selection of galleries and shops, and am hoping to create some work for interior design showrooms in the near future.
A selection of work can be viewed at Ards Craft Centre, Newtownards 028 9182 6846; F.E. McWilliams Gallery, Banbridge 028 4062 3322 and The Townhouse Gallery, Portrush 028 7082 2826.
I also sell online at:
http://www.zerooneart.co.uk/gallery.asp?username=rachy1980
http://www.etsy.com/rachy1980
For private commissions, contact me directly (see contact details).
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