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COLUMN


by Bridget Bailey


Collected materials Inside


Bridget Bailey makes artworks and sculptures that describe aspects of nature, from the growth-rhythm in a tangle of grass to the particular posture of a dead butterfly’s legs. The materials and techniques come from her textile and millinery background, taking on a new level of refinement in their context as artworks.


the world of millinery looking out


Narrative millinery


I spent many years making hats that were wearable and to a price point for department stores. But when those markets changed, that’s when my ‘artist’ side really began to come out. So now I might describe the few special hats I make alongside my artworks as ‘narrative’, in the way people talk about ‘narrative stitch’ – using a hat to present an idea, where the fact it’s a hat adds to the story. After all the more classic hats I’ve made, it still feels like a treat when an unexpected idea suggests something to go on a head. ‘Still-life with Fauna’ is one of those hats. I always find it hard to pinpoint where


60 | the hat magazine #95 3/4


a piece begins. The making and the ideas often start at different times in different places, and they can both hang around for years before they actually get together. I’m an allotment gardener, which


keeps me in touch with the life cycles of flora and fauna, and I believe in making compost. It’s a constant reminder of all the stages fruit and flowers go through when they’re not in a vase or looking perfect in a fruit bowl. Lifting the lid of the compost bin, I’m often greeted by a swirl of fruit flies, so tiny and evenly spaced that they look like the dots on veiling, buzzing round my head. This was


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