Andi Walker is a Leeds based artist, specialising in Constructed Textiles. Andi’s practice encompasses three key areas: materials, ink, and cloth. They work with a combination of materials, both hard and soft; they draw with ink, and design contemporary garments and costumes using both. Deeply rooted across all areas is storytelling, where Andi explores themes of identity, history, and societal inequalities.
“Quilts have long carried stories, whether through pioneer quilts recounting tales of travel and migration, or AIDS memorial quilts commemorating those lost – a testament to community solidarity. Family quilts, often fashioned from outgrown clothing, bear their own rich histories.
In recent years, I’ve been immersed in discussions surrounding HIV narratives. Vital to this discourse is the activism that propelled healthcare action, symbolised by the iconic pink triangle. Delving into its history – from its use in the Holocaust to its reclamation as a symbol of resilience – has been enlightening.
Inextricably linked to LGBTQIA+ history is the struggle against persecution. The iconography of ACT UP, notably the fuchsia pink triangle and the rallying cry “SILENCE = DEATH,” epitomizes this fight. The intersection of HIV/AIDS narratives and homophobic legislation, such as Section 28, underscores ongoing challenges. The pink triangle, once a tool of Nazi oppression, has been defiantly reappropriated, its orientation reversed, and colour intensified. This transformation reflects broader societal shifts, where pink evolved from a symbol of masculinity to one of femininity post-war.
Researching for these talks illuminated the all-too-familiar narrative of LGBTQIA+ persecution. Despite progress, rising homophobic crime rates and governmental inclinations toward restrictive legislation evoke a sobering reality.
The quilt follows a timeline from these histories and it’s where I take my inspiration.”
– 1871: Paragraph 175 becomes the new anti-sodomy law in Germany. The law at this point was generally more relaxed in its implementation.
– The 1st row is pre-enforcement of this law by the Nazis. When Berlin was open and a progressive society. When a triangle was just a triangle.
– 1933: Hitler becomes chancellor of Germany. The crackdown on queer organisations, bars, and clubs begins. Then the triangle starts rotating down.
– 1935: The Nazi party amends paragraph 175 to give themselves unlimited power in the persecution and prosecution of gay men.
– 1945: Defeat of Nazi Germany. The camps were liberated. Gay men detained under paragraph 175 went from the camps to prison. They were seen and treated as criminals.
– 1972: The first documentation of the use of the pink triangle as a symbol of gay liberation.
– 1981: HIV identified.
– 1987: ACT UP founded in the USA.
– 1988: Section 28, UK Government legislation. (1) A local authority shall not— (a) intentionally promote homosexuality or publish material with the intention of promoting homosexuality. (b) promote the teaching in any maintained school of the acceptability of homosexuality as a pretended family relationship.
– 1998: Success with combination therapy for the treatment of HIV.
– 2003: Section 28 scrapped.
Andi’s piece, Anatomy of a Quilt invites viewers to immerse themselves in its layers, to examine the rhythms of the squares with their monochromatic landscape and to contemplate the stories they hold.
From the clean-seamed rhythms of the front, to the usually concealed raw edges of the reverse normally hidden within the construction. There is beauty to be found in the threads, the construction, and the fragments of something ordinarily whole. This quilt, stripped of its function, becomes a tool to reflect on experience and resilience. The visibility of its construction serves as a poignant reminder of the vulnerability inherent in exposing one’s innermost struggles.
The back of the quilt, made by incorporating an element of chance through the use of a dice for pattern and size and colour selection, adds a layer of unpredictability to the creative process, relinquishing the need for choice to fate. The pieces were ripped rather than cut and measured, which throws in a further dynamic. This randomness mirrors the unpredictable nature of my mental health at the time, where every day presents new obstacles to overcome. Yet, amidst the chaos and obsessive cutting and stitching, I distilled a sense of order and purpose in the act of its creation.
Also featured in Tangled Up, Coded Stitch draws from the rich heritage of textiles as vessels for encoded narratives, spanning cultures and centuries. Textiles, whether woven, knitted, or embroidered, have long been conduits for storytelling and self-expression. By adapting these timeless techniques onto slate, Andi bridges the past and present, infusing ancient practices with contemporary themes of identity and personal narrative.
Each piece is a reflection of life, capturing pivotal moments that shape Andi’s journey. Through precise stitching onto slate, they create tangible records of significant events, where every stitch narrates a distinct story. Central to this process is the Bullion Stitch, characterised by its wrapped formation, symbolising the intricate layers of experience inherent in each event.
Embedded within the intricate patterns lies deliberate symbolism, such as the reversal of stitches or intentional stitch counts. these acts serve as poignant metaphors for the experiences they represent, including marginalisation due to sexuality and gender identity. For instance, the reversal of a stitch isn’t just symbolic; it’s a tangible representation of the struggle against societal norms and the profound impact of being “othered”. Through this literal reversal, viewers are compelled to confront the complexities of identity and the tension between visibility and concealment.
Through the medium of embroidery on slate, they invite viewers to engage with Andi’s narrative, reflect on their own experiences, and find their own meaning within the work. Coded Stitch transcends being just a record of moments in Andi’s life – it becomes a universal language that speaks to viewers on a personal level.
“Material exploration lies at the heart of my practice. I work with materials that amplify the narrative through their construction, imbuing each piece with a unique story.
I have a long history with cloth and clothing and their interaction with the body. My expertise in costume and performance involves close collaboration with choreographers to shape the attire aesthetic of the piece, aiming to enhance movements while embodying the artistic vision.
As an artist, I am committed to pushing the boundaries of my practice through experimentation and collaboration. My goal is to create work that sparks meaningful conversations and resonates with audiences on many levels.”