Artist interview: Pia Elliot, Batsford Prize 2023 Applied Art & Textiles Winner
Next up in our Batsford Prize 2023 (Theme: At Peace) Artist Interviews series we meet textiles student Pia Elliot, who was awarded the prize for the Applied Art & Textiles category, for her piece Tranquil Japan.
Pia has just graduated from the Arts University Bournemouth this summer, having studied a BA Textiles degree. Her winning piece Tranquil Japan showcases a range of different techniques, such as illustrative and geometric embroidery samples created using CAD, screen printed experimentation with charcoal illustrations, a pair of sister samples emulating Japanese tea bowls using mono-printed drawing work, works experimenting with the neutral undertones offered by natural materials and more.
Tranquil Japan is a compilation stimulated by the harmony found in traditional Japanese tea houses. The collection features a unique take on every perspective of these historical locations using CAD embroidery, print and laser work to bring a sense of tranquillity into a bespoke, interior space.
Hi Pia, can you tell us what your piece is about? Can you tell us what initially influenced it and what it means to you?
Tranquil Japan is a compilation stimulated by the harmony found in the interior and exterior of traditional Japanese tea houses. The collection features a unique take on every perspective of these historical locations, from the landscapes of the gardens surrounding them to the artefacts found inside. I found these ceremonial objects/ locations particularly fascinating because of their historical and cultural significance, with the earliest tea rituals taking place in the 9th century. The ceremonies represent both purity and harmony which were aspects I wanted to translate into my design work. Using mixed media illustration and texturally interpretive drawing I created a collection that brings this sense of tranquillity into a modern, bespoke, interior space.
What mediums or materials did you decide to use, and why?
Material investigation was extremely important while developing my collection. I used predominantly plant-based materials having researched the sustainable attributes of natural vs man made. The collection features washi and acid free papers, soft organic cotton, and recycled cherry veneer wood. The use of these materials helped lessen the impact of my outcomes on the environment which as a designer is a key aspect of my ethos. These materials also incorporate the qualities found in traditional Japanese tearoom interiors, embedding a sense of Japanese authenticity in a modern interior space. I was particularly interested in the translucent properties of washi papers and experimented with laser cutting and screen printing onto them. I considered how these papers would work well for lighting and room dividers in a contemporary space and brought these qualities found in Japanese paper interiors into my collection. As well as laser cutting and screen print, I also used foiling, laser etching, digital print and CAD embroidery. These mediums allowed me to experiment and create interesting surface textures. I particularly enjoyed experimental embroidery work and screen printing. I used small amounts of puffy foam, applique and fringing in my embroidery work giving each piece uniqueness and depth. The fringing personifies flowing water and is soft to touch providing a sensory experience that encourages calmness and tranquillity. My screen-printing work involved experimenting with exposing charcoal illustrations and monoprint textures to create unique prints. My wallpapers are a successful demonstration of how these ideas were used to incorporate tactility and interesting quality of line.
What made you want to study textiles?
Since my earliest memories I have enjoyed creating works in all types of media from, paper and textiles to stone. I started my own small illustration business at 16 and from this point knew that being creative was what I wanted to do. However, enjoying everything artistic posed a bit of problem, as I didn’t know which area I wanted to specialise in. With the help of an extremely influential teacher at school I was directed towards the textiles specialism, as this was where I could combine both my love of illustration as well as hands on processes. I have enjoyed every aspect of my degree and I’m so looking forward to what is to come in my future creative career.
What are your biggest artistic inspirations? Are there other artists who you admire or who inspire you?
In the duration of my research, I am constantly enamoured by both contemporary and historical artistic references. I have always been particularly drawn to the work of William Morris. His use of woodblock printing as well as natural dyes are processes that relate to those I use in my own work. I am also inspired by the contemporary edge and detail that can be found in even his most early works which I see as before his time. Furthermore, in my recent collection, ‘Tranquil Japan,’ I was inspired by Japanese innovation company NUNO and their use of both traditional and contemporary textiles process. It was enlivening to see how the combination of these processes can create such unique surface textures. As a surface designer the print and embroidery methods fascinated me and are something I will continue to investigate in my future design work.
How would you describe your style? Would you say that it has changed over time?
My design style has naturally evolved throughout my degree to become sophisticated and innovative. The surfaces I produce are highly influenced by my initial drawings which are graphic and illustrative but also textural and tactile. I have developed methods of translating these drawings on different surface textures using a combination of processes, which show a high level of process and material understanding. The materials that I choose to work with are highly luxurious allowing me to create outcomes suitable for a bespoke interior space. I would describe my most recent collection as intricate, tranquil and contemporary.
What does winning the Batsford Prize mean to you?
Winning the Batsford prize has been a major steppingstone in my newfound confidence of my design work. Hearing the positive feedback from industry professionals as well as friends and strangers has given me clarity of how I belong in the textiles industry. It is my biggest creative achievement to date and an experience I will never forget!
After you have completed your studies, what do you see yourself doing next?
Having completed my studies, I am planning a trip to Japan! It is place I have always wanted to visit and so I felt that now was the right time to do this and get even more ideas and inspiration. After returning from this trip, I am looking forward to throwing myself into industry. I am particularly interested in going into bespoke print design for interiors, but we will see where my design work takes me!
Check out more of Pia’s work on her instagram.
ABOUT THE BATSFORD PRIZE
The Batsford Prize is an annual award open for undergraduate and postgraduate students in the fields of applied art and textiles, fine art and illustration. View the winners and runners up of this year’s award here. The theme for the Batsford Prize 2024 will be revealed shortly…
Interviews for the other winning categories are available to read here:
Artist Interview: Alivia Hoy, Batsford Prize 2023 Fine Art Winner
Artist Interview: Megan Du, Batsford Prize 2023 – Illustration Winner
Artist Interview: Forest Xiao, Batsford Prize 2023 – Children’s Illustration Winner
Artist Interview: Ziyi Wang, Batsford Prize 2023 – Chairman’s Prize Winner
