This Interview is with fibre artist Gail Lambert, I asked her about her work, experiences, advice, and much more. Also included are examples of Gail's amazing work. Check it out below.
What kind of artwork do you do?
At the moment I am working totally with new wool which I cut into small strips, then I pull those through a backing fabric to create images which can be as varied as geometric, a pictorial or an ancient Celtic design. In simple terms it is called rug hooking.
How did you get into the arts?
Any art that I have explored as been somewhat what was available at that time and age related. What I mean by that is, as a young child I was taught to knit and sew and to create items I could relate to such as small quilts etc. As a young adult that evolved into exploring different fibres and weaving but it also awakened a desire to discover other mediums such as clay and glass.
How has your work evolved over time?
Any art has to have a starting point whether it is drawing stick figures as a child to selling portraits for thousands as an adult or sewing commercial patterns to creating one's own. When I look back at the various mediums I have worked with it is interesting to me to see I always returned to fibres. Clearly fibres hold an interest that I haven't fully exhausted. Over the years rug hooking has evolved, for me, from hooking patterns others created to owning and operating a small shop where I sell my own designs, teaching across Canada and publishing a book.
What kinds of things inspire your work?
That is an easy answer 'nature'. Sometimes it may be colour such as the different colours one may see in one wave or prehaps it's how a tree is holding onto an eroding bank and looking at the way it has changed shape to hold on to it's precarious location. Every day is a different learning experience if you stop to look at your surroundings. Light and colour are constantly changing and I never grow tired of watching what nature provides.
Where could someone go to train?
Luckily today there are far more opportunities for young people than years past. I would suggest checking with a local gallery would be a great start, particularly in a rural community where most artists are aware of someone close by with specfic talents. I have found most artists to be generous with sharing their knowledge. It's also a good idea to check local papers to see what is being offered at rec centers and libraries.
What was the process like putting a book together?
That was perhaps one of the most challenging and rewarding accomplishments I've ever done! In theory it should be straight forward - outline your chapters and follow through with the list. However, the editor may have different ideas or one gets held up in finishing a design needed or life gets in the way. Half way through writing, which was a generous two year contract, my mother died and everything had to be put on hold for a few months. The last few months left on the contract were hectic!
You have to know your subject, know your readers and where to turn for advice, in my case it was taking photos with the proper camera for editing, I needed help. One other issue was finding technical terms for the hooking process itself. Terms we use in Canada are not the same as those used in other countries and I spent hours writing and rewriting to have what I hoped were universal and clear instructions for everybody.
The cover to Gail's Book "Hooked on Celtic Rugs: A Fresh Approach to Celtic Art in Rug Hooking" Also Available on Amazon:
How did you begin teaching workshops?
Once I realized the culture of rug hooking consisted of many different styles and techniques I started taking classes in any style available at that time. We are fortunate to have a rug school in Halfax that offers week long classes of all levels in the spring. This is an excellent opportunity to learn from teachers from all over the world. The school also has a guild of teachers who are dedicated to keeping fibre art growing and it was suggested I join, which I did. The teachers guild also requires teachers to learn specfic styles and dyeing techniques that I hadn't tried yet, so it was an exciting experience. It is not a fast process to acquire what is necessary and it took a few years. Along the way I was introduced to Celtic designs and that style intrigued me enough to devote years of research and hooking. It has become my favorite style to hook and teach.
Where can people go to find more of your work?
The best place is to find a copy of my book Hooked on Celtic, the library has a copy. I also have a web site Hook Me Up, but I freely admit it is not always up to date.
Are there any resources you wish were more available for youth looking to enter the arts, or more specifically what you do?
I wish there were funding opportunities for youth apprenticeship or one local center where youth could discover the joys and frustrations of different art mediums with the chance to seek advice from more experienced artists.
Do you have any advice for young artists?
Explore! explore! explore! Take chances with the medium your are working with, make mistakes and learn from them. Try your hand at everything - paint, clay, glass, wood, fibres, whatever you can access use! Don't be afraid to create or ask questions. An unasked question is a learning opportunity wasted!
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