Motifs

This past week I have been decorating new jars and considering what it is that makes a design feel finished. Looking through old sketchbooks I realise certain forms and subjects reoccur. I suspect that it is this evolving language of ‘motifs’ that makes the decorating process feel like a visual narrative that, at a certain point, suddenly seems complete.

The wheels of a tiny golden Greek chariot, seen in the British Museum, become a segmented circle. West coast rain bands of vertical lines scratched into slip. Architectural arches and dome shaped shelters enclose smaller shapes. Leaves, birds and figures merge on sea worn pebble forms. A semicircle moon. Jewel-like rowan berries, spots of bright colour.

Visiting Uist in the Outer Hebrides last year I saw a beautiful Eriskay Garnsey jumper with a form of pattern which felt familiar. These jumpers were originally made for the seafaring men of the island communities from a lovely tight twist 5-ply, oiled yarn. The effect of the raised pattern in this tight yarn is like a carved relief. The skill involved in memorising the stitch designs before the advent of paper instructions is awe inspiring.

Each jumper would be a unique combination of evolving traditional motifs arranged for maximum geometric effect and personal relevance.

The Tree of life, Pennant flag, Horseshoe, Harbour steps, Flying geese, Marriage lines, Anchor, Starfish and Wave.

To the knitter and wearer the jumper would read like a visual narrative of Hebridean life. The garment would be complete when all the chosen motifs were included in a satisfying symmetry. As a non-knitter the complexity of knitting patterns fills me with dread but to an Eriskay knitter the craft was an intuitive, flexible communication in a familiar language.

For more information about Eriskay designs: https://www.facebook.com/KnitEriskay/