Page 47 - The Digital Cloth Issue 6
P. 47

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
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