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Alison Aye

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Sue Aron holding her quilt with Jayne Fowler and Rachel Tyndall looking on.

The London Quilters Seemed To Like Me

July 27, 2026

I did my fledgling stand-up routine (aka a talk about my art) to the London Quilters last Monday. What a lovely group. Kind, welcoming, immediately put me at ease.

Same applies to Jason and the guys who run the Abbey Community Centre (shoutout to the Camden New Journal putter-outerer) an inspirational place with loads going on. People from all walks of life. Proper London. Proper community centre. I arrived four hours early, on account of pre-empting any possible transport cock-ups. So I know.

Before I dominated the conversation with my bollocks, there was a showing of some unfinished quilts. All wonderful. But you can’t see the ‘top secret’ ones.

Rachel Tyndall and Dorothy Hill holding the group quilt (tumbling blocks) which will be displayed at the Festival of Quilts at the NEC, 30th July to 2nd August in the ‘Joy of Sharing’ category.

I owe a huge debt to Sue Aron for putting my name forward (and loaning her laptop and tech help) and to Meg Turner for trusting Sue’s judgement and doing all the behind-the-scenes-admin with grace and honesty. I could tell she was a goodun from the emails, but my suspicions were confirmed with the offer of a cuppa upon arrival and the option of one of those biscuits which are 99% chocolate. You know the ones.

Thank you to those who showed up - Jady Kozak, Sue Aron, Rachel Tyndall, Sarah Hibbert, Jane Fowler, Maxine Murdock, Dorothy Hill, Annie Folkard, Viv Philpot and Lovely-Lou, the only non-member, whose familiar smiling face I was so pleased to see.

If you’d like to join the London Quilters, or attend any other talks, the hospitality is exemplary. They are a group of quilt and textile art enthusiasts who meet once a month at Abbey Community Centre (172 Belsize Road, London NW6 4BJ) near Swiss Cottage. The group was founded over thirty years ago and currently has over 40 members, ranging from keen beginners to professionals, with work encompassing traditional and modern quilts as well as art wall hangings and three dimensional pieces. Visitors are welcome to attend meetings for a fee of £5.

A page from The Camden New Journal (which I read cover-to-cover) published the day before Keir Starmer left his role as Prime Minister.

If the only thing stopping you joining is the thought of walking to the tube in the dark, then rest assured, because there’s a group of South Londoners heading in your direction and they are excellent company.

Also, I’m available for bookings of this ilk.

In Talks Tags london quilters, swiss cottage, abbey community centre, fibre art, textile art, PEG Garments, Quilting, textile art talk, recycled textiles, collage art
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The Audience 2026, Days 1 - 151. Work in progress. Copyright: Alison Aye, 2026

The Audience, May 2026 (121 - 151)

June 14, 2026

Below are the newspaper articles from which my May 2026 faces were cut. It’s the actual newspaper that I’ve stitched, not reproductions. The information in the articles may be fabricated. I (mostly) use the Metro and London Standard newspapers because they are free. I couldn’t afford to make this piece if I bought a more reputable publication every day.

See here for a full list of ‘sitters’.

*The photo credits are as they appear in the articles from which the faces were cut. For the record, I don’t accept the name of a company as a photography credit. There was an actual person behind the camera. If you are that person, or know them, please give me a shout.

Day 121: Banksy statue Metro 1.5.26. Photo uncredited.

Day 122: Lizzie Jones Metro 1.5.26. Photo uncredited.

Day 123: Cole Allen Metro 27.4.26. Article by Barney Davis. Truth Social*.

Day 124: Jordan Adams Metro 27.4.26. Photo uncredited.

Day 125: Unnamed person, Slavutych Metro 27.4.26. AP*.

Day 126: Unnamed woman, Lyman Metro 28.4.26. Photo uncredited.

Day 127: Dr Maria Van Kerkhove Metro 6.5.26. Article by Barney Davis. AP*.

Day 128: Wu Yize Metro 6.5.26. Getty*.

Day 129: Ali Taranssari Metro 6.5.26. Article by Luke Alsford. Photo uncredited.

Day 130: Tony Fahey Metro 11.5.26. Photo uncredited.

Day 131: Catherine West Metro 11.5.26. Article by Luke Alsford. Photo uncredited.

Days 132 + 133: Donald Trump + Xi Jinping Metro 15.5.26. Article by Will Weissert. Photo uncredited.

Day 134: Mitesh Badiani Metro 15.5.26. Interview by Angela Kennedy. Photo uncredited.

Day 135: Nicola Ranger Metro 19.5.26. Photo uncredited.

Day 136: Thomas Massie Metro 21.5.26. AP*.

Day 137: Harriet Wistrich Metro 21.5.26. Photo uncredited.

Day 138: Michelle Sadio, c1980 - 2024 Metro 21.5.26. Photo uncredited.

Days 139 - 141: Jane Adetoro c1990 - 2026, Christina Walters c1994 - 2026, and Rebecca Walters c1995 - 2026 Metro 21.5.26. Photo uncredited.

Day 142: Shona Manderson Metro 20.5.26. Article by Milo Pope. Photo uncredited.

Day 143: John Foley Metro 26.5.26. SWNS*.

Day 144: Demis Hassabis Metro 26.5.26. Article by Josh Milton. Getty*.

Day 145: Sarah Wakefield Metro 27.5.26. Photo uncredited.

Day 146: Matthew Evans Metro 27.5.26. Article by Jack Fifield. SWNS*.

Day 147: Ryan Pepper Metro 27.5.26. Article by Luke Alsford. Photo uncredited.

Day 148: Chiwetel Ejiofor Metro 29.5.26. Actor in ‘Backrooms’, directed by Kane Parsons. Cinematography by Jeremy Cox. Five-star review by Larushka Ivan-Zadeh.

Day 149: Paco Villalvilla Metro 29.5.26. Interview by Angela Kennedy. Photo uncredited.

Day 150: Unnamed Whitstable resident Metro 29.5.26. Photo uncredited.

Day 151: Gloria Stephenson, c1939 - 2025 Metro 29.5.26. Photo uncredited.

In The Audience, Art Tags fibre art, paper art, embroidery, handmade collage, recycled art, stitched portrait, newspaper art, banksy, snooker, documentary art, wu yize, nurses, ukraine
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What I Think I've Learned About Printing

April 9, 2024

I was a print* snob. I did not reproduce my work. My business cards are individually made, all unique. When I make greetings cards, each is a one-off.

Last year, I started to rethink my thoughts. Hand stitching takes ruddy ages, and is therefore expensive. Prints of said hand stitching are a more affordable option.

With the help of the lads at The Weavers Factory, I found Klein Imaging in Manchester. A top-drawer outfit with all the eco-creds. They took fantastic photographs**, showing every tiny thread, of my Exile Textiles (above) and RA piece. The balls started rolling for some potential sales.

Nine months later, despite having a gorgeous product, I have only sold nine. I’m yet to break even, after the rail fares to Manchester and photography.

I have not given up, and have just added a new print to my shop. I’m hoping it could enable a partial ease-off on my zero-hours, minimum wage day-jobs.

I knew sod all, but this is what I think I’ve learned:

  1. Good quality giclée prints, produced in an ethical environment, are expensive.

  2. You need to do a lot of marketing. Probably more than I’m comfortable with.

  3. You can’t take anything for granted. The RA piece had massive publicity on the BBC with Joe Lycett. I’ve sold one print.

  4. Find a photographer and printer near home. That said, I’m sticking with Klein.

  5. Keep your edition run low. With my first prints I insisted on a limited edition of 500. This is considered a bit ridiculous. Even Grayson does less. My new print will be a limited edition of 50.

  6. Keep it simple. I offered ALL the sizes, but only the smallest (A3, £75) has sold, so far. I’ve decided on two sizes for the new print, but already I’m thinking I should’ve committed to the bigger one, which is so much more impactful.

Buy my prints here.

*I’m talking about reproductions, not printmaking, which is an artform in itself.

**Shout out to Phil Shelly.

Image: Exile Textile 3. Copyright, Alison Aye, 2024.

In Money Matters, Art, Prints Tags limited edition prints, textile art, handmade collage, contemporary embroidery, fibre art, giclee print, joe lycett, printing, printing advice

Print Pricing

April 9, 2024

It’s not the done thing, but I thought it might be interesting to show how the £100 spent on my ‘I Have No Thoughts On This Matter’ print, ends up as £34 in my pocket.*

£78.00 shop price (30cms x 30cms)

- 23.48 bespoke printing = 54.52

-7.80 postage = 46.72

-10.00 Certificate of Authenticity = 36.72

-5.00 Arts Emergency donation = 31.72

-2.32 PayPal or 1.32 Stripe fee = £29.40 or £30.40 profit

£100 shop price (50cms x 50cms)

- 40.84 bespoke printing = 59.16

- 7.80 postage = 51.36

- 10.00 Certificate of Authenticity = 41.36

- 5.00 Arts Emergency donation = 36.36

- 2.90 PayPal or 1.60 Stripe fee = £33.46 or £34.76 profit

*I have not deducted photography or general day-to-day business costs. The annual fee for my Squarespace shop is £288.

Currently, I donate £5 from every print sale, and 5% of original art sales, to Arts Emergency. At the end of the financial year, I’m going to change that to a blanket 5% for everything.

Archival standard giclée print, in two sizes, with fade-resistant ink. Limited edition of 50, with a Certificate of Authenticity. Printed by Klein in Manchester on FSC-certified Hahnemühle 290gsm acid-free (and vegan) paper. During paper production, the wastewater is uncontaminated and returned to the source, and the electricity comes from 100% renewable sources. The staff at Klein are treated well and paid fairly.

Find out about the original piece here.

This is what I think I learned from my first foray into printing last year.

Buy a print here.

Photo by Ian Bruton.

Copyright: Alison Aye, 2024

In Money Matters, Prints Tags textile art, textile prints, fibre art, collage, collage art

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