Insightful, knowledgeable and generous with her thoughts, chatting to Fran Farrar was a breath of fresh air. Her process is meaningful and authentic, with a true understanding of her place in time, which really resonated with our approach to interior design. Her considered and eloquent answers were a joy, both to listen to and then again to edit.
This series is all about offering a glimpse into the world of other creatives, from how they started, to what motivates and inspires them.
Enjoy!
Your pieces explore concepts of time and place, I am so interested to hear about the process and what sparks inspiration for a new piece?
My work is about place and time and how those two intersect. I have a real interest in ancestral trees, and the question about how we got to be at this point. I have a fond idea that there is an essence from the past that is still here, tucked into cracks, tiny rifts that at any point we could slip through to another time. I feel as though I am in an historical continuum, I see time and think of myself as being in a physical line of artists, creatives and makers who equally felt driven to make, to feel connected to the world through those things we make.
Searching the past for answers about the present helps us to understand our place in the world, but also is a source of comfort when things seem so unsettled, have you felt your work changes in periods of turmoil?
It makes me more convinced that we need to see ourselves in that continuum. There is always turmoil in the world, you must breathe and think “this is now”; there was a yesterday, there will be a tomorrow. I have a positive outlook and whilst I am in this time I will continue to diarise each day.
Your background is in youth work, what does this unique perspective offer?
My specialist was youth participation in museums and the arts, and in health. I love sharing and listening to people and hearing a different point of view. A question I was often asked was, “do you think you’re better off now as young people or in previous generations?” Young people can’t imagine what it’s like not to know things, to not have instant access to the answers, but I’m not sure if that’s always the best thing. I think we all look back fondly at our own particular era and feel that our younger years were the best. For me being able to discuss such issues is part of the joy of connecting with people.
How do your surroundings influence your work?
Entirely. Place and history comes from the earth that we walk on. The sea is always an influence too, it changes physically and visually, and I like change. I try and swim most days, sea swimming particularly becomes a real drug, I feel like it centres me and is a space out from the day.
I’m fascinated with daily rituals carried out at home, can you talk us through some of yours and how that sets you up for a day in your home studio?
If I’ve got a full day in the studio I always have music on, generally Radio 6 Music. I start by making a cup of coffee - milk first, in my morning coffee cup, but often decaf these days. To focus for a full day I need to completely close off from distraction, which has taken some time to achieve, and I now feel is a huge privilege to be able to do.
Image credit Fran Farrar
As a founding member of IW creative network, what advice would you give to someone looking to pursue a creative path?
Do it! Why would you not want to make something, it will make you feel wonderful! Try not to think about what other people are thinking about your work, do it because you feel you have something you want to say or respond to. The fact you may never financially gain from it is something you need to decide on the importance of. I’m more interested in exhibiting my work than selling it, I really like people to listen and have the experience of my work.
Do you start with an idea, a feeling you want to explore, or do you just come to the studio and see what comes out?
There is no plan, it’s intuitive and ongoing. I work from sketch books, waking up in the night- some elements within my practice have been there since I was 18. There could almost be a key alongside my work that each symbol relates to, some I forget for months and then the memory will be sparked from one of my many notebooks and inspire a new piece. For me it’s quite guttural, physical, what is it that’s grabbing me. By making marks and starting the process I repeat and repeat a vocabulary of symbols, those marks help me to express my feelings about the place I’m in. The sketch book markings then become etchings.
Often art is the starting point for interior design colour schemes. Do you think about where your pieces might end up when you’re creating something new?
I don’t think so, my editions are normally very short, generally under 10. I am not interested in producing for mass, if people like my work that’s lovely. When exhibiting I never show the full amount, I always like to hold some pieces back to keep a record of my process and work. My work is very personal, each time I create something it holds a part of me.
You predominantly work in a monochromatic palette, tell us why?
Interestingly my sketch books are full of colour, then when I etch I tend to move to monochrome. I like the grimy contrast and monochrome printing doesn’t distract from the mark making. Recently, I have started to experiment with printing with colour, through exploring my ancestral links I have developed a new series called Pressure Points that uses a deep blue hue which I am enjoying.
What exhibitions have you got coming up?
I currently have Arts Council England/ National Lottery funding, which is giving me an opportunity to specifically explore 3Dprint installation and I’m investigating a number of developments related to this across the country.
The Ryde ArtCollective (TRAC) which I am a member of has a multi-site exhibition called Via vitae from 12th –24th September at Quarr Abbey,Quay Arts and Re:box -which is a phone box art gallery which is going to be a fascinating event.
I’m really pleased to be selected to show at the “Ironbridge Fine Arts Printing Exhibition2024”, at Ironbridge FineArts, Shropshire, which runs 8th September to16th November.
As a member of the PrintMakers Council, I am part of the “Inkscapes” exhibition in Whitstable, Kent 11th – 23rdSeptember at HorsebridgeGallery.
And finally, closer to home, I’m also exhibiting at the “Fire & Earth” group exhibition in 26th November – 8th December at the Oxmarket Contemporary Gallery in Chichester, which includes ceramics and print making. Each exhibition will be different but all are exciting projects, it’s a busy time ahead!
Find out more about Fran’s work.
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