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creative crushing – mister finch’s fairytale creatures

Mister Finch's Fairytale Masked Hare, Textile Arts

I first came across Mister Finch’s creations a few years ago. I was instantly in love with them. A self-taught textile artist living in Yorkshire, England, Mister Finch creates fairy tale creatures from found scraps of fabric, thread, and paper. He makes everything himself, sewing and selecting all by hand.

Mr Finch's Fairytale Owl, Textile Arts

Mr Finch's Fairytale Moths, Textile Arts

Mr Finch's Fairytale Hares, Textile Arts

He called his business Mister Finch to make it clear that he is a man and one that sews. And he adores it. He is completely self-taught, with no formal training, just armed with the love of making things and a beautifully wild imagination.

Mister Finch's Fairytale Masked Hare, Textile Arts

Mr Finch's Fairytale Toadstools, Textile Arts

Mister Finch's Fairytale Snails, Textile Arts

His fantastical work is a mix of countryside creatures and the wit and wonder of British folklore. The secret life of animals, birds, and insects comes alive as he stitches their stories. Curtains from an old hotel, a threadbare wedding dress tossed aside, become magical birds and beasts. They are beautiful, imperfect, and slightly raw. As Mister Finch describes, “storytelling creatures for people who are also a little lost, found and forgotten…”

Mister Finch's Fairytale Birds, Textile Arts

Images via Mister Finch.




makin’ it – this room, that daybed

makin' it - this room, that daybed

While there is so much that is so good here, the blue daybed popping from the neutral tones, textures, and shapes really pops here. It is such an interesting space – perfect for a glass of wine and a good book.

Via Bien dans sa peau.




creative crushing – becoming and passing

I find myself completely enthralled by German artist, Cornelia Konrads‘ natural sculptures. It’s no surprise that I love the elements of wood and stone, but what I find really compelling is the whimsy which seems to impel each sculpture. In each piece Konrads plays with the ideas of motion and calm, with dissolution and density. Her installations exist in inbetween states, in flux. They play with ambiguity. Are the elements rising or falling? Are they being constructed or deconstructed?

Her installations exist as emblems of the cycle of becoming and passing, something to think upon, this new year.

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