Diligent fans of my website (I know you’re out there) may have already noticed that I have added a couple pages. Firstly, you can now get in touch with me even easier, as there is a nice simple Contact Me page.
But more excitingly, I have added a page called Classes: I now offer one-to-one teaching in my home studio in West Sussex. I have designed these classes based on feedback from my Instagram followers, and they’re all completely customisable to allow students to get tailored advice. Realising I also have followers overseas, I am also offering embroidery coaching, by the hour via Skype, to help with any of your embroidery issues or project problems. Go and have a look!
Finally, I’ve updated my Etsy shop – given it a makeover and made all my remaining Ritual Pieces pieces available for sale. There’s also a direct link from each piece here in my Portfolio to the listing where you can buy it. Easy!
The clocks have just gone back (forward?) so although it isn’t, I’m going to say Happy New Year, as my first post of 2017. Hello followers, new and old.
Probably just after I had completed my Wildcat piece last year, certainly my most popular piece going by Instagram, I was already full of an idea for this year’s project. Partly because of my introduction to ONCA gallery in Brighton, their work and interest in my Ritual Burial’s pieces, spurred me on to make more conservationist themed work. You may have read my blog post for them, for Remembrance Day for Lost Species 2016, and in writing that piece, certainly it made me look at the meaning of last year’s work in a slightly different way. I researched the ‘status’ of each native British species featured in that project, to discover all but two were either extinct in this country, or threatened.
Aesthetically, and technically, I was also ready for something new. The materials I use have often inspired my work, and I was really keen to use more embellishment rather than focus so much on Stumpwork, which was thoroughly explored last year. Gold and metal thread work, beads, sequins, and a general mixture of all these was something I really wanted to play with.
The idea for my 2017 project came to me as it usually does fully formed in my mind, at least visually. The photographs by Paul Koudounaris of martyrs and saints in Catholic churches, adorned and decorated with gold and jewels were a big inspiration, and I have always liked a skull or two in my work. But the idea of this: of martyrs, persecuted in their lifetime for their beliefs or actions, now revered and regaled in death, with more symbolic value than literal (even if it’s just a toe bone that’s left) made me think how we treat animals, specifically extinct ones.
When you google ‘extinct species’ you get loads of ‘top ten’ style lists, with mini-paragraph length eulogies and sad face emojis. There are thousands and thousands of species mankind have eliminated from the face of the planet, but the same ‘heroes’ come up again and again: Thylacine, Barbary Lion, and maybe the most famous of all, the Dodo. These are the poster children of the extinct hall of fame. Species that evolved over millennia, wiped out in the briefest expression of humanity’s ignorance.
So, like those martyrs, persecuted in their lifetimes, I am interested in completing that cycle, and illuminating them as saints. These ‘Extinct Icons’ are the figureheads of the epidemic of mass extinction in our modern age.
The first in this series: Saint Sultan.
The Barbary lion was considered one of the biggest lion subspecies. They had dark, long-haired manes that extended over the shoulder and down to the belly. It is said that they developed the colours and size of their manes due to ambient temperatures, their nutrition, and their level of testosterone.
The last known wild Barbary lion was shot in the Moroccan part of the Atlas Mountains in 1942. These lions used to be offered to royal families of Morocco and Ethiopia and were known as the “royal” lions. It is said that some of these “royal” lions survived until the late 1960’s, until a respiratory disease just about wiped them all out.
Sultan was the name of a Barbary lion kept at London zoo, in 1896.
I left this one last because I couldn’t for the life of me find a good image of a skeletal owl face on. In the end I made a sort of collage out of different pics and traced it. Otherwise I was really excited to make the plants in this one. Turns out there was some nice synchronicity with leaving it until then end which I hadn’t really thought about.
First I made these.
Can you tell what it is yet?
And then there were two.
Those are MOONSTONE berries by the way. So nice. I’ve been hanging on to them all year for this.
Also I am obsessed with Mistletoe. Probably my favourite plant.
I needed just the right kind of beads for this. Another big botanical hero of mine.
I ummed and ahhed about the best way to make this but in the end simple was best.
Ahh. So. Satisfying.
C R O N E / / C I R C L E
Owl has long been associated with the Crone, that aspect of the goddess in pagan culture that represents wisdom and death, before rebirth. In Welsh tradition, Owl is one of the Oldest Animals, the original guides of Earth. Like the Hermit in the tarot, Owl watches and waits, favouring the night. She symbolises esoteric wisdom and secrecy.
In Gaelic the name for the barn owl translates to “white old woman of the night” and its call was a call for the soul, an omen someone would die. Although originally the bird of wisdom, as the Church grew to power, so Owl became known as only ill-omened. It became a common saying that the owl was a transformation of one of the servants of the ten kings of Hell.
Owl stands on the threshold of the Otherworld, her true message is that death is the great initiator, and that we may recognise that our death marks the beginning and not the end.Mistletoe is the plant most sacred to the Druids. Strongly associated with fertility, and a reminder of benevolence, even today. However mistletoe has a darker aspect; all parts of the plant are toxic and can cause epileptic seizures in overdose.
Almost exclusively used around the winter solstice, it is shown here with moonstone berries, representative of the dark ‘night’ of the year and the eternal regeneration of the moon, like the triple goddess.
The yew is a natural emblem of everlasting life. Its capacity for great age spanning thousands of years, and it’s apparent ability to regenerate, living from dead trunks, enriched its symbolic value. The early Irish regarded it as one of the most ancient beings on earth and In Irish mythology, the yew is one of the five sacred trees brought from the Otherworld. Like mistletoe which heals by poisoning, so too are all parts of yew toxic.
Finally the Norse rune Gebo represents the exchange between human and divine, and the silver pentacle, long associated with witchcraft, symbolising the 5 elements and 5 human senses.
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Despite being a worldwide character in folklore, there’s not that much plant lore associated with Fox, except the obvious Foxglove. I have avoided making a foxglove for a long time.
With a bit of diligent research, Holly seemed an appropriate partner. I will explain.
Thanks you, my nails are fabulous.
Bought some new bits for this one. Didn’t want to do two velvets for the leaves so tried out 21st Century Yarn’s space dyed cotton for the holly leaves and this lovely chartreuse velvet for the foxglove leaves.
FYI Holly leaves were supremely tricky to make convincing shapes out of wire.
It’s another game of spot the fake berries (hint: they all are).
Isn’t that just festive.
Next for something completely different.
Now to my nemesis.
Honestly this was probably the trickiest thing I’ve ever done and it isn’t even stitched down yet. Trying to figure what shape made the little cones sounds easy (sort of semi circle right?) but I was trimming these bastards for ages.
As you can see there’s some french knots going on and other little flourishes to make them more foxglovey. I still felt a bit meh about them. I still do about the piece generally to be honest.
\ \ K N O W I N G / /
In all traditional or pagan cultures, there exists Fox mythology. Although it varies over the world, the prevailing character of the fox is adaptability and duality: a survivor. In Japan there are two kinds of foxes depicted in folklore. The cunning, shape-shifting witch-animal trickster, and the intelligent long lived bringer of good fortune with magical abilities.
Fox is graceful and wise, knowing when to be silent and when to reveal herself. The word cunning, meaning sly and crafty, and the word kenning meaning to know or to see, come from the same Old English root. So although Fox appears sly, in fact she is knowing and in possession of clear vision. Our ancestors recognised the fox’s quality as positive rather than negative, and prized him as sacred. Many Neolithic and iron age ritual burial sites contained Fox remains, along with Deer and Bear.
Fox is wildness and wilderness. Fox is nocturnal.
Like Wolf, Fox is also associated with transformation. Scavengers, they have the ability to turn what they have into what they need. It’s transformative properties also brings the symbolic fire. The Fox-fire, or ghost-fire is said to come from the magical pearl carried in its head. The rune Nauthiz represents this here, the ‘cosmic need-fire’, and the shadow self.
Foxglove has the power to heal or harm. Legend has it foxes wore the flowers on their paws to stay silent when raiding the chicken coop. Representing the duality of Fox, an old saying is “it can raise the dead or kill the living”.
Also associated with fire and protection (in this context, concealment) is holly. In Celtic mythology the Holly king rules winter, and in this composition you can see the bright foxglove thriving in spring and summer, and the dark holly winter – the Fox adapts and survives throughout.
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