AILISH HENDERSON AT THE KNITTING & STITCHING SHOW
Ailish Henderson is a UK fine art and textile artist. Her exhibition Maker: Mended, will appear at The Knitting & Stitching Show 2023 at Harrogate Convention Centre, Harrogate from 16 – 19 November 2023.
Much of your work focuses on the idea of creative practice as a form of emotional restoration for the maker - primarily the act of creation rather than the outcome of the work. What drew you to investigate this notion and why do you think textiles support this research so well?
As someone who has personally been in need of repair, I experienced first-hand how the very act of creating can formulate at least a partial form of well-being for the maker themselves. Not a permanent fix, yet artistic practices can soothe one’s soul and create a mind displacement activity for the artist. I have written critical papers on this subject matter so really believe in its worth. The feel of having something tactile to the touch adds another dimension, seeing something form, grow and being able to observe this in motion is wonderful.
You have said before how your work is “driven by a desire to carry on the familial narrative line, each item holds its secrets.” Given the deeply personal meaning behind each piece in your collection, how do you wrestle with the natural conflict that arises between private ‘secrets’ and public gaze when they are in exhibition?
To reveal or conceal and how to bring this into fruition is something I recommend learning early on in one’s career. Then you have the ability to decide what is obvious and said, visually speaking. I might choose to make a portrait for example, but I don’t need to tell you what is “behind the eyes” of the face observed. That can be left for audience interpretation. I am someone who naturally wears her heart on her sleeve, so I do divulge a lot though my work outcomes and especially my sketchbook work; these are my diaries, where I bear my soul. You will find out more about me in these books than in any bound tome.
Two of your pieces in the collection - ‘Centuria’ and ‘The Very Heartbeat of You’ - celebrate the matriarchal influences in your life. How have these relationships with your mother and grandmother impacted your sense of identity, particularly as a textile artist?
I could get very emotional here as in previous conversations my grandmother, my narg, was still present. Sadly we lost her at 99 and 11 months just about. The influences and why they are there is multi-faceted. For example, on my mother’s side, we have very much textile links whilst on my father’s side, we are primarily fine artists. This marriage has given me the love of both and I am ever connecting them within my ongoing practice. Love if not in our art makes the art in my eyes worthless. I create because I love, never for art’s sake, to make a point or jest at the world. So familial links and their meanings naturally transpire in my work.
You are conscious to use preloved fabrics in your work. Can you share insights into the intersection of sustainability and textile art, considering the environmental impact of materials and processes?
I will be honest in the first instance here. I use loved fabrics because I have a connection with them and only if I have this emotional tie. For example, my stitched portraits are all brought together via materials with meaning, treasures of my own or ones which have a definite meaning. This does not have to be obvious. For example, the plain white linen used for much of my humanistic sculptural bodies has been traced from Irish soil; giving a nod as it were to my birthplace. On observation, this would never have been noted unless pointed out as it’s essentially a blank canvas. We are a family who believe in the sentimental, so we do tend to keep items which we hold dear. When I can bear to use them in a new way, they become a part of my art.
Your style is rich with detail and expression, all of which you sew by hand. It must be an extremely time- and labour-intensive process. Can you tell us more about how you developed this technique and how long it takes you to create a finished piece?
I would say that it is piece dependent. For example, I may be driven by an idea, or one may come to me slowly. As I’ve matured, I’ve noted that there is much more time these days spent around thinking than actively making. However, I value this reflection and planning time as I think it gives depth to one’s’ work in the long run. I am a perfectionist so I’m all about the feel of a hand stitch or drawn line!
Images courtesy of Ailish Henderson
The Knitting & Stitching Show is on from 5-8 October 2023. Find out more:
www.theknittingandstitchingshow.com
@theknittingandstitchingshows
Book your tickets HERE.
Find out more about Ailish Henderson ahead of the show:
www.ailishhenderson.com
Much of your work focuses on the idea of creative practice as a form of emotional restoration for the maker - primarily the act of creation rather than the outcome of the work. What drew you to investigate this notion and why do you think textiles support this research so well?
As someone who has personally been in need of repair, I experienced first-hand how the very act of creating can formulate at least a partial form of well-being for the maker themselves. Not a permanent fix, yet artistic practices can soothe one’s soul and create a mind displacement activity for the artist. I have written critical papers on this subject matter so really believe in its worth. The feel of having something tactile to the touch adds another dimension, seeing something form, grow and being able to observe this in motion is wonderful.
You have said before how your work is “driven by a desire to carry on the familial narrative line, each item holds its secrets.” Given the deeply personal meaning behind each piece in your collection, how do you wrestle with the natural conflict that arises between private ‘secrets’ and public gaze when they are in exhibition?
To reveal or conceal and how to bring this into fruition is something I recommend learning early on in one’s career. Then you have the ability to decide what is obvious and said, visually speaking. I might choose to make a portrait for example, but I don’t need to tell you what is “behind the eyes” of the face observed. That can be left for audience interpretation. I am someone who naturally wears her heart on her sleeve, so I do divulge a lot though my work outcomes and especially my sketchbook work; these are my diaries, where I bear my soul. You will find out more about me in these books than in any bound tome.
Two of your pieces in the collection - ‘Centuria’ and ‘The Very Heartbeat of You’ - celebrate the matriarchal influences in your life. How have these relationships with your mother and grandmother impacted your sense of identity, particularly as a textile artist?
I could get very emotional here as in previous conversations my grandmother, my narg, was still present. Sadly we lost her at 99 and 11 months just about. The influences and why they are there is multi-faceted. For example, on my mother’s side, we have very much textile links whilst on my father’s side, we are primarily fine artists. This marriage has given me the love of both and I am ever connecting them within my ongoing practice. Love if not in our art makes the art in my eyes worthless. I create because I love, never for art’s sake, to make a point or jest at the world. So familial links and their meanings naturally transpire in my work.
You are conscious to use preloved fabrics in your work. Can you share insights into the intersection of sustainability and textile art, considering the environmental impact of materials and processes?
I will be honest in the first instance here. I use loved fabrics because I have a connection with them and only if I have this emotional tie. For example, my stitched portraits are all brought together via materials with meaning, treasures of my own or ones which have a definite meaning. This does not have to be obvious. For example, the plain white linen used for much of my humanistic sculptural bodies has been traced from Irish soil; giving a nod as it were to my birthplace. On observation, this would never have been noted unless pointed out as it’s essentially a blank canvas. We are a family who believe in the sentimental, so we do tend to keep items which we hold dear. When I can bear to use them in a new way, they become a part of my art.
Your style is rich with detail and expression, all of which you sew by hand. It must be an extremely time- and labour-intensive process. Can you tell us more about how you developed this technique and how long it takes you to create a finished piece?
I would say that it is piece dependent. For example, I may be driven by an idea, or one may come to me slowly. As I’ve matured, I’ve noted that there is much more time these days spent around thinking than actively making. However, I value this reflection and planning time as I think it gives depth to one’s’ work in the long run. I am a perfectionist so I’m all about the feel of a hand stitch or drawn line!
Images courtesy of Ailish Henderson
The Knitting & Stitching Show is on from 5-8 October 2023. Find out more:
www.theknittingandstitchingshow.com
@theknittingandstitchingshows
Book your tickets HERE.
Find out more about Ailish Henderson ahead of the show:
www.ailishhenderson.com