‘Illnesses, diseases [and] viruses damage us. We cut ourselves and then there is a sense of repair, but we don’t always repair in the same way’ – Liz Cooper
What Do I Need to Do to Make It OK?, now at the Pump House Gallery in Battersea Park, London, is a touring exhibition involving five artists, Dorothy Caldwell, Saidhbhín Gibson, Celia Pym, Freddie Robbins and Karina Thompson, each of whom brings their own approach to an investigation into damage and repair, disease and medicine, and the healing and restoration of landscapes, bodies, minds and objects through stitch and other media.
Liz Cooper is a contemporary craft curator and project manager with a background in art textiles and a strong grounding in contemporary visual arts. Her practice centres on the valuing and placement of craft practice within a wider visual arts context; and building audiences for this through work with a wide range of venues and organisations, not all of which are art-specific.
The exhibition is supported by Arts Council England and the International Textile Research Centre of the University for the Creative Arts.
Interview by KATE TIERNAN
Filmed MARTIN KENNEDY
What Do I Need to Do to Make It Ok?
Pump House Gallery, Battersea Park, London
27 August 2015 – 1 November 2015
Crafts Study Centre, Farnham, Surrey GU9 7DS
5 January – 5 March 2016
Symposium Wednesday 2 March 2016
Devon Guild of Craftsmen, Bovey Tracey, Devon TQ13 9AF
19 March – 8 May 2016
Forty Hall, Enfield, North London EN2 9HA
September- November 2016
The National Centre for Craft & Design, Sleaford, Lincolnshire NG34 7TW
8 March – 14 May 2017
Rugby Art Gallery & Museum, Rugby, Warwickshire CV21 3BZ
9 September 2017 – 13 January 2018
Celia Pym – interview: ‘I didn’t ever see the point of invisible mending’
Describing herself as ‘an artist who works in textiles’ Pym talks about her recent surgery for mending at the V&A, why she mends old clothes and artefacts, and why she feels it is so important to see the damage and the repair
Sriwhana Spong: a hook but no fish
Spong explores the invented language of Hildegard von Bingen, a 12th-century mystic. Over the Pump House Gallery’s four storeys, boundaries of sense are undone and remade – drawing the viewer into a history that cuts through the present