Product Details
A limited edition print taken from an original paper-cut collage by Sarah Battle, exclusively made for The Shop Floor Project:
A collage based on the Victorian love of 'scrapbook' making. The Victorians were avid collectors and were eager to demonstrate their interest in culture, the natural sciences, literature or art through their collections. These ranged from pressed flowers to art prints, and from shells to insects. The most popular form of collecting was the creation of scrapbooks, which contained a haphazard arrangement of literary and pictorial cuttings.
Giclee printed on paper stock: Aquarelle Rag 310gsm
(The finest quality, archival, acid-free paper. Aquarelle Rag is a beautifully textured paper, similar to that of traditional watercolour. It's natural white tone highlights the colour intensity of different pigments, including blacks.)
Printed in England
Authentication label on reverse
Limited Edition of 100
UNFRAMED PRINT SIZE: 36 x 36cm (14.2 x 14.2 inches)
FRAMED SIZE (WITH MOUNT): 46 x 46cm (18.1 x 18.1 inches)
Frame options: Black wood, putty wood, oak wood, white wood (all with mount)
Please note: Our framers are recognised by the Fine Art Trade Guild for their quality because the custom frames have tightly pinned corners, and are made from precision cut wood in England, made bespoke for each order. All our frames are glazed with our Clarity+ Perspex. It's cut from the highest quality acrylic sheet that's both crystal clear, but also safe and filters out 99% of UV light to protect the artwork.
Read more about our FRAMING WORKSHOP here
THE STORY
Can you hear it? The rhythmic snip, snip, snip coming from the studio of Sarah Battle, nestled high up in the attic of an 18th century weaver’s cottage in the West Yorkshire hills. It’s a song that has been singing for many years.
This is a paper-cut artist who has been creating collage-works since her early days at the Royal College of Art in the late 1980’s. Since then she has been cutting a swathe through each decade, creating works for textile designers and a multitude of other products, rarely resting her trusty scissors.
In a new set of work for The Shop Floor, Sarah Battle has applied her processes of collage and paper-cutting to the traditions and culture of quilting. Creating ten ‘Paper Cut Quilts’, each one is full to bursting with the most magical imagery.
Themed around a particular idea, the paper cut quilts for this second collection are even more personal, focussing on Sarah's own collections and items she covets. With titles such as The Quilt of SVB (her own initials), The Quilt of Caroline and The Quilt of the Kitchen, Sarah's world is cut out of scraps and brought to life.
The motifs that populate the ‘quilts’ are a kaleidoscopic array of objects, ranging from domestic everyday items to the eccentric and extraordinary. Sarah’s scope is broad; from pin cushions to tin toys, colanders, cakes cooling on a rack, tobacco cards, wire egg baskets and even a pair of cats with a fish supper.
Individual motifs are precisely positioned within the geometry of the quilt, creating juxtapositions and visual discourses across and around the shared surface. This idea of collecting, grouping, or placing objects in a particular way is something Sarah investigates within her work, be that personal collections, books or the Pinterest feeds of others.
With a background in printmaking and textile design, Sarah often combines these disciplines with drawing, painting, stencilling, lino printing, etching and, of course, paper-cutting.
There is a graphic sensibility within Sarah’s work. It comes from a love of print, typefaces and advertising and from the material she has collected. Boxes and boxes of collected ephemera containing anything from old handwritten cheques, envelopes (a favourite is the printed security linings from bank envelopes), old tickets, adverts and receipt books.
Sarah says that “incidental patterns occur from the snippets of old receipt books, unexpected textures arise from the dotted tones of early commercial printing while fragments of letterpress, typographic and hand-written words add text to the texture”.
This can be seen in the old handwriting from a letter that scrolls across a cat’s back or a cockerel's feathers, or in the way a fragment of calligraphy is used to suggest the tail of a squirrel.
It is the discarded ephemera of our daily lives, cut up and reassembled in the same way as fabric scraps are used in textile quilting, that Sarah is breathing new life into.
Just as a quilt is finished, each collage is finished with borders, lacy or geometric, and hundreds of tiny white dots run along edges, seams and sides to suggest stitches, darning the entire collection together.
These are objects that give instant pleasure, but entice us to look closer. Like exploring the interior of a dollhouse, scale becomes distorted, details shrunken down so a caterpillar is as big as a chair and a watering can bigger than a dove. It’s a magical world, full of joyful details and surprising fragments.
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