Artist Feature: Al Munro

Last but definitely not least, today we have the final artist feature and are talking with Al Munro. Al is a current PhD Candidate and lecturer at the ANU School of Art with the Textiles Studio.  She is represented by the Brenda May Gallery and has had several solo exhibitions with Brenda May Gallery as well as Craft ACT, Linden Centre for Contemporary Art, Charles Sturt University and ANCA Gallery.

Al has also participated in many group exhibitions such as Imitation of Life at CMAG, Natural Dirgession at the University of Technology Sydney, and Green at Brenda May Gallery .  Her works are in collections such as Art Bank, Commonwealth Government of Australia, Australian National Gallery, National Library of Australia and Megalo Print Studio Archive.

All images in this interview are provided by and copyright of Al Munro.

"Thinking about science and drawing"

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

My name is Al Munro and I live and work just outside Canberra in a rural area called Carwoola. Canberra remains my base though, and I think of myself as a Canberra artist. I am currently undertaking a PhD in the Textiles Workshop of the ANU School of Art, where I am also a part-time lecturer. 

My practice spans textiles, drawing and print, and my original arts training was a BA and Masters in printmaking. Over the last 10 years or so I have begun working more and more with textile media, on their own or by incorporating them into my drawn and printed works. An example of this is the work called "Thinking about science and drawing" which I think of as a yarn drawing, where the yarn becomes an elastic, fluid and physical drawn line, anchored to the wall by winding around dressmakers pins.

"Thinking about science and drawing - detail"

What led you to use embroidery in your work?

I began to use embroidery - needlepoint in particular - because I was interested in using a medium which would allow me to represent repeated units of code. For some time I had been using printed images as small units of a visual code which could be repeated and reconfigured in different ways to produce new 'messages'. I thought of this process as a visual analogy for the genetic codes of DNA used to map and visualise the natural world. 

A new body of work began to look at the codes and formulas of the mathematical world and their relationship to mapping geological and crystal specimens. The needlepoint stitches were perfect as they provided a regular coded unit which could be varied with colour. The grid of the Aida cloth and canvas was like a mathematical axis which provided a consistency and structure akin to the depiction of crystal forms as regular geometric solids. Through beading and other forms of embroidered embellishment I was able to reinsert some of the beauty and sparkle of the original specimens, qualities stripped away by the mathematisation of scientific visualisation and mapping.

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

The works I am showing in the Needlework/Needleplay project are the crystallographic needlepoints. Technically these are fairly straightforward and I was really learning as I went with these works. I begin by finding a black and white diagram of a crystalline form represented as a regular geometric solid. I find these illustrations very beautiful and intriguing despite their intended purpose as diagrams which emphasise function over formal qualities. I either print these as a laser print or photocopy which has been enlarged to the size I want the embroidered piece to be.

Image of Crystallography Installation 

Then I pin the diagram behind my Aida cloth and stitch in the black/grey outline of the diagram. I can then remove the cartoon from behind the needlepoint and fill in the diagram with coloured areas. Some I fill in with solid colour, while others I will fill in with patterns, beading and other embellishments. The areas outside the stitched diagram are then folded and stitched to the back of the work leaving a needlepoint which is the same shape as the diagram. The back is then finished with felt to provide a support and tidy up the loose ends (and also hide my not so neat moments of stitching!)

Can you tell us a little about your inspirations?

My work takes as its starting point to codes, patterns, formulas and maps that have been used to visualise the natural world. My interests have ranged from the colour codes of supermarket packaging to the mathematics embodied in contemporary and historical scientific prints and diagrams. 

I love super-bright fluoros colours, sparkly yarns and beading, but I am also really attracted to matte  industrial greys; both these seem to me to emphasise the artifice and constructedness of visualisations of the natural world. I really really really love grids and repeat patterns too and find endless inspiration in even the simplest graph paper pad.

Artist Feature: Demelza Sherwood

This week we are up to our second last artist feature as the show is now under 2 weeks away! Today we are looking at the beautifully illustrated work of Demelza Sherwood. Demelza graduated from the ANU School of Art with Honours in 2004 from the Drawing and Printmedia workshop. Since graduating, Demelza has used her drawing abilities and moved into using embroidery as a medium with amazing results. 

Demelza has had solo exhibitions including last year's,  A note to the stallholder at Mailbox 141 and recently completed a residency with Bundanon Trust. She has also participated in several major contemporary textile exhibitions over the last three years including Future Fibre, Whitebox Gallery, Queensland College of Art, Sensorial Loop - 1st Tamworth Textile Triennial, Tamworth Regional Gallery, Tamworth, Petite: Miniature Textiles, Wangaratta Exhibitions Gallery and Wangaratta Contemporary Textile Award, Wangaratta Exhibitions Gallery, Wangaratta.

All images in this interview are provided by and copyright of Demelza Sherwood.

Tell us a little bit about yourself and your background

I studied printmaking and drawing at the ANU School of Art, Canberra. I loved the flexibility of the workshop and the space to experiment with different mediums. During my third year, I spent a semester at the Emily Carr School of Art in Vancouver where two courses had a big impact on my practice - bookbinding and ‘Life Into Art’, an art theory subject that focussed on conceptual art and working across disciplines – performance, and body art, and movements such as Fluxus and Dada. My artwork revolves around documenting chance moments that catch me off guard. I often refer back to Alain de Botton’s concept of the ‘travelling mindset’ (from The Art of Travel). He describes it as a way of looking at your surroundings with a view to noticing those easily overlooked details.

I always have a notebook on the go and also make collages to mail to friends and family. I love the immediacy of collage - intuitively cutting, arranging and rearranging magazines and papers, to come up with playful compositions. Last year I was an artist-in-residence at Bundanon Trust (Arthur Boyd’s homestead in the Shoalhaven Shire, NSW) - where I made works that responded to the resident bower bird.



Offerings for the Bower Bird –mostly not the right shade of blue but he took the thread.

What led you to using embroidery in your work?

I started drawing with pen and ink onto fabric. This led to drawing just with thread and appliqué.

Could you talk a little about the process of making your work?

I‘ve been drawing from photographs of people in movement - often friends caught in conversation, dancing or gesturing. I transpose them onto paper and then hand-stitch these portraits onto fabric. I’ve been using old household linens that show signs of wear, with stains and darns that suggest previous owners. The time-consuming process of hand-stitching contrasts with photography's digital instant. My mother is a textile artist and seamstress, and taught me to sew. I often turn to her for advice about fabrics and their treatment.

Can you tell us a little about your inspiration?

Clouds, people, travel, old photographs and magazines, circuses, patterned fabrics, films, dancing, costumes and dreams.

A few artists I keep returning to include Hannah Hoch, John Baldessari, Maurizio Anzeri (a recent discovery), Louise Bourgeois, Elizabeth Peyton, David Hockney, Toulouse-Lautrec, Max Ernst, and Marlene Dumas. 

Artist Feature: Haeli Van Veen

This week we are featuring the work of Haeli Van Veen.  Haeli is completing her Honours year at the ANU School of Arts in the Sculpture workshop after completing her BA (Visual) majoring in the Textile workshop there last year.  The embroidery pieces seen in this article are the stunning works produced by Haeli for her major work last year!


Since commencing her studies Haeli has exhibited in may group exhibition including the Nets project, an international textile exhibition spanning countries and continents. She has was awarded an Emerging Artist Support Scheme Award in 2011 for her major work, has works for sale at the online boutique store Velvet Lane, and also received a highly commended by the American Tapestry Alliance for her work entered in Small Tapestries International.


All images in this interview are provided by and copyright of Haeli Van Veen.

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

Growing up in Canberra with my parents in the arts meant that every Thursday and Friday night I was dragged to another opening, running around among the grown-ups that are the thriving arts scene of our Capital, a pastime that I used to resent, and have now embraced as I began to study art myself. I grew up building dolls out of chunks of wood and tagging along on my dad’s visits to junkyards, finding new dress-ups in people’s rejects.

At 14, I started to work in the theatre, designing and making costumes and sets throughout my teen years. After a few more years of travelling and aimless wandering, I decided to bite the bullet and go to art school. I am currently studying at the ANU School of Art in Canberra, doing my honours in sculpture. I finished my bachelors’ degree in textiles in 2011.

What led you to use embroidery in your work?

One of the many summer holidays that I spent with my Oma down the coast, I began to go through her Simplicity sewing books from the 70’s. Being obsessed with the 60’s and 70’s as I was, I soon taught myself the stitches from the diagrams, and began to embroider paisley and floral patterns up the legs of my massive flares (needless to say, I had a very distinctive style throughout high school).

This ability to embroider was nothing more than a way to embellish my clothing, up until my last year of my undergraduate study, when I became fascinated with tattoos and their origin. I soon discovered the connections between tattoos and women, how the ritual of tattooing in many primitive cultures was almost exclusively for women. The connection between stitch and tattoo was cemented in my mind when I read about how Inuit women would tattoo their face and hands by literally stitching into their skin with thread that’s been treated with bear grease and soot. From there, stitching tattoos into ‘skin’ seemed to be a somewhat natural progression!

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

When I learnt from my sculpture teacher, Simon Schuerle, how to use silicone and treat it to look just like skin a year earlier, I had wondered whether I could stitch into it. I spent several weeks figuring out how I could make the silicone a self-supporting canvas that I could stitch into. Eventually I found that layering two layers of tulle worked as a good support, because it didn’t fray, and then I was a case of building up the thin layers of the silicone and colouring to look like skin.

With the skin figured out, I then had to try to find a way to hold then skin in a way to stitch into. After trying to prop the wobbly skins against my knees as I stitched, I then decided to rig up a frame with clamps to secure the skins while I stitched into them. Due to the size of the frame, and the length of time I was working on the pieces, I ended up only being able to work slightly reclined in an armchair, positioned under the frame.

I tried many stitches throughout the process, and decided on a loose satin stitch and a backstitch best achieved the result I was looking for. Each large piece takes about 30 hours of stitching, and 2-3 days to make the skin.

                          

Can you tell us a little about your inspirations?

I draw inspiration from everything around me. A lot of the tattoo images, I got from the old school tattoo designs in various books and archives, but I also found that anthropological studies and even textile patterns were great visual sources.

Looking at images and motifs that someone has chosen to permanently mark their body with is a fascination and personal experience. During the year of work, I travelled to Berlin to a tattoo convention, and, through getting some tattoos there myself, I came in contact with the Berlin tattoo culture. My interests, however, do not lie so much in the ‘fashion fad’ side of tattoos, but more in the primitive ritual, permanent motif aspect of tattooing.

I also identify a lot with Canadian landscape and animals, as well as much of their indigenous art, especially Inuit and Haida tribes. My work is currently drawing a lot on cultural identity, which still relates to the idea of tattoos, tribes, and heritage. The idea that by embroidering, I am carrying on a pastime of my Grandmothers and Great-Grandmothers gives me a sense of connection and identity that I felt I was beginning to lose.

      

Artist Feature: Cat-Rabbit

This week our artist feature is with the lovely Cat-Rabbit who is well known for her wonderful and whimsical textile/plush label amongst many other achievements. In 2011 Cat had her first solo exhibition "Secret Animal Realms" at No Vacancy Gallery which included one of her earliest collaborations with Melbourne animator Isobel knowles. She has also exhibited in numerous group exhibitions both nationally and internationally, featured in many online and print publications such as Frankie Magazine, The Design Files, The Age Newspaper and participated many times in design markets such as Craft Hatched, Markit and Finders Keepers.

Most recently however Cat has collaborated again with Isobel Knowles to create the beautiful children's book Owl Know How which has seen great success and led to another exhibition at No Vacancy gallery, book readings by Clare Bowditch at Outre Gallery, and workshops at Harvest Textiles.

All images in this interview are provided by and copyright of Cat-Rabbit.

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

My name is Cat and I have a textile/plush art label called Cat-Rabbit. It began quite modestly, around 6 years ago, when I started making (very basic) felt toys based on the little characters I would draw between my lecture notes at University. I gifted them to friends and family, and sold them in the little craft and design shops that were starting to pop up at the time. 

I studied at University in Hobart, completing Honours and Masters in Contemporary Arts before I realised that all I wanted to do was keep sewing. I received an Artstart grant from the Australian Council and was able to set up a studio and turn my attention to making things full-time. It still amazes (and mystifies) me that I am able to call this my full time profession, I'm still waiting for the catch. 

What led you to use embroidery in your work?

Primarily, embroidery plays an illustrative part in my work. I love to draw, and incorporate it into my work however I can. With embroidery I can adapt my illustrations to a textile medium - it allows me to add the next level of detail to my work - at the moment I am particularly enjoying embroidering patterns onto any spare felt surface I can find. One of my favourite things to shop for is embroidery floss and cotton, all those colours all lined up is overwhelming and exciting and gives me little heart flutters.

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

I usually spend as much time as I can afford drawing out my ideas and writing lists and little thoughts until I have a good handle on the project I'm working on. From there, the making process is quite sculptural I guess - I don't use a pattern as such, just cut out pieces and sew them together until I have the shapes I want. The embroidery and embellishments usually come last, and I keep working until it looks like a finished product to me. Lately I have been enjoying working in little series - sloths, turtles and coming soon are some wintery rabbits. I like the idea of making a little group of characters, to keep each other company I guess. 

Can you tell us a little about your inspirations?

I am inspired by that lingering childhood daydream that animals have secret worlds where they wear clothes, have underground houses, town meetings and read the newspaper. 

Artist Feature: Carly Altree-Williams

(I'm Still Here - 2012)

Our next feature is with Melbourne based textile artist Carly Altree-Williams. Mum to Audrey with another on the way, since returning to her arts practice last year Carly has recently had her first solo exhibition 'Feminine Realm' at the Brunswick Street Gallery. She has also been featured on the Frankie blog and Mr X Stitch blog's 'Cutting and Stitching Edge'. She was a finalist in the Buda Contemporary Textiles Award 2012, has work consigned to Graphis Gallery in Sydney and is also the curator and organiser of Needle Work Needle Play.

All images in this interview are provided by and copyright of Carly Altree-Williams.

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

My education into the world of art and design started in the home when I was a child, my mother was into absolutely anything and everything with a background as a textile designer, potter and sewer she was always experimenting with something new and still does. My Dad, although not obviously claiming to be an artist or artistic was also a great influence, crafting model plains and trains from scratch, executing beautiful technical drawings of shelving he would make from an old bed, and he also owned a leadlight business for a time which I got involved in.

Having this background led me to be somewhat of a dabbler for a while with things such as painting, leadlighting, ceramics, needle felting but never sewing - I was always bad at sewing! When I moved to Canberra after school it was for work, luckily one of my oldest friends Andrew Battye had started attending Canberra School of Arts and took me along to a grad show one evening and I was in heaven. I thought it was the best thing ever that you could spend your days at art school instead of my boring office job at the time!

(Otis - 2012)

I then spent the next three years doing my BA Visual majoring in textiles at the Canberra School of Art. After uni in 2007, my husband Andy and I moved to Melbourne and I commenced a Diploma in Studio Textiles and Design at RMIT as I was interested at the time in heading towards textile design. Half way through I fell pregnant with my first daughter Audrey and art was put on hold for a while! It took me three years to get back into making stuff again dabbling with stop-motion animation with Andy, doing an animation short course at VCA and starting a blog on stop-motion animation in Australia, to gradually building towards my first solo exhibition this year and now organising this group show. After all this time of getting back into my art I am now pregnant again - it will probably be another three years till my next exhibition!

What led you to using embroidery in your work

(Detail from Dream Series - 2005)

 

I started to be interested in embroidery in my final year at art school. I was researching dreams and the dream process and needed an illustrative tool that was quicker for me then screen printing. I had been given a sewing machine by my mum and started to experiment with machine embroidery combining this with recycled fabrics, degumming, screen printing and felt.

(Detail from Dream Series - 2005)

Since then I have always used some element of machine embroidery in my work. With my current body of work  I have started to use hand embroidery as a major focus, combined with elements of collage, machine embroidery and applique.

(Pollo and Buho - 2008)

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

(Spring is a New Beginning - 2011)

My work always starts with a sketch, and is built on from there. I will then use an air erasable pen to sketch my idea onto felt and then move forward to get the basics down with the sewing machine.  From there its a matter of cutting, collaging and embroidering along the way and testing out what I do and don't like. The works change alot during their creation as I find different fabrics or have different ideas. I always like to place them down at some point with the embroidery hoop to look at the composition and see how things are working.

(Spring is a New Beginning - process shot)

 

(Spring is a New Beginning - process shot)

Can you tell us a little about your inspirations?

I can't keep track, I am constantly inspired by many great artists, designers and musicians. But maybe in relation to my current body of work I could name a few key influences starting namely with the book "The Divided Heart" written by Rachel Power which was paramount in getting me back into making again.

I'm very inspired by particular bands where the visuals created for the album are as important as the music such as John Baizley and Baroness (Red and Blue albums), Paul Ramano and AJ Fosick for Mastodon (all of them) and 3D and Massive Attack (Heligoland).  Strong female artistic figures such as Patti Smith (especially her book "Just Kids" and the documentary "Dream of Life", PJ Harvey (the old and the new), Adalita (solo album is amazing) and Frida Kahlo (everything about her!). Also worth a mention are Directors such as Miyazaki, Guillermo del Toro (Pan's Labyrinth esp), Federico Fellini (La Strada) , David Lynch and Tim Burton.

And to end animals, adornment, portraiture, life, my family and friends and my husband's insane love for music and his music knowledge!

Artist Feature: MaricorMaricar

This week's feature is with Sydney based MaricorMaricar, which is the work of two very creative sister's Maricor and Maricar Manalo. Maricor and Maricar work across a variety of mediums including stop-motion animation, print, illustration, web and textiles. They had their first solo exhibition in 2011 'Turns of Speech & Figures of Phrase' at Mart Gallery in Sydney and contributed to the 'Jim Henson Tribute Show' at Gallery Nucleus, California USA. Their work in 2010 was selected as a finalist in SOYA, and in 2011 were awarded a British Council 'Realise your Dream Award' which took them to London for a year and are now represented by Handsome Frank Worldwide.

In 2012 MaricorMaricar joined Jacky Winter who now represent them in Australia. They recently participated in the 'True Self' group exhibition presented by Jacky Winter at the Melbourne GPO.

Today they are both talking to us about their embroidery practice, inspirations and work together. All images in this interview are provided by and copyright of MaricorMaricar.

Additional note I forgot to add: Maricor and Maricar kindly designed and embroidered the beautiful font for the title of our show Needle Work Needle Play which you can see in the above header!

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

Maricar:

Maricor and I studied Visual Communications at UTS in Sydney, our interests and studies there were quite broad. We worked together on an animation for our final year but we were equally as interested in typography, print, photography and illustration. I guess it hasn't changed much since, as we still work across quite a few disciplines! Whilst we have focused largely on our lettering and embroidery for the last few years now and then we freelance as digital and motion graphics designers as well as create and direct our own animations.

What led you to using embroidery in your work

Maricor:

It actually came about from a music video we created while at the previous design company we both worked at, Mathematics. The concept was to create an embroidered animation and we actually hadn't done any needle work before that. But since we've always been drawn to hand crafted visuals it ended up being a natural fit!

It was a while before we started focusing on embroidery again (not until we stopped working full time and started working for ourselves). We love how we can work with our hands and combine it with our interests in lettering and typography.

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

Maricar:

We start with pencil sketches and will usually work these up to as close to final embroidery as we can, using watercolours or sometimes the computer to test out colourways. We've created a few commissions so we've found that we do a lot of pre-production to set the design before we even start putting needle to thread. Luckily we've managed to avoid having to unpick projects because of this, although there was one personal project that was based on a poem that I misquoted. We realised the mistake only after we had embroidered the majority of the piece, which was a large one too. Maricor was not happy with me that day!

Can you tell us a little about your inspirations

Maricor:

We're inspired by patterns, traditional textiles, unexpected colour combinations, stories and the sounds of certain words.

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!