Pam Tait

Bio: Costume designer in film tv and stage for many years I also make and lately my core practice has been in dance I’m very interested in the kinetic possibilities of the dance costume itself I also teach history of material culture and the semiotic qualities of the objects we wear, look at and use

I need my art to be accessible , preferably fun and educational.
The main responsibility is to get it out there


Samples of blue and grey cloth pinned to strips of cloth and pinned on a wall 
Sampling for a quilt in the style of kente cloths 
Trying to be more commercial- this is for a commission

Quilt to be

A swirling mixture of colours : this is a photo of a glass plate I own. I would like to make a piece of textile work in this style 
It’s cheating because it’s in the future .

Multi coloured

An open drawer full of various pieces of paper, unsorted. Admin once again loses out to the joy of the new project


A picture of myself with some patterns and textures that I love 
I rarely take pictures of myself

Self portrait

A photo taken in the snow time, a time not in between any time 
A time that exists for all time , like art does

Snow bloom

Convalescent and befuddled by painkillers , for me the path of least resistance is paint and flowers, here are lilies in all their coral splendour in flowing watercolour

Yes, least resistance

I would like to make a large scale colourful work in wool and textiles 
I cannot do this  because I have had an operation and am convalescent , which I find infuriating

Another work

A watercourse rendering if myself as wood goddess , bearing green branches in either hand


Here’s an earlier collaboration with someone much more talented than I am - I simply made and wore the dress
The fabric I’d from IKEA and depicts the dawn off ends of logs
The fabulous Hilary Prosser posed me in front of her woodpile, wearing a very bad red wig and blue rubber gloves on my feet

Wood chuck

Here is a gel pen drawing in metallic blue on grease proof paper 
I’d like to pursue the idea of veins and arteries on clothing , and to make a waterproof coat with this metallic blue pattern sunk into the fabric

New skin

Everything’s feeling exiguous and fragile and teeny and here’s the house that homes them 
Hoping for bigger and more substantial soon


A collage in shades of chocolate soft red and gold. I often use collage and cut ups for costume and set drawings . It is nice to liberate it from utility and to present work  in photographic form with no obligation for it to be ‘readable’ or intelligible

Flower collage

I made a leopard costume with hand embroidered spots for an unrealised project
Here is a version of that embroidery reconfigured as a necklace

Leopard necklace

A collection of fluffy Pom poms in pinks and soft orange warmth for the windows

Art for a window

Constant delights  for me: foil, flags, foliage

Pleasures ( not guilty)

A sketch map of me after an operation- very much wanting to take part in the 30 works in 30 days but definitely operating  within new and exacting parameters of in well - ness

The arena of the unwell

Looking at a book Slow Stitich by Claire Wellesley smith to se how others use thread and fabric , to be inspired

Other people’s way

I use little pieces of folded paper as brushes when painting spattered details
The paper has to be the right weight- not too light not too heavy 
The toothbrush is for larger effects and is repurposed


Assemblage of coloured objects to lift the heart

The joy of colout

As a costume designer comfort and utility in clothing are imperative.
The use I would put my work to is to create purely for resonance and evocation. 
No need for anything but visual pleasure.