Meet Sarah Lyte from Seven Hands
Sarah Lyte from Seven Hands is reluctant to call herself a textile or fibre artist, although these are the mediums she works in and she is certainly an artist in every respect. Instead she prefers to describe herself as someone who paints with wool and draws with a sewing machine. In this month’s Meet the Maker interview Sarah talks to fellow Folksy maker Susie Parkinson-Wood from IslaMay Makes about her inspiration, her journey from art teacher to artist in her own right, and why she believes the process of creativity is vital in education and in life.
Treat yourself to 10% off Seven Hands throughout October 2024 with the code YORKSHIRE
Hi Sarah! Can you introduce yourself and tell us what you do?
Hi, I’m Sarah and I’m a textile and fibre artist living and working in West Yorkshire. I’m pretty much self-taught. I used to sculpt at art college but one day we were let loose on a free-motion sewing machine and I caught the bug. It took several decades before I knew what it was called and immersed myself in that medium.
I don’t really think of myself as being a textile or fibre artist, even though I use both, I think of myself as someone who paints with wool and draws with a sewing machine. What I love about this medium is the tactile three-dimensional qualities, the effects that can be created, and the glorious colours.
I always wanted to rename my classroom as the thinking room, because art is an outcome of creativity. The outcome is irrelevant in many ways – what’s important is the process. Pressure, targets, tests and exams do not lend themselves to developing creativity.
Have you always been creative?
I think I was born an artist. I started selling my handmade cards at primary school – I can’t tell you how many boats I made from empty date boxes and lollypop sticks! Both my parents fostered creativity in so many forms but my dad really taught me to ‘look’ and ‘see’.
After art college I went into teaching. As a creative I wanted to make a difference to the experience kids have at school, especially with the arts. I wanted kids to have the freedom to explore and experiment, as I had as a child. Creativity is like a slow-cooked stew. It requires time to develop and mature and it should not be rushed. I always wanted to rename my classroom as the thinking room, because art is an outcome of creativity, it isn’t the creativity itself. The outcome is irrelevant in many ways – what’s important is the process. That’s the slow-cooked stew. Pressure, targets, tests and exams do not lend themselves to developing creativity.
One day one of my students asked me why I wasn’t making and selling my art. The question utterly floored me. It wasn’t long after that I left full-time teaching to go for it with my art. It was the best decision I ever made. It was like some sort of creative volcano exploding all over the place. I was making so much artwork I could barely keep up. It was like all of my creativity had been dammed up and was just waiting.
I absolutely love working for myself now, but I still teach and love working with the fabulous people who come on my workshops from all over the world.
Upcycling and sustainability are crucial to your work. Can you tell us more about that?
I can’t tell you how important this is to me. I really have a bee in my bonnet about waste. We live in such a wasteful and throwaway culture these days. I grew up expecting to wear my sister’s hand me downs and couldn’t wait to be big enough to fit into her purple suede platform wedge shoes! My studio work tables come from a skip, the wood I frame my work in is all upcycled from various places and the ribbons I use come from the inside of clothes. About 85% of the fabric I use is upcycled, from donations, charity shops, ethical sites or WI rag events. I even had a goodie bag sent all the way from the USA as she thought I could use it. Over the years I’ve developed some really good connections.
Why is your shop called Seven Hands?
I’ve been interested in very early history for many years and I’ve visited over 120 sites over England, Scotland, Ireland and Europe. In France there’s a cave with a group of seven hands, all different sizes like a family group. They’d chew ochre in their mouths and spit it around their hands, leaving a silhouette, or they’d use a chewed-up twig like a brush. It’s an “I am here” mark – one artist reaching out and speaking to another across time. I love that.
Where do you get your ideas from?
Several places really. My landscapes are all from what I see around me. I walk over 5 miles a day and take photographs, which I then use to make my art.
I sell in a shop in Hebden Bridge. Liz, the owner, gives me a list of words for each season and lets me make what comes up. I find this system is very good for my creativity, which is a muscle like any other and needs practice. I’ll also look at what other artists do and find I have to respond sometimes.
Do you have a fixed idea of what you’re going to make or does the piece take shape as you go along?
I rarely know what’s going to come out. I’m a complete slave to my process. I’d go as far as to say that Sarah isn’t allowed into the studio. It’s like the body takes over and I’m in the zone. There’s a kind of peace and quiet that descends, but for this to happen there has to be space around me for the ideas to form. The next thing I know, an image forms and gets stronger and I’m reaching for the materials that are needed. I never know how it’s going to develop either. It’s all a wonderful mystery.
Do you use a special sewing machine for the free embroidery?
No. My machine is an old Bernina that I’ve had for years. Most modern machines these days are able to do free motion. You just have to be able to drop the feed dogs or put a plate over them. There’s a knack to free motion embroidery though – kind of like patting your head and rubbing your tummy. You have to move slowly but have speed on the machine. It takes a bit of practice and a lot of confidence. When I do my workshops I’m forever reminding everyone to breathe and drop their shoulders.
Which items do you like making the most?
My landscapes for sure. However, I can’t do the same thing all the time as I get bored, so my smaller art pieces are ideal to mix it up and keep that creativity muscle working. I just love playing full stop!
Can you tell us about where you work?
I have my own studio now for the first time in my life. We bought a “project” over three years ago and I’ve got the conservatory. It’s such a joy to me to have my own space. I overlook the garden and when the doors are open I can hear the birds and the stream that runs down the side of our property. It’s so light and airy! Bliss.
Do you have any set routines or things you like to listen to while you create?
I love Radio 4! Occasionally I listen to music but mostly the radio. I love plays, books and comedy sketches.
I create pretty much every day… I don’t ever force it, as it’s like anything in life, there’s ebb and flow. If there’s an ebb, I just wait.
How many hours a week do you spend crafting?
I create pretty much every day, sometimes for hours at time. Sometimes I’ll wander into my studio and just do something small – whatever my process needs. I don’t ever force it, as it’s like anything in life, there’s ebb and flow. If there’s an ebb, I just wait.
How long have you been a Folksy maker, and what do you like about selling on Folksy?
I’ve been on Folksy for eight years. It took me ages to figure out what to do and how to do it, but I got there eventually – I hope! I love the sharing, the advice and the support, all of which I didn’t find on Etsy, so didn’t stay. I just like the ethos and that there are genuine makers, crafters and artists on Folksy. I can’t see myself anywhere else really.
Craft is a desire to play. As adults we forget how to play. There’s an expectation for perfection, which is nonsense. Play is fun, resilient, experimental, brave, calming, expressive.
What does craft mean to you?
Craft is a desire to play. As adults we forget how to play. There’s an expectation for perfection, which is nonsense. Play is fun, resilient, experimental, brave, calming, expressive. I try to create this with my workshops and allow people the supported freedom to do whatever they like. It’s so important to have space for play.
Use code ‘YORKSHIRE’ for 10% off Seven Hands throughout October 2024
Meet the interviewer
The maker asking the questions this time is fellow textile artist Susie Parkinson-Wood from IslaMay Makes. Susie makes delightful creations in felt.
Read more about Susie here – https://blog.folksy.com/2024/09/02/islamay-makes
Shop IslaMay Makes on Folksy – https://folksy.com/shops/islamaymakes
1 comment
Very interesting. Textile art and mixed media are something I’ve got to try as an alternative to straight forward garment sewing or patchwork and quilting and as Sarah says “play”
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