a profile in material culture: sherrie horner

Moving through the meticulously replicated period rooms of Winterthur on a recent visit, Sherrie Horner, long fascinated by material culture, was particularly entranced by an exhibition of 18th-century needlework. Viewing extraordinary quilts, samplers and silkwork pictures done by students at The Marsh School of Philadelphia, Ms Horner found herself reflexively deconstructing the designs, patterns and techniques used.

"But beyond that," she remarks, "I wondered about the people who had created such beauty. How was that artistry and industry a part of daily life? I found myself thinking about—and transported by—the hands that made it, the consciousness involved, and the historical and cultural contexts."

The decorative arts have many forms, many disciplines and living traditions. A master curtain maker, Ms Horner sees herself and her work in the context of generations of practice. And in the profound influence that practice has on the beauty, structure and rhythm of created spaces and people's lives.

tradition in modern context
Historical forms are expressions of their period of origin, but elements of a living tradition transcend time and generate new concepts. "One must respond to context," notes Ms Horner. "In working with older forms of architecture, we have a marvelous opportunity to create curtains that are luxurious and historically accurate. But with modern architectural forms, it becomes a question of translation, and that is a challenging process."

Light and shades are illustrative. Shades temper, veil and screen natural light. Historical curtains controlled light, protecting interiors and textiles, but their greater purpose was to be decorative and sensual.

The modern concept of modulating light follows modern architecture and the need to cover a wall of glass or perhaps, a serpentine-shaped window—new forms on the continuum of the tradition. And it is impossible to design beautifully appropriate treatments for them or for any window if one is ignorant of history, Ms Horner explains.

"The value of seeing one's work in a larger, historical context is the value of scholarship—a comprehensive knowledge of architecture, art history, and historical forms—because successful creation is actually successful translation."

master curtain maker by design
One becomes a master curtain maker by intending to be one and constantly practicing with that intention. The inclination and temperament may be in-born, but mastery is achieved with diligence, patience, and extraordinary attention to detail.

The first fifteen years are merely an apprenticeship, spent immersed in a near infinite variety of forms and environments. Capacity, range, and tested professional judgment accrue contextually, and as a mosaic.

"With focus, concentration, and contextual understanding," reflects Ms Horner, "one is able to hold disparate elements in mind: fabric, architecture, color, practicality, light, movement, or capacity for movement. And that might be for one or several windows in one room; when doing an entire house,

its every element must be held in mind as one integrated and constant awareness."

Asked how she developed that capacity, she quickly replied, "Practice. Every day."

And how did she make her workroom a master workroom?

"Same again: Every day saying, 'No, we don't do it that way, we do it this way.' Or, 'If that doesn't work, let's try a different stitch or technique.' Every day. Teaching all the time."

• • • to learn more about Horner & Company's services, collaborative process and project management, download the company brochure pdf.