EPISODE TWENTY SIX :: Shannon Downey of Badass Cross Stitch - Subversive Embroidery, Craftivism & Processing through Stitching

in
Photo by Gloria Araya

Photo by Gloria Araya

The Close Knit podcast showcases artists, designers, and makers from all over the world who work with fibre in its many forms. Knitters, spinners, sewers, textile artists - all will be celebrated on the Close Knit podcast.

In Episode 26 of the Close Knit Podcast, I spoke toShannon Downey of Badass Cross stitch. Shannon is a subversive cross stitcher and weaver based in Chicago. We cover some really incredible topics in this episode. Shannon explains how she sees her role in craftivism and the role of craftivism at large. She walks me through her process of creating Feminist War Flags, and tells us about a project on gun violence that prompted her to create an incredible fundraiser for an arts therapy project in Chicago. 

A huge thank you to this week's episode sponsor: Phaedra Clothing.

Phaedra Clothing seeks a balance between elegance of form and functionality. The collection is inspired by Japanese and Scandinavian design which combines attention to detail with practical, every day wear. To Phaedra, a garment is a narrative, a piece that changes over time. The linen becomes softer and more supple, the colours lighten subtly, a piece becomes imbued with memories; signifying a long and happy relationship between garment and wearer. You can find Phaedra Clothing on Etsy and on instagram as @phaedraclothing. 

Thanks again to Phaedra for sponsoring this episode of the Close Knit Podcast! 

Shannon learnt to weave 4 years ago, and her grandmother was a master weaver, who wove at The Lowell Mill - the first industrial place that women were allowed to work (!) 

For Shannon, the act of stitching is a way for her to process. After a major shooting in the US, she found herself stitching a gun. She then called out for people to stitch them and send them to her. Eventually, she gathered these pieces to make an auction to sell for Project Fire, and once they had a project they were funding, the art just started pouring in). In the end, the fundraiser took in around $6000 to help keep that program going. 

Shannon's biggest bit of advice: (note I didn't actually ask this question, but she did give some great craftivism advice)

"[for a craftivism project] give a hard deadline, with 2 weeks in between the hard deadline and the moment [of action, ie the auction]... give people a lot of lead time" 

People/ Things we mentioned in the podcast:

Find Shannon: website | instagram 

Want more? 

Like what you're hearing? 

Awesome! I'm glad you've found your way to this podcast. Please feel free to subscribe, leave a review on iTunes (this makes all the difference to reaching more people!) and share with your loved ones. Thanks for tuning in.

Until next time! 

xx

Ani

EPISODE FIFTEEN:: Kylie Norton - Embroidery Artist - Exploring Intersectional Feminist Theory, Menstruation, and Indigenous Culture and Traditions

in

The Close Knit podcast showcases artists, designers, and makers from all over the world who work with fibre in its many forms. Knitters, spinners, sewers, textile artists - all will be celebrated on the Close Knit podcast.

Kylie Norton is an embroidery artist from the south island of New Zealand, who presently lives in Melbourne. She makes large scale embroidery with wool yarns, one piece takes her 4 to 5 months to make. Kylie goes through an incredibly time intensive process of cutting up the yarn and re-raveling it together to get the colours she wants.  Taught by her mum to cross stitch with kits as a kid, she experimented with colour blending and learnt how to re-ravel yarns to get a more full colour palette to work with. 

Kylie found her way into large scale fibre art rather recently, after earning her masters in Art History and wondering how to apply some of what she'd learnt there to her art practice. She searched for a while and couldn't find anything like what she imagined, so she just figured she'd try it herself. A friend of hers with excellent taste wanted to buy it, so she decided to continue pursuing these large scale embroidery pieces. 

We speak about how she uses her art history background in her fibre art - specifically indigenous culture and women and menstruation. Her work is about how different cultures celebrate (or do not celebrate) women's cycles and she's continuing to explore themes around this intersectional space Growing up in New Zealand, indigenous culture was celebrated and taught in school, and she found that it was very much a part of her life. We compare and contrast Australia, the US, and Canada and how these communities have emphasised or de-emphasised Indigenous culture and knowledge.

Kylie has loved how the fibre arts community has been inclusive and open to her and we chat about her inspiration in the community. 

Kylie's Biggest Bit of Advice

"don't ever doubt your own skill...[and] don't let anyone belitte you...if it's a serious art form for you, then let it be. Give it a go and see what happens - the worst is it doesn't work out, which is not a big deal" 

People/ Things we mentioned in the podcast:

  • Louise Jones - draws illustrations and stitches onto paper and stitches directly onto high fashion magazines 
  • Suzanna Scott  - fibre artist creating vaginas and vulvas out of fabric. 
  • Danielle Clough - embroidery artist using interesting objects to stitch onto 
  • Australian Tapestry Workshop - massive group collaborative weaving projects 
  • Craft Victoria - excellent resource for VIC based crafts people. 

Find Kylie: instagram 

Want more? 

Like what you're hearing? 

Awesome! I'm glad you've found your way to this podcast. Please feel free to subscribe, leave a review on iTunes (this makes all the difference to reaching more people!) and share with your loved ones. Thanks for tuning in.

Until next time! 

xx

Ani