Category: Thread Work

Genetic Inheritance

15/2/2021

. . . or shall i just call it 'jeanetic modification'

Dad & I have a reasonable amount in common - no great surprise there.
We both have strange thumbs which are prone to subluxing
We both enjoy pottering around & we both prefer old comfy clothes to new ones.
His jeans basically fell apart.
I took the opportunity to repair them.
We're both happy about that.

begin at the beginning

18/7/2020

The other day I heard someone say it was too late to be bothered changing or starting something new
‘I’m 40 years old’, she said
You could hear the resignation in her voice - her certainty.

I remember Dad saying the same thing when he was around 40 years old … and that was over 40 years ago.

Why do we want to give ourselves a ‘best before’ date ?
A ‘use-by’ date which has nothing what so ever to do with our life time nor our mortality.

I too have been wondering about what’s next.
Is there even a ‘next’ ?
Is this it ?
Is it too late to start again - again.
🤷🏻‍♀️

Easy to say ‘No, of course not’
Harder to know where to begin

Pare Kawakawa : Navigating Grief

22/5/2020

It's 12 months since I finished Pare Kawakawa & as Puanga/Matariki draws near it seems appropriate to reflect & share.
I've never been able to write about this work here & yet I have shared it elsewhere.
It hung in our LTTL exhibition last year & it's in a book !
I dunno.
Sometimes these things are just too close.

Pare Kawakawa is in the studio with me.
It keeps me company.
It sits adjacent to the high south facing window & through the window I can see the sky.
A sky just like any other day.

this is what I wrote in May 2019 when I completed Pare Kawakawa & submitted it for consideration for publication.

‘Pare Kawawa: Navigating Grief’ is a kawakawa leaf monoprint which has been appliqued on to a fabric background & embellished with embroidery.
The materials used are cotton fabric, cotton thread & textile paints.
It is a new work which came about because I wanted to articulate the impact that the shootings & subsequent deaths of the 51 people in the mosques in Christchurch has had, & continues to have, on our nation &, of course, it has become a way for me to process my own grief.
New Zealand is a small nation & to lose 51 people in this way is incomprehensible.
When I realised I knew one of the 51 my already broken heart felt like it might explode.

I wanted this work to remember them, to represent the 51 people who have died.
I wanted the work to be quiet, to be gentle but not fragile.
I wanted it to be light; to suggest the time & the light that comes after the heavy darkness of death.
The moment when things shift, spirits lift, time expands, stretches to infinity & the mind can quieten so that the heart can remember.

And, above all else, I wanted it to be beautiful.

I have found it impossible to write about & very difficult to talk about it.
There seem to be too many words, too many stories & I find the words & the stories become chaotic when I try to write them down.
My thoughts become cluttered & disorderly.
The sheer volume of words becomes as unbearable as the grief.

When I sit & stitch I don’t question. My choices are clear & instinctive.
I simply make one stitch at a time.
I intuitively know what to do.
I trust the process & my heart guides me.
My mind is free to wander & when the tears come I pause to let them fall.
It will be nice when I am able to stop crying . . . but it seems that it won’t be today.

Pare Kawakawa has been included in an anthology 'Grief Become You - a narrative of loss' edited by Maya Stein & published in December 2019

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Genetic Inheritance

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