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More Sketchbook

Hello everyone,

Hope you’re having a good week. I’m back today with a look at a couple of pages out of my small sketchbook. Again these are work in progress – I’ve actually done more to them since I took the photos so I’ll have to update you again very soon!

I told you last time that I always have more than one book on the go. This is to avoid sitting around watching paint dry – while one book is wet, you simply work in another and so on. But if I can share one other tip with you, it would be to work in books of different sizes. I have a mid-sized book, a larger one (A4), and several small books. These are all square and are about 5 inches square. I do enjoy the square format. I just looked to share the link with you for the exact book, but at the moment they don’t seem to be available via Amazon. They do have the rectangle version though which I have also used, same cover and paper, just different proportion:

https://amzn.to/3vUKBcZ

The reason I recommend working in different size books is that sometimes a subject will suit a larger page, sometimes it needs something smaller. The advantage of the small books is that they can go in your pocket or bag and it’s convenient to have them to hand and more likely then that I’ll work in them!

I realise that at first glance these pages might appear a bit gloomy in theme because of the skulls. I am thinking a little bit about mortality and the whole life and death thing, but really the skull is quite an anonymous face and I like that. It’s just a symbol of a person. I can use it when I want to represent a person, but not do a portrait, it’s working like a shorthand for me. A symbol.

I hope that there’s also a bit of humour there. The skull in the page above was photographed at the Science Museum if I remember rightly. It’s the decorative top of a walking cane and I thought it was quite fun with its moving eyes and tongue!

I am continuing to also use an eye motif in my work. On this page you can see a photo of a display of glass eyes. I really like that at first it might just look like a polka dot design and only on closer inspection you see that it’s eyes!

I’m grouping together eye motifs that I’ve cut from packaging tissue and photos of eyes from magazines. I’d like a lot more of these but I don’t tend to have magazines that have that many faces in them. I’ll just add more to this page as I come across them.

so at this stage there’s lots of collage of photos and found bits that I’ve been collecting. I am planning on adding more drawing and probably some painted layers too.

Thanks for visiting the blog today.

Laura x

Instagram

Other posts

Sketchbook progress

Take a look at some of my work in progress sketchbook pages.

Studio Session – January 2024

Have a look at some of the work being made by the students on my regular Studio Session in-person classes.

Marbled Papers

Take a look at the loose papers I marbled recently.

I often get asked for info on where to buy the products and supplies that I use in my work. On the blog I’ll include links where appropriate to my favourite things and to products that I’ve had success with. I will only link to items that I’ve tried and would recommend. Please note some of these are affiliate links so I may earn a small percentage without it costing you any extra 🙂

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Sketchbook progress

Hello everyone,

I always have a few sketchbooks on the go. I don’t work into them every day, but I try to do a bit as often as I can. Working in the books isn’t always about fully resolving an idea on the page, it can just allow time for thoughts to form in my head. I hoped you might like to see how some pages are looking at the moment.

The books are always a place where I can bring together diverse sources of inspiration. Often I expect it looks quite disparate and scattered. The link is me, these are all the things that appeal to me, that I enjoy and that seem relevant and interesting to what I’m thinking about and researching.

At the moment there are skeletons, eyes, octopus, teardrops, stripes, broken pottery fragments, favourite paintings, and more. It’s all work in progress. I’ll come back to these pages and add more.

 

Above:

On the left hand side of this spread, I’d dipped the page in the marbling vat that we had on the go recently. The colours weren’t quite right, red and black which I like, but also some purple that didn’t really have a place in the book. I added a layer of acrylic over the top and I’m not entirely sure it’s solved the problem, it might even be worse! I will probably go back to it and glaze over, maybe with a warm yellow.

Doing something like marbling a page of your book with random colours is a good challenge to yourself. It’s almost like a mistake that you then have to fix, or a very separate element that you have to integrate. This page got me thinking about how those cell shapes in the marbling could be worked into the composition. I placed a circular sticker of colour in some of them, then a collaged eye motif.

Above:

A closer look at that marbling + sticker + collage combo. The collaged eyes are from some packaging tissue that I had. I like how simple they are, the eye motif really reduced down to its essential shapes.

Above:

And this is a closer look at the right hand side. You can see that I’ve continued the stickers and eyes across the page in a band, trying to find a bit more formality than there was in the marbling.

This whole eye fascination is partly arising from the idea that when you’re a parent you have to look after someone else and have eyes in the back of your head. It amused me that it’s the back of the skeleton so I thought that worked quite nicely.

The skeleton is a big sticker from this John Derian book…

This really is a sticker book! every other page is a sticker page, the others are just images, but you could cut those up and collage them once you’ve peeled the stickers off the back.

There are some very lovely illustrations like these shells.

And I do like this portrait and of course the birds. I’ve not used stickers in my work like this before, but I am enjoying having this resource book of motifs that I can dip into. It’s such a quick way to get an image on the page. Although they are self adhesive, I’m going over the top with acrylic gel medium to make sure they are really well stuck down and also so that I can paint and draw over the top of them too.

Here’s a link to the sticker book https://amzn.to/3OnbHjc

So that’s a quick look at a page from the larger of the books that I’m working in at the moment. I’ll pop back tomorrow with a look at some pages from the smaller one.

Thanks for visiting the blog today.

Laura x

Instagram

Other posts

Studio Session – January 2024

Have a look at some of the work being made by the students on my regular Studio Session in-person classes.

Marbled Papers

Take a look at the loose papers I marbled recently.

Marbling in my sketchbook

Experimenting with marbling on paper direct into my sketchbooks.

I often get asked for info on where to buy the products and supplies that I use in my work. On the blog I’ll include links where appropriate to my favourite things and to products that I’ve had success with. I will only link to items that I’ve tried and would recommend. Please note some of these are affiliate links so I may earn a small percentage without it costing you any extra 🙂

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Studio Session – January 2024

Hello everyone,

I teach mostly online now at DesignMatters Art and Craft School, and while I love that, I do miss the face to face interaction with students and the energy that you only get when you are together as a group in one room. So with that in mind, I’ve been offering Studio Sessions here in my studio. These are very small classes, just four students, and the focus is on developing your own work, exploring ideas in sketchbooks and extending that to stitched pieces when it feels right.

The sessions are quite intense, in a good way! We do a lot of talking, more talking than doing perhaps, but thrashing those ideas out, asking the What If? questions are what it’s all about. It’s not all about technique, it’s what you want to do with what you know.

We start each session by looking at the work of other artists, sometimes contemporary, sometimes from art history. This is a big part of my practice and so I want to instill the importance of it in my students. As an artist I think it’s important to be interested in art! And to be knowledgable about what is happening today and also what artists have made in the past; where artists fit in the timeline, who felt the influence from who. When you have that in your locker you can quickly make references, spot styles and draw parallels. So I really hope the students are enjoying that aspect of the day.

Linda joined us during the session. I’d invited her to show and tell her latest work which is just at the early stages. It fitted in really nicely with the thoughts I’d been having about how knowledge of art history ties in with practical technique. You can keep up with Linda best via her Instagram which is here.

So after a quick warm up activity (we made mini books which we painted), we dived back into the ongoing work that students are progressing. Between each session I set individual ‘homework’ ideas for students to spend time on if they have it. The pace is very much set by the student, but the more they do, the more we have to talk about in class!

The students have kindly allowed me to show you what they’re working on at the moment. Let’s take a look…

Above and below:

This is some of Carol’s work. She’s got a really interesting theme going on which involves architecture and decay. There’s a lot about structure and the breakdown of that structure over time. Her sketchbook is absolutely packed with ideas and pages like this one. Carol’s very much self-guided this work, my input has been to help her identify the really strong conceptual elements that she can take forward. I know her work is going to involve some 3D elements and I’m not going to say too much too soon, but what I saw in class and the ideas we talked about were super exciting. Some will technically be tricky to achieve, but I know Carol has the determined personality to see it through!

Above and below:

This work is by Marie. Her overarching theme is landscape, but within that she’s exploring a really fascinating range of subjects from traditional fences and gates, to the ancient chalk figures carved in hillsides, to prehistoric standing stones. I was so excited when I saw the page that Marie’s made here, I loved that fence in the foreground, the way she’s drawn that, and the colour is right up my street. I do try not to impose my personal preferences too much though, it’s the student’s work and I want it to very much stay that way. We had an interesting chat about the figures on this page and how they worked in terms of motif and composition. And we talked about how figures can be part of a landscape and also made connections with the amazing standing stones that Marie loves. I was left feeling very excited about the potential of this and am very much looking forward to seeing what takes shape over the next few weeks and months.

Marie is very experienced with printmaking techniques and I’ve so enjoyed seeing the work that she’s brought along. These are tiny prints inspired by the stones. Aren’t they lovely?

Above and below:

This is work by Christine. She’s also working with a landscape theme, but this one is more coastal. Christine has beautiful photos that she’s taken in Skomer and around the Cornish coast. We’ve been chatting about how the landscape can inform decisions with proportion in composition and Christine is going to work through making some collages that explore that. She’s painted a great selection of papers and found some handmade papers that she’s previously made which are going to be perfect.

Below:

A closer look at another page from Christine’s book. I love this one, particularly the sky area and how she’s fitted the text into the space in the cloud.

Above and below:

This work is by Julie. She’s working with such a fun assortment of references – she makes beautiful embroidered and appliquéd pieces using vintage collected fabrics, she’s working on a series of expressive landscape paintings, and bringing in birds and characters from poetry and plays such as Midsummer Night’s Dream. Quite the mix!

In the pieces you can see here, Julie’s combined the hand stitched textiles and painting with silhouettes of the characters. Don’t you think they look fantastic?

We’ve had interesting chats along the way about how sometimes work on paper with drawing and painting can feel separate to stitched textile work. I think most of the students really want to bring those things closer together and so that’s what we’re going to be working on even more in the next few sessions.

I’m delighted that these current students want to continue coming to the studio and so there aren’t any openings for new students at the moment. If you’d like to be on a waiting list please just email. If you’d also be interested in one-off, one day workshops here with me in the studio please get in touch and let me know if you’d prefer weekend or weekday.

Thanks for visiting the blog today.

Laura x

Instagram

Other posts

Marbled Papers

Take a look at the loose papers I marbled recently.

Marbling in my sketchbook

Experimenting with marbling on paper direct into my sketchbooks.

TED Talk inspiration

Thoughts on art, education and an inspiring TED talk.

I often get asked for info on where to buy the products and supplies that I use in my work. On the blog I’ll include links where appropriate to my favourite things and to products that I’ve had success with. I will only link to items that I’ve tried and would recommend. Please note some of these are affiliate links so I may earn a small percentage without it costing you any extra 🙂

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Marbled Papers

Hello everyone,

Along with the marbled sketchbook pages that I showed you in the previous post, I marbled quite a few sheets of loose paper too. We prepped these with alum, but found that the ones that weren’t prepped took the paint just as well. I think that was because it was a very matte, unsized paper.

I think they’re lovely!

But I do think that it’s a challenge to use them. At the moment I’m not quite sure how they’ll fit into my work, but I’m pleased to have a stash of papers can I can cut up and experiment with. I’m sure there’s going to be lots of collage coming up in my sketchbook!

Thanks for visiting today.

Laura x

Here’s a link to the kit we used:

https://amzn.to/3U5G2qd

Instagram

Other posts

Marbling in my sketchbook

Experimenting with marbling on paper direct into my sketchbooks.

TED Talk inspiration

Thoughts on art, education and an inspiring TED talk.

Familiar Finished

Finished photos of The Girl with the Eagle aka Familiar.

I often get asked for info on where to buy the products and supplies that I use in my work. On the blog I’ll include links where appropriate to my favourite things and to products that I’ve had success with. I will only link to items that I’ve tried and would recommend. Please note some of these are affiliate links so I may earn a small percentage without it costing you any extra 🙂

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Marbling in my sketchbook

Hello everyone,

We’ve been experimenting with marbling here in the studio. I’ve been working in my sketchbooks lately and so I wanted to investigate how successfully I could marble directly into the pages of my books.

I know that obviously you can marble on loose sheets of paper and then collage them into the book, but I always enjoy the immediacy of doing a technique direct into the book.

Here’s a short video showing my process…

We had a clothes airer set up and were pegging the single sheets of paper and fabrics that we were marbling to that while they dried. For the sketchbooks I dried them flat on the desk .

As you can see I was going for the patterns which aren’t too feathered. For the work that I’m doing at the moment, these ‘cellular’ patterns are more appropriate. In the marbling I’m aiming to create spaces where I’ll be able to work back in with another technique, maybe some drawing for example.

I really enjoyed the black and white pages I did. Always a fan of keeping it simple and graphic with black and white and it works very well when it comes to marbling. Not that the page will necessarily stay like this, I might add colour with some acrylic glazes.

In this page (above), I’ve tried to combine the swirling lines that you often associate with traditional marbling, with the more open spaces. It was fun to experiment with the paints and learn how different colours spread further and faster than others. Couldn’t resist turning the small red blobs into hearts with a flick of a kebab stick!

If you’ve marbled before you’ll know that it’s recommended to prepare the surfaces that you’re going to marble with alum. I didn’t prep any of my sketchbook pages and it seems to all have worked fine. If you try this I’d recommend doing a test in your book and if you run into any issues then consider using some alum beforehand. I found that the colour adhered to the pages really well.

The sketchbook I’m working into here is by Arteza and has heavy paper. I’m really enjoying working into it and it’s coping well with all the techniques and materials that I’m throwing at it! It’s hard back with a fabric covered cover, which as you can see, I marbled!

You can find the books here: https://amzn.to/3vN30It

These next few pages are all in my smaller sketchbook. The paper here is lighter, but still good for accepting the paint. Here I’m marbling over the top of other things that were already on the page, like handwriting and stamping. I’ll be working on adding more layers onto these pages to build up the composition.

I enjoy the small square format of this book and I was going to link it for you, but I can’t see it available at the moment. They do have it in an A6 version though which could work if you’re looking for something pocket sized:

https://amzn.to/3tZEjrT

As you’ve seen from the short video at the top of the page, marbling into a sketchbook just involves carefully lowering the open book onto the surface for the paint and not dropping it! Inevitably, it can be a bit tricky and I had paint creeping onto other pages, or pages slipping out of my grip and dipping into the water. I loved the results of that, especially this page (above) where I’ve got a bit of marbling happening alongside and over this photo of hands that I’ve collaged in previously.

This is the kit that we used for all our marbling experiments. When it arrives you might think it looks quite small and that the bottles of paint are small, but honestly, a little goes a long way. We have done two sessions so far (with one vat), and marbled many, many sheets of paper, sketchbook pages, and fabric pieces. I estimate that we’re about halfway through the kit. The vat will lose it’s thickness so we’ll have to mix up a fresh one for the next session. I felt that the kit was actually really good value and it’s extremely convenient to have all paints, alum and carrageenan ready. Along with the kit you’ll need a container to hold the marbling water. We used a cat litter tray. We used a second one to hold the alum solution. Other than that we used kebab sticks for swirling patterns; a clothes airer and pegs were great for putting the papers and fabrics on while they dried, and also a pile of newspapers to soak up any drips.

Here’s a link to the kit we used:

https://amzn.to/3U5G2qd

I hope that inspires you to give marbling a try. Thanks for visiting today.

Laura x

Instagram

Other posts

TED Talk inspiration

Thoughts on art, education and an inspiring TED talk.

Familiar Finished

Finished photos of The Girl with the Eagle aka Familiar.

Magdalena Abakanowicz at the Tate

Visiting Magdalena Abakanowicz at the Tate Modern

I often get asked for info on where to buy the products and supplies that I use in my work. On the blog I’ll include links where appropriate to my favourite things and to products that I’ve had success with. I will only link to items that I’ve tried and would recommend. Please note some of these are affiliate links so I may earn a small percentage without it costing you any extra 🙂

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TED Talk inspiration

Hello friends,

I watched a TED talk the other day, it was from way back in 2006 so you’ve probably already seen it, but some how or other it had passed me by. It was this one, by Sir Ken Robinson…

It’s funny isn’t it, how sometimes the universe presents things to you just at the right time. Sir Ken’s talk resonated with me this week. Let me explain why. A few days ago I had to go into Amelie’s school for a presentation by the teacher about what the children will be doing this year. I’m not sure what I was expecting, but certainly something more inspirational than what I heard. It’s not that it’s a bad school, in fact I think as these things go, it’s probably quite a good one. But I left that talk thinking that school just doesn’t suit children. I felt that when I was at school, Sir Ken thought it back in 2006, and here we are in 2023 and it’s just the same.

Amelie is OK, at home we balance out the heavy handed, single minded, old-fashioned, emphasis on attainment at Maths and English with celebrating her success in sports and doing lots of art, being in and understanding nature, learning about plants, caring for animals, understanding the world at large. But what a shame that the school system can’t celebrate those things too. Forgive me, as you can tell, I have a bee in my bonnet. But honestly, I’ve spoken to so many adults over the years who’ve said, ‘Oh my teacher said I was rubbish at art so I gave up’. And then that person has missed having creativity in their life for so long because as a child their ability at it was squashed for being unimportant, or judged like a math exam rather than being celebrated as a natural human endeavour.

In Sir Ken’s talk he spoke about making mistakes. How we will, and should, make mistakes as creatives. It’s part of the natural process and without mistakes, then there can be no adventure, no risk, no what if? It’s a balance isn’t it? To enable children, people, to find and nurture their natural talents, whatever they may be, rather than driving them to conform to expected attainment standards in topics defined by an outdated system. But also to enable children, and us adults, to feel that even if we don’t excel at something, that we can do it anyway, just for the pure enjoyment of it.

Feeling free to do what you love, try things, experiment and make mistakes is so important to any creative person. A lot of the work I’ve done over the years has been a bit rubbish. But I’ve come to accept that often, if not always, you have to work through the rubbish to find the good stuff. No-one’s good at anything on day one, but you just have to start. It’s only by doing that, that you can find that special something, whatever it may be.

Ha! That was starting to turn into a TED talk of my own.

But can I encourage you to do something brave and creative today? Don’t worry about the outcome. Do or make something for the pleasure of the time spent doing it. Don’t fear it won’t be good enough, or that it won’t get finished, or that you might waste your good paints, or spoil the first page of that new sketchbook. Use your best brushes, cut the good fabric you’ve been saving, think that you might make a mistake and do it anyway.

Love Laura

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Familiar Finished

Hello friends,

I have finally completed this quilt.

I started making this in early 2018. If you know me, you’ll know that a lot happened shortly after that!

I’d started quilting it on the longarm, but while I had my treatment, it was taken off and put away. It made it to the top of the things to finish pile a few weeks ago. Since then I’ve been quilting it on my regular sewing machine (there’s something else on the longarm at the moment).

Its name has changed, it had a working title of The Girl with the Eagle. Its proper title is now Familiar, although I suspect it’ll still be referred to as The Eagle Quilt!

Lots of heavy quilting on this one, most of it black on black so it’s a tricky one to photograph. Really enjoy the composition on this one – I love that the focus is squeezed right at the top.

There are more photos in the Portfolio section of the site here.

There’s also my original blog posts about this piece on my old blog Here and Here.

The quilt will be part of my exhibition Everything We Are at Festival of Quilts 2023.

See you there,

Laura x

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Magdalena Abakanowicz at the Tate

Visiting Magdalena Abakanowicz at the Tate Modern

After Impressionism at the National Gallery

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Festival of Quilts – Talk and Discount Code

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Magdalena Abakanowicz at the Tate

Hello friends,

There are exceptions that prove every rule; for instance that raisins should under no circumstances be found in hot food, unless it’s a baked good such as a scone, in which case they are essential. We went to see the Magdalena Abakanowicz exhibition at the Tate last week. Now under normal circumstances I can’t bear woven, hairy, itchy looking anything, but her work is the exception. I’ve loved it since I came across it in a book about 20 years ago, but I’ve never seen any of the pieces in person before. I’ve got Amelie in most of these photos so you get a feel for the scale of it all.

The exhibition begins with a room of her wall pieces including this one. See what I mean about the scale, quite big and quilt-like I thought. Colour palette really appeals to me, you can’t beat black, red and a bit of white can you?

Have a look at a close up, see what I mean about the texture? There literally are hairy bits. In theory it shouldn’t be OK!

Alongside the woven hangings were some of her works on paper which involved collage and ink. Nice to see the direct correlation.

A long, long time ago I made a quilt called Surrounded which referenced Abakanowizc’s work, specifically a piece called Black Environment which is similar to some of the 3D pieces which hang from the ceiling here. The idea of my quilt was that it peeled away from the wall and enveloped the viewer. It curved around and there was just enough room for someone to stand in the space. Seeing these reminded me that that was quite an interesting idea that I ought to think about again.

You’re going to have to take my word for it when I talk about how much presence these have. It’s like walking in a forest of huge ancient trees, except maybe a bit more foreboding, perhaps at night when everyone’s gone home they might move, that sort of thing.

In my own work I’m interested in how some things can at the same time be threatening but also protective, like a thorny hedge that keeps humans and animals where they need to be, but also provides a home to small creatures and birds. These Abakans have that same intimidating structure as a tall thorny hedge, but also that you could go inside and they’d keep you out of the wind and cold. I quite enjoy that idea of friend or foe, that everything isn’t as obvious as it might seem.

I was really pleased that I was able to catch this exhibition before it closed. There’s still a bit of time to see it if you are nearby – the info is on the Tate website.

Bye for now,

Laura x

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Other posts

After Impressionism at the National Gallery

A look at some of my favourite works from the After Impressionism exhibition at The National Gallery.

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I’m giving a talk at Festival of Quilts this summer. Find out more and use my discount code for tickets.

All the Midnight Deals – is done

All the Midnight Deals – this new quilt, which will form part of my exhibition at Festival of Quilts this summer, is complete.

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After Impressionism at the National Gallery

Hello friends,

Bit of a gap between posts – I have been working, there are a few things I’m keeping under wraps, got to have some surprises for the exhibition. I’ve also been down to London to catch a couple of exhibitions. Hope you might be interested to see some of my photos. I went to see After Impressionism: Inventing Modern Art at the National Gallery. I wasn’t sure if I was going to love this, but I did. It helped that some of my favourites were there, starting with this by Gauguin which is probably in my top ten favourite paintings.

Paul Gauguin, Vision of the Sermon, 1888

When you’ve looked at works only in books, I love seeing a painting in its frame don’t you? You can appreciate it as a whole object in space and understand the scale and the character of the thing. I very much enjoyed the dark blue wall that these were hung on. It was even inkier than it looks in my photo and the colours in the paintings really glowed against it.

Here’s a close up. That red! Perfect.

Next to it was this one which I’ve not seen before…

Paul Gauguin, Fete Gloanec, 1888

And a lovely juicy close up. Love the colours and the brushwork don’t you?

And completing this wall was this one…

Paul Gauguin, The Wave, 1888

That consistent red was so luminous. It really doesn’t come across in the photos so if you have the opportunity to see these for real do take it. Imagine all three paintings next to each other with the red featuring in each. So inspiring.

This was just the start! I’ll share some more photos next time.

Bye for now,

Laura x

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Festival of Quilts – Talk and Discount Code

I’m giving a talk at Festival of Quilts this summer. Find out more and use my discount code for tickets.

All the Midnight Deals – is done

All the Midnight Deals – this new quilt, which will form part of my exhibition at Festival of Quilts this summer, is complete.

The quilting is done, nearly

I’ve put in the hours and the quilting is done, almost!

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Festival of Quilts – Talk and Discount Code

Morning everyone!

As you know I’m having a gallery space at Festival of Quilts this summer. Did you know that I’m also giving a talk? I’d love to see some friendly faces in the audience and do hope that you’ll come.

Here’s the info:

Story of a Quilt
Saturday 5th August
11.30am

The talk will last for 1 hour. Here’s the blurb from the booking info:

Join Laura to hear the story behind the new collection of works exhibited here in her Gallery. How did you make it and why? Laura answers the key questions we all want to know when we look at an artist’s work. Take a look at pages from her sketchbook where she first explores the ideas and inspiration for the quilts. Follow the journey of just how these pieces were made as Laura shares the samples and work in progress photos and video that document the making process. Along the way Laura will explain how she layers machine stitch, both freehand and digital, with drawing, painting and print.

You can book show tickets and get the lecture ticket on the Festival of Quilts website now. Please use my discount code to make a saving:

Save £2 on entry tickets with code LKEMSHALL23 Just quote the discount code at checkout.www.thefestivalofquilts.co.uk. Booking fees apply (discount offer expires 11.59pm on 29th July)

T&Cs
*Save £2.00 on adult and concession tickets when quoting discount code ‘WT23’ at checkout. To purchase tickets visit www.thefestivalofquilts.co.uk. Not valid on VIP or group tickets. £3.50 transaction fee applies per e-ticket order (for any number of e-tickets purchased), and a £3.95 transaction fee applies per postal ticket order. T&Cs apply. Discount expires 11:59pm 29th July 2023.

See you there,

Love Laura x

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All the Midnight Deals – is done

All the Midnight Deals – this new quilt, which will form part of my exhibition at Festival of Quilts this summer, is complete.

The quilting is done, nearly

I’ve put in the hours and the quilting is done, almost!

Some hand stitch

More work on the Midnight Deals quilt today, this time it’s some hand stitch.