Have fired together a statement of the work thus far:
In my work I like to incorporate an almost playful feel to the work as well as capturing and exploring movement. The main focus of my work is my Orcadian identity and heritage and the natural progression this year has been to focus on Orcadian childhood.
The snorrie-bone which features quite
predominately in these development pieces incorporates all of these ideals of
movement and a childhood toy. This particular snorrie-bone has a history behind
it yes, but also a personal family connection with it being one of the last
ones my late Grandfather made. The
research into the history of the snorrie-bone has been fascinating although
nothing is completely concrete in accuracy with it being such a trivial item,
with knowledge dying out with each generation. The general assumption was it was
named due to the sound it would make when used, but this is not necessarily the
case. It is perhaps named due to Swedish origins with ‘Snore’ to mean string or
even from a Norse background with ‘Snara’ the verb to twist.
This research has lead me to speak to family and
friends, emails to archivists and academics, library visits for reading
materials and Museum visits: Corrigall, Kirbuster, Kirkwall and Stromness. I
discovered ‘new’ games that I had never heard of, such as the oldest know game
using stones and shells to create farm animals but also remind me of toys I had
simply forgotten about.
With looking into Orcadian childhood it also
brings forward the folk tales which have been great fun to read up on and is
developing into the natural pairing of papermaking and bookbinding.
Also with researching into Orcadian history a
recurring feature kept revealing itself, a spinning wheel. In the interest of
developing a wider skill set and really connecting to a small part of Orcadian
history, I am currently learning the art of spinning with the help of classes
run by For Arts Sake. Which has been enjoyable and quite therapeutic and
rhythmical handling soft, natural yarns.

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