We caught up with the brilliant and insightful Tammy Ratcliff a few weeks ago and have shared our conversation below.

Tammy, appreciate you joining us today. What’s been the most meaningful project you’ve worked on?

I designed a textile installation in a tiny gallery space that was very meaningful in the way that people interacted with the work. The gallery (Capacity 3) wanted shows that addressed the awkward space, a sort of utility closet under a large staircase. Because of the intimacy of the space, and what I perceived to be difficult times (at the end of 2019) I thought I could create an opportunity for people to share handmade messages of compassion.
The installation, called ‘Compassion Pit’, was comprised of recycled fabric and pieces of writing donated by the public. Discarded jeans and studio remnants were used to make quilted walls which were covered with many pockets. These held the contributed secrets, words of comfort, confession, support, or stories that needed to be shared.
Visitors were encouraged to find and read the words in the pockets and possibly leave some of their own. The tactile nature of engaging with the work, and the collaborative process was not unlike participating in a sewing circle. As new messages were left, the dialogue continued, as did the effects of the shared compassionate experience.
Over the span of the show, more than 75 hand written, stitched and embroidered messages, many done on handkerchiefs, were added to the pockets on the walls. They were created with such care, skill and planning that I hoped I could exhibit them again. They are all anonymous and I am grateful to each and every one of the creative souls who took the time to submit their kind words and lovely creations for this shared experience.
Recently I had the opportunity to expand on the original format and I restructured the installation into a 10’ x 10’ tent for a fibre arts festival (Gather in the County) with a much larger audience. Many new messages were added and it was a very meaningful experience, with lots of people sharing tears, hugs and the building of community. It is my hope that ‘Compassion Tent’ will carry on and I look forward its next exhibition.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

My name is Tammy Ratcliff. I am a visual artist and business owner with my partner Chris in Guelph, Ontario. In my art practice I specialize in printmaking and fibre arts, and in the business (Wyndham Art Supplies), my work is a little bit of everything. Wearing two hats can be a juggling act but I find they complement each other, so it hasn’t been too difficult. While I really love the solitary aspect of my studio work, I also appreciate connecting with the arts and downtown community at the store.
The store is a beautiful and colourful place that is stacked to the rafters with art materials. The large front window is a revolving gallery, the second floor is devoted to fine papers, and the third floor is home to art classes as well as a community gallery and event space. One of our focusses is to try to source art materials that are either local, hand made, environmentally responsible, or all three. This is a tall order, but we have a few product lines that fulfil these goals and we are always on the lookout for more.
Besides Chris and myself being artists, all of our hardworking staff are also artists. We think the world of them and we try to create a healthy and supportive environment that we are all comfortable. What has made us stand out, maybe above all else, is that our team is able and willing to offer expert advice and kind support to customers. We have become a destination for artists looking for quality items and great service, and many of our regulars are from out of town or across the country.
My own artwork is inspired by the botanical world – the impermanence and resilience of plant life as well as its many examples of ‘perfect’ imperfection. The papers I use in my printmaking practice literally and conceptually support my imagery of flora – they are handmade from plant fibres and part of the botanical life that my work often depicts. On a recent trip to Japan, I had the great privilege of visiting traditional papermakers to learn more about the fibres and processes involved in creating my favourite art material, washi (translates to ‘Japanese Paper’ but refers specifically to the traditional handmade papers). Some of these beautiful papers are simultaneously delicate and incredibly strong.
After this trip, I was inspired to push my materials and process further, which most recently led to the creation of a body of work that transforms etchings and monoprints on washi into sculptural renditions of common garments, including sports socks, an apron and underwear. I created these pieces by printing on layers of fine, handmade Japanese papers, then stitching them together by hand. I recently learned the art of mokuhanga (Japanese woodblock printing) and I am enjoying learning more about this technique as a means to further my printmaking knowledge and my desire to work in the most environmentally responsible ways possible. I want to do what I can to help preserve the complex traditional art of growing and processing plant fibres into exquisite papers by hand. The process and materials I employ are as important to my practice as the subject matter, and my love of printmaking and fine washi informs how I work. 

Can you tell us the story behind how you met your business partner?

The first time I met Chris, my husband and business partner, he was working at his family’s art supply store and I was a customer. I was looking for supplies to set up my printmaking studio and he tried to convince me that I didn’t need the things I was asking for. My first impression was not great, but years later we laughed because he thought I was a much younger new student and I thought he was being difficult and condescending. It was definitely not love at first sight!
A few years later I started working with him at the store, eventually as manager and then a few years after that we became a couple. His initial hesitance to let anyone know about our growing romance was that he was afraid his father would be upset with him and maybe lose me as an employee. I did leave the store at various times over the years to focus on my artwork and family but would come back and fill in when needed. The last 10 years saw Chris’ parents retiring and me becoming co-owner with him.
I suppose there might be a risk of spending too much time with your loved one, if they are also your business partner. By having the flexibility to manage some tasks like bookkeeping and social media from home, we both have some space to work on our own, and I can get more time in the studio. Chris’ studio is above mine, so even when we are both there, we have the option of working together or alone. Don’t get me wrong, we enjoy each other’s company, but through covid we realized 24/7 was not ideal.

Let’s talk about resilience next – do you have a story you can share with us?

My path is not the most linear one. I always knew I was an artist, though my family tried very hard to discourage me. This might have been because they didn’t know anyone who was employed in the arts. After high school, I went traveling with my best friend and ended up living in London, England doing various jobs: bar maid, life drawing model, nanny, assistant. All the while, I was exploring Europe, visiting museums and galleries, taking in all the beautiful architecture, fascinating history, and meeting artists. Art seemed ‘normal’ there and seeing the huge range of occupations available to creative people gave me the courage to eventually return home to study.
When I got back to Canada I found printmaking at a technical high school and discovered what I really wanted to do. By this time, I was a mature student who had lived abroad for over 6 years and wanted to apply to university to further my studies. I applied to a university in a city I liked and was familiar with for studio fine art, but this school did not consider applicants’ portfolios, and my old marks were not sufficient to earn me a spot. The rejection stung, but I found comfort in the fact that I was offered advanced placement, on the strength of my portfolio, into a more technically-leaning art college in the big city.
I decided not to go there, and to stay where I was instead. The money I had planned to spend on tuition, saved from my work on the assembly line in an auto plant, I spent on a new etching press and set up my first studio. I started printing, inviting other artists to join me and hosted shows and workshops in the space. Before long, I was entering competitions and juried calls for entry, finding my community and finding my way. Who knows where I would be now if I had taken the more traditional path? Either way, I am grateful for my journey and where I am now.

Contact Info:

• Website: https://tammyratcliff.com/
• Other: https://www.wyndhamartsupplies.com/

Image Credits

1-TammyRatcliff in studio, with press
photo by Trina Koster Photography
2-Tammy and Chris at art opening at Renann Isaacs Contemporary Art
photo by Renann Isaacs
3-Tammy at drawing table
photo by Trina Koster Photography
4-Tammy and Chris at Wyndham Art Supplies
photo by Trina Koster Photography
5-Compassion Pit opening
photo by Chris Ahlers
6-Tammy Work in Progress stitching
photo by Chris Ahlers
7-TammyRatcliff woven etching, in progress
photo by Tammy Ratcliff
8-TammyRatcliff iris tank
photo by Tammy Ratcliff
9-TammyRatcliff wiping the plate
photo by Chris Ahlers