Artist Feature: Gemma Pobjoy



Today's artist feature is with Melbourne based jewellery designer Gemma Pobjoy creator of accessories label The Triangle of Bears (previously Candy Bandit). Since creating her label in 2008 Gemma has featured in The Age, Frankie Magazine and blog, Mixtape Magazine, numerous times in Etsy treasuries and as a Featured Seller on Etsy.  She has also co-ordinated several charity projects including 'heartFELT' involving 25 Australian creatives sold through leeloo and recently opened her own retail store Pony Boy Parlour.

All images in this interview are provided by and copyright of Gemma Pobjoy.

Tell us a little about yourself and your arts/design background

My name is Gemma. I am 26. My label is “the Triangle Of Bears.” (formerly "Candy Bandit"). I make jewellery and accessories and other little bits and pieces along the way.

I live in Melbourne in Box Hill, and it is beautiful because i have a giant park in my back yard that is full of ducks and possums and pigeons and rats that i imagine all play lovingly with each other in the dark, around the pond. I share my home with my boyfriend, Daniel. He is a musician and he is beautiful. I also have three pet rats (Daisy, Lula & Cobweb), and they are THE MOST beautiful creatures in the world!

I just opened a shop in Brunswick called Pony Boy Parlour with two of my friends (an accidental dream come true!), and everything about that venture is both exciting & exhausting!

Daisy, Lula and Cobweb

I am in love with every creature, great and small, and sometimes I can barely fathom how amazing they can be! I am passionate about vegetarianism. Yum yum yum...

As far as my art/design background goes, it started when i was just a pup, and has grown and developed as I have. I studied as many art subjects as i could while in school, then went on to do my Bachelor of Visual Arts at University. I focused mainly on painting & photography at first, but then moved on to sculpture and then to jewellery.

By my third & final year of university, I knew I wasn't done studying. I had become obsessed with jewellery and adornment of all forms and decided to go on to study a jewellery course at TAFE. I did the first year of my "Advanced Diploma of Engineering Technology" (metal-smithing, sculpture & jewellery making) and then decided to have a break. During this break, I started experimenting with felt - mainly because it was a cheap & convenient way for me to continue being creative while I took time off study and didn't have access to the tools & materials I needed to make metal jewellery.

Those little "experiments" have lead me to where I am today. I never went back and finished my TAFE course, I had found the thing I want to pour my heart and soul in to...

What led you to using embroidery in your work

The sole reason I started using embroidery in my work was because it allowed me to get the small details that I couldn't achieve with fabric paint or simply by cutting shapes out of different fabrics & stitching them together.

I use embroidery, fabric paint & sewing layers/shapes together to create my pieces, and each process allows for a different kind of detail & aesthetic. Combining the three techniques together is what brings my work to life!

I taught myself how to "embroider" and I guess I still don't really know what I'm doing, but it seems to be working, so I'll keep it up! I'm always defining my skills. They develop all the time, and when I look back at what I used to make I feel a little bit like laughing!

 

Could you talk a little on the process of creating your work?

I don't have a clue what I'm doing. I make stuff up as i go. I have a long list of unsuccessful techniques that I've attempted to use, and thankfully, a long list of successful ones too!

The "proper" methods and techniques I learned while at uni & TAFE do not particularly apply to any of the work I produce these days, though they are useful & helpful in some way, I guess.

 

I have taught myself pretty much everything I employ to create my pieces by trial and error. The most basic method of making a "the Triangle Of Bears" piece is;

 

1. first to imagine it,
2. draw it to size on paper,
3. cut out the outline of the shape,
4. pin it to the backing fabric (stiff felt),
5. cut that out,
6. then cut out the different layers/shapes from the paper and pin them to felt/vegan leather,
7. cut out each individual shape,
8. Sew it all together in order,
9. paint/sew on the details,
10. attach any jewellery findings.

Done! Easy! Haha

 

I use mainly felt & "fake" leather in each piece. I source as many of my materials as possible from op-shops, including my threads & chains. I love the idea of turning something unwanted in to something new & fresh. Yay! New life!

Can you tell us a little about your inspirations?

My inspiration is drawn from so many different places, especially the people I am surrounded by, but when it comes down to it, it is definitely an aesthetic thing. I need to spend time staring at images and objects, and also touching them - because jewellery is my "weapon of choice" and is the only art form made to be touched and handled.

Some things I do like to swoon over & draw inspiration from are; lace, shiny gold objects, animals (animals animals!), dreamscapes, subtle colours, strange hybrids, geometrical shapes, vintage dolls, unique fashion, cute sketches, kitschy ornaments, ponies, folksy patterns, doilies, miniature versions of almost anything, bears, tiny details and diamonds.

I am also in love with Jim Henson, the tv series "Futurama", Mel Stringer's art, Studio Ghibli films & Dr. Seuss's illustrations.

Something that inspires me to no end is looking at other peoples creations who work with the same materials/ in the same field as I do. Of course!

Artist Feature: Evie Barrow

Our next artist feature is with crafter and designer Evie Barrow, known for her beautiful hand embroidered brooches and soft dolls made under the label Handmade Romance. Evie's work has featured in Craft Victoria's Craft Hatch, Frankie Magazine, many etsy treasuries as well as numerous print and online publications.

In 2011 she had her first solo exhibition 'The Travelling Circus' in the enCounter window at Craft Victoria and recently held her first workshop with Harvest Textiles, 'Think it! Draw it! Stitch it!' as part of Design Depot 2012.

All images provided in this interview are provided by and copyright of Evie Barrow.


Tell us a little about yourself and your arts/design background.

Hello. My name is Evie. I am a crafter and designer, currently living in Melbourne, Australia. While I do love it here, I daydream of living in far away places.

My passion lies with the thoughtfulness and un-reproducible qualities of the hand made. Particularly when these traits are found in character design. I mostly spend my time at a computer - however when I prioritise effectively I've been know to create quite a bit by hand too.

Throughout school I continuously focused on art and design and ended up studying Graphic Design at uni. Since completing uni I have continued as a designer and in more recent years returned my focus to making by hand.

I've also studied Children's Book Illustration, Life Drawing, Watercolour Painting and learned how to make and operate a muppet-style puppet!

What led you to use embroidery in your work?

I think it was my love for illustration and constant doodling that lead to experimenting with embroidery. I also find the tactile nature of an embroidered surface highly appealing. Often the reverse can be just as intriguing too; like a long forgotten note in a returned library book.

Could you talk a little on the process of creating your work?

For me, almost always, an idea begins its journey as a sketch. Sometimes many sketches. No matter how raw or incomprehensible these sketches may be, they help get the idea flowing. Often I'll write words to accompany my ideas as well.

After the initial sketches my process can vary quite a bit depending on the project. For example a soft character might involve testing patterns, researching fabric choices, colours, sizes and shapes. Other times my process might be much more intuitive and I figure it out as I go along.

Can you tell us a little about your inspirations?

Inspiration is everywhere. I especially love the every day and the ordinary. Observing the simple things: overheard conversations, pattern, colour, nature, music, magazines and books.

I am especially inspired by costumes and character design in movies and TV series such as; The Royal Tenenbaums, Fantastic Mr Fox, Edward Sissorhands, ET, Carnivale, Mad Men and Deadwood. 


Equally I find people who are passionate about what they do a great source of inspiration – nothing beats that kind of energy!

Some pattern and technique inspiration

A couple of weeks ago I found these embroidery books in an awesome second hand bookshop in Canberra at the Curtin shops. The first is 'The New World of Needlepoint' by Lisbeth Perrone which is full of great pattern idea's and the second is 'Needlepoint - The art of canvas embroidery' by Mary Rhodes which has some fantastic idea's for experimenting with embroidery. 

Both books have me thinking of huge necklaces and patterns for the portrait I will be making for the show. I have also been really interested in Aztec patterns at the moment so am hoping to combine this all somehow!

(Illustration by Rob Flowers - Image Source)

(Image Source)

(Necklace by Tatty Devine - Image Source)

(Image Source)

(Liz Carey handbag - Image Source)

2012 Craft Cubed Festival

We are very excited to announce that the exhibition Needle Work Needle Play will be part of Craft Victoria's 2012 Craft Cubed Festival. Craft Cubed is a festival of experimental, skilled and ideas-based craft and design and will feature exhibitions, open studios and workshops, professional development sessions, online programs and the Craft Hatch market. There will be so much great stuff to explore and be a part of - so definitely check it out!

Big thanks to Evie for putting together this awesome digital invite for the show incorporating MaricorMaricar's logo. Please feel free to post it, email it or whatever you want as long as you credit to the girls and link back to them!

Artist Feature: Emma Greenwood

Printemps Boots, 2009

Today we have our first artist feature in the lead up too our exhibition with Melbourne based footwear and accessories designer Emma Greenwood. As well as a hard working mum to two children Emma runs a footwear and accessories label called 'Emerge' found at Craft Victoria, has been featured in publications such as ‘I Make Stuff’, ‘Meet me at Mike’s’ and ‘Handmade In Melbourne Volume 2 and participated in the 2011 Craft Cubed Festival with Maryann Tali Pau on their exhibition and collaboration 'Regal Savage'.

All images provided in this interview are provided by and copyright of Emma Greenwood.

Tell us a little about yourself and your arts/design background

I grew up in a home without a TV, and was always busy making and doing things with my sister. My Mum had a lot of craft books, and skills which she taught me, and from there I used to play around with sewing, knitting and embroidery. I was a very academic lass until year 12, when the pressure got too much and I discovered the art department. After that I did a four-year Visual Arts degree, majoring in printmaking, but then in my final year I discovered sculpture and became hooked on three dimensions.

Once I’d finished my degree I worked as a bike messenger for three years. When I felt the urge to study again, a friend and I wanted to start a street wear label, so we signed up for Apparel at TAFE. I noticed that there was also a handmade footwear course, so I enrolled in both fields, thinking that the apparel would be full time and the footwear part time. The enrolment was bungled; I ended up doing full time footwear and completely fell in love with the sculptural process.

It immediately felt like an extension of my fine art training, an opportunity to refine and apply lateral thinking, and most of all an excuse to use hand and power tools, transforming raw materials into practical, sculptural pieces of art. 

Machine stitched graffiti sneeks, 2002

The first 7 years of my career resembled an informal apprenticeship, as I worked in established studios making shoes by hand in Adelaide, Sydney and finally Melbourne. During this time I was able to hone my skills, experiment with many different materials and styles, and learn about small business.

Since embarking on my own, I have introduced an accessories range, and concentrated on my shoemaking in a very specialised sense, making exhibition and experimental pieces, along-side more commercial bespoke work for clients, friends and family.

Embroidered cuffs, 2005

Embroidered cuffs, 2005

What led you to use embroidery in your work?

The decorative qualities of embroidery are too delicious to resist! 

I recall finding a book on Florentine/Bargello embroidery at an opshop in my late teens, I fell in love with the optical effects, the surface design, the vast canvases of colour and pattern. I spent ages making a cushion cover, my friends all thought I was a mad Nanna, but I made a mental note to continue using embroidery in some way. I seem to prefer grid embroidery, cross stitch etc, it must be my love of symmetry and millimeters! 

'Chinoiserie' with machine knit sock detail, 2006

Now that I've studied footwear and leatherwork, I enjoy combining these skills with embroidery in a contemporary way. I've made shoes and accessories with embroidered panels, as a way of featuring embroidery in a n economical way. Obviously covering huge areas with stitches is very time consuming, and therefore can (and should!) be very expensive.

Could you talk a little on the process of creating your work?

'Tour de France' sneeks, 2005

I start with an image in my head that I draw in a wafty, sketchy way. I'll go away and research shapes, styles, colours, details, and come back to the drawing, refining and refining until it crystallises into the final image. From there I find a last (the form upon which a shoe is built) and modify it to the desired shape, then cover it in masking tape and draw the upper design directly onto the form. I peel the tape off in two halves, lay it onto card and spend a while making a pattern, obsessing over millimeters and gnashing my teeth a bit!

'Tour de France' sneeks detail, 2005

The pattern is cut in leather, stitched together and then wrapped over the last and left to rest for a few days. After that the sole and heel go on, and then there is a bit of cleaning up and finishing before the shoes are complete. There can be many processes, depending on the style or level of detail, shoemaking is like tailoring for the feet. Everything is done by hand, using traditional tools and techniques, the only machines I use are a sewing machine and a sanding machine. 

Embroidered panel for 'Tour de France' sneeks, 2005

If the work includes an embroidered detail, I use the relevant pattern piece and cut it in canvas, and spend many nights stitching in front of the TV before taking all the pieces to the sewing machine (how ironic!) given that in my intro I talked about not having a TV as a kid..

Can you tell us a little about your inspirations?

Well I’ve never been a minimalist, and I do tend to research my designs a lot in terms of key features. I’ve been drawn to costume books from history and film; I really enjoy all the details, techniques and character design. 

The other inspirations I draw from are diverse, including royal and military regalia, decorative patterns from many cultures, art and history, and both pop and hip hop culture. 

(Image provided by MaricorMaricar)

A big thank you to MaricorMaricar for designing our beautiful logo for the show - and not only designing it but taking the time to stitch it too! Awesome work.

(Image provided by MaricorMaricar)