Over the last few weeks artist Alex Goodman has been collecting leaves and plants from across Knowle West to create a range of natural dyes. The dyes will be used to decorate and furnish the interior of a new home currently under construction in Knowle West as part of the We Can Make Homes project. Find out what Alex has been up to and the huge variety of plants she’s discovered in the gardens and hedgerows…
As a friend and collaborator of Charlotte Biszewski I’d heard a lot about the We Can Make Homes project at Knowle West Media Centre and her door knocking cyanotype escapades. When she told me about the second phase of the project, involving designing the last parts to fit out the TAM building [the first prototype We Can Make house] and make it into a home, I was pretty excited about the possibilities.
Like Charlotte I come from a print-based background but in the past few years my work has begun to explore processes that get me out of the studio and into the garden, park or any bit of derelict land where wild plants grow. Being a countryside dweller and daughter of a gardener it was inevitable that my work would eventually turn towards the leaves and this project was no exception.
Charlotte and I sat down and talked about what makes a home, what objects are important, what aspects of home decor and adornment could we look at and create in our own way. We looked at the cyanotypes she’d created with inhabitants of Knowle West and thought about that process: [the] images were drawing pictures of home with light.
I had a little look into cyanotyping as a process and it came to light that the man responsible for inventing the beautiful prussian blue process was John Frederick William Herschel who also invented anthotypes, which is a similar technique that takes a lot longer but uses plant-based material. Anthotypes are cyanotypes’ non-toxic plant-based counterpart: [it] involves juicing natural materials then coating paper in the liquid and then exposing the photograms for a long length of time to the sun, bleaching away the colour exposed and leaving what is covered.
As part of my practice I’ve been investigating and developing ways to incorporate plant-based processes into my work from herbalism to natural dying. Inspired by Herschel’s anthotypes I wanted to get out into the leafy green streets of Knowle West to be find some of the colours hiding in the local plants.
Image: Alex Goodman
Image: Alex Goodman
Image: Alex Goodman
Armed with a long list of dye plants that could easily be found in the local area I went out to inquire where and who might let me snip a few leaves for the dye pot to extract some local colours. Scrambling up the Northern Slopes up to Knowle West with a rucksack full of bags ready to find local plants I wandered up to The Park Local Opportunity Centre. After a conversation here with secateurs in hand I snipped away some leaves from the ash tree and some purple buddleia. It has begun!
[With] two very different yellows sorted now I needed to seek out some oranges, reds, greens and pinks. I walked and chatted and collected different plant material from blackthorn, nettles, cherry leaves, willow, lavender, sage, plums and rosemary from across Knowle West. Getting to know the local flora and those who tend it was a real treat: there are a lot of keen gardeners in Knowle West and it was really wonderful to hear people’s trials and tribulations in digging and nurturing their little patches of ground. With my many bags I trudged home to the kitchen to pop the ingredients into pans and gently let them simmer to extract their colours.
With the colours sorted I now needed to find and make my mordants to fix the dyes into the fabric. A mordant helps to create lasting dyes and also, depending on what you use, it can adjust the colours. I went for two different mordants: one being a mix of rusty metal I’d picked up on a street corner mixed with vinegar and oak gauls (because of their high tannin content) and another using alum. The alum brightens the colours and often exaggerates the yellows in the dye as the rusty tannin dampens and darkens them, creating silvery greys and blues.
My technique isn’t an exact art and there is a lot to learn about natural dying – you can easily get sucked into the chemistry of it – but personally I prefer more of the folk method or ‘witches brew’ style. It’s exciting to experiment with different materials and some of these plants I haven’t used before and others I know well look totally different to when I’ve used them in the past.
The idea behind collecting these dyes from the local area was to create a palette of colours that came from this landscape, from its very fabric. From this we’d make our designs and incorporate these colours, celebrating the shades that Knowle West harbours, hidden in its leaves and rusting away in skips.
Alex Goodman is an artist, writer, and performer who makes work investigating how stories and relationship to landscape reflect the navigation of our everyday lives. Originally from Cornwall she recently moved to Bristol and has lived and worked in many different places in various forms of shelter including sailing boats, caravans and temporary spaces in Cornwall, Scotland and London.
Through performance, installation, events and page based media Alex’s work is seeks to create a visual and audible poetry. She weaves together narratives of journeys with striking lino-cut prints and collage to create images and and stories that invite the audience to step inside. She specialises in lino-cut printing and teaches simple printmaking for beginners.