Hand Stitching A Textile Journey: Crafting Memories Through Travel Projects
Apprising Arenas & Adventures
Travel and 'arena' dwelling are ways of weaving ever-denser stripes of growth, understanding, and stories into the very fabric of our lives.
Journeying in both physical and emotional planes forces me to consider and enter 'the arena(s)' in a Teddy Roosevelt's call to action sense. (I'll talk more about his philosophy later in this blog, but know for now that 'someone who is heavily involved in a situation that requires courage, skill, or tenacity, as opposed to someone sitting on the sidelines and watching, is often referred to as 'the man in the arena.')Â Instinctively, I am not very brave; to access the state of courage or the arena, lots of metaphorical deep breathing must be endured (picture me with hands on knees deeply blowing in and out, encouraging myself to do whatever task is feared armed with my trusty array of portable hand stitching projects for travel .)
I keep a small portable textile piece for embroidery and mixed media working in my handbag and work on it as time and venue allow. I love having hand stitching projects for travel at easy reach. Of course, that means that people take their lives in their hands when plunging fingers into the depths of my bag, and on occasions, so do I (mainly if my needle case has fallen open or I've gathered some particularly spikey treasures!) Following pulling 'my big girl pants' up to the chin and giving life a bloody good craic, I like to process these arena bouts regardless of triumph or tragedy or geography, through the tactile art of hand stitching—a meditative process that captures the essence of my journeys, thoughts, experiences and pain when venturing (at this juncture) into Kenya, Vietnam and Australia.
I have had the great fortune to journey from Derbyshire and travel the world this year as I support my partner's climate mitigation projects. As we work in and explore vibrant countries, I gather ephemeral treasures from wherever: factory floors, beaches, pavements, garbage, bargain bins, and gifts that I incorporate into my stitching, making textiles rich with personal narrative, emotion and climate sensitivity. This manner of creativity allows me to keep a 'memory box' of experience and record how I felt at the time, as significant words and phrases pepper the works as they arise inside me. There's no plan for what I create or how - it's entirely driven by what I find around and inside me.
Kenya: A Land Of Heart & Soil
My adventure began in Kenya, where the landscape seemed to breathe a rhythm all its own. The vast savannahs, dotted with acacia trees, were brimming with life. In the Maasai and artisan markets, I found colourful beadwork, handwoven baskets, masks, embroidery bits on napkins, and traditional fabric print designs that inspired my art.
Most of my stitching occurred in the outdoor offices of a new biochar factory, a fabulous venue in the middle of nowhere, great for sitting, chatting and eating with the Kenyan workforce. (TOP TIP: A vital piece of local knowledge to pass on is that every Kenyan's favourite meal seemed to be barbeque goat!) I loved how the soil's red dust deposited everywhere: my laptop, shoes and creative work. My pieces tell a story, and grime is integral. Scattered over the site were fragments of engineering detritus, beautiful metal shapes discarded from factory and machinery construction, a treasure trove for a rubbish hoarder; my pockets were duly filled with creative potential. I have to point out that on this occasion, my 'face was (not) marred by dust and sweat and blood' as Roosevelt stated, but more of him later.
In quiet evenings in our gated cottage, I stitched these finds together, creating shapes, layouts and textures that reminded me of the earth beneath my feet and the connections I made along the way. With each stitch, I was preserving the memory of Kenya—the stories shared, the laughter exchanged, and the stunning landscapes that had moved me.
Vietnam: The Vibrancy Of A Cultural Tapestry
Next, my journey took me to Vietnam, a country where the colours burst forth in every corner, from the lush rice paddies to the bustling streets of Ho Chi Minh. Armed with a needle and thread, I sought not just to explore but to connect deeply with the culture.
Once again, my travels took me to industrial venues that specialise in building substantial bespoke machinery. The sites were considerable cathedrals to fabrication, some so vast that they required golf buggies to explore.
During my adventures, I collected bits of engineering scraps from factory floors, fabric, traditional rice paper, and hand-painted postcards. Each item spoke to me. One evening, while enjoying street food in Ho Chi Minh City, I noticed a card mounted with old coins, each coin with a hole in the middle, perfect for stitch attaching. In wondering how I could use these, I remembered the portable shrines that pilgrims carried with a main body and two folding doors. The kernel of constructing a fabric triptych hinged together to close and carry around was born with an ornate cornice of coins in the contemporary Peruvian retablo style (a retablo is a portable shrine sometimes called a niche.)Â After all, I was a traveller, my work was to be critically portable, and I was paying homage to my experiences through stitch - I could feel a 'cunning plan' coming together.
As I stitched in various commercial, public and private locations, I layered these collected treasures, each stitch a reminder of Vietnam and the arenas I was continuing to enter. The piece began to transform into a vibrant collage, embodying the spirit of the country and my experiences there—a portable shrine of colours, textures, and tales.
Australia: Nature's Canvas
My final destination is Australia, where Nature reigns supreme, and from here, I pen this blog on an Australian cattle farm. From the majestic Highlands to the heat of the cities, I am in awe of the diverse landscapes. I am genuinely beginning to experiment with the concept of a portable place of worship encompassing ephemera in my stitching. My shrine considered the:
Flax that I had been growing in the UK and the flowers that topped each stem
People that I had met along the way on this journey
Depiction of each country's differences to allow them to be clearly recognised
Designs and symbols that I had found and admired
Juxtaposition of each treasure to create more conversation in the piece
New studio that had been built this year as a creative, safe space in the UK
Feelings that I had concerning difficulties
Depiction of how I wanted my life to be in the future
In Wollongong's beaches, backstreets and parks, I collected fallen leaves, littered flower petals as the jacarandas were in full bloom, and bark detritus. I even saved coasters from local cafés and pubs that could be used as reinforcers to strengthen the piece, as it would need to hold firm. Many a cheeky coffee or cocktail had been consumed to bring strength to many a day!
As I write, overlooking the farm's pastures and the field home for my friendly alpaca neighbours, I reflect on how the people, landscapes and experiences I have encountered were not just visual to me; they represented moments of introspection, connection, and creativity. The textile piece is becoming a tapestry of my arena experiences, a literal and metaphorical stitching together and worship/gratitude of/for my travels.
Conclusion & Ironically, The Journey Continues
As I wrote at the beginning of this post, I find myself reminded and deeply moved at this time by Theodore Roosevelt's powerful speech 'Citizenship In A Republic' at the Sorbonne in Paris, France, on the 23rd of April 1910, a key passage of which is often referred to as 'The Man In The Arena.'
These words were first introduced to me by Texan author, researcher and storyteller Brené Brown some years ago. On this trip, I wanted to read her book 'Daring Greatly' again, which has Roosevelt's speech in its introduction to compellingly illustrate the powers of vulnerability and courage.
At its core, Roosevelt's message resonates with me: to truly embrace life, we must put on our 'big girl pants' and step boldly into the many opportunities available. It is only by engaging in these experiences that we can fully encounter the joys and challenges life has to offer. However, stepping into these arenas also carries the risk of great struggles and, at times, significant failure.
Whilst being in various arenas (the number of which has dramatically increased for me in recent years), I have learned that many people prefer to linger on the sidelines, critiquing the brave souls who dare to enter. However, Roosevelt reminds us that even in failure, there is invaluable growth and learning. Those who choose to stand on the outside will never understand the richness of being alive and truly human.
My passion for mindful stitching and the grasped opportunity to travel reflects this courage in venturing into the unknown. Remember, there is no prior plan for the piece, just instinct. I am 'daring greatly' in creativity and life, as our travels often pivot instantly to reflect the changing demands of the work. This climate mitigation project has never been done before - a challenging place to be.
Each stitch I create represents a step into new and sometimes intimidating experiences. As I navigate through the intricate contrasts of my craft, I realise that embracing its challenges and uncertainties mirrors the essence of Roosevelt's message, Brené Brown's teachings and my travels. Engaging in this creative process reminds me that every thread added to my work is a testament to my bravery and willingness to face life's unpredictable nature.
Hand stitching while travelling has allowed me to slow down and truly engage with each place I visited. Gathering ephemera and incorporating it into my art has transformed the 'shrine-based' piece into a living memory, stitched together with love, gratitude and intention.
In the words of Brené Brown (inspired by Roosevelt), I hope that wherever life and creativity take me, I remember to...
