British Museum blog

My artistic practice


Nicola Jarvis, artist and hand embroiderer,
Royal School of Needlework

Nicola Jarvis was one of the ‘unknown’ embroiderers who worked together to construct the lace for Kate Middleton’s wedding dress. In this guest blog post, she explores how anonymous craftspeoples’ identities can create a sense of mystery and magic.

My artistic practice is a work in progress that has been evolving ever since I could hold a pencil. During this journey, I trained as a hand embroiderer at the Royal School of Needlework in the early 1990s. Over the last two decades I have worked on numerous commissions for the Royal School and contracts for a multitude of companies and private individuals. Most of these jobs have involved making stitched items or artworks for which, after payment, I received no further acknowledgement for my craftsmanship. This has become the norm for me, and my colleagues working in the same industry.

To create a well-crafted object through an intimate relationship with the materials and process of making constitutes much of the job satisfaction.

The history of material culture is made up of hundreds of thousands of anonymous craftspeople that have made objects as a livelihood, to enable their survival and that of their families, with no thought of recognition for what they do.

'c17th Summer Sampler’, silk and gold thread (2011)

'c17th Summer Sampler’, silk and gold thread (2011)

I am currently in Delaware, USA, at the Winterthur Museum attending an international needlework conference where 230 delegates are examining and discussing the work of English and American embroiderers over the past 400 years. Some of the makers’ identities are known revealing fascinating stories of where, why and how their needlework was made. Others remain hidden and it is only through detailed study of their craftsmanship that we may construct our own narratives. I think this mystery creates much of the ‘magic’ that surrounds an object with a potent mix of unanswered questions and possibilities.

When I began my training at the Royal School of Needlework, it was the mastery of skills and process of making embroidery that was of utmost importance to me. When working the lace for the Duchess of Cambridge’s wedding dress, 20 years on, this was still the case.

I played a small part in a process that involved a large team of highly skilled needlewomen realising a very beautiful textile in the history of object making. Our stories and relationships are bound up in that dress, made with a commitment to, and a passion for, our craft. The individual and/or joint identities are not imperative, rather the collective energy and mastery of the materials and techniques is what will always be valued and celebrated.

Nicola’s embroidery short course at the Museum starting on Sunday 6 November is now fully booked, but take a look at other events in the Grayson Perry: The Tomb of the Unknown Craftsman programme.

If you would like to leave a comment click on the title

Grayson Perry: The Tomb of the Unknown Craftsman
is supported by AlixPartners, with Louis Vuitton.
Book tickets now

Filed under: Exhibitions, Grayson Perry: The Tomb of the Unknown Craftsman, , , , , ,

4 Responses - Comments are closed.

  1. Kathy says:

    Home faber – man the maker. We have the instinct to create but too often it is educated out of us in school. Creating becomes something personal and often private because to share it is to risk receiving a tepid response, a lack of interest or, worse, ridicule. We focus on acquiring and then honing the skills we need to create something that expresses our humanity. Our measure of success is often measured against our skill level because the things we create are not valued in the mechanized world in which we find ourselves today. Too many look for uniformity, not uniqueness. They want sterile perfection not hand made beauty. How often have we all heard – “That must have taken hours! How do you have the patience to do that? Is it difficult?” when what we longed to hear was “That is exquisite. It reminds me of a summer day in the meadow or how sad I felt when my grandmother died. It speaks to me. Your creation reminds me that we share the human experience.”

    Like

  2. Well done Nicola, your work beautiful, you are sure a talented embroiderer.

    Like

  3. They say that you can gauge the level of a person’s passion on a particular subject when they speak about what they hold most dear to them.

    This guest article is a perfect example and Nicola’s final thought, ‘The individual and/or joint identities are not imperative, rather the collective energy and mastery of the materials and techniques is what will always be valued and celebrated,’ is a clear indication of what she is obviously so highly regarded and, in turn, successful within her field.

    Thanks for taking the time.

    Like

  4. Must have been very patient to do that.
    I never been able to do this kind of stuff.
    Bravo!

    Like

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 9,415 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

Room 8, Nimrud, is the next #MuseumOfTheFuture gallery in our series. It contains stone reliefs from Neo-Assyrian King Ashurnasirpal II’s magnificent Northwest Palace at Nimrud and two large Assyrian winged human-headed lions. The next gallery in our #MuseumOfTheFuture series is Room 7. It features a series of remarkable carved stone panels from the interior decoration of the Northwest Palace of the Neo-Assyrian King Ashurnasirpal II (883–859 BC). The panels depict the king and his subjects engaged in a variety of activities. Ashurnasirpal is shown leading military campaigns against his enemies, engaging in ritual scenes with protective demons and hunting, a royal sport in ancient Mesopotamia.
#museum #london #gallery Room 6, Assyrian sculpture and Balawat Gates, is the next gallery in our #MuseumOfTheFuture series. This room contains large stone sculptures and reliefs which were striking features of the palaces and temples of ancient Assyria (modern northern Iraq). Also in the gallery are two colossal winged human-headed lions, which flanked an entrance to the royal palace of King Ashurnasirpal II (883–859 BC) at Nimrud and replicas of the huge bronze gates of Shalmaneser III (858–824 BC) from Balawat. King of Persia Cyrus the Great entered #Babylon #onthisday in 539 BC. This iconic clay cylinder, known as the Cyrus Cylinder, is inscribed in Babylonian cuneiform with an account by Cyrus of his conquest of Babylon in 539 BC and the capture of Nabonidus, the last Babylonian king. 
The cylinder has sometimes been described as the 'first charter of human rights', as it describes measures of relief Cyrus brought to the inhabitants of the city after its capture. However it in fact reflects a long tradition in Mesopotamia where, from as early as the third millennium BC, kings began their reigns with declarations of reforms. 
#history #art Experience the pleasures of the early Ming court in an evening of performance, demonstrations, talks and workshops on Friday 14 November. Free, just drop in #Ming50Years 
#event #free #china #art #onthisday in 1420: Beijing is officially designated the principal capital of the #Ming empire. Find out more about the Forbidden City and this beautiful hanging scroll in a new tumblr post at britishmuseum.tumblr.com #Ming50Years
#China #art #history #Beijing
Follow

Get every new post delivered to your Inbox.

Join 9,415 other followers

%d bloggers like this: