Currently pursuing a Masters in Fine Art in London, artist Annabel Hayter’s (@annabel.hayter) practice centers around three things: textures, textiles, and vibrant, beautiful colour. In her most recent work, knitted and crocheted abstract pieces stretch playfully across irregularly-shaped canvases, their unique textures imbuing each piece with powerful dynamism. Sitting down with Hayter, I delve into the crux of her practice, particularly her love for knitting, crochet, and fashion, and the importance of community in her creative process.

How did you start making art? Was it a childhood interest that expanded in a particular way, or is it a more recent interest?

I’ve grown up within a very creative family, surrounded by music and art, so I believe it’s something I’ve carried with me my whole life. I was always drawing as a child, however I believe my true passion for art and painting in particular began when I was around 13 years old. The whole way through secondary school, on my breaks and free periods you would find me in the art classrooms with my friends. After completing my A Levels, going to art school/ university was a big ambition of mine and I felt I was incredibly lucky to have the most amazing support from my family and friends. I went onto university in London and got my degree in Fine Art Painting. Once I graduated, I began working as a graphic designer, however I felt as though my art was abandoned and put on the back burner for the first time ever. After a couple of years, I and others around me noticed how unhappy that made me. So, I decided to study my Masters in Fine Art; which I am currently studying in London and enjoying every moment of it. Art is the most important thing to me, so I am forever grateful that I can do it every day.

In your most recent works, I see that you've transitioned from more classical portraits, to incorporating fiber arts to create really interesting abstracts upon canvases and creating fiber sculpture - how did you expand into this methodology of creating art?

I have always been an oil painter, predominantly painting large scale portraits of celebrities, through my interest in popular and fan culture. However, abstract painting has always been something I have dabbled with alongside my portraiture. Through abstract painting I have developed a strong love and interest in colours and textures, which I believe threaded their way into my portraiture. For years I have been flicking between both portraiture and abstraction.

Textiles as a whole has always weaved its way into my practice, predominately embroidery. Through which my BA degree exhibition consisted of large celebrity portraits with interviews embroided into them, as well as some embroided tapestries.

Around this time last year, my partner Harry gifted me a ‘how to knit a bobble hat’ for Christmas, as he knows knitting has always been a skill I have wanted to learn, I am naturally drawn to the colours and textures wool creates. My mum is an avid knitter, so she taught me all I needed to know. Since I knitted that first bobble hat, I have been completely compelled by knitting and haven’t stop since.

Knitting and crocheting naturally made it’s way into my art practice, when I was knitting I was thinking about painting and when I was painting I was thinking about knitting. So It felt it was important to explore my curiosity in combining them. Abstract knitting has taken my love for colours, textures and materials to another level. So really I owe a lot to Harry, not only for the bobble hat but his support and help in making my frames. He is really clever with his wood work and helps me make the shapes and wooden stretchers I want for my canvases.

Tell me more about your pieces in your group exhibition, 'Where Are We Now?' I'd love to hear more about how these pieces were drafted up and made, and what they represent! 

My work in the group exhibition stitches through a passion of abstract painting and a newfound love for knitting and crocheting. With my admiration for colour, texture shapes; the colourful wool sustains as paintings, following themes of spontaneity, location, connection and community. Taught to me by my mum, who’s always called knitting “a compulsive addiction” and now I understand why…

The work aims to challenge the ideology of craft by knitting as a practice of Expanded Painting but also emphasises the connections and community knitting holds. The work develops through several locations outside and in the studio. Taking my wool with me everywhere from the sofa, bed, train and more. Different locations take the knitting into different realms by absorbing surroundings into the work. The collection of materials are also important to the process of the work from wool shopping with my mum, recycling old jumpers, off cuts from designer knit wear brands that would’ve been thrown in the bin and spare balls of wool from family members and friends. As well as untraditional knitting materials such as strings of pearls, lace and ribbon. Some of the work plays on several dimensions, from the 3D knitting to the 2D oil paint mimicking the wool, offering an optical illusion. Tiny squares of the works are also knitted and crocheted by my mum, aunt and friends. The work focuses on the connections made through knitting with family members and friends in my life, which each of my paintings are named after.‍

Who / what are your biggest inspirations in art now? Who / what most inspires your work?

My biggest inspiration at the moment is the knitting community I have around me, the connections made through fibre art and crafts are second to none. Learning new skills, stitches and techniques, playing with newfound materials and colours. It’s the whole experience of knitting that inspires the work, from shopping the materials to hanging the painting on the wall, every moment of creating these works are bliss.

In terms of the artists that have inspired my works; the colours and wool used by Sheila Hicks are beautiful, the painterly elements in Channing Hansen’s knitted canvases are seamless and many of the colours in my works are inspired by post-expressionist paintings by artists such as Bonnard and Spencer Gore.

Considering the fiber-focused nature of your current work, I wonder if fashion has a big impact on your work? Does fashion and art cross over at all in your creative process? 

Yes, I believe fashion does have a stitch in my work. I have always been someone obsessed with clothes, but most specifically knitted garments. I am a big admirer of the work of Hope Macaulay, through which I am proud to own one of her beautiful cardigans. I believe she has influenced much of my work, with her colossal size wool in vibrant and pastel colours, through which I have also incorporated in my paintings. I even purchased a box of her colossal wool off cuts that are threated into each of my works.

Many people that view my work, say they feel they want to wear it. Which is a huge compliment to me! To tell the truth, before I stretch the knitted works around the canvas I often feel compelled to wrap them around my shoulders like a cardigan. Perhaps the works are subconsciously created as things I would be compelled to wear.

Are you working on any other upcoming pieces / planning any more shows? What's next in store?

I am continuously creating new works, I am currently creating a piece inspired by knitting circles and communities, with the help of other avid knitters. So, I am interested in seeing that all coming together. Which will be exhibited in another group university exhibition in May.

For more information on Annabel Hayter’s upcoming exhibitions or works, check her out on Instagram @annabel.hayter.