Alice Palmer is a textile artist based in South Derbyshire. Most recently, Palmer has combined her love of textiles with painting, creating art where the painted line continues beyond the canvas, with draped viscose ribbon yarn. These works are inspired by the art of Zen masters dating back from the 1600s to the present – the monks would create ‘Zenga’ (painting and calligraphy). The main purpose was not for art’s sake but to aid meditation. Palmer experiments in a similar way, creating art through meditation and portraying her own experience and interest in Buddhist philosophy.
At The Other Art Fair, in 2021, Palmer presented a body of work spanning from the start of the pandemic to the present. Due to restrictions and being unable to use machinery normally used, to make her signature knitted artworks, Palmer was forced to work in new ways. She soon started embroidering silk onto fabric and directly onto canvases. A slow and meditative process enabled Palmer to put across some thoughts around some polarities found as a result of the pandemic.
’Order & Chaos’ contemplates the confusion around changing government guidelines, and ‘Connectedness’ was created during each of the three lockdowns, meditating on this precious life and how connected we all are.
Earlier, in 2019, Palmer produced a body of work stemming from an interest in present-day American and British politics. The seemingly neverending Brexit debates influenced ‘Ad Nauseam’ in Black and white, and black and grey, and the artwork ‘Brexit?’. These pieces were inspired by the layers of complexity surrounding Brexit, the confusion of mixed messages coming from politicians and the incessant talk of ticking clocks with the extension of article 50 nearing.
Through her knitted tapestries, first exhibited in 2014 with the Young Masters Prize, she explored the way in which iconic artwork and sculpture is perceived today. How does the public interact with classic art in the age of the internet and social media? Does art lose its worth, and has commoditisation of art negated its aesthetic value? Do we appreciate these artworks as pieces of beauty and skill, or do we use them for our own amusement – to collect images for our own Flickr, Pinterest and Instagram accounts or to update our Twitter and Facebook status?
In 2016 she started an ongoing series entitled Photo-knit-montage. One artwork includes the piece, Body Robbin, which combines digital photography with collage, via the medium of knitted tapestry. A model’s body, stripped of its backless dress, is elevated on rocks in an image taken of Robin Hood’s Bay, North Yorkshire. Within this artwork, Palmer explores female dualities. Concepts such as: the female body being celebrated, yet ridiculed; strength turned to fragility; the natural body being manipulated, and liberation being controlled and manipulated by the media.
As well as creating several successful and innovative fashion collections shown in London, Paris, Tokyo and New York, and winning numerous awards including Textile Brand of the Year at the Scottish Fashion Awards 2013, Alice Palmer has exhibited her sculpture at the Schwartz Gallery, Hackney Wick, for three consecutive years in a group show called Allotments. Palmer draws inspiration from a diverse range of subjects: the illusionary and mathematical aesthetics of topology; the theories of Physics; the music of David Bowie and the style of Pop Art, to name but a few.
Following completing a BA in Knitted Textiles at the Glasgow School of Art (1996-2000), her passion for furthering her knitting skills took her to London to study a Masters at the Royal College of Art (2005-07). At the Royal College of Art, Palmer specialised in Knitted Textiles, concentrating on developing unconventional ways of constructing knit.
Self-taught or art school?
I always knew I wanted to go to art school from a very young age. I studied Textiles at Glasgow School of Art – a BA honours degree (graduating in 2000) and I completed a Masters in Knitted Textiles at the Royal College of Art (2007).
If you could own one work of art what would it be?
I would love to own an ‘Infinity Mirrored Room’ art installation by Yayoi Kusama, which I first experienced at the Tate Modern in 2012. I would have this room in my house and would spend hours there every week just contemplating the vast universe and how small we are in comparison. The magnified sensation of endless space is just so inspirational and would be a great way to start the day.
How would you describe your style?
I started off as an artist envisioning my style to be bold and heavily pop art-inspired, but it has become more abstract and expressive. I believe my artistic style changes somewhat depending on what medium I use, but I like to think I am starting to develop my own style which combines expressive abstract painting with the use of textiles. Some of my latest work is quite minimalist verging on surreal.
Can you tell us about your artistic process?
With a background in Knitted Textiles, and having previously owned a business selling knitwear, I naturally started off my art career using knitting as my main process. I would either knit pieces on my own knitting machines in my studio or visit a small knitting production unit to get more complex and larger artworks made. I then stretch the knitted fabrics over canvases and staple them at the back.
However, due to the pandemic, I couldn’t get to my knitting machines or visit the unit so I was forced to find other ways to make art at home. I soon created embroidered pieces on fabric or canvases and then took up painting, which I fell in love with instantly. I like to cut into my own rollers to create the effect I want and am (most recently) interested to see how my painted lines can connect with yarn, giving a feeling of continuity allowing the processes to merge into one another.
Is narrative important within your work?
The narrative is very important in my work, although some of my artworks are more of a journey for the viewer. In my photo-knit-montage series, the narrative is key, though sometimes I prefer to keep the stories private as they are very personal to me, and the viewer can make up their own mind. In some of my more abstract work I like to explain the narrative to people, as it is not so obvious.
Who are your favourite artists and why?
This is a difficult question for me as I have so many favourite artists. To name a few, I have always loved M.C. Escher for his mathematical inspired artworks, Bridget Riley’s optical illusionary paintings and the ‘father of Pop Art, Richard Hamilton’s photomontages.
I especially love Escher’s exploration of hyperbolic space to create his mesmerising compositions and his work based on the concept of the Möbius strip, these artworks symbolising eternal cyclic renewal – the cycle of life, death and rebirth.
What or who inspires your art?
Generally, I am inspired by science, music and spirituality. I have always been interested in subjects such as quantum physics, geometry and topology, and enjoy reading books to increase my understanding of the world and creation, although it is all very mind-blowing! I like to read up about different theories such as string theory and have previously been inspired by graphs and diagrams which explain these theories. Also, the seventeenth-century polymath, Athanasius Kircher, was a source of inspiration for my ‘Kircher series’ during the first lockdown.
I like to explore space, line and pattern in my work and most recently I have become fascinated by geometric patterns and mathematic ratios that exist everywhere in nature, and even in music. Buddhist philosophy has also inspired my work and meditation plays an integral part in creating my paintings.
Where’s your studio and what’s it like?
I have a studio in Hackney Wick, East London, which I share with a photographer. Although currently, I am working mostly from home in South Derbyshire. Due to the pandemic (like most people) I started working at home a lot and I really enjoyed having everything around me as it means I can constantly think about what I am working on and work at any time of the day or night. My dining room has two fairly new machines in it and that is where all the knitting takes place. I recently decorated the walls which are clashing animal prints – zebra, snakeskin and leopard print, bought from House of Hackney. I just love having this happy, lively room to work in. In contrast, my living room has dark grey walls and it feels like a cave which is perfect for meditating in before I start painting. I have a huge easel in the corner which gets dragged out to the centre of the room when I paint. Art covers most of the walls in my house, half of which are bought or gifted from other artists.
Do you have any studio rituals?
I always start with a coffee and write a list of what I plan to achieve that day. Most mornings I will dig out a bunch of records to play throughout the day and before playing them I might do some yoga or meditation. This helps to clear my mind and be more productive.
Having a relaxing area to contemplate and meditate prior to making art is invaluable to my work. I write down notes and ideas around my concepts and will do some sketches before working on canvas. I will then play my records or listen to something meditative like shamanic drumming, depending on what I’m working on.
What are you working on currently?
My work is always dependent on what is happening in the world, or my life, at the time. At the start of 2022, I was dreaming of travelling and exploring colour around the world, looking at images of Aurora Borealis to inspire my colour hoops and textile wall hangings. Each one consists of over 200 strands of yarn, all carefully picked out and placed to create an array of colours which I hope brings a sense of calm and wonder to the viewer.
Towards the end of February, when the war started in Ukraine, my work quickly changed direction. I started painting again, contemplating all the lives affected by this devastating war. My latest artwork ‘Protection’ is an expression of the sheer bravery of the people protecting their country and mothers and children. Through curved painted line which merges and intertwines with draped yarn, I wanted to create a sense of connectedness, strength and unity.
Where can we buy your art?
My work is available to purchase on my website and also on Saatchi Art.
https://www.alicepalmer.co.uk/shop
https://www.saatchiart.com/alicepalmer
For any enquiries or wishes to set up a meeting to view any particular artworks, please email Alice at alice@alicepalmer.co.uk.
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