“Having the studio space was probably one of the best things about being in London. Once you’re at the studio you’re in that headspace – you think ‘I’m here, so I’m going to make’.”
Faye Gosling is a Basketmaker and craftswoman working primarily with willow. She creates beautiful, functional objects that celebrate natural materials and traditional processes. Formerly a studio holder with Creative Land Trust at Alice Billing House, she recently left London and moved back to Suffolk. We spoke to Faye about her practice, her time in the studio, and what the move has meant for her making.
Faye Gosling (FG)
I’m Faye Gosling. I’m a Basketmaker and a craftsperson. I make willow baskets, but also natural fibre brushes and other things using natural materials, using a weaving process.
Jake, my partner, and I were at the studios (in Alice Billing House) from when it first opened and we stayed for about a year before moving to Suffolk.
Creative Land Trust (CLT)
What led to your decision to leave London?
FG
I grew up in Suffolk and I never really wanted to live in London, but Jake moved there for work, he’s a freelance sound recordist, so I thought I’d give it a go for a bit.
Having the studio space was one of the best things about being in London. We were really sad to leave it. But we just felt like we couldn’t afford to do anything there. I had a three-day-a-week job in the arts, and then I was trying to freelance with my basketry on top of that, and I wasn’t making enough money.
You live in London because there are so many things happening. But when you can’t afford to do any of them, there’s not really much point being there. That was a big factor.
I also just found London quite overwhelming. My practice is very rooted in natural materials and rural crafts, and it makes sense to be in a more rural space to be doing that kind of work.
CLT
What did having a studio at Alice Billing House make possible for you?
FG
It made a huge difference. With willow, you need space, and you need water. Having the courtyard and a tap was really handy because you have to soak the willow before you use it. Being able to take it outside and work there was great.
It also meant I could run workshops more easily. Teaching is where a lot of the work was coming from at the time. The workshops at the studios were some of the best paid opportunities I’ve had, and it was really lovely to be able to offer them for free.
If I run a workshop independently, I charge around £120 for a day just to cover paying myself and materials. That’s not accessible for lots of people. So being able to offer them for free through Grow Studios was really amazing.
CLT
How did you find balancing teaching and your own making?
FG
It takes a lot of time to make things. I was finding that most of the work I was getting was teaching workshops, and they take a lot of prep and a lot of energy to run. I wasn’t really getting enough time to make for myself and have a creative practice , it became more of a teaching practice.
And then there’s all the admin. If you’ve got two or three days a week for your practice, and one of those is taken up by emails, social media, updating your website and booking things in, you’re not left with much time for making.
It’s always that balance of trying to make money and live, and also having the freedom to do what you want with your own practice. I don’t think I’ve quite found that balance yet.
CLT
Has your practice changed since moving back to Suffolk?
FG
Yeah, I think so. Having a set studio space that I was paying for definitely made me more disciplined. I’d say, “On my two days off, I’m going to the studio.” And once you’re there, you’re in that headspace, you think, “Well, I’m here, so I’m going to make.”
Now I’m working from home. We bought a house, so I’ve got space, which is lovely. But you just end up filling your day with other things. I don’t think I’m making as much at the moment, and I’m trying to make a conscious effort to change that.
CLT
How did you come to basketmaking in the first place?
FG
I studied Sculpture and Environmental Art at the Glasgow School of Art and graduated in 2019. After that I worked in a community arts role for a few years.
Halfway through Covid, I just had a moment of thinking, “I need to stop being on Zoom and go and do something practical.” I found a boatbuilding course in Norway at a folk high school and moved there for a year.
Boatbuilding was my main course, but we could choose electives, so I did willow weaving and sheepskin tanning. I went into it thinking I wanted to be a boatbuilder, but I realised I don’t really like being that precise. Boats have to be exactly the right measurements. I like to be more free and fluid.
Willow weaving just felt natural. I picked it up quite quickly and really enjoyed it. When I moved to London afterwards, that’s when I decided to try building a practice around it.
CLT
How important was sharing a studio locally?
FG
It was nice to have that local hub of artists. In London, every time you want to see someone it’s at least 45 minutes away. Having interesting people just down the road that you wouldn’t have met otherwise was really special.
We could only afford the studio because we split it. My practice needs quite a lot of space. You need at least a couple of metres to work with willow , so I couldn’t have taken one of the smaller units on my own. Even subsidised studios are still a big monthly commitment.
But having that space, so close to home, made everything easier. It really did make a difference.
CLT
What kind of projects are you working on now?
FG
I’m still running a few independent workshops, but I’m trying to steer away from them a bit because the admin side is heavy. Since we took on a mortgage, I’ve had to put my practice to the side somewhat and take on more admin work.
But I’ve got a big project coming up with Sizewell C, they’re building a new nuclear power plant in Suffolk so there is a lot happening around that with the community. They have a branch called Sizewell Creative, and they’re doing a community opera project. I’ve been asked to run willow weaving workshops as part of that production. It’ll involve schools, some of the workers at Sizewell, and the public too. I’m really excited for it; it’s a fantastic opportunity.
CLT
That sounds amazing.
FG
Thanks! At the moment, it’s more ad hoc stuff, but I’m trying to carve out more space for my own practice. Balancing earning a living and having the freedom to focus on personal creative work is always tricky. I haven’t quite found the right balance yet.
CLT
It’s interesting how workshops and teaching differ from your personal making. Is the Sizewell project more embedded in your practice, rather than just a separate teaching activity?
FG
Exactly. The difference between ad hoc workshops and embedded projects is significant. A lot of workshop work is where the funding is, but it doesn’t always align with your own creative development. I also work part-time, with set hours and this limits the opportunities I can take. For example, there’s a residency I want to apply for, which includes a fee, but the timing clashes with my other commitments. Full freelance work could solve this, but it’s a big leap, and I’m cautious.
My partner is a full-time freelancer in the film industry, and it’s unpredictable. He’s now retraining as a tree surgeon for stability while staying freelance enough to choose projects flexibly. Being full-time freelance together felt too stressful.
CLT
How has your practice changed in the move from London to Suffolk?
FG
In London, it was exhausting commuting to studios and transporting materials. Alice Billing House was convenient and affordable only because we split it, and it gave me the necessary space to work. Having that local artist network was wonderful. Being in Suffolk now, I have more affordable options if I do want a studio again at some point, and I can be close to the landscape and materials that inspire my work.
CLT
Any final thoughts?
FG
It’s always a balance of admin, teaching, and making. But sharing these experiences is valuable, and I’m grateful for opportunities like Sizewell Creative. I hope more spaces like Alice Billing House continue to exist, giving artists a chance to stay local to where they live, and sustain their practices.
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