Page 47 - The Digital Cloth Issue 6

I remember when an old Fibre Art magazine got in touch - the Limehouse Cut. volunteers that kept things all moving and cared for so we
for an interview in 2010 and I thought the worst about it could all stay home safe.
(hey, it’s best to be honest!) and then I looked at a PDF Would you change anything? I made a set of denim clapping hands and they were
copy and was amazed by all the incredible work and Take the opportunities I had with a single focus and animated to then be shown in public areas…it just took off
that really sparked my interest into textile art as a not to compromise. I have many regrets and it can eat and the hours of work and red tape to get this all through
you up so letting them pass is best. Only listen and take was horrendous but worthwhile now to see the amazing
group, movement, niche. Of course, over the years advice to people you respect and respectfully support it brought to so many.
I have become more involved into it and understand what you are trying to do.
discovered so many incredible artists.

Ian’s Art work has been seen in many countries, giving
Can you tell us a little about your technique a chance for people to see the work in person. With
and how you plan a piece of work? a number of sell-out solo shows, he has also shown
I get asked many times to do lessons, I only do across Europe and the States. It has been written about
with kid’s classes. The way I work is both simple in major media in all corners of the globe.
and complicated but really it is just denim, glue, In 2020 and 2021 Ian will show in many museums
and sharp scissors… across Europe and in the United States. Currently
showing at the Levi Strauss Museum in Germany and
in November he opens at the Museum Rijswijk in The
Netherlands

The I Clap For movement has Been shown all around
I build up the layers (yes, they are really the country tell us about that?
three-dimensional textures and not flat (It is It began with an idea between Elliott and I and its
disappointing how they look in photos and online fantastic what we achieved.
as they do look very flat) “I Clap For” really happened by accident, It was

really a reaction to the Clapping that took off around
I work from my own photography and ideas. I the world with people in lockdown outside their homes
use the denim to try and blend the surface layers each day cheering and clapping to show their support
to hide that it is denim. All the parts of the and appreciation for the front line workers and
denim like the pockets and hems are mostly
taken out so that it’s not apparent it is made of
denim so people think it’s a painting or... a
photograph - a big achievement but I find that only
when someone gets close and realise its denim it’s
the aha moment. That is very satisfying.

How did you come to use the denim in your creations?
It was almost by accident; it was never to be what it
was today. I had done a portrait of Tony Blair in
newspaper and then went back to my family home
to see an old pile of denim so I thought perhaps
I could make a face like I did out of newspaper
it was only when cutting up the denim I
remembered my own connection to denim and
the memories of wearing them.

Where do you live and work?
I am originally from a provincial town in the north
of England, Huddersfield, that once had a booming
textile industry. After living many places, Amsterdam,
Sweden and in Sydney Australia, I am now in East London
in an old dog biscuit factory by the oldest canal in London