In the late 1920s the famous English author, Virginia Woolf, delivered some essays that came to be published under the title, ‘A Room of One’s Own’. In the years since, these writings have become famous for one of the key messages they presented; that “a woman must have money and a room of her own if she is to write”. The same could be said for the woman who is to draw, fold, bead, knit, weave, scrapbook, or solder. Unfortunately, it’s not always possible. What is possible is to dream about the space you will one day create, to be inspired by others who are on their way and to learn some tricks to create a little creative haven in the meantime.
Indroducing...
Myrna Giesbrecht.
website - www.myrnagiesbrecht.com [myrnagiesbrecht.com]
Myrna Giesbrecht, textile artist and instructor, is also the author of the book, ‘Setting Up Your Sewing Space: From Small Areas to Complete Workshops’ (publisher: Sterling - June 30, 1996). She teaches a five-lesson (online) course called ‘Studio Makeover’ where students complete scale drawings of their space, look at storage, chair and workstation options.
Based in British Columbia, Canada, Myrna describes her studio as “a womb”. “It is the place where my creative thoughts come to life, where I rest, and where I am energised,” she explains. “For most of my adult life it has been the room where I spend the greatest amount of time and more than any other room in our home it reflects my personality and needs.
“The freedom to move about easily and an absence of clutter are important ingredients to my creativity. I don’t function well with a lot of visual stimulation and so everything has a place... Everything in my studio has been carefully chosen for both its practical purpose and aesthetic value because both contribute to my creative whole.”
The artist’s current 250 sq ft studio is her favourite. Located on the lower level of her home, it is painted in Myrna’s favourite shade of lime, has hardwood flooring, wide moldings and French doors for natural light and views of the valley.
“The space has a slight L-shape and is divided into key working areas including office space, a sewing desk, a work island for cutting and pressing, storage, a design wall and a curl-up-chair where I read, journal, do handwork and ponder while looking out at the view,” she says.
Ever since she was eighteen-years-old Myrna has had a studio in each home she’s lived in. “They have ranged in size... at one point I rented a 1,500 sq ft studio downtown although I quickly discovered that there were more pros than cons to being home based especially when my children were younger. After they went to bed, the last place I wanted my studio to be was downtown... Since then, my studio has always been in my home.”
Over the years Myrna has visited some unusual studios. One student worked in a cabin in the woods behind her home, another sewed on a sailboat. More recently she had a student who was organising a utility trailer with her treadle sewing machine and supplies so it could be towed behind the family RV (recreational vehicle) and she could keep quilting in remote camping areas.
If you are intrigued and attracted by Myrna’s no nonsense approach then take heart because Australians and New Zealanders can study with her online.
Liz Noakes.
Liz Noakes is a papercrafter, a craft consultant for a party plan company and the mother of two boys, aged nine and six. She is also the proud owner of The Wendy House, a space she dreamed of for years and one which family and friends now gravitate to.
The Wendy House name originates from the character of Wendy in J. M. Barrie’s play, ‘Peter Pan’. For Liz, however, the lure of The Wendy House came from her childhood when she heard about the British royal sisters, Elizabeth and Margaret, and the English Wendy or cubby house they had at Buckingham Palace where they served dolls and teddy bears from bone china.
“The idea of a craft room has always been a dream but one I knew would happen eventually,” says Liz who has previously used the laundry as her workspace and whose crafty knick-knacks dwelt in the spare bedroom before her sons came along.
An old shed on the land where she now lives was initially going to be revamped and turned into her dream studio but, in the end, it became easier and more economical to use that original site and erect a new building. It is the size of a double garage with sliding doors opening to a natural bush garden and, inside, a wonderful paint spattered floor.
Liz’s husband, Stuart, always supported her dream of a craft studio and says, in 10 years of married life, The Wendy House is one of the best things they’ve achieved as a couple.
Liz loves stamping and felting but says she’ll “try anything once”. She even made her own wedding dress. Because she holds monthly classes in The Wendy House (“they help pay for it”) she says it was important it had a toilet on site. There is also a small area for tea and coffee making, a nice big sink area, lots of cupboards and bench space and plenty of lighting. Girlfriends often come over for a ‘girls’ night in’, Christmas parties are held there and Liz’s sons love to use the room and already argue about whose bedroom it will be when they are older.
Liz says she likes to think that, since it was “launched” in early 2004 the space has had an effect on her artistically and psychologically. “It’s nice to know you can spread everything out and not have to be constantly packing up,” she says. “I think it motivates me to keep going."
Not much would vary for Liz if she won the lottery and could change her studio. “I think I’d add some windows and a second story might be nice but that’s about it,” she says. “If other people are thinking of creating their own studio they should keep in mind the lighting, the need for a wet space and lots of cupboards and benches.”
For those whose creative space must exist within their apartment or house Liz has some simple tips: “A craft cupboard, storage boxes and those roll out desks all do the job,” she says. “Oh, and don’t buy to excess. That’s a real trap!”
Rebecca Brown.
website: www.rbrown.co.nz [rbrown.co.nz]
New Zealand’s Rebecca Brown is known both as a botanical illustrator and a bead artist but her creative explorations know no limits and so, she says, she is outgrowing the studio she currently resides in and is already putting “proper thought” into the one she wants in a new family home that is on the drawing board.
According to the artist she made an error when designing the existing studio and ended up with too much natural light at times. Yes she has views of the ocean, the Southern Alps and Christchurch but, she says, she’s lucky she’s a night person... “because morning in my studio is incredibly bright - so bright that I pretty much have to keep the blinds drawn most of the day... a problem if I am painting”.
Space is at a premium as time goes on so “some shuffling” is required when she wants to move from one medium to another. “When a painting is done I put it away and drag out the next project to work on. If I am painting and beading projects at the same time (which does happen) then the painting takes precedence in the studio and the beading gets taken to the couch downstairs so I can join my family and work at the same time.” Rebecca also enamels at her drawing table or board felts on a temporarily set up a table in another part of the house.
One interesting point Rebecca makes for anyone planning a studio or workspace is about forward thinking. In her own case she never imagined she’d start enamelling and felting so no provision for these mediums were made. “Any future studio will have the capacity to expand and I will be over compensating for the space and storage. You can never have enough!”
Whether carving out a little space in the family home or building a room from scratch, Rebecca says there a few priorities for crafters to consider. Access to a water source and a sink is priority one: “... you will need water at some time for something you hadn’t even thought of. You also need a good light source, either artificial or natural, or both... A large flat surface that can tilt at an angle or be horizontal to the floor is the best thing for your back and your artwork.”
The best table Rebecca ever owned was a wood door mounted on two sawhorses and hinged so that it could be raised and lowered. “You just need a corner somewhere where you can set it up,” she says.
Her space is painted white (“I did not want any other colours bouncing off my subject matter when I was painting”) and the bathroom is connected to the studio. “I have also added a kiln and sewing machine in the last few years to the dwindling floor space,” she says.
Dale Rollerson.
website: www.thethreadstudio.com [thethreadstudio.com]
Western Australian artist Dale Rollerson is well known for her work in machine embroidery, mixed media explorations and - her new love - the embellishment machine. She has always carved out a space in which to work, whether that be a corner of the bedroom where she parked her sewing machine and table when first married or the spare bedroom when the opportunity arose. Today, however, she has a wonderful purpose built studio in her back garden.
“(It’s) very indulgent for me I must say,” says Dale. “We gave our architect a brief - lots of light, open space, sympathetic with our surroundings. He came up with a fabulous design and we went from there... I love working up there... I don’t have to tidy up. I can just shut the door. I have a wet area and space for my machines and stuff.”
Despite her current dream surroundings, Dale is not someone who believes a dedicated studio has a dramatic impact on one’s work. “A tiny table in a corner which is yours is the most important. I wouldn’t want to use the dining room because I wouldn’t want to have to put everything away each day. That is what knocks your creativity - works in progress are very important. That’s why I have piles all over the place while I flit from one theme to another,” she says.
In terms of advice for others setting up workspaces, Dale says, “It all depends on the individual but if you are working with mixed media you need a wet area of some sort. I have used the kitchen as we have tiles on the bench but then I had to tidy up each night. In our last house I used to make felt in a tiny laundry and I know people who use their bathrooms. In good weather I have worked outdoors. I think if you want to create you will find somewhere somehow. Lack of space is like lack of time - it’s an excuse not a reason.”
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