British textile artist Stewart Kelly has used a range of  techniques including hand and machine embroidery over his career which has spanned over twenty years. His work often includes abstract representations of the human body. “There are several recurrent themes in my work which include gender, identity and well-being in relation to creative material practice.”

Where did you grow up, and where do you live now?

 I was born and raised in North Wales and I’ve lived and worked in Manchester, UK for twenty years.

What is your background in textiles?

 I always had an interest in the visual arts from a young age. åFollowing school, I enrolled on an art foundation course at a local college, specifically motivated by my interest in figure drawing. During the course I was able to develop my drawing skills alongside my interest in textiles and surface design.

 I enrolled on the BA (Hons) Fashion and Textiles course at Liverpool John Moores University with a view to pursuing the textiles pathway on the programme. I selected this course as it allowed a considerable amount of creative freedom. Throughout the course I was able to explore different aspects of art and design including life drawing, computer-aided design, weaving, dyeing, screen printing, embroidery and fabric manipulation techniques.

 Following my graduation, I received an AHRC bursary to study an MA in Textiles at Manchester Metropolitan University. The course offered me the opportunity to study the correlation between theory and practice resulting in establishing my fine art practice. My research involved studying contemporary theory in relation to my creative work. In addition, the course allowed me to experiment further with drawing, sculpture and photography in relation to my textile practice. I have continued to exhibit my work in galleries and museums internationally since 2000.

What is it about textiles as an art form that appeals to you?

I have always been interested in the ambiguity of textiles, the potential for working in this medium, and its ability to transcend the boundaries between fine art, craft and design.

What techniques do you use?

My current work focuses on using drawn media and textiles. However, historically my practice has incorporated drawing, printmaking, sculpture, photography as well as hand and machine embroidery.

How do you describe your work?

It is often difficult to describe my practice, as over the last twenty years, I have worked on many projects in different ways. These include commissions, collaborations, as well as pieces for themed exhibitions and research projects. All of which required different approaches and working methods. However, there are several recurrent themes in my work which include gender, identity and well-being in relation to creative material practice.

How do you create a piece?

My creative process can vary depending on a specific project, however, many of my pieces evolve over a period of time. I find this approach enables me to explore the full potential of working in a particular way. An example of this, are the pieces I created for a project in 2020 called Portraits without Faces. The first piece I created for this project was called Baptism of Fire, which evolved in several stages, over a few months. The basis of the piece is an ink drawing on paper. The drawing consists of multiple figure studies, made from observation, overlaid over a period of time.

 In the studio, I began to machine stitch over the surface of the drawing, initially to enhance certain lines and fill in spaces. However, through intensive periods of stitching, the piece began to transform quite dramatically. I frequently stitched on the reverse side of the work, unaware of the image evolving on the front. As the piece evolved, the paper began to break away in places, caused by the perforations made by the machine needle. At this point It was necessary to add additional support to the work in order to progress.

 This process of working became an interesting metaphor in the work, especially as much of my work is informed by themes around the human condition. It is interesting to me that through the process of creating the work, it should become so fragile and begin to degenerate.

I know this is a hard question but how long does a bigger piece take?

 This can vary depending on different projects. With a commission or exhibition, I can be working towards a deadline. Research projects by their very nature continue for a longer period of time.

 I frequently work on more than one piece of work at any one time. I find this process of working valuable in being able to reflect and assess the progression of a particular project. I normally work on one piece for a while, put it away, try to forget about it, and start to work on a different piece.

 After a period of time, I will return to the first piece, and for a short time, I can be the viewer of my own work. I can assess what is going well, and what is not working. At that point. I am often able to make bold decisions about how to move the piece forward.

One project I can recall working on over a longer period of time was my Body Mapping which I eventually completed in 2018. The project originated from being asked to submit a series of images for a book based on the theme of art as medicine. However, after some correspondence, the project evolved into a commission. I developed three new sculptural pieces which were to be photographed and feature in the book. The basis of the project was several pieces of indigo dyed cloth I created for a design commission which did not come to fruition in 2012. Later, in 2015, I returned to the cloth during a residency, with the intention of intending to work on a piece over a longer period of time. Finally, I was asked to complete the pieces for the book in 2018, which offered a renewed focus for the project and a conclusion for the work. Altogether, the project evolved over six years.

What are you most proud of in your art career so far?

 2020 marked twenty years of creative practice for me. This milestone encouraged me to reflect on my achievements to date, and consider where I intend to go in the future.

 Through austerity, a pandemic and many other challenges in life, I have tried not to lose focus, and continue to maintain a sense of optimism and curiosity through my work.

Do you have any advice for aspiring textile artists?

 This a difficult question to answer as individual circumstances vary, and everyone is on their own separate journey. Professionally, I would encourage aspiring artists to investigate all avenues and not limit yourself to the opportunities associated with your chosen creative discipline. I recall as a graduate and emerging artist, it was difficult to see my career long term. I pursued opportunities as they presented themselves, so I may have been working on a design commission, or exhibiting drawings in an exhibition at any one time. Gradually, all these different elements have fused together to form my current practice. It has happened organically over time. Personally, it has been important to follow my instincts, and develop a practice which I believe makes the most valuable contribution to my field of practice.

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