We’re bringing the Artisan collection to life with beautiful crafts from around the world. The jewellery has been shot on four amazing makers in their studios & first up is Charlotte Edey. A London based artist & illustrator working across print, tapestry and embroidery. Myth, mysticism and femininity are at the heart of Charlotte's work.
What is your favourite medium?
Where do you get your inspiration from?
I read a lot. A lot of my work is concerned with the politics of space, centered on the experience of women of colour: who can occupy it, and the spatial structuring we navigate. The present limitations of this lend themself to seeking the sublime. I find imagining a parallel existence quietly powerful. I think often about the Octavia Butler quote 'There's nothing new under the sun, but there are new suns'.
How have you found lockdown & what have you learnt about yourself during this time?
I'm still adjusting, it's stranger than fiction. Primarily, I'm a lot more conscious of the vulnerability of myself and my loved ones and feel gratitude often, which is healthy and important. I value the luxury of having time during this period, the ability to listen, and to make. I miss and don't miss elements of my past life in equal measure.
It differs offline and online, but I find the tapestry works tend to provoke the most thought.
My solo show 'Echolocation' at PUBLIC Gallery opened in September, the culmination of most of the year's work. I was really proud seeing the shared context and engagement of that finished body of work. It was followed by the Great Women Artists residency at Palazzo Monti in Brescia which really crystallised the intent from Echolocation. The residency set the tone for the works I've been making these last few months, with a playful exploration of altar panels and objects of desire.
Who are your favourite artists?
Betye Saar, Kay Sage, Toyin Ojih Odutola, Florine Stettheimer, Lenore Tawney, Agnes Pelton, too many to name!
It can be meditative, particularly embroidery, and I love the loose quietness of my work. It can feel like a sanctuary; I feel like I've really fallen in love with making again recently. A lot of my work is portable, I enjoy that it is adaptable. I have been very lucky to work in different places across the world and see how it informed my practice.
If you could be anywhere in the world right now, where would you travel?