I've been off-line for some days now and may be again, due to the madness of redecorating my studio, hence the somewhat belated clarification of my methods of working for those who are interested....... .........for my lace, I use threads in the same way to describe shape and form as I use paintbrush and paint when I'm painting. When I was approached by Batsford to write 'Special Effects in Bobbin Lace' it was to feature the piece 'Sea-Swirl' which had won their Batsford prize. To this end, I devised a series of patterns with pin by pin instructions, which if followed would enable a lacemaker to cover and more importantly, understand, all the techniques necessary to work Sea-Swirl. Given the constraints of a finite number of pages, preordained by the publisher, this was the most practical way of producing the all the technical information in a workable format. In my view, having taught for many years now, the best way of understanding the application of a technique is to actually experience its use. In 'Special Effects...' the full instructions are provided for those who prefer to work in this way (or for those who simply want to work an exact copy of the motif). When the application of the techniques is fully understood, those required when working on a personal project are more easily chosen. 'Special Effects...' is not just a book of patterns to be worked in sequence, it is a book illustrating, with patterns, the techniques I developed in order to work in a painterly way. My second book, 'Alphabet Inspirations in Coloured Bobbin Lace' (pub BT Batsford, available August 2004) is specifically written to illustrate how to use the techniques to work developed design ideas from shapes, yet still has pin by pin instructions for those who would like them. There is most certainly plenty of 'latitude to develop or do your own thing' in this book, as there was in 'Special Effects...' and will be in my third book, in preparation at the moment. In fact, the exhibition and theme for the talk 'Chinese Whispers' that I gave at Harrogate dealt almost entirely with just that topic. As many of my students will testify, my approach to lacemaking and methods of working are probably some of the most flexible possible, though it may seem hard to believe if one simply looks at the lace, or glances at a book. In a book, most people prefer to have a full set of explicit instructions that they may either choose to use or disregard completely. Nothing is set in tablets of stone, but it must surely be preferable to know that there is at least one method of working a pattern that will ensure it resembles the illustration? It has never been my intention, flattering though it may be, that anyone attempting my patterns should be limited to producing a clone of the original. My hope is that by using my experience and techniques, lacemakers will gain the confidence to go on to create their own original pieces without having to reinvent the wheel each time. That is why I teach. No, the 'revolution' has not stopped, or even slowed down - I'm just as revolting as ever - there's always a mass of other ideas waiting to be developed and played with. I hope my comments clear up some of the confusion which appears to be surrounding my work. The most important part of it all is to be able to enjoy making the lace and achieving the desired end result........it is to this end that I write the books. The techniques are simply the paintbrush. Sandi (.........sitting in a corner, surrounded by ladders and general turmoil in sunny Kent, UK.)
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