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The Liverpool Tapestry:
People, Places and Passions
The next issue to tackle was the technique to be
used. We decided on canvas work (also known as
tapestry work) as it was a technique that could be very
simple or quite complex, depending on the level of
experience of the stitcher. We knew we wanted the
project to be accessible to all ages and levels of ability,
from the complete beginner to the most experienced
embroiderer. It was important to the project that no
one should feel they could not participate and that all
contributions would be used in the final hanging.
The subject matter was simple: Liverpool, and what
it meant to the individual stitcher, in 2008. We had a wish list of
iconic images and buildings, but the choice of subject was to be
left to the individual; the project was all about how the people of
Liverpool see the city, and what is important to them as residents
of the city. This could range from buildings that they have a
connection to, or schools or associations that they feel should be
represented; from the culture of the city, in the form of music, to
the football clubs which are so much part of city life.
To advertise the project and recruit stitchers, a number
of articles were placed in all the local newspapers, and
Joe Morris was interviewed about the project on Radio
Merseyside. The letters requesting information about
how to take part began to trickle in, and then became a
steady stream. A common theme was that ‘they hadn’t
stitched much since school, but would love to take
part in the tapestry’. Another reason for taking part
that cropped up in several other letters was that ‘I’ve
got a bit of time on my hands since my husband died’.
From all the letters received, it seemed we had struck a
chord, and as one of Joe’s aims in starting the project
was to generate a sense of community involvement and a social side
to the project that would bring people together, this all looked very
promising.
The first workshop was organised for September 2008. We had laid
in a stock of suggested designs for those who hadn’t brought their
own design or ideas, a roll of canvas and a supply of wools. Elsie’s
husband Geoff had made dozens of frames for the canvas to be
worked on, so that the pieces did not distort.