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Poetry and Work“The Stitching of Her Wake”: The Collaboration of Pamela Campion and Ian Hamilton Finlay

Poetry and Work: “The Stitching of Her Wake”: The Collaboration of Pamela Campion and Ian... [Finlay’s collaborative approach to art-making is well-documented, but the works he made with the embroiderer Pamela Campion have yet to be the subject of extended consideration. Campion was Finlay’s sole collaborator in embroidery. Campion also produced a host of works for Finlay’s exhibitions not conventionally considered works of art. In this chapter Matsumoto examines a selection of Campion and Finlay’s collaborative works, to pose two key questions about the function of embroidery in these pieces. The first line of inquiry regards the idea of embroidery as a ‘domestic’ rather than ‘public’ art, historically imbued with associations of sentimentality, tradition, homeliness, and femininity. Drawing on Rozsika Parker’s pioneering study on the relationship between women and embroidery, The Subversive Stitch: Embroidery and the Making of the Feminine (1984), Matsumoto examines how the idea of embroidery as domestic activity activates the works. Secondly, drawing on Finlay’s and Campion’s correspondences held at the Pamela Campion archives at the Scottish National Gallery of Modern Art, she considers the ambiguous border between craft and art, and the repressed burden of gendered labour.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Poetry and Work“The Stitching of Her Wake”: The Collaboration of Pamela Campion and Ian Hamilton Finlay

Part of the Modern and Contemporary Poetry and Poetics Book Series
Editors: Walton, Jo Lindsay; Luker, Ed
Matsumoto, Lila
Poetry and Work — Nov 17, 2019
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16 pages

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Publisher
Springer International Publishing
Copyright
© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2019
ISBN
978-3-030-26124-5
Pages
121 –137
DOI
10.1007/978-3-030-26125-2_4
Publisher site
See Chapter on Publisher Site

Abstract

[Finlay’s collaborative approach to art-making is well-documented, but the works he made with the embroiderer Pamela Campion have yet to be the subject of extended consideration. Campion was Finlay’s sole collaborator in embroidery. Campion also produced a host of works for Finlay’s exhibitions not conventionally considered works of art. In this chapter Matsumoto examines a selection of Campion and Finlay’s collaborative works, to pose two key questions about the function of embroidery in these pieces. The first line of inquiry regards the idea of embroidery as a ‘domestic’ rather than ‘public’ art, historically imbued with associations of sentimentality, tradition, homeliness, and femininity. Drawing on Rozsika Parker’s pioneering study on the relationship between women and embroidery, The Subversive Stitch: Embroidery and the Making of the Feminine (1984), Matsumoto examines how the idea of embroidery as domestic activity activates the works. Secondly, drawing on Finlay’s and Campion’s correspondences held at the Pamela Campion archives at the Scottish National Gallery of Modern Art, she considers the ambiguous border between craft and art, and the repressed burden of gendered labour.]

Published: Nov 17, 2019

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