British artist Lesley Wildman specialised in glass before turning to textiles. She works in her home studio using threads and yarns to paint with wool. Her latest series focuses on landscapes. 

What was your path to becoming a textile artist?

I went to art school in the 70s, at time when nothing was run to a curriculum and we were free to experiment with all kinds of media. It was here I learned the basics of looking, the discipline of perspective and the multitude of ways to creatively represent your subject, your feelings or your ideas. When I secured a place at Middlesex University, after my three children were old enough, it was to study 3D, and in the last year, you were expected to specialise. I chose Glass. It was a difficult time juggling the needs of the children and having to do two jobs to keep the money coming in but still managed a 1st.

I went on to teach 3D at the foundation course I originally went to in Bedford and I had set up a small gallery when I won a place at the Royal College of Art on their ceramics and glass course. After two gruelling years and a masters I had exhibitions in London, Paris, America, Denmark and Germany within the first year of graduation. But I was not ready for the gallery system at that level, work went missing, was broken and proved too delicate for people to display anywhere but in galleries. The cost was mounting and I wasn’t getting enough back after the galleries had taken their commission to continue. 

In the meantime I had to get a job as we moved for my husband’s job and the children’s school. The cost of hiring a hot glass workshop was beyond me and the equipment needed wouldn’t fit in my studio. I had learned to paint as part of my foundation course so I returned to portraiture.

How do you describe your technique and how did you discover it?

I opened a yarn shop (having been a life long knitter) with a friend about 10 years ago and I fell in love with the textures and colours. I was able to play around with yarns and fabrics both recycled and top-end quality. I never gave up having a studio space even when it was shared so I was able to discover new ways of using threads. I was studying and practicing glass for nearly seven years and my present way of working evolved over the same amount of time. I guess I’m self-taught on top of a lot of experience. I started to experiment with the colours by hand dyeing my own yarns to create a colour palette similar to those I use in my painting.

How do you create your pieces, especially how do you secure the threads?

I take copious landscape photos to use as a reference, some of which work well and some that don’t. I have to unpick the perspective by sketching out the layers with coloured pencil and numbering the sequence. This is where the understanding of perspective, not just with line but also by considered use of texture and colour to produce the perception of depth and mood within the composition. The yarns are secured in many ways depending on the size of canvas and how many layers there are… pins, tape, glue and sewing. Whatever works.

What type of yarns do you use and why?

I have used everything up to a fine Aran weight but it depends on what I am trying to convey.  You can achieve a lot with the use of texture, silks have an amazing sheen, cottons give a crisp line. I hand dye as much as possible and they are usually sock weight yarns.

I know it is a hard question but roughly how long does a piece take from start to finish?

Again it really does depend on the size of the piece and the time, from taking photo images, dying the yarns etc it is difficult to say exactly… but the hours fly by. Plus they don’t always work the first time.

Do you have any advice for aspiring textile artists?

Do what pleases you and play with your chosen mediums, this way what you are doing will inform you. Don’t try to do what you think you ‘should’ be doing or you will miss the beautiful moment when it speaks to you. You realise you have reached a point when you are learning from what you are doing and that is where the gold is. By that I mean your work will be for you…if others like then all the good.

Is there anything you would like to add? 

I am in a collaborative exhibition at Upton House Gallery in Warwickshire (dates to be confirmed)

www.lesleywildman.com  

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