Tree Travelling: A Journey Toward a Solo Show

Preparing for a solo exhibition is a deeply personal and transformative experience. It’s a journey through past influences, present discoveries, and artistic evolution, shaped by structure, spontaneity, and unexpected moments of inspiration. This blog is my attempt to delve into some of the ways I have navigated personal growth, cultural inspiration, and the complexities of curating a cohesive body of work.

Structure and Creativity

Structure provides a sense of purpose, a path to follow—even if I later abandon it. It acts as a guide, a foundation from which new ideas emerge, often leading me in directions I hadn’t anticipated.

In the studio…

Working on my daily stitching

Social Media and Artistic Growth

When I began my slow-stitching practice in October 2023, I photographed each day and subsequently shared these weekly on Instagram, using it as a visual diary. Over time, my posting has become less frequent, but the platform remains a place of inspiration, connecting me to fellow artists and new ways of seeing. It is also a great place to discover new or pertinent exhibitions.

Bridging Past and Present Through Textiles

My relationship with textiles goes back to childhood and boarding school, where I learned embroidery. In 1979 I set up Linen Hire to hire out my extensive fabric collection for editorial & advertising photography - mostly illustrating cookery books, which deepened my appreciation for materials. Over the years, I’ve made scarves, cushions, tapestries, appliqué pieces and toys for my grandchildren, always drawn back to the tactile nature of stitching, often by hand. Each stitch feels like a connection to the past, yet my approach is ever-evolving.

The Impact of an Artist Residency

Applying for the residency was a leap of faith, a step toward pushing my practice further. I submitted my proposal in early 2023, and now, two years later, I’m stepping into this long-awaited experience, reaffirming that creative growth doesn’t have to be rushed.

Evolving Art Practice

Daily stitching with coloured linen on eco-dyed fabric has sharpened my focus. At first, my stitches were intuitive, scattered marks. Over months, they became more deliberate, drawing from my own sketches and paintings. By the eighth month, organic shapes and compositions had begun to take form.

Inspiration: The Walnut Tree

I’ve always been drawn to trees, sketching them during my walks. But a single walnut tree in my daughter’s French garden became an unexpected muse. I have returned to it repeatedly, observing its branches, bark, and shifting shadows. This single subject has grown into a body of work—paintings and stitched pieces that trace my connection to the natural world.

Limited Materials, Expanded Creativity

While visiting my family in France over the past 3 years I have gradually collected, and left there, a small selection of art materials and sketchbooks. When I travelled there on Eurostar in May 2024 I was restricted in the amount of further art materials I could carry/take with me. Encouraged by Debs Last, who was at the time running an online Art Class I had joined, I took only a very small sketchbook, some coloured crayons & drawing materials. Once there I wandered around the garden doing 20 minute sketches of various trees, including the then leafless walnut tree. This limitation forced me to think differently. I sketched and collaged on greaseproof paper, packaging from the easel I’d bought my granddaughter, cardboard, wrappings from a take-out meal..., anything I could find. This new found sense of resourcefulness opened up new ways of working for me, breaking old habits and making room for spontaneity.

Refining My Artist’s Kit

I now travel lighter, carrying only the essentials for quick sketches, whether out walking or on a trip to the coast. My Sendak Artist Roll from Peg and Awl, a Christmas gift, has been invaluable. In the studio, I limit my materials—acrylics, Viarco water-soluble chalks, oil sticks, inks—allowing me to focus on the work itself rather than the endless possibilities of more supplies. Even my collection of sewing needles, once overlooked in my "picture hanging' tool kit, have now found a place in my ever evolving practice.

Breakthrough Moments

Returning from France, I felt a shift—my painting and stitching were merging. A visit to an exhibition in a barn in Sullington Village and another in South Stoke Barn up on the downs above Arundel, cemented this feeling. One installation, with its painted canvases roped to steel uprights, resonated deeply. That afternoon, I gave myself permission to break my own rules. I introduced a bold, possibly synthetic, yellow thread into my stitching—until then, I had only used linen thread. This single choice marked a significant turning point.

Framing and Presentation

When it came to presenting my completed textile pieces, I wanted to preserve their tactile quality. Lesley introduced me to Kenton Lowe, who suggested entomology pins instead of framing them under glass. It was the perfect solution—honouring the materiality of the work while allowing it to breathe.

Framing using entomology pins

Curating a Cohesive Exhibition

Editing my work for the show has been a challenge. I always want to include everything, but I have learned to refine my selection. Alongside the final pieces, my portfolio and early stitched samples will offer insight into my journey. I had once resisted combining my stitched textiles with painting, yet this integration has happened naturally—almost as if the work itself has decided it is time!

As I now approach my solo exhibition, I reflect on the patience and discovery this journey has required. “Tree travelling” has become both a literal and metaphorical experience—moving through landscapes, materials, and ideas, finding new paths in the process.

This show is not just a culmination but a continuation, an exploration still unfolding...

There is so much more to come.