Patricia Kelly

Ireland

Website
www.patriciakellytextile.com

How would you describe your work?

I describe my work as abstract. Through freehand embroidery and hand stitching techniques, I create work in which the stitched line becomes a form of artistic expression leaning increasingly towards abstraction. My art is inspired by the Japanese concept of wabi-sabi, which finds beauty in imperfection. A deep sense of belonging to a place, where family history intertwines with present lives, is a determining element in my work. Using recycled fabrics and natural dyes, as practised by previous generations, evokes the layering of connected lives.

What inspires you?

I am inspired by my connection to land and place. I aim to weave a deeply personal narrative of connection to land, the passage of time, and the enduring practices of labour. My work is a meditative exploration of line and shape. It has evolved through the study of line in our organic landscape. Initially captivated by tangled branches silhouetted against the night sky, I find myself drawn to fine, scribbly line, which I explore through free machine stitch. I experiment repeating lines, finding new ways to express this visual language with the layering of transparent materials. My fascination with geometric ground has developed alongside this, which I attribute to our intrinsic need to organize space. Growing up on a farm where tactile, linear labour was daily routine, making hay and cutting turf, I am drawn to the patterns of the land, fields organized by ditches, and their organic order.

Can you speak about your process?

My process is free machine stitching and is characterized by an organic, flowing approach to materials and techniques, allowing a process of trial and error, where one idea often leads to another. Recent work has moved toward a minimalist, geometric approach, using straight stitch in black thread. I layer and stitch repeatedly to create a pencil-drawing effect. I enjoy creating contrasts in the density of stitching. The line is becoming increasingly fluid and deliberate.

How did you become interested in art?

I have been interested in art and especially in stitching from a very young age. We practiced many stitching and craft techniques at primary school. I think this early practice was where I developed my love of stitch. During secondary school I continued to realise my art exam outcomes through the medium of textiles. I completed a degree in fIne Craft Design, specializing in Embroidery.

Do you have any favorite artists, movies, books, or quotes?

I am inspired by the minimal geometric work of Agnes Martin. I love the loose scribbled line in the work of Hannelore Baron and Cy Twombly. I also love the minimalist use of line and colour in paintings by Giorgio Griffa. Textile artists whose work I really enjoy are Dorothy Caldwell and Isabella Ducrot amongst many more.

I enjoy the quote by Greg McKeown, 'Play expands our minds in ways that allow us to explore; to germinate new ideas or see old ideas in a new light.'

What advice do you have for younger artists?

I would like to encourage young artists to keep believing in themselves and in their work. I would encourage them to continue to maintain their practice even if it is simply making notes in a book, playing with materials, processes in a small way, durings periods of their lives when it is hard to find time to develop ideas fully.

Stitching is the way in which I express the deep, unspoken parts of myself. I see it as a form of therapy, a quiet space where I can process and communicate my personal experience.

Anything else about art or creativity you woudl like to share?

My process is deeply therapeutic. I begin each piece with a sense of urgency to create a continuous line. This act becomes a form of self-expression, like a meditative ritual. I evaluate as I work, allowing the piece to evolve in unexpected ways. Sometimes I have an idea of how I want the piece to look, but often it changes as I progress. This fluid approach allows mistakes to be incorporated, rejected pieces finding new life in later works. I love adding previously worked pieces into new works, because, like the recycled materials, they already carry a history that contributes to the final piece.

Jason Maracani