S6, E8 Russell Barrett | Textile artist

In this episode, we hear from textile artist Russell Barratt, a self‑taught maker celebrated for his bold, joyful quilted artworks crafted entirely from second hand fabrics and repurposed clothing. Rooted in memory, domestic life, and a lifelong DIY ethos, Russell’s practice embraces recycling not just as a material choice but as a creative philosophy.

Russell shares how his background in fashion, costume, and garment conceptual design shaped his approach to colour, texture, and composition. Born in Edinburgh and now based in London, Russell reflects on his influences such as 1980s aesthetics, club culture, knotting, and recycling informed his evolving style. We explore his signature “high‑volume joy,” the emotional resonance of cloth, and the tension between maximalism and empty space that defines his work.

Episode recorded on 19 January 2026. 

Website: russellbarratt.com
Instagram: @russelljamesbarratt

Podcast details:
Podcast email: artiststalespodcast@gmail.com
Website: www.artiststales.net
Instagram: @artists_tales_podcast
Threads: @artists_tales_podcast

Transcript

I'd like to welcome Russell Barrett to this episode of Artist Tales. He is a self-taught textile artist known for creating quilted artworks from secondhand fabrics and repurposed clothing. His work is bold, colorful, and often inspired by memories of childhood and domestic life. Recycling and reuse are central to his practice, not just as an aesthetic choice, but as a philosophy.

Welcome Russell. Thank you. Hello, nice to see you. It's really good to have you on the podcast. Pleased to be, I was delighted to be asked. So let's start off with, tell me a little bit more about yourself and how you actually got into a textile artist. Um, well, I mean, I'm sure it's, it's similar for a lot of s specifically people who work with textiles.

They sort of run in my family. I often think, you know, going back a few generations, a lot more people, um, made clothes at home and were, had a more, a stronger relationship to fabrics. But my, both my grandparents made clothes. Um, my mom was very. Is very crafty with, uh, clothes, uh, and making and sort of DIY projects.

She would recover the sofa when we were kids and do all these sort of things that people would go, wow, like, how did you do that? So it was always kind of, as I grew up, it was always, um, it sort of in my face. It was always there. And you know, I. Would be interested in all the pins and needles and, and, and all the little, uh, bits and bobs that, that go with a sewing machine.

Um, and then, well, in my childhood, my mom ran a, a knitting business as well with a friend of hers, so I was very familiar with the idea of making clothes, um, and also making to sell them and trying to sort of scale it up in that way. So, so I mean, yeah, I was always interested in that. And I mean, there's so many different.

Sort of threads, pun intended, that come into it. Um, but I was also, as a teenager, I was really interested in, in, in my, how I dressed in clothes and buying old clothes, secondhand things, vintage things, and then eventually sort of customizing them and, and changing them and sort of skip forward, uh, you know, a long time later.

Uh, I grew up in Scotland, uh, just outside Edinburgh, you know, when I was away from home and living in Edinburgh. Um. I would make a lot of things with denim, and there was lots of times that friends or people would stop me in the street and say, oh, why did, where did you get that? And they'd gimme their number and I would make them stuff.

Um, so I was always customizing things and tearing things apart and recreating and as sort of life took me and I moved down to London. I became very involved with, uh, the sort of club scene in East London, making a lot of costumes, uh, meeting a lot of stylists and creative people that would sort of ask me to assist on jobs or make things for editorial and just lots of bits and bobs.

I was also, I guess a, you know, the obviously Multihyphenate nowadays, but I was doing just whatever I could that was creative as well as I work full time, but as, as well as doing that. And then at a certain point, um. You know, I was always doing jobs for not, not very much money. So because I was also working full time, I was just exhausting myself and I was really, um, just, uh, what's the, what's the phrase people always say Burned out.

I was burned out, literally. Um, and I sort of turned my attention. So just so stop for a minute and go, what do I want to make? What, what actually interests me? I've always had a strong interest in art. Um. I knew sort of painting and drawing wasn't my thing. I tried photography for a very short time. I did a lot of different things and I, I signed up to a pattern cutting course, um, in West London.

I did that for a year as well as still working. Um, and then, well, not to sort of go on about it too much, but, uh, myself and my flatmate, uh, we had a flood and we lived in a basement flat, and it was a real sort of. Sort of turning point in my life. A lot of our stuff was ruined and so couldn't be saved.

Lots of stuff went to storage. Um, we were put in temporary accommodation, uh, which was a hotel, and then it was a different flat for, I think it was about a year, maybe 18 months. Um, so within that period without all my usual equipment and vintage things that I'd collected fabric wise around me, um, I just began sewing dots like, but, but bought like some cheap fabric and sewed dots onto the clothes I had while I was sitting on my own in a.

Uh, hotel room, just as I was living there in central London. It was a very bizarre time. And so with that started my, my, my real kind of, um, way into just making things to amuse myself rather than having a point to it. It wasn't a costume, it wasn't, uh, a commission by somebody else for a specific thing, uh, that I had to research.

It was just whatever came into head, my head, I was gonna try and make it. And then eventually when we did get a, a bar our own, uh, a brand new apartment, I was pinning some, I had like old clothes that maybe didn't fit vintage things that I would hang on hangers on hooks, um, and then put fabric behind them and then pinned something else I was working on at the bottom.

And I was like, oh, that looks quite cool. As a, as a sort of display on the wall. And then I just. I dunno, I just decided I was gonna make a, a blanket or a, a throw or something. I didn't really know what it was gonna be called, but put it on the floor, uh, build little collages up into a larger thing. Um, and then occasionally I would look on YouTube and learn how to do the, the proper sort of quilting things.

Um, but I've never had a sort of a circle of friends that were quilters or, um. Made things in that way. Um, so it was sort of Lauren as I go and make, make things up. And then over time I, having met a lot of cultures now and given a lot of talks, there's things that I thought I was, I've intuitive, intuitive, intuitively made up, but it's actually just is the way to do things.

You know, sometimes there is an obvious thing and it's the way everyone does it. Um. So it really progressed from there. That's really a sort of whistle stop tour of it. But, um, it was a very natural progression. Um, and I'd made a few quilts, um, I couldn't give you a number but say, say five or six and then not when COVID hit, when I had a lot of time on my hands.

I was thankfully furloughed. But um, I had a lot of time on my hands as we all did. And I sat down with quilting books and actually did blocks, you know, sort of old school, proper quilting. That was an interesting experiment because I realized I really didn't want to do professional, kind of proper, quote unquote quilting.

Um, and then I just started treating it as a job. I would get up in the morning, sit down research, start sewing, looking at the fabrics. I've got, as I say, I've always had a large, uh, pile of vintage stuff, old fabrics, clothes, um, and just piecing them together and then it within that. Um, you know, I became to realize that a lot of the fabrics I've held onto had meaning it was something about my childhood or about my, my grandparents or my mother.

There was always something, uh, a reason why I've held onto all these things. And so I was able to weave in the stories and, and then that became a focus to really think about what makes it unique to me, what's my story, what am I interested in? And I found that the more sort of specific I've become with.

My ideas and and silly notions that I've got, it's actually opened it up even more and more. More people have come and gone, oh, that's actually really cool. I like what you're doing. So I became sort of more involved with the quilting world really. Um, and I, and a lot of people through Instagram then started following me.

And so I got a lot of, you know, people wanting podcasts like this and interviews and stuff, and being asked by Quilt Guild groups to come and talk to them about my work, which I always feel a bit of a fraud doing 'cause. Some of these women, women, and it is usually women, um, have been quilting all their lives 40, 50 years.

And I'm now like, hi, here's something that I've made, you know, and terrible imposter syndrome. Um, yeah. So I mean, so that's it really. I mean, I describe my work as textile collages, really. They just happened to be quilted. I was a big scrapbook keeper as a, as a kid. Um, and I loved to put my favorite pop stars and such on the wall.

In a very extreme way. I'd cover the whole wall with even the smallest picture name, whatever that I liked. And so now I do it in fabric. Um, and that's my, yeah, that's my sort of thrill. That's what I do. That is quite a story. And I'm, I'm, it's quite a, I I, I, I do feel like I'm a bit tongue tied here because it's like, where do I start asking questions?

You know, you, there's so many things that you've done. But it, it just sounds incredible. Like it's just been a journey and very organic as well. Like, it's not like, you know, you're set out, you know, I have to do this by a certain time or this, you know, it's been very organic and it sounds like you're exploring things.

I mean, I think I'd like to first touch on the kind of, it sounds like these quilts are very, very personal. You know, it's born out of, yeah. Or at least that transition from, you know, your very personalized clothing. You know, you kind of personalized what you did, which people really like, and then that shift into quilting.

It sounds like people are really engaging with it and you're kind of hitting something that people can really engage with. 'cause it's the personal, it's the history and I think, you know, is telling the telling of the story. I guess part of me is interested, what do you do with the quilts there? Are they things you hold onto?

And, and how has, how have two questions. What do you do with the quilts? You hang onto them, but also how have people found you, you know, in terms of the quilts, how did you become known as a quilter? Yeah. Um, I mean, well the, the first thing I, I do, uh. Usually just keep them. Uh, the thing is, when, how, how I came to this because it was through, as I say, making clothes and alterations and accessories for people.

Uh, I was always making those with an idea that they were, they were being bought basically, usually, often, hopefully they were, I was being given money for them. But as I sort of, sort of segued into doing this, um, you know, I had already had a little website thing that I did, so I sort of just pivoted and started putting up.

My work. Um, and initially it was more generic. It was just about colors and about shapes. Um, and so I was happy to sell them and I sold a few. Um, but then the longer that some of them I've had them, the more sort of, um, possessive I've become with them. That's probably not the right word, but you know, the more sort of close to me they are.

Um, and as I say, when I, I sort of. Double down on why I, why I do what I do and why I want, why I want to do it. Um, sort of the, the, the personality, the storytelling within it is one of the key things. So I don't really want to give them away. Certainly. Um, there is a huge culture within certainly the, certainly the quilting world, um, that the amount of time you spend making the things.

You can never really charge the correct money unless you cross over into the art world with it, where I'm vaguely on the cusp, um, uh, you, you can't really get a lot of money for them. So you would, you would generally give them away. You would make them for, um, you know, pivotal life moments, birthdays, uh, babies, people going to college, or all these sort of like marriages is obviously a big one.

Um, you make them for a specific thing. But because I'm not doing that, I, uh, I do end up keeping them. I occasionally get messages through social media of people requesting to buy things and, you know, occasionally they bought stuff and if, if they don't like the price, then it's a no anyway. But, um, it's tricky.

But normally, yes, they're in a pile, uh, in my bedroom because also because I want to. I, I would like to sort of move into the art world more. Um, I, I need to have them as work. Like I can't just give them all away. What was the second bit of that question? Sorry, I probably was bad on me, uh, for asking two questions, but the second question is how people found you, which I think you did sort of, you know.

Well, yeah, I mean, it was, it was literally, um. I mean, it's, it's maybe a bit cringe nowadays, but it was through social media. I mean when, when, as I say, over the lockdown period, um, because more people were using social media, specifically Instagram. Um, and I was using it more, um, posting my, my work and my, my day-to-day sort of things.

And a lot more people found me and. Actually, I shouldn't slog off Instagram. I met my partner through Instagram. So, you know, it's, it's, it's has its good, good points. Um, but yeah, the, the, I mean, for me, I would sit down and literally like look up hashtags of finding, finding out what I was making, like what kind of culture am I didn't know, didn't know any of the jargon.

I'm still not good with it. But, uh, I mean, essentially I'm an improv qui quilter, which is not following a pattern is, is, uh. Almost making it up as you go along and, um, uh, encouraging wobbly lines and, and looking for those, um, things that make them unique, really. Um, I mean, I'm sure a, a professional quilter would say that was wrong, but anyway, that's, that's how I take it.

Um, but I was finding out what it was called in, in terms I was using, but also finding out other people that made work that really excited me. Um, and so it would be that. A little cheeky thrill when people followed me that I already, you know, love their work and they like, oh, they followed me like I must be doing something right.

And it's a real sort of corroboration to what you're doing. And then, you know, a few of them have become Insta friends, you might call it. And then a few have become real life friends, um, which is lovely. And then through that you get recommended to other people. Um, and it sort of, you sort of break into that world.

Um, I mean, the last couple of years I've been trying to put myself out there doing local exhibitions. Trying to get involved more so that I'm not only getting my work out there and trying to make it more of a, a, a career, um, but also just to meet people and gain a, a support network and have conversations.

Um. Creative conversations, uh, which is as an artist, uh, are so necessary and is a, is a large percentage of the joy that you get from it, is actually discussing ideas and techniques and all sorts of things, um, in real life, which is much nicer. And it can also be a challenge when you're an artist to actually network like that, you know, because yes, a lot of art, not always, but a lot of art can be quite solitary.

Mm-hmm. Very much so. Yeah, so what you're describing is not an uncommon thing. When I speak to, you know, what I'm actually interested in, uh, there are a couple things and, and the first question I have is, have you had any or many Com commissions? You know, have people come to you and said, could you make me something?

Um, yes. Um, there's been a fair few. Um. I'm at the moment in the middle of a couple of collaborations with other artists, which is super exciting. That was one of my things I really wanted to do. Um, so I've been delighted when people have asked. Um, the only problem with it being is, as I say, because I have a full-time job, it's difficult to have enough hours in the day to do everything, but, but that's been lovely.

Um, I've suggested to a lot of friends that I would, um, do. Sort of make, make them a quilt with their clothes and once they're done with it. But I, I haven't, I don't think I've actually done it with anybody yet. Um, I'm still waiting for people to wear their clothes out a bit. Things that they love. Um, and I've had, I think only one person specifically has come to me with money and said, make me a quilt.

Um, but I've made it on behalf of, you know, people have given them as gifts, um, which is. So joyful, but also really nerve wracking. 'cause if it's not for that person, you can't ask them questions. You know, you're just like a bit in the dark with the people are like, oh, just do what you do. Do what you do.

And I'm like, oh, okay. Look. Um, it's tough. And, and also because I take, uh, well, everyone takes pride in the work, but because it's so personal to me when I make stuff, um. You know, those dreams that people have where you've, you know, you're at school with your trousers down or something. It feels a bit like that.

Like I'm exposed, uh, and as you say, it's such a solitary experience for me in my house, sitting in my pajamas possibly, um, feeling it's intimate and then opening up to the world, showing it to somebody first time is slightly mortifying. It always is. Um, I don't think you're alone on that because I think.

Yeah, I think true, true artists are, are very, their art is quite authentic. Yeah. And it is quite exposing and it's, it's, you know, once it's out in the out in the world, it's out there. Yes. And you don't know how necessarily, how people are gonna react and interact with it, which is quite desperate, desperately wanting to show in a gallery and have it on a wall.

But then I've had this experience when I show in the corner and look at the wall, I'm like, oh God. Like it's awful. I hate it. I mean, I don't really mean that, but it's just this. You know, uh, ego and imposter syndrome fighting, like, being like, oh God, what do you think you're doing? Exactly. And I was about to say the same thing.

And I think too, most people are the worst self critic. You know, like they're the worst critic of, you know, to themselves rather than other people being a critic of you, you know? Yeah, yeah. Yeah. It's, it's, it's very difficult. But, but again, it's, it's, um, part of. It's apart from the learning and as I say, in the last couple of years, I've been trying to put myself out there, network a bit more, um, whether it's on social media or ideally in real life.

But also I've been reading, I mean, not to get too deep, but I've been reading, uh, books on sort of pop psychology and um, working out things in my brain that I've, why am I not confident in certain things? Why do I feel such a way, such a way about certain things? What did I go through as a kid that maybe, um, has resulted in this?

You know, um, I'm sort of, at that time I'm, I'm heading towards 50 and I just, I'm sort of, uh, I dunno if it's a possible midlife crisis, but I'm trying to work out my brain more and, and it's sort of alongside my work. It's actually really, uh, it's really helpful to try and push myself forward and to tick things off in my head and be like, okay, you feel this way, but.

You have to go out and meet people to make your work more well known. You have to, you have to do these things. So the two things are sort of working in damn dumb. Um, but it's, it is something I'm. Uh, decisively working on in the moment to, to, to help myself speak publicly and all these, all these sort of skills that are, that are skills on their own.

Yeah. Um, but alongside my artwork, and I don't think they're necessarily taught, you know, so, no, no. Yeah. And I think too, I think a lot of people get to a certain point in their life when. You know, what I'm hearing from you is self-reflection or kind of trying to Yeah, that's it. That's it. And I think you're not alone in that because I think, you know, I've certainly done it, you know, um, and other people do it, you know, and you just get to the point where you just have that self-reflection, you know?

Um, mm-hmm. You did mention earlier about talking to, you know, talking at guilds and, and trade things for, for quilters. And I do get the, the kind of in my, in a bit of a, an imposter here. And because as you say, some people have been doing it for many years and I think, you know, for most people that is quite natural, you know, along with public speaking and stuff.

But also what struck me when I, you know, came across your, I funny enough, came across him on Instagram, so it does work, is I'm very conscious, you know, there, I, I have. You know, interviewed a number of textile artists, what I would term as textile artists, which I would probably loosely put you into that as well, into that category.

Yeah, and you're right, it's predominantly women, but I'm also really interested to hear it from a man or non-binary point of view. You know, people who probably challenge what is often seen as quote unquote women's work. And I think, you know, that whole thing of what's women's work, what's men's work probably is quite fluid over the, the generations and the decades.

And it's actually quite refreshing. When you first, you know, at the beginning of this podcast you said, well, both your grandparents made stuff for, you know, they did the sort of reuse and that sort of thing. So I guess in some ways yes, because they had, they had to, they had to, you know, you're right. Yeah.

So, I mean, have you kind of explored that or have you thought about that or, you know, is it something you're just kind of aware of but you just do what you do? Um, I'm always super aware of that. I mean, I guess throughout my life as, as a, a gay man, um, I've, I've often, I've, I've mainly had female friends, and I'm always aware of, I mean, I, I, I don't, I don't a hundred percent describe myself as non-binary, but it's like being a man.

Um. You know, in, uh, is, uh, is not the first thing I think about myself. And I've often found myself or put myself into situations that are predominantly female, um, in, in my interests and in my, um, you know, my friends and everything. Um, so it's also, as I get older as well, it's, it's, there's other, other things within that about, about ageism and all sort of stuff as well that I'm super aware of.

Finding myself in the, in the quilting world, it's really interesting because there's, there's very few, um, sadly sectors that are predominantly women or female presenting, I should say, rather than, um, so I'm always super aware of that. And somebody said to me a, a long, long time ago, a few years ago, that, uh, because I'm a man, um, people will know she should work more.

And I was like, oh, cool. At first I was like, oh, cool. Yeah, great, great. And then I thought, well, hang on. That makes me feel slightly uncomfortable actually, because why should, why should my work be at, at the front of a list? Because I'm a ma. Like, you know, it makes me really uncomfortable. So I'm always very aware when I'm, uh, at, uh, GI meetings, at sort of any sort of quilty shows or anything to talk about that and be open about it.

And, um. You know, it, that awkwardness adds to my general kind of personality awkwardness. So it's all good. But, um, you know, to, to honor the fact that, um, most of the other makers are older women, uh, that have a lot more experience in, in their industry, in their work than I do. Um, and I, and I talk about that, but it also feeds back into my work because a lot of my work is.

Literally, or often loosely inspired by my mother or my, my grandmothers, um, because they're strong figures in my life and I relate to 'em in so many ways. I've had, I've had a couple of experiences at, at quilting groups where it's, it's, this topic is discussed and, and thankfully everyone's been really positive to me to say, we fully appreciate you saying a, a shortened version of what I just said to you.

That, that I'm, I'm aware that I'm. I'm in a space that isn't predominantly men. Um, and it's funny in groups where, where there are men, there's always a quiet little, they come over and like, shake my hand and, hello, hello. And like, okay. Um, yeah, so I'm, I'm super aware of that. Um. Yeah. Dunno what else to say about it, but, well, I was gonna say, I'm glad you've touched on how people react because it, you know, it can go any number of ways.

I can think of two, probably either other, it's gonna be very positive or maybe not. But you know, it's probably good that you are kind of bringing up and dressing it. It's not like the elephant, the room, you know? Well, I, I've heard, I've heard stories, I mean, um, of, of other male quilters or textile artists.

Because within the quilting worlds, people get funny about how they describe themselves. But anyway, um, quilt folks that they have had the experience of men coming in to do a talk and speaking to the people like, like their idiots speaking to women like their idiots, I should say. Uh, and I'm like, wow.

Like that's not my life. That is not my, my lane to speak to like that. So, uh, I'm, I'm, I'm sort of honored that people have, uh. Say that back to me. That that, that they're appreciate that I don't do that. You know, I mean, it's sad. It has to be conversational, obviously, but, you know, um, no, that's true. The other thing I wanted to raise with you was you're, you know, you've raised earlier in the, in the conversation that you, sometimes you go to these talks and you know, there many people there have much more experience and you're kind of conscious of that.

I'm also thinking too, that. Perhaps you're bringing a different angle, a different, like a fresh angle of fresh voice. The question I have is, what's the reaction? Because it's quite easy, I think, for people to think, I have all this experience. What, what is this young upshot coming in? And kind of tell me what you know, how to do things.

Yes. So what's the reaction to, to you coming in and having that conversation? Yeah. In, in Scotland it would be like, oh, here, here's the theory. Be ladi. That's like just an idiot. Know what he's talking about. Um. Well, I mean, more and more I've become, I've part of my sort of get, getting over myself, getting over the, the imposter syndrome is realizing that that one of my main, um, attributes is the sort of creative side of it.

Like I'm not, I'm not about technique or precision. Um, I'm not even really there to tell people like how to sew the things. It's more why and about ideas and because there's so much, um, sort of, I dunno what you would describe it, like form formal sort of fight quilting. That is, it's very much rules. It's like mathematical and very, uh, precise.

Um, I, I've been told, and I, I imagine it's true that there is a better breath of fresh air when somebody comes in and says, it sort of gives people permission. That's. Kind of what I'm doing to say, you don't have to do that. And it's still a quilt, you know, and it's still interesting. And I think part of my, one of my sort of superpowers, if you like, is to say to people, uh, you can make it more and more personal and you can really talk about you and also you can bring in completely off the wall ideas.

Uh, now maybe. If you're gonna put it into a quilt competition, there are obviously rules that you have to sort of set within. Um, but a lot of those rules can be, can be sort of bent slightly. Yeah. So I'm realizing myself over the last couple of years that that's kind of where my sort of niche is in terms of my talks and, and the teaching that I've done.

It's, it is always amazing to me because I, you know, I, I do my work, I just sort of do it and sometimes it's, it is a struggle, but. It flows. Um, I've always got a lot of projects on the go in case I get slightly bored, I can move on to something else. 'cause I always wanna feel sort of that I'm in a, in a good flow state.

Um, people I've chatted to when I've done actual sewing classes, so many people are, are stuck and they, they don't, they dunno how to, or possibly they don't want to express themselves. So they're like, well, why would I do this? Why wouldn't I cut out a perfect circle? I'm like, because it's fun, you know, just step out of your comfort zone.

And, uh, comfort zone is a, a expression that comes up a lot, uh, at my classes because people are like, oh, well I've. I couldn't possibly leave a raw edge 'cause that's an absolute no no. I'm like, go and do it. I dare you. Like, just try it. Um, so there's very kind of, uh, the practical side of creativity that is, is really interesting to me.

And as I say, that's eased my own imposter syndrome because I'm like, no, that's actually what I can do and I know I'm good at is Chuck a few things together. And it'll look good and the colors will be considered, albeit possibly very bright, but there will be a, a consideration and a, and a rhythm to things that is interesting.

Um, the same as music. I always compare it to music. Like a lot of the music I listen to is, um, I mean a lot of eighties, but a lot of kind of, um, dance music or hip hop r and b where they've used samples and things are cut up and stitched back together. And I love that. That's the fact that is kind of what I do with my, you know, you might, oh, I recognize that bit of that item of clothing or that old bedsheet that people had in the 1960s.

Those old, uh, I haven't got any behind me, but, um, flowery things and, uh, and sometimes people get really emotional about the fabrics, which is exciting. But, um, sorry, I'm going off on a tangent a bit, but that's, uh, yeah, there's interesting chats I always have with people and I'm slowly realizing that's, uh, what I'm good at.

So it sounds like you're kind of challenging, as you say, people's comfort zone. Yeah. And I have to say that because this is audio, I have to say for the listener that you have an amazing background with some amazing kind of, you know, textile stuff on the, on the wall. So just what is going on? Yeah, yeah.

Just to give a bit of context, because I won't be saying this one, the one underneath is actually one of the first quilts I made. Oh, wow. Um, and I made both of the, of clothing as well, and there were things that I'd. Sort of worn thin that I, um, we couldn't part with. 'cause I, I made them, I love them. And I, that's again, as I was saying earlier, pinning things together, going, oh, hang on.

That could be a, a throw or a piece of work on its own. So, yeah. You know, you've kind of segued very nicely into my next question around recycling, reusing. Yes. So what's drawn you to that? So what, why are you drawn to sort of recycling? What's part of that ethos? Well. I was always brought up with recycling was completely normal.

And I think our, maybe our neighbors thought we were really weird. Um, you know, my, my, particularly my mom and uh, her side of the family, but I mean, both my parents really, there was a lot of make, make do, and men from their parents that sort of philosophy of, you know, you only buy something new when it's actually worn out, when you can't make good use of it.

Old clothes or old. Uh, brags old nappies and stuff I used as cloths. A lot of our cloth when I was a child floor cloths were actually nappies that me and my brother had used. Like, like Terry. Terry telling ones not the modern ones. Yeah. So that's how I was brought up that we, we, we really used, we didn't spend a lot of money on new things.

We recycled and as a teenager I progressed into using secondhand shops, tarot shops, to just buy clothes. And then that's obviously turned into, that's my resource for fabric and I've always been quite strong about that, about green issues. And it's something that is obviously has a lot of, uh, discussion today, which can get sort of quite dark and depressing.

When you look at the huge, the huge problems, particularly when it intersects with, um, north and south divides on the globe and all that sort of stuff. But also, I mean, if I'm honest, it, it helped, uh, now this is part of things about seeing the world through Instagram. To double down on something, to find a niche on there helps with your sort of, I don't know, what do they call it?

Like the algorithmic stuff. At a certain point, that part partly encouraged me to only use recycled things. Like, you know, I've always used other things, but mixed it in with fabrics people had given me. Or, um, you know, I'd buy fabric for a project that I was being paid for, but if there was leftovers, I'd using all that.

But, so those sort of two things combined and so I decided, yeah, I'm only gonna use recycled things apart from the wording inside. I do, I don't, although I sometimes use old fleeces and old wool and stuff, but. And it was almost like having a manifesto for myself to be like, I can honestly write in my bios now.

You know, he only uses recycled or secondhand or, you know, repurposed clo clothes and, and fabrics and, and even like remnants and stuff. And I'm quite proud of that because it's something that again, is part of my own family heritage that, that, that's how I was brought up and, and I think it's super important.

And then. Also, it's a talking point about my work, and it can lead into discussions about encouraging other people to, to not only reuse clothes that they have, but to also recycle. And it often opens up into a wider conversation, as I say, about global issues. But it also helps when I'm speaking to other people to, to encourage them to realize.

Everyone's got clothes that they've sort of hung onto even when they made you don't fit and you're bigger or smaller now, and you're like, oh, should I get rid of these? And, and maybe you can, but, but then you can still keep the ones you really love, but put them in a quilt and maybe use them that way.

Yeah. So it's, it's something that I'm, I'm really, um, I'm quite strong on. Um, and, uh, I'm glad that that's something that I'm known for as well. Uh, it's a real badge of honor. It sounds like you do get that engagement and I do. Well, I suspect, you know, increasingly people are kind of conscious of, of recycling and the impact they're having on, on the world and the conversations you are having, kind of what's the response are, are people fairly receptive or interested in kind of what you're doing and, and the recycling aspects of it?

Yeah, I mean, I would say people are interested. There's obviously, uh, a slight. Conflict of interest sometimes within the quilting world because, you know, I, I know people that make a living from selling new fabrics. Um, and then I'm coming out going, no, no, no, don't buy that. You've got to raise. Um, I mean, I would say in as a, as a little side from that, I do occasionally buy new fabrics if I'm making clothes or something.

And I do appreciate the luxury of a gorgeous new fabric. And, you know, even within that, I would say to people, try and try and use fabrics that, you know, have. Somehow recycled or the d is more ethical or the, the people that are made it are being paid well. All these kind of issues around new things. But yeah, I mean, I think a lot of people that organize talks, uh, love it because it's, it's a whole different topic this week.

We're discussing recycling, and most of groups I've spoken with, they're very keen to, to, uh, be sustainable. Sustainable is always the one people use. Um. Also it saves people money and who doesn't love that. Um, and it also gives people new ideas and new ways of looking. I did a mad online workshop, uh, last year about using old socks that have worn out.

Um, you know, once people can't be bothered in mending, I was cutting them open and making shapes of them and stuff, and so many people on it were like. This is mind blowing because I would never think to use and hold socks 'cause it's, you know, it's kind of people like, oh that's gross but it's fabric. You know?

I would've never thought about using socks myself, to be fair. But yeah, why not? Like, 'cause you wash them and they're fine, you know, like, and some of them have great patterns on as well that, you know, can add to a composition. So Yeah, no, definitely. Now it's kind of my last question. So what's next? What's, what are you kind of looking, you know, do you have any projects coming along or any talks or kind of looking?

I do, there's, there's quite a lot happening for this year. There's, uh, companies I can't actually talk about unfortunately yet, but quite, quite a major one, which is exciting. But I've got collaborations, as I say, that are ongoing with a couple of, uh, friends of mine, which are really exciting. I've got a few talks booked in.

I've set myself a goal this year. There's four specific quilts that I've had on the go for a couple of years that I wanna get finished, so I'm kind of trying to focus on that. I've also been going back through my stack of quilts that I've got and trying to log them. There's a, there's a big thing in the quilting world about people naming their quilts and actually.

Putting their name, their own name on it, and the title, and even more information, because a lot of people buy secondhand quilts that, you know, you don't know who made them, you know, they've just been lost into time. So just trying to sign them and, you know, I think of my quilts as artwork, so, you know, a painter would sign it and a you would sign a print or whatever.

So, um, yeah, signing my work. Um, so I'm going back through it, doing that physically to the item, but also writing down notes on. The story of making it, why I made it, what it's about, what's, what's in it, like fabric wise, what clothes have I used or what fabrics have I used? So I'm, I'm sort of doing that. Um, in my head I'm sort of trying to manifest doing a book, and that would be maybe the basis for a book that I, you know, expand into something else.

But I'm trying to manifest that. A publishing house or somebody coming to me and going, Hey, have you got any ideas for a book? And I'll be like, yes, I do actually. Um, so that's actually another thing I'm doing. I'm, I'm, I'm doing a bit of writing and, and logging things, which has been fun to look at old work.

So, so yeah, I've got, I've got quite a lot going on this year. Time is always a bit of a stress, but it's, it's nice just to, to have enough sort of people coming, asking for work and things now that I can sort of spread it throughout a year rather than just work, I dunno what, what the word, but like, you know, like you don't just stare into a avoid, you actually do have a plan of where you're going, which is nice.

And this is really the. First, second year where I've actually felt like that, so. Well that's good. Yeah. That's cool. Long me at last. Absolutely. Yeah. And, and good luck with the book as well, you know, even if they don't, even if publishing houses don't come to you right away, you know, you can at least have an idea that you could pitch as well.

Have it ready. Well, exactly. Yeah. We'll see. We'll see. Well, great. Well thanks. It's been wonderful speaking with you and yeah, you've given me, even given me some really good ideas as well. And I'm not even a quilter. Excellent. I'm more into photography, so, but I always enjoy, right? Yeah. I always enjoy speaking to other people no matter what you do.

'cause you always pick up something and you know, you pick up little nuggets and things that get you thinking, so. Yeah. Yeah. But the creative ways of working and stuff is, can be, um, spread across any sort of. Creative endeavor. I love that. But it's been lovely to speak with you. Thanks for inviting me. Well, thanks for coming.

It's been really lovely speaking with you as well, so thank you. Thanks for listening to my conversation with Russell. He shows us that we can push boundaries as well as use things in our art practice that we may not have considered more information about. Russell can be found in the show notes in the next episode.

I'm speaking with Francesca Burka. We delve into our culture of disposability. You don't want to miss this episode.