Or maybe I should say “Felting something inspired by books“: that is what I would like to talk about with you today, although the other one also gives me a few ideas, now that I think about it. Maybe we could launch a year-long challenge on “Felting a book” or, better probably, “Textiling a book” to keep it completely inclusive, but then I guess Ruth would be already done with her Book of Edgar (here is a link where you can see it at the end of the post) and Ann with her Year Journal of felted pages (this is her last page).

Oh well, let’s go back to books as inspiration.

I usually do not get inspired by books for visual art, because, I don’t know, they often seem two different realms, unless the book is actually about embroidery or textile art or art in general. But I tend to read a lot. I mean a LOT, that is my main hobby and I manage to squeeze reading into most chores as well, to make the most of boring time such as washing up or ironing. I am a Humanities type through and through, and that is where I come from in terms of education as well. This whole part is to explain why I got to felt a whole series of textile works on a book that I was reading, as my experience of the book (or rather five books all linked together!) in question was so immersive, reading it by day and night for weeks.

First of all, the novels are massive and are called The Gormenghast series, by Mervyn Peake, or simply Gormenghast for its friends.  (Here is the link to the wikipedia link.) It is actually a long fantasy trilogy, to which a fourth book was added after the author’s death, and it is such a sprawling, flooding and never-ending series that one would not know where to start to talk about its plot and characters.

Great part of it is set in the place giving the name to the series, which is Castle Gormenghast, a maze of a place, more resembling an endless palace-city than a castle as its name states.

The series is a bewildering succession of unlovable characters, full of foibles and quirks, and quite often motivated by less-than-honourable drives, acting in loads of ways up to and including murder in some bizarre fashion (“eaten by owls” rather comes to mind as one of the most bizarre). I could not find a single character that was appealing to me, to tell you the truth, I just could not like any of them. I get it that it has its own fans and quite a following, but I am not one of them.

So, why did I start felting works on its characters or scenes from it? did I just waste my time reading it?

Well, it is maybe the first time that I find a novel that really I can’t stand at all, but that impresses such vivid imagines in my mind’s eye: Gormenghast is all about flamboyant and often weird visual descriptions, its author himself was a visual artist and illustrator, his work was all imbued with visual imagery that just pops out of the page in his writing. I could just see all of those in my head, and could not help feeling that I had to create something to get rid of them. Have you ever had the same feeling over an artwork, that it just needs to be done so you can go on to something else?

So, I got to work as soon as possible and with a vengeance (so to speak), trying to complete the first one, and then all the others that came after it while I was going on reading the rest of the series to the end. Don’t ask why I kept reading it, although I did not like it..I guess in part it was also because I kept thinking “Oh, this would make a good felt artwork, actually! And this one..I wonder how to create this visually in felt..”

My first one was about Barquentine, a priest-like figure, stomping around with his red official rags, wooden leg and a very bad character, imposing the never-ending rituals and rules of Gormenghast to everybody. He ends up dead, in a bad way, as a lot of the characters. Oh well, I did not like him anyway.

I started by preparing a grey base layer, lightly prefelted, on which to work, and a prefelt of reds for Barquentine’s dress and greys for the Castle background.

I wanted the Castle to be a very present background in my work, as Barquentine is all about the Castle, its eternal presence defying time and rot, its inevitability in the lives of the Castle’s ruling family, the Groans, and their subjects. So, I decided to set a background that I imagined as the grim stony Castle’s Banquet Hall or any of the grim stony corridors around the Castle, of which there were kilometers I suppose, or some such.

I used a mix of merino dyed and undyed wool fiber and Corriedale, and rectangular or square shapes cut from the lightly prefelted merino wool made previously and other prefelt from my stash, all in tones of grey with a few accents of reddish-brown and pewter. Perspective did not interest me in this, as those bigger-than-life characters tend to pop out of the background anyway, if I am making sense. The central strip of reddish-brown prefelt could be the Banquet Hall table seen at a distance, maybe, or maybe something else, you choose.

Finally, I assembled Barquentine’s body shape and rags dress on the background. I choose to make Barquentine’s body in black, not because the character is actually described as so, but because he dies in a fire and I felt that a symbolic character such as him should have an abstract streamlined body. I wanted to have his claw-like hand kind of pointing at something wrong or other, and I wanted him to go away from us towards the Castle in his wobbling gait, underlining his wooden leg with a few strands of shiny red eri silk fiber (his wooden leg is very central to him).

I decided to partly shape and partly shred the red prefelt, adding touches of red and grey wool as needed for the rags, and I scattered some brilliant red napps on it as well.

Some of the napps did not felt in properly in the end, but enough stayed put that it was fine by me.

 

I quite liked how this came out after wetting, soaping, rubbing and lightly rolling:

 

 

I eventually went on to wet felt six other Gormenghast themed abstract artworks, all of them quite small: they are 7 in all, of which 5 are on characters and 2 are about meaningful scenes of the series.

I could not wait to finish them and go on to other things, although at the same time I would not want to not have made them at all, I felt that I needed to create them and I hope that anyone who has read Gormenghast will understand and see something true in them.

Has it ever happened to you something similar, not liking a book but being driven to creating artwork on it? Please, share your experiences in the comments, and thanks for reading!