artists

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Jane Sassaman
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 Jane A. Sassaman worked in many design mediums before discovering quilting. After concentrating in textile design and jewelry making at Iowa State University, she worked as a window dresser, a sign maker, an illustrator and as a designer of decorative accessories. Simultaneously, however, she continued her personal painting and fiber projects - embroidery, soft sculpture, costumes. Jane began to quilt in 1980. She found that these “soft paintings” satisfied the draftsman, the craftsman and the artist in her. Consequently, she is now a dedicated (some say “obsessed”) quilt artist. Her work has been shown in many national and international art quilt exhibits, including Quilt National 1989 through 2005 and Contemporary American Quilts, the first major exhibit of American art quilts in England. Her quilt “Willow” was named as one of the hundred best American quilted of the century. Jane is also the author of “The Quilted Garden”. The book includes twenty years of her work and exercises for making nature-inspired quilts. In 2004 and 2008, Jane was also nominated for Quilt Teacher of the Year. Jane’s love for historic decorative arts can be seen in all facets of her work, but it is especially evident in the exuberant fabric she is currently designing for FreeSpirit. Her designs are oversized and colorful and have been coined as “William Morris on anti-depressants”. They are created for quilts, wearables and home decorating. Distinguished for their meticulous craftsmanship, bold graphic style and bright colors, Jane’s “fabric constructions” are unique. Her quilts and fabrics can be found in private and corporate collections throughout the country.

Workshop

ABSTRACTING FROM NATURE

Nature is an endless source of inspiration. In this class we will examine a wide variety of artists interpretations of nature before beginning to manipulate natural forms ourselves. Through a series of exercises we will experiment with abstraction and exaggeration to capture the essence and energy of your favorite flora and achieve dramatic visual effects. We will then translate these ideas into fabric in the 2 to 5 day workshop. Drawing skills are not needed but participants should have a strong interest in developing their own design language and unique visual symbols. This class is especially beneficial for the drawing impaired and the tragically literal . 

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2/10/2011 12:00:00 AM
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2/04/2012 12:00:00 AM
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Fibre artists Network
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'SELF AND LANDSCAPE’  exhibition by  Fibre Artists Network Inc.

The group Fibre Artists Network was formed in 2001, commencing with a few friends who extended invitations to other fibre workers to become involved, since then  membership  has extended to approximately twenty five, all residing  along the Mid North Coast from Laurieton to Bellingen, meetings are conducted once a month throughout out the year.

 The aims and objectives of the Group are to work in a contemporary style, exchange ideas, support each other, conduct workshops, and exhibit annually promoting a level of confidence that will enable members to exhibit in a professional context.

The Exhibition “Self and Landscape” will highlight a variety of methods and techniques achievable with fibre including, 3D felting, hand embroidery, rust dying, machine embellishing, knitting & crocheting, dyed paper and folding, laminated and deconstructed screen printing on silk, machine embroidery on wash away fabric.

Ten exhibiting members of Fibre Artists Network who are participating in Timeless Textiles exhibition all work in an individual contemporary style, with a variety of fibre, from paper to timber and silks to wool being employed.  Humour, technique, colour, and imagination along with presentation give the collaboration of works excitement to this exhibition.

 

  Participating artists

Shan Blake

Jenny Davies

Dianne Greenwood

Pamela Houghton-Jones

Liza Magdalean

Barbara Huntington

Gloria Muddle

Suzie Parkes

Paula Tamblyn

Susie Williams

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11/05/2013 12:00:00 AM
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11/05/2013 11:49:47 AM
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11/11/2013 12:00:00 AM
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22859
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464a coopers shoot rd
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bangalow
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New South Wales
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2479
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Australia
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61414819685
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61414819685
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shyama
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Artist Statement

Wherever I go or whatever I do I am always pulled towards tactile objects and the lure of texture.

I cant really say why, some of us are just made that way.

To felt is to feel, to be part of the mystery.

Immersed in natural fibers, whether they be downy wools, silky silks or my new addiction, linen,

I feel as though I’ve come home on entering my studio. 

It sits perched in the hills overlooking Byron Bay and this is where the magic happens. I take a breath out.

Even after twenty years of turning fibers into fabric, a little symphony of surprise happens on a daily basis.

Can it blow in the slightest breeze? 

Can I mystify you as to what it is, how it was created? 

Can nature shine through the layers? 

Do the colors grab you? Calm you? 

And most of all can you not resist touching it?

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bangalow
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New South Wales
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Australia
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2/09/2013 12:00:00 AM
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26/10/2013 9:57:33 AM
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15316
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Gerdi
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ARTISTS STATEMENT

It was pure curiosity which made me attend a half day felting workshop in Dungog three years ago – well, half a day wasn’t very much at all – however it was enough to let my enthusiasm grow and over the next few months I had some attempts to create “something”, but it wasn’t really to my satisfaction at all. But now I had this idea about felting and I needed to learn more about it. I then went off to do a few felting workshops, where I could learn lots about this magic way of making your own fabric and its never ending diversity. In the meantime I well and truly discovered the passion for felting – it takes me into a other world and I enjoy immensely to work, mix and match with different fibres, different colours and different forms and shapes. I have been knitting and sewing from when I was a child, but never felted. Mum was knitting and sewing all the time and we were part of those “activities” - in those days not very impressed by it – but learnt lots of things without realising how useful they all will be one day…. and felting has become another hobby of mine which gives me enjoyment and satisfaction just as much as gardening and cooking…… “FOLLOW YOUR DREAM, THEY KNOW THEIR WAY.”

wearable art

Gerdi's wearable art

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12/12/2011 12:00:00 AM
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12/06/2012 12:00:00 AM
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Brett Alexander
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Artist Statement

As artist-researcher-teacher and Brett Alexander's research outputs have been in the form of high quality examples of practice as research. These research outputs have been published in the form of exhibitions at nationally and internationally recognised art, design and craft museums, galleries and festivals. He has been included in seminal publications on textile art and crafts both nationally and internationally. He has been commissioned by highly esteemed nationally and internationally recognised curators to produce art work for exhibitions both in Australia and overseas.

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23/05/2014 12:00:00 AM
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lanny bergner
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Artist Statement:

Lanny Bergner received his Bachelor of Fine Arts in sculpture from the University of Washington in 1981 and a Master’s of Fine Art in sculpture from Tyler School of Art, Temple University in 1983.

His work is in numerous museum collections including the Seattle Art Museum; Museum of Art and Design, New York; Fuller Craft Museum, Brockton, USA and The Central Museum of Textile, Łódź, Poland.

In 1995 he won the Betty Bowen Memorial Award, administered by the Seattle Art Museum. In 2005 he won a Gold Prize at the Cheongju International Craft Biennale in Cheongju, Korea and was invited to create an installation “Between Earth and Sky” at the 2007 Cheongju International Craft Biennale. In 2010 he was one of five American artists to exhibit in the prestigious 13th International Triennial of Tapestry in Łódź, Poland.

Lanny’s work was recently included in the book “Fiber Art Today”, a survey of contemporary international fiber artists, published by Schiffer Publishing.

 

 

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9/06/2016 12:00:00 AM
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9/06/2016 8:02:16 PM
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9/12/2016 12:00:00 AM
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Jan Clark
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Artists Statement

There is extraordinary beauty in the details of Nature. Painting this world with textiles and mixed media gives me great pleasure. Bringing this often unnoticed world to the attention of people motivates me to create. 

Artworks

View Jan's current work

Workshops

Workshops by Jan 

Exhibition

Unnoticed Worlds 20 Octobter - 12 November 2011

Immanence Exhibition April 2014

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8/08/2011 12:00:00 AM
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29/05/2014 1:14:39 PM
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8/02/2012 12:00:00 AM
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Marjolein Dallinga
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Artist statement

The natural world inspires me its sounds, feel and touch, the textures and forms. My work is inspired by feelings, thoughts and dreams.

I often dream of something deep and colorful, which moves and is very mysterious. There are many corners, strange places and holes; I feel them on and under my skin. True creativity does not spring from momentary inspiration. It derives from much experimentation, many mistakes and doing things over and over again. It comes from dreaming, from the workings of the subconscious and then perhaps something will materialize.

For several years I have tried to shape, sculpt, fold and cut this warm and woolly material through the process of felting during which it metamorphoses from an array of loose colorful fibers to a strong sturdy textile.

"Feel the fear and do it anyway" is an underlying emotional energy which urges me to create forms with wool. It is not a visual or intellectual motivation but more a gut feeling. The sculptures resemble parts of the human anatomy, some are like skin and others are more internal like a liver, kidney, or spleen. Some express something as mysterious as the heart or the strange plasticity of the brain. They vary in form, size and color. Some are empty, they have their secrets within their folds and craters and their longings hidden in their colors and layers. These sculptures are soft and light. Maybe someone else will be moved by them too.

If not I have failed.

The subject of pain fascinates me. With my sculptural feltwork I try to give shape to feelings of frustration and suffering, be it emotional or physical pain.

I try to visualize this inescapable pain, I want to get to know it and talk to it because I cannot ignore it. I would like to surrender to it and not be afraid of it because fear is pain too.
My wish is to express these emotions in a feltwork and be able to own it and embrace it.

There is a certain satisfaction in seeing and being seen. I would like to create a portrait of how I see the essence of a human being and how it is seen by others. As well I would like to give a form to the constantly changing of human interrelationships, how they flex and entwine and stagnate and how the forces of attraction and rejection can be expressed. We have a need to connect, to fuse and at times destruct.

It is from the dance of conflicting emotions that creativity and art are born. And the creative act is to find a balance within that, to create from that position of balance and to be recognized for that creative act. Though sculpture is usually perceived as static I see it more as movement, the movement of wool from fibers into felt.

And as long as there is movement there is life.

Marjolein Dallinga Bloomfelt.com

Exhibition

water from your spring ...

Opening19 March 2013 until 12 April 2015

 

 

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13/09/2012 12:00:00 AM
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22/02/2015 10:39:29 AM
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13/03/2013 12:00:00 AM
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Nicole de mestre
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Artist Statement

Nicole can be found either in her overcrowded shed or out on Central Coast streets rifling through kerbside pick-up piles searching for inspiration. Her art reflects a curious attachment to discarded materials, an increasing frustration with the prolific waste of modern society and a healthy obsession with rusty metal and old rope. She creates an eclectic range of artistic works, inspired by environmental concerns and linked through the use of locally-sourced recycled materials and found objects. Much of her process is obtaining materials and often their shapes, colour and texture determine the final work.

Nicole defines herself as an environmental artist, and is motivated by the idea of producing something of beauty from materials that would otherwise have ended their days in a landfill site. She tries to reduce her impact on the planet and uses art to communicate her thoughts about society’s unsustainable consumer habits and living practices. It is her underlying hope that people who see her art will be inspired to take a new look at that old tent, lino remnant, fly screen, saucepan lid or whatever, and reconsider before throwing it away.

Creativity has always been a part of Nicole’s daily life, beginning with her mother’s provision of a staple diet of macramé, pottery, batik and tie-dye throughout the 70s. Coupled with this, she had the good fortune to study Spinning and Weaving, Textiles, Papermaking and Art as subjects at her local high school in Canberra. As in many childhoods, Nicole recalls collecting things-shells, rocks, fragments of pottery, stamps, even snails–but it is only in the last decade that the collecting has evolved into conscious recycling which feeds her art practice. She partially attributes her recycling obsession to her father, who lacked artistic sensibilities, but showed great inspiration creating hockey shin guards from old carpet and making magpie-proof bike helmets from ice-cream containers. He could see the possibilities, and so does Nicole.

After completing a Visual Arts degree in woven textiles, Nicole worked at Canberra’s Skye Weaving workshop and spent some time as the spinner and weaver at Old Sydney Town. In addition to her background in woven textiles, she has explored knitting, crochet, collage, feltmaking, graphic design and assemblage. She is currently working with sculptor Col Henry, to develop larger scale sculptures and installations using textile materials and incorporating basket making techniques.

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19/07/2015 12:00:00 AM
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20/07/2015 9:29:24 AM
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19/01/2016 12:00:00 AM
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15514
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33 Bombala Street
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Dudley
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NSW
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2290
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Australia
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0249460628
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0403066801
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amanda
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Artists Statement

Amada completed a Bachelor of Visual Arts (Honours) degree at Sydney College of the Arts, Sydney University in 2001. She continued her studies to obtain a Graduate Certificate in Cross Disciplinary Art & Design from the College of Fine Arts, UNSW in 2013. Amanda was a recent finalist in the Manly Artist Book Award (2013) and in the prestigious printmaking Silk Cut Award (2012).

While the focus of her degree was printmaking, her love of textiles and interest in the genderisation of embroidery, have been strong influences on her. The domestic, innocence, embroidery and popular media are used in her works to weave together issues of gender stereotypes and sexual commodification. While practicing as a printmaker she simultaneously continued her personal textile projects and now works as a printmaker and textile artist.

Amanda uses a broad range of techniques in her textile pieces including dying, screen-printing, lino printing and collaging. Textiles, trims and buttons collected from family members and friends, or recycled from op shops, are included, evoking meaning and memory. Little is wasted; button holes are integrated and old stitching lines are featured. Soft, torn edges are preferred over neat turned hems; the selvedge becomes a feature. And is there a right side to fabric?

Hand stitching is predominant in Amanda’s textile works where fabrics are dyed and stitched, printed and reformed. Various stitches are used, but simple, honest, running stitch is favoured. The practice of hand sewing was said by Sigmund Freud to facilitate hysteria but the meditative state induced by the slow, repetitive action is welcomed in todays past paced and electronically dependant life. The stuff of myths, Penelope (Homers Odyssey) buys time waiting for her husbands return by secretly undoing the weaving she completes by day.

Her exhibition Undercurrent began with a series entitled Water Maidens that questioned women’s role with regards to that essential life force ‘water’. Fancy a Swim, explored the fantasy mermaid, seen in several places in contemporary society: James Boag beer advertisements with the ‘Sirens of Bass Straights’, the new tradition of brides trashing their wedding dress in a water based photography session and Pirates of the Caribbean, where a mermaid’s tear can provide eternal life to the drinker. Many of the works in this exhibition allude to the popular mermaid fantasy; the saccharine coated female waiting to lure men, by means of enchanted singing, to the rocks and then to their deaths. And, although the works explore the femme fatale role, who didn’t want to be Marina in Stingray when growing up?

 

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33 Bombala Street
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Dudley
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NSW
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2290
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Australia
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28/01/2012 12:00:00 AM
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23/05/2015 11:34:19 AM
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20813
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Gina Ermer
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artist statement

I grew up in Newcastle and moved to Sydney in the 1980’s to study fashion design. It soon became clear that my primary interest was on textiles and surface design. I worked in various commercial textile design studios in both the fashion and home furnishings industries for ten years before moving into teaching at Tafe and University. In 2005 I received my Master of Art and Design Education from The College of Fine Arts.

Over the years I have dabbled in painting, ceramics, drawing, sculpture and textiles in an attempt to discover my personal expression and the appropriate medium with which to execute that expression.

I currently have two branches to my studio practice, screen-printing and natural dyeing. My screen-printed work is derived from my own drawings and focuses on bold shapes and eye catching colour combinations.

My dyed pieces on the other hand use natural fabrics and natural dyes, which create marks on fabric using shibori techniques. I am fascinated by the combination of the predetermined and experimental nature of the process when applied to different textures and weights of fabrics. Unpredictable patterns and tertiary colours are achieved that are automatically harmonious in nature. Some pieces become garments whilst others are more suited to soft furnishings or art works. 

dyeing & printing by nature workshop

indelible narratives exhibition

wearable art

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23/11/2012 12:00:00 AM
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23/11/2012 5:27:55 PM
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23/05/2013 12:00:00 AM
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susan fell Mcalean
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Description:

 

Multiplicity : Resists and Palimpsests

An exhibition of contemporary textile works

I am intrigued by resists and palimpsests in the  process  of transforming  textiles. The challenge of the traditional ways in which textile art is perceived and represented is the creative journey for me.  This journey, over the last few years, has a constant companion ... Italo Calvino. I am inspired by his writings.

When Calvino spoke of ‘Multiplicity’, in ”Six Memos for the Next Millennium”, he was referring to the “exhilarating infinitude of possibilities open to humankind” particularly writers.

My work in this exhibition  references concepts and places that inspire me, as well as textile techniques. The infinitude of possibilities is indeed exhilarating. Calvino’s writings are my conceptual framework.

I find beauty in Batik and Rozome and Katzome, Shibori, Feltmaking.  Stitch as a drawing tool, constantly amazes me. I am passionate about colour – particularly from eucalyptus dyes and indigo. ‘Multiplicity, Resists and Palimpsests’, is an inventory of amazing textile techniques that reveal new surprises to me each day.

“Every life is an encyclopaedia, a library, an inventory, a series of styles, and everything can be constantly shuffled and recorded in every conceivable fashion” Calvino stated in ”Six Memos for the Next Millennium”. Artists and writers must “set themselves immeasurable goals, far beyond all hope of achievement”.

Art works

 

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13/09/2012 12:00:00 AM
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13/09/2012 12:29:39 PM
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13/03/2013 12:00:00 AM
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flora friendmann
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Flora discusses Aftermath:

After we three had decided upon the theme for this exhibition, I went home & wrote a list of words that came to my mind with the word “Aftermath” and this is what I came up with : Tragedy, loss, trauma, drama, death, chaos, confusion, sadness, devastation and destruction.

Then more….. war, battle, cyclones, floods, bushfires, mud-slides and tsunamis!

All difficult, horrific occurrences.

I decided I was not just going down that path with my basketry so I searched for some “positives” that I could focus on when creating my pieces.  Not an easy task!

So, twisting my thinking, I came up with “happier” ideas about “Aftermaths” such as :

Looking at Things Differently

Developing Inner Strength

Support Coming from Unexpected Places and

Emergence.

Feeling a little happier that I could come up with so called positives and negatives for “Aftermath” I then set to weaving.

I started seriously on this project over a year ago while on holidays with friends.  I’d come up with the idea of using a slab of cedar for a base. I was going to drill holes in the timber and glue cane uprights into the holes having firstly woven a type of fabric over the uprights.  The idea was to create a roll of fabric coming undone just as the fabric of our lives can unfurl after a disaster.

I made a prototype and quickly realised the idea was not going to work!  I realised that I would not be able to drill all those holes and stand the uprights into them where I wanted them.  Back home, I perservered with the idea, determined that there was a way to make it work and hand made 125 metres of cord out of various leaves, twined it in rows through cane uprights to make the fabric and attached the fabric to the cedar base as you see it now in “Coming Undone”.  Perserverence paid off!

Having the exhibition theme to work to and constantly thinking about individual themes for my pieces, I pricked up my ears to whatever was happening in the world around me.  The newspaper constantly had items about “the aftermath” of a flood; “the aftermath” of horrific bombings; “the aftermath” of earthquakes.

I listened to a radio  interview with people who lost all their possessions in the 2015 floods in Dungog.  Some of their comments gave me cause to think of the saying “Seize the Day!”  I madly scribbled down what they said – such things as :

-“The floods were life changing”

-“My priorities are different now”

-“Get out and have fun with life.”

“Seize the Day” or “Carpe Diem” lead me down the track of researching the Roman poet Horace and the meaning of “Carpe Diem”.  I felt this woven piece needed to be almost heraldic – dramatic- a call to arms.  I discovered “heraldry” symbolises, amongst other things, “aspirations” and “show and ceremony”.  Hence, the colours and shape of that piece.

Some of my works in this exhibition, show development in my methods. I made this small basket for an exhibition for Basketry NSW last year (using strips of bangalow palm leaf sheath) open twined with coral pea vine.  I decided to make a larger basket using such strips for this exhibition.  I had to find a way to make them longer.  I did this by sewing them together with waxed linen thread.  I then decided I wanted the edge of the strips to look much more finished than in my small piece – so, I proceeded to embroider all the edges using the linen thread and glove stitch and this became “Pulling It All Together”.

Moving right along, I then decided I’d like to try to define the edges of the bangalow leaf sheath even more for another basket and thus “The Turmoil Within” developed.  Here, I’ve embroidered dyed, flat cane to the edges of the strips before randomly creating the turmoil.

And so….  my methods developed.

Often, the fibres available to me dictate my work.  My piece entitled “Aftermath” probably uses three fibres I really love to work with.  Coral Pea vine – which I love to twine and here depicts the dried scrub of the outback; bangalow palm leaf sheath – which is the most wondrous colour and when wet can be cut into strips or shapes and cane, which I must profess I really love using because of its flexibility, its ability to be dyed easily and its strength.

Personal events in my life have been an underlying factor in helping me truly understand and empathise with this theme of “Aftermath”.  Very few of us are lucky enough not to have been affected by a tragic, life changing event of some sort whether it be to ourselves or someone dear to us.

I want to thank my husband, Gabi, for his support, his patience, his harvesting and photography skills and those near and dear to me (family and friends) who seem to have developed a love and understanding of my need to create.

Finally, this last 12 to 18 months has been a truly fulfilling ride working with Glenese and Meri.  It’s been a time of learning and deep thinking and creativity.  It’s been a wonderful opportunity to be a part of this exhibition.

Artist Statement

In 2004 I stumbled upon basket weaving workshops by Virginia Kaiser at the Royal Botanic Gardens in Sydney. After my first workshop I was hooked and basketry is now part of who I am.

I work mostly with plant fibres, which I harvest myself (or gratefully accept from friends). My favourite weaving plant is Coral Pea Vine (an Australian native) but I also use such things as bangalow and date palm inflorescence, palm leaf sheaths, wisteria, dodder, red hot poker and dietes leaves. In the last year or so I have introduced decorative wire inserts to some of my pieces.

Recently I have concentrated on cane work and teaching myself new methods such as wrapping cane and sewing it with linen thread.

I mostly weave by twining and waling, using traditional stake and strand basketry but aim for non-traditional shapes which require quite a bit of problem solving at times. I find I am really interested in the architecture – the structural shape of the pieces. Many of my sculptures are also randomly woven.

Great excitement for me in 2012 was moving from weaving over the laundry sink and a small bench to spreading out and making a wonderful mess in my own studio with a specially raised bath and a large work table.

Once my work is completed I get great pleasure in naming it.  I have been told that my baskets’ names are like “poetry in basketry”.  I would like to think the baskets’ names truly tell their story and bring an extra dimension to my work.

I share my love of basketry by teaching it via workshops and have shown and sold my work in several exhibitions.  I am a founding member of Basketry NSW Inc. and have been a committee member of that group since its inception.

I strive to make beautiful, interesting shapes and as I learn more techniques I feel I’m creeping closer to mastering the crafting of wonderful baskets. 

Exhibition

Small Mercies- joint exhibition with Meri Peach and Glenese Keavney 

Aftermath-joint exhibition with Meri Peach and Glenese Keavney April 2017

20 February until 16 March 2014

 

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Lizet Frijters
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Artist Statement

 

As a self-taught textile artist, I learned from life and from my mother's enthousiasm in textile work, especially knitting and crochet. I started knitting at the age of five and learned many more textile techniques later on in life. A felting workshop with Inge Evers in Belgium in 1985 opened up a new opportunity. Since than, felt became one of my main media to use, often mixed with other techniques.

 

I am especially passionate about natural dyeing and am amazed about the wonderful vareagated colours I obtain through these techniques. Recently, I started exploring the eco print technique, which fits perfectly into my sustainable lifestyle.

I am very much inspired by nature, forms and texture and each piece that I create is original and carries my love and passion. I play with fibres and let my creations evolve within my hands.

 

I wish you much fun in looking at and wearing my creations.

Wearable Art

work by Lizet

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kerr grabowski
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Artist Statement

Kerr Grabowski's history as a fiber artist has been marked by her constant experimentation with and innovative approaches to dyeing and screening processes. She developed and produced a DVD on Deconstructed Screen Printing, a printing mono-printing technique allowing for a more intuitive approach to screen-printing.

A studio artist since 1976, Kerr is known for her whimsically elegant hand painted and screened silk fabrics and Art to Wear. 
Formerly head of Fibers at Peters Valley Craft Center in NJ, Kerr now maintains a studio in Bay Saint Louis, Mississippi.

The recipient of a 2014 Mississippi Arts Council Fellowship and New Jersey Council on the Arts Fellowship, Kerr is widely published, including Ornament, Surface Design Journal, Fiber Arts Design Book Six and Silk Painting for Fashion and Fine Art and Textiles Now, DVD Adventures in Surface Design (DVD) and Deconstructed Screen Printing (DVD)

Kerr teaches all aspects of surface design internationally. 

Exhibition

Wearable Narratives 20 March until 13 April 2014

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Bronwyn Grieve
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Artists Statement

 Since an early age art-making for me has been both play (tactile, sensory, a full-body experience) and work (physical, mental), and there has never been a time I didn’t like to create although I have not always made it a top priority or pursued any formal art training. Yet in recent years I came to realise it is also deep work of the soul because I pour myself into my creations. So, while I believe art plays an important part in our human existence; ranging from things of aesthetic value through to a role in our human conscience; there is also something personally satisfying about manipulating different medium, pursuing an idea and creating something that takes on a life of its own. Over the last 10 years I have moved from predominantly creating wearable pieces to a broader array of works and am greatly encouraged by artists who work successfully using a variety of medium. Yet, fibres and textiles continue calling most strongly to me, so I have a studio with plenty of supplies, providing constant encouragement and inspiration. I also love to find ways to re-use materials and found objects so they begin a new second- life While art of the 70’s (my early- formative- creative years) was largely abstractive I love to work at least partly realistically, whatever the piece is: sculpture, something to hang, wearable art or furnishings. Referencing nature and using natural fibres are themes in my work, relating to how I see the world (nature being ‘The greatest work of Art by The Great Creator’). This has led me to pursue a degree in Natural History and Illustration at The University Newcastle, which is enabling me to be stretched, learn from others, hone my skills and observations, as well as increasing my respect for and knowledge of the natural world. My ideas come from the inspiration of nature, social issues, learning from other artists, events which happen around me or somewhere deep inside which I cannot name, playing and responding to these stimuli in a physical expression. While I want my art to be a sensory, interesting, playful, and hopefully an intelligent contribution, encouraging discussion on all sorts of issues, I still want it to somehow connect personally with people. For the art work to be enjoyed, to stir their imagination, to draw them to a new place - either because of being: hand crafted, beautiful, thought provoking or all three and to find a place to exist in someone’s life and world outside of a gallery. For me a personal life or a world without art is bereft, as creating and enjoying creations dips me in joy and takes my breath away.  

 

View art work by Bronwyn

Exhibition

May 2012

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Joan Guttormsen
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Artist Statement

My first workshop in 1992 was with the wonderful Polly Stirling at Nimbin , NSW – it was ‘magical’. I kept my hand in with other workshops, but it wasn’t until 2000, when I was able to give felting more time, and start making hats. While the basic techniques of felting apply to all my pieces, experimentation and my creative instincts have led me to develop a dynamic style all my own. My imagination is constantly fired by the endless possibilities, as one idea leads to my next creation. Designs can be both dramatic and subtle, guided by colour choice, use of various materials, including all natural fibres and threads – with silk being my favourite. After 30 years living in Northern NSW, the move in July 2010- to come “home” to Wangaratta, the town I grew up in, to be close to family and right in the heart of wool country- was an easy decision to make. My studio is my playroom.

Artworks

 Bags and belts 

hats and scarves

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Mary Hedges
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Artist Statement

I was brought up on a remote sheep station 750 miles inland from Brisbane. Although I liked sewing clothes I did not discover embroidery or art or craft of any kind until I was lucky enough to stumble on the creative embroidery classes by Heather Joynes, in her home at Carlton. Until then I did not think I had a creative bone in my body. I was accepted as a member of the Sydney Creative Embroiderers and also joined other groups. I am now an active member of the Anything Goes Creative Arts group, the Newcastle Creative Embroiderers and Textile Artists (NCEATA) and the Australian Textile Arts and Surface Design Association (ATASDA). Through these groups I have enjoyed many workshops and learned many hand and machine embroidery techniques, dyeing, felting and etc and have exhibited in Newcastle and Sydney. I always loved beading on fabric and made some brooches using gold work techniques on silk, but mostly wall hangings.. The development of this hidden creative side helped keep me sane in a very busy life as a working mother. After leaving work as a full-time microbiologist in 2004 I discovered wire and fell in love with it, and have now practically abandoned fabrics and other fibres. I have done freeform wire work, embroidery stitches in wire, wire lace, basketry techniques, plaits & braids, macrame knots, twisted bent and tortured wire, with and without beads and semi-precious stones, in gauges from 12 to 34. I like to work with coloured copper wire rather than gold or silver- too expensive, I haven't seen much work by others with the coloured wire, and I love playing with the colours. There is some lovely work around using crochet and knitting with wire, but although I have done a little of that, I prefer to develop my own techniques. ( Although I plan to incorporate some metal after a Tafta workshop with Mary Hettmansperger). I love the flexibility of wire and the freedom of making and adapting your design and colours as you work. Mostly I make jewellery, but have made some sculptures. I enjoy giving workshops and have taught students aged 6 to 80 in Sydney, Newcastle, Wollongong, and far south-west Queensland.

Artwork

Gold and silver wire lace necklace

Brazilian Agate and Carnelian necklace

Aqua and pink flower necklace with earrings

other pieces of jewellery

 

Workshop

Wire magic 10 & 11 March 2012 read more

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nicola henley
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Artist Statement

Nicola Henley completed a degree in Fine Art Textiles at Goldsmith’s college, London in 1984. Since this, she has worked as a Textile Artist, exhibiting widely in the U.K, Ireland, Spain, Japan, Australia and the USA. Born in Bristol, England she moved to Co. Clare, Ireland in 1991 to set up a studio and continue working on large scale Textile Art pieces. She is currently in Australia for a solo exhibition at Timeless Textiles, Newcastle. Her recent work is based on a short residency in Laurieton, NSW last year.

Her work is inspired by birds and their movement and the dynamics of their spacial relationship within the natural landscape. She aims to draw our attention to the delicate balance of nature and connections between ourselves and our environment.

Nicola uses a broad range of techniques from dying, screen-printing and painting with pigments onto cotton calico and then collaging the surface using both hand and machine stitch.

The change of scale from bold printing and painting to the intimacy of close stitching helps to convey the contrasting elements of near detail within the vast open spaces of the surrounding environment.

 

Fibre art

 

Exhibition

Flights of Discovery opens 21 February until 17  March 2013

Shorelines opens  18 February until 15 March 2015

 

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Judy Hooworth
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Artist Statement

 Dora Creek flows near my home, and the surrounding bushland with its abundant birdlife, offer a microcosm of patterning and limitless colour combinations that reflect the subtleties of the Australian landscape. The quilts depict aspects of pattern and colour created by the movement of water, and changes in the natural environment from day to day.

Artwork

Art work by Judy

Exhibitions

Living in the Landscape   17 May 2012 until 19 June 2012

Detour Via the Silk Road 19 Nov - 12 Dec 2014

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susanhotchkis@yahoo.co.uk
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Susan Hotchkis studied at Manchester Metropolitan University where she earned a BA (Hons) in Embroidery and a Master Degree in Textiles. She then lectured at a college in Manchester teaching adults and pre-degree students Art and Textiles, whilst gaining a post-graduate certificate in teaching (P.G.C.E). Susan left teaching in 2007 and this has given her the freedom to pursue her passion for textile art full-time.

The core theme of Susan’s work is texture and surface, strongly influenced by the Japanese aesthetic of Wabi-Sabi.  She is interested in the relationship between the natural elements and the man-made, such as that resulting from erosion and human use. Constructing abstract forms ‘fragments’ to highlight the beauty found in the inherent processes of ageing and decay.

She has a strong interest in experimenting with materials and uses a variety of media, including photography, print and stitch. She works intuitively, with print and stitch, marks, textures and colours are exaggerated, intensified to reveal the detail and complexity within the images. Traditional materials are deconstructed, ripped, burnt and dyed and time is invested in their reconstruction, pieces can take from a week to several months to create. Whilst being aesthetically pleasing the work can also act as a metaphor for deterioration and ruin associated with urban decay and ultimately death and loss. They evolve organically, built up with layers; into three-dimensional abstract forms that hover between object and image to create a unique, visual and tactile landscape of form and texture. Challenging traditional understandings of the division between the visible and the unseen.

She has exhibited nationally and international and has undertaken private commissions as well as been included in several publications.  Most recently her work was juried intoThe 9th Lausanne to Beijing International Fiber Art Biennial Shenzhen China, The World of Threads festival Ontario Canada and FiberArt International 2016,  among others.She was also selected for‘Excellence in Fibers’ in the Fiber Art Now’s Collectors edition Journal and exhibition. 

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pamhowel
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Artist statement

Pam Hovel is an innovative Textile Artist living in Mandurang South near Bendigo, Victoria. Her light filled, mudbrick studio on her family property is surrounded by bushland and wildlife and it is this beautiful, natural environment that both inspires Pam’s work and provides materials for her textiles. Creating has been an integral part of Pam’s life, initially through necessity when she sewed clothes for herself and then for her children. Larger projects have also featured in Pam’s creative life. With her husband, she built their mudbrick home, many years before sustainability and recycled were buzz words. The home was built largely from reclaimed materials and is surrounded by a large garden, a passion prior to textiles. A lifelong interest in textiles led Pam to discover the world of felting in 2004 and she has been passionate about felting ever since. Although Pam has attended numerous workshops with well-known felt artists, she is largely self-taught. Pam has won awards for her work in various textile exhibitions. Following her creative instincts, she began her search for sustainable art practices. After exploring different techniques and fibres, Pam developed a beautiful, soft felt fabric using super-fine Australian Merino wool. In more recent times, Pam has focused on more feminine and highly artistic garments marrying wool and silk in the felt process. Consistent with being inspired by nature, only eco-friendly and sustainable dyeing practices are used in all her creations. All dyes are derived from plants and sometimes with the enhancement of found metals. No harmful chemical mordents are used. These truly organic garments are uniquely beautiful, each created with a relaxed Australian feel and a delight to the senses to wear. Pam will happily create your own unique piece by offering a “made to order” service.

Exhibition

Poetry in Fibres opening18 October 2012

art work

wearable art

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Cathy Jack Coupland
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Artist Statement:

Colourist and artist, Cathy Jack Coupland paints her world in stitch.  Love of country, Australian poetry, art and colour are inspirations Cathy uses in her work.  With her ‘threaded brush’, Cathy endows her work with texture and substance colouring her designs with bold dimensions.  Combining these inspirations produces stand-alone, original works full of exuberance.

Cathy has honed the technique of thread painting over a number of years to produce an exceptional body of work.  Her work has evolved from traditional pieced quilts to fully machine stitched works, covering the entire surface with shimmering, joyous colour combinations.

Cathy is an exhibiting artist whose work has been acquired by private collections as well as The Embroiderers’ Guild of NSW.  Work of this calibre stands tall in the world of textile art.

Cathy is an Accredited Tutor with the Embroiderers Guild of NSW, Accredited Tutor and Valuer with the Quilters Guild of NSW, has judged at the RAS Royal Easter Show Sydney and the Sydney Quilt Show.  Cathy completed the Proficiency Certificate with the Embroiderers Guild of NSW with Distinction and has attended numerous master-classes with well known quilters and embroiderers.

Exhibition: Colour 21 January 2016- -14 February 2016

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glenese keavney
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Glenese speaks about Aftermath:

 

My first step back into the world after my husband died was to have lunch with Meri and Flora.  Just to have lunch together.  But I think we also planned to open up a conversation about our next Basketry venture together at TT.

Unbelievably Flora said ‘I have just finished making a basket and I have called it “Aftermath”’.  We had not begun to speak about a theme for our exhibition – but, when we did, I had planned to ask if it might be called ‘Aftermath’.  So that was what I said and Meri immediately responded that that theme would suit her.

This was the way we had worked for the previous exhibition. I had been invited to have a solo exhibition but when my husband became ill that was not possible.  I had asked Meri and Flora if they would be willing to work with me on the theme I had chosen.  Working this way has been very productive.  We give each other much space; talk about ideas and encourage each other.  It is so amazing the different pieces we create – showing how different we are but still in accord.

Speak of how the word came to me

 The word ‘Aftermath’ just came to me – I think it was a gift. I had been so mown down by the death of my husband, but then I discovered/uncovered that the word had originally meant the new growth, after a mowing. Then I knew that I needed to turn towards the new growth that would come.    

I was searching to make sense of the new world in which I found myself- in a way half of me gone.  I had gone to Bali with a friend, hoping to participate in a ceremony at the Holy Waters – finding what I wished for.

 

 

In Bali, I wanted to make a gift for the woman who had taught me how to make the small baskets for daily offerings.  Trying with the coconut palm, gradually my hands remembered how to make the cubes.  My original Maori teacher had said ‘How did our ancestors understand how to turn a corner?’ Realising the psychological significance of this for me.

I went to London to a spiritual retreat, and decided I would continue on to France by myself to meet some Israeli friends. 

Small Steps Big Brave – one step at a time, working on these baskets on the long flights.  Keeping me grounded – mid-air.  On the final journey – by train from Figeac in the countryside, to Toulouse; then by taxi to the domestic airport to catch a plane to Paris and then transfer to my flight to Dubai and home.  Surrounded by French – at first the fear and then the exhilaration.

They were staying in the countryside south of Toulouse.  Each morning I would get up before dawn and go walking.  I discovered that where they were staying was close to the pilgrim trail (St James Path to Santiago).  There were beautiful crosses – stone and metal on almost each corner. Every day my friends and I would go into a different medieval church to meditate together. In the medieval village of St Cirq Lapopie perched on a cliff 300 feet above the river Lot we sat in a church.  There were hand made posters about the words of the Pope and his message of Miserecord (Mercy).  I felt touched by Mercy. I understood that in a way I was on a pilgrimage.

 

In France finding myself on the pilgrim trail; understanding mercy.

“Remorse, suffering, effort, hope”  Jeanne De Salzmann

Techniques used: The “volcanic rock” button at the core where I found myself.

Eco-dyed silk (red onion skins stitched in a pattern of weaving); used as part of the wrapping, stitching with eucalypt dyed silk thread. Felt ‘sausages’ made in a workshop years ago.  Green glass beads to represent the new green shoots – and the colour lightening as my world gradually opened and expanded. Hidden, embroidered words.  All mounted on the found ‘notice-board’ on the street for the weekly garbage collection.  Part of a new way of working with what comes to me; what calls my attention.

Coming home to Australia, and the reality that I needed to be busy preparing for this exhibition; and working in my new studio (which had merely housed my collected materials since I moved house), a burst of creativity overtook me.  A different way of working, inspired by Chris Drury:

“I rapidly let go of choice altogether, learning to allow objects to come to me” (Chris Drury, about the process of collecting from the earth, pieces for his Medicine Wheel).

And during this time of being ‘recalled to life’ I felt something was guiding me. I was reminded of the Russian fairy tale:

Go – not knowing where;

Bring – not knowing what;

The path is long, the way unknown;

The hero knows how to arrive there by himself alone;

He has the guidance of Higher Forces’

 

Artist Statement

My journey with basketry began when we moved to a new home with Bangalow palms in the backyard.  I loved the inside of the sheath – the part that hugged the trunk; and the inflorescence carrying the seeds.  It seemed so wrong to treat them as garden refuse.  But how could I use them?

This question gradually called me back to craft, which I had abandoned in early adulthood, lured into academia first and then the world of business.  It also called me back to a new appreciation of ‘women’s work’ and the life of my mother and grandmother who were both so skilful with their hands in making and doing.

I specifically discovered Basketry in November 2003 when I attended a workshop offered by Virginia Kaiser at the Botanical Gardens in Sydney. Since then I have gradually become more and more passionate about this art/craft form. I have attended many workshops to help develop my skills and have also explored new possibilities with diverse materials.

In 2008, I attended a Fibre Forum at Orange taking a class offered by the textile artist Pat Hickman (USA). Pat planted the seed that basketry was more than a craft; it was a way to make sense of life and express meaning.  This approach has stayed with me and my ‘baskets’ are expressive rather than functional.

I use traditional basketry techniques of coiling, stitching, and twining. More recently embellishment has been introduced to add my story to the substrata of the fibre.  My major materials are natural fibres - Bangalow palm (leaf, inflorescence, and flower sheaths), pine needles, red hot poker, cordyline, lavender stalks, flax, and lomandra. However, the materials have also been expanding – including pig gut, aluminium flashing, telephone wires, and memorabilia materials that can be woven such as scarves and dressmaking patterns.

Recent themes that I have been exploring relate to acceptance, gratitude and finding a way to an inner clarity (often through a journey of darkness) in the face of life’s challenges. 

I have participated regularly in group exhibitions since 2005; jointly exhibited with Meredith Peach and Flora Friedmann in 2011; and held a collaborative exhibition with photographer Ollie Barrington in 2012.

I was offered a solo exhibition by Timless Textiles in 2013 but life circumstances made that not possible.  Instead 2 friends, Meri Peach and Flora Friedmann, agreed to join me in  a collaboration. This resulted in the successful exhibition “Small Mercies”.  We enjoyed this creative exchange so much that we are again working together for the current exhibition which develops beyond the earlier theme

I was joint founder of Basketry NSW Inc. and am currently on the committee of that organisation.

Exhibition

Small Mercies- with Meredith Peach and Flora Friedmann

March 2014

Aftermath- with Meredith Peach and Flora Friedmann

March 2017

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Anne Kempton
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Artist Statement

Beginnings It started at my Mother’s knee, of course, this enchantment with colour, the richness of fabric falling at her feet as she pedalled the Singer. Soon followed skills in sewing, knitting; weaving and needlepoint, accompanied by a hoarder’s hungry passion. Along the way I have developed an abundant collection, drawn from many cultures and points in time. Then Passion became obsession in Nimbin, where I worked full time as a feltmaker with Polly Stirling (Bush Turkey) and Fibre Artist Sylvia Watt. Together with ten others, we established a supportive and vibrant felt-makers cooperative that created, learned and exhibited together. I also applied my creativity facilitating programs between government, non-government, communities and disenfranchised groups, addressing complex health, socio-economic and environmental issues. Now My textiles practice and skills in research, project management, negotiation and facilitation provide sound ballast for my passion about the creative process and desire to bring Timeless Textiles to life in the Hunter region.

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Sachiko Kotaka
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I'm a multimedia artist currently living in Lismore. I have been making felt since 1994 and after practising the art for nearly 2 decades, feltmaking has became one of my many mediums. Also ‘art’ has became for me ‘about creativity’! I like to be inventive and I have been developing new techniques - and combining different methods to achieve unique expressions and exciting and unexpected works. I can’t help pushing boundaries of feltmaking and I always seek a happy accident! I worked as one of the members of Polly Stirling's 'Wild Turkey Feltmakers' and since I involved in developing ‘Nuno-Felt’ technique with her in 1995, I have developed my own original and unique methods - ‘Calamari-Felt’ and ‘Wild Turkey’s Nest-Felt’ - in 1996. I have also developed their various variations since then and I have run some local workshops while I studied at the local TAFE and university, my degree (BA painting major) and advanced diploma in visual art as well as many other courses and exciting workshops. Teaching felt workshops have became a part of my art practice. I developed ‘Orikiri-Felt’ technique in 2009 for teaching it in NY and Connecticut states in the US in 2010. I also taught 'Orikiri-Felt' workshops at the local (Blue Knob Hall) gallery, 'Nuno-Felt' Workshop at local TAFE and ‘Complex Felt - Beyond Boundaries of Feltmaking’ Workshop at Fibres Geelong 2010 (Fibre Arts Australia) at Geelong (VIC) last year as well. I have taught my first 'Weft-Felt' Workshop for the group of Fibre Artists Network Inc at Gladstone (NSW) in June and I also taught the same workshop at the local gallery in June/July this year.

Exhibition:

Tactile Exploration  June 16 - July 10 2016

 

 

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anita Larkin
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Exhibition : The Breath of Felt - 11th May to 4th June 2017

Anita Larkin exhibits a selection of her evocative sculpture featuring felt and found objects. Larkin's work reveals felt to be many things outside of its ordinary domestic association. Felt is used as a way to investigate various objects in the world. Felt is used as symbolic narrative in its association with collected objects. Felt is a protective insulation material, for sound and warmth. It is used in housing, in musical instruments and as industrial filters and abrasive pads. Felt is a connection to our ancient nomadic past. Felt is a breath, an eternal but momentary thing connecting us all.

The ordinary object is transformed into something curious and loaded in Larkin’s art practice. The works are familiar yet delightfully strange, made with meticulous attention to detail, and display a witty sense of humour. Works in this exhibition feature things such as: ping-pong bats apparently growing breasts, felted guns, felted hammers, felted teacups, a cradle made from felted female hips joining a baseball glove, and a felt cloth made with sheep and wallaby fibre. Felt as a breath.

Anita Larkin graduated with a Bachelor of Visual Arts from Sydney College of The Arts in 1993 and has since exhibited across Australia and internationally. Represented by Defiance Gallery in Sydney since 2002, she has a sculptural practice engaged in collected objects, casting parts of the human body, and working with the nomadic material, felt. Larkin has had 11 solo shows and had work in numerous group shows including, Sculpture by the Sea (2002, 2003) The Wynne Prize AGNSW (2006, 2008) UWS Acquisitive Sculpture Award (2004, 2006, 2010) The Woollahra Small Sculpture Prize (2009, 2015), The Wangaratta Contemporary Textile Award (2009, 2015) The 5th Beijing International Art Biennale, The 2nd Tamworth Textile Triennial (2014), and The Blake Prize (2013). Larkin’s work is represented in private and public collections within Australia, such as The Wollongong City Gallery, The National Textile Collection, Westmead Hospital and The Australian War Memorial Art Collection. 

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red back
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Artist Statement

 

I am a South African born Australian, and I have been a passionate textile artist for over thirty years, utilizing many techniques, including silkscreen and Block-printing, painting, Batik, Shibori and dyeing.

The versatility and diversity of my work has earned me numerous large commissions, from Interior Designers, Architects, Couturiers, within Australia and Internationally.

Most recently, my work draws on the unique beauty of nature, using a combination of innovative plant-dyeing techniques and water-based screen-printing.

 The need to implement ecologically sustainable practices, and maintain integrity in my work, has been the catalyst for my focus: to create Artwork, clothing and homewares that embody these principles.

The plant-dyeing is particularly fascinating, as the nuances of mark-making are unpredictable and individual, as each leaf imprints onto cloth, with a kind of botanical alchemy: each piece is a unique work of art, signed by Nature.

Exhibition

Visual Narratives of a Capricious Nature

Opening 6pm - 8 pm 29 March 2012

until 15 April 2012

Wearable art

click here

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sandy manning
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Artist Statement

Growing up in country South Australia, my main influence has definitely been landscape. My appreciation of colour and textiles is influenced by my German Mother who trained as a seamstress as a teenager and worked from home during my childhood. Our house was full of colour, pattern and fabric.

I attended art school before completing a BA degree in Interior Design and working in Melbourne on mostly commercial fitouts before relocating to the beautiful South Island of New Zealand where I lived for 10 years. Since moving back to Australia I have lived in a myriad of locations; referring to myself as a gypsy. I have dabbled in many media but I now limit myself mostly to soft pastel & needle and thread!

I use antique & vintage household linens which I feel tactilely links me with women of the past. I dye, stitch and mix styles, techniques and textures. Colour is crucial. My favourite motifs are hearts, birds, the tree of life & landscape images. There is certainly an autobiographical element in my work and I find stitching almost therapeutic.

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Gina Mastio
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Artist Statement

I am a French Australian textiles artist/ clothing designer with a passion for the environment and a strong ecological conscience. Using natural fibres and natural dyes, I create breathtaking, unique, high quality pieces that are respectful to the environment, biodegradable when finally laid to rest on or within the earth, yet shall be worn and adored for many years to come. These are definitely not one season wonders. My pieces are often inspired by the layers of tree bark of the many varieties of eucalyptus, or the layers of life found on the ground during a bush walk: layers of fabrics and fibres, prints and dyes intertwining to create something very special. You become a part of this, allowing nature to surround and embrace you in these layers of clothing designed to compliment each other... making you a true living sculpture in this breathing fragile world which needs our help, not our indulgent pollution.

Artworks

view Gina's wearable art

Exhibition

Dancing lightly from France to Australia exhibition

Workshop

Ecodyeing 24 & 25 March 2012 FULL

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Gail McCall
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Artist Statement

I was born in Sydney and left Australia in the mid sixties living and working in Thailand and travelling throughout Southeast Asia, Singapore, Malaysia, Laos and Cambodia where I encountered to my amazement the temples of Angkor Watt. I lived in Nepal and Istanbul travelling through India, Afghanistan, Iran and Turkey before going to England to replenish coffers and meet my soul mate, starting a family and living there for eight years. It was in Chelsea London that I took up the tool of my Grandmother and taught myself to crochet making helmet style hats from string which I sold through a boutique in Kensington. I began my fibre art career in earnest when after returning with my family to Australia a bush fire in 1977 took everything we owned. The loads of charitable replacements of clothing led me to develop creative rearrangements to suit the needs of my family, from this came commissions and a long association with the Leura Village Craft Gallery. In 1980 I was asked by Beth Hatton a weaver and Editor of the Spinners and Weavers Magazine to write an article about my work which forced me for the first time to account for what I did and make an artistic statement. I found it rewarding to blend into a meaningful whole the disparate elements of our society as well as satisfaction in recycling beautiful materials and revitalizing them. This led to my doing a workshop in Creative Crochet in Newcastle for the Australian Wool Board. I have exhibited at the Beaver Galley Canberra, Studio Altenburg Braidwood, Watt Space Newcastle, Waste as Art Exhibition at the Newcastle Museum, St Albans Gallery, the Artist of the Wollombi Valley Exhibition, onePlus2 Studio in Lilyfield, Ubuntu Exhibition at the Sydney College of the Arts in Callan Park Rozelle and the Palm House at the Botanical gardens in Sydney. I began a Bachelor of Fine Art Degree at the University if Newcastle with the idea of finding something else I might be good at only to find that while I enjoy sculpture, ceramics, print making and Photography it is Fibre Art that excites me and somehow I seem to manage to incorporate it into these other subjects. The experience has helped in the transition from craft to art, deepening my voice in the Fibre art world as has my continuing Zen Practice. I am not one for meticulous planning preferring to see the work grow organically I want to be surprised at the end result which is one of the reasons I like felt making. I am interested in the natural world and try to make as little impact upon it as I possible can which is why I love to use a treadle sewing machine and recycle wherever I can. A recurring theme in my work is a lone figure in the landscape another Australian History especially contact with Aboriginal people as well as Zen themes of life and death.

Artworks

art work by Gail

wearable art

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Judi Nikoleski
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Artist’s Statement

The subject matter of my textile artwork comes from my own immediate material world but with an emphasis on human interaction with the landscape and nature. I especially love the creative possibilities and technical complexities of art quilts. I am also attracted by the unnerving combination of initial careful planning and the ongoing inclusion of opportunistic accidental effects necessary for a truly aesthetic outcome. I believe the medium itself must be an essential part of the artistic expression. My creative textile work has incorporated expressively hand dyed and pictorially hand painted cottons combined with commercial fabrics, mainly cottons. These are both hand and machine pieced together. I like to combine traditional machine piecing with hand pieced precise, hand dyed or painted pictorial elements. Details may be added using applique, free machine embroidery with polyester threads, original digital and/or hand embroidery. Couching using various yarns is usually used for emphasis with machine quilting threads adding colour and profile as a significant part of the textile artwork. I am drawn by the brilliant colours, unusual pattern juxtapositions, richly textured surfaces and opportunities for a larger scale in textile artworks.

Exhibition

Connectiions opening 14 November 2014

Artwork

Art work by Judi

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Barbara Osmond
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Artist Statement

The concept of fabricating a cape emerged from a study of shell crustacean behaviour in nature and exploring design possibilities with various textile processes drawn from related weave structuring. An AVL Dobby loom was dressed with a striped 2/12s wool worsted warp with and woven with hand spun space dyed wool yarn using an expanded 16 harness twill block weave reflective of repeating shell imagery and gradations in colour effects. Five and half metres of fabric were woven for a semi circular shell drape with collar neck opening secured with braid. The garment is reversible and trimmed with felt marbles and machine embroidered edging. Experiences in my work as an educator have continually remind me over many years about the ‘intelligence of the hands’ when exploring inherent visual and tactile qualities in art fabrics. I find myself presently re-examining the place of textiles in the life and culture of the peoples of this world, it’s absolute and inherent place in understanding the simplest of human needs, to adorn, comfort, display or reveal the human form and to experience the feeling of beauty. There are many other directions in which one can find textiles as a pathway for personal expression and I am looking forward to re-establishing a home studio, refreshing interests, reawakening skills, workshop sharing with others and mentoring those with a passion for all things textile.

Artworks

Inside/outside Cape

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Lois Parish-Evans
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Artist Statement

Born in Papua New Guinea to NZ parents, Australia has been my home for the past three decades. My earliest creative moments are of learning to sew under my mother's tuition as she taught the local PNG women to sew, and of the beautifully woven 'walls', the biliums (string bags), grass skirts and carvings. Sewing and art became my passions in adolescence and merged together in tertiary studies in Textiles/Fibre Art. Decades later I am still passionate about creativity, textiles and fibre art.

My artwork is inspired by the elements of design that I see in nature. the colours,shapes, lines, textures, and patterns I translate into a drawing - often highly stylized-which becomes the basis for a thread painting, an art quilt or hand made lace. 

Central to my image making is the sewing machine and my ability to draw or paint with the sewing machine using thread and fabric. these thread paintings, quilts and lace scarves/shawls are 'free machined, meaning that they are hand manipulated not digitally produced on a computerised machine.

The lace is made using solvy- a dissolvable fabric and I use good quality machine embroidery threads, interesting yarns, fabrics and hand made felt. 

Artwork

hand made lace scarves

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Lorraine Parker
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Artist Statement 

Lorraine's background in teaching in several areas in addition to her love of nature and photography has led her to creative expression and to this exhibition. A love of teaching is a motivational force in her ongoing sharing of her knowledge and skills.

 

She has tutored for the Australian Sewing Guild, ATASDA, NCEATA, Be Creative By the Sea, Misty Mountains Retreat, many country groups, private organisations  and for Southern Cross University. Lorraine has written several courses  for the latter in Design and Textile Science and Innovation

 

 After finishing full time work 8 years ago she finally had the time to devote to her passion for creativity through a textile medium  to be given an outlet.

 

Lorraine's innovative approach is reflected in her vibrant range of work where the elements of design, particularly colour and texture have been incorporated. She uses a large  variety of fabrics, yarn and fibres in an ever  widening  range of techniques.

 

Her love of diversification has extended beyond quilting as seen in her broad spectrum of work.

 

Along the path, her journey has seen a continual expansion of mediums toward the more abstract and three dimensional  as seen in her capture of the essence of the life cycle of the Australian Bush

Both  her travel and photography will be a continuing source of inspiration and expansion and like so many others in this creative medium  her visionary field is ever expanding

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John Parkes
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Artist Statement

John Parkes culls his materials from pre-used utilitarian objects: sheets, pillowcases, blankets, jeans and pyjamas have all undergone transformation at his hands in a practice that uses stitch and sometimes also plant dyes. Parkes’ work with second hand/recycled/found cloth is underpinned by notions of decomposition and temporality, the recognition that neither cloth nor user will last forever. Whether small fragments to affix talisman-like to clothing or larger pieces for the wall, his works reflect gentle processes of layering and stitching; the surface a textured map created by the wandering path of the needle.’ 1. 1. India Flint from ‘Second Skin’ Murdoch Books 2011 ISBN 978-1-74196-721-0

Artwork

genes/Jean's

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meri peach
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Meri Speaks on Aftermath:

I have been thinking a lot lately about the associations between baskets and therapy of various kinds, and also baskets and war. This is partly because I am in the midst of research for a book I am writing on basketry in Australia since colonisation, but also because it relates to the artwork Flora, Glenese and I have been doing for this exhibition. We all went through a difficult time and are in the process of coming out the other side of it. My old nan might have said we have been ‘in the wars’. 

Basketry has been used in war, among other things, to carry ammunition, wounded individuals and body parts, and in some societies, as the shields and armour worn by soldiers. Basket making was also used after both World Wars as an activity in the rehabilitation of wounded soldiers. These things were in my mind as I made some of my pieces, particularly the silver ones that resemble sharkskin, a very tough and protective substance that I once studied up close in my days as a marine biologist. I have used these baskets as something to hide in and to hide behind, while simultaneously trying to get my messages out to the world.

The association between basketry and therapy is one that many people today still seem to make even when they have no knowledge of either basketry or therapy. It is interesting and also perplexing, and sometimes frustrating, to me, that people make this unquestioning association, and that it is often seen as a negative, a sort of taint on the reputation of basketry. After all, many other kinds of art and other activities have also been used in therapy, but that association has not brought any shame or embarrassment to their reputation the way it has for basket making. At various times in my career, particularly when I am teaching, I have struggled against this association between basketry and therapy, and tried to make people question it and move past it. But at this point I think I am ready to embrace it. After all, what is actually wrong with some art form being part of a therapeutic process? Is it the implication that if we artists need therapy, there is something wrong with us? Well, that’s just reality, isn’t it? There is something wrong with everyone. Who doesn’t need therapy? Perhaps the fact that we do is a fundamental, a universal truth that actually deepens the meaning of our artwork and the connection that we can make to other people through it.

Pretty much everyone has some adversity in their lives. We are not the first artists to mine that adversity for creative gold. We are also among many contemporary artists who are using baskets as vehicles for messages not just containers for physical things. In those respects we are not unique. But I think each of the three of us has found our own unique voice in this medium we call fibre sculpture or basketry or art.

Artist Statement

I am a contemporary basket maker working with both natural and synthetic fibres. Previously I was a research biologist, and my biological background informs much of my artwork. I use traditional basketry techniques such as twining, stitching and weaving to create non-traditional sculptural and functional forms. I am inspired by natural structures such as cocoons, webs, shells, burrows, plankton and micro-organisms. My recent work speaks of various ecological concepts, the impacts of humans on the natural world, and human relationships with the environment. I am interested in the interplay between randomness and order, and my work typically has elements of each. I have been exhibiting my basketry pieces in group shows since 2004, and had my first solo exhibition in 2012. I regulary teach basketry workshops and many of my former students have gone on to become successful fibre artists I was a founding member and the inaugural President of basketry NSW Inc.  

Exhibition

Small Mercies with Flora Friendmann and Glenese Keavney

20 February until 16 March 2014

 

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Giselle Penn
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Artist Statement

Giselle incorporates the female domestic theme using found objects that imbue memory, time and place, with her handmade woollen felt. In these pieces she has made a selection of virtually oversized wearable pieces that combine objects from the sewing room to the kitchen. The series is called “Ikebana for the body” and is a playful romp with colour, texture, shape and form.

Artworks

Art works by Giselle

Workshops

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Julie Ryder
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artist statement

My initial training was in science, working in a veterinary research laboratory for many years.  I believe this started my fascination with the micro and the macro - I am initially drawn to the outward appearance of an object or image, then immediately want to investigate closer. The use of repetition in my work is inspired in part from observing nature, but also from my subsequent training as a textile designer working in multiple modular units. As a screen-printer I use mark-making - both deliberate and incidental, and micro/macro and interior/exterior views of an object to build up composition and surface design.

 

In 1994 I developed a hybrid practice between art and science by using fruit fermentation to colour and pattern my cloth. The bacteria and moulds produced by the rotting fruit ferment over several months, staining the cloth with natural dyes and leaving ghostly patterns of the fruit behind. I am fascinated by the chemistry that occurs between vegetable matter, natural fibres and the various minerals used for mordants.  This type of alchemy also occurs when I use natural dyeing techniques together with locally sourced vegetation, such as native plants. The results can often be unpredictable, enabling a more innovative approach to my work.  I then combine more traditional techniques such as monoprinting, screenprinting and stitch to build up the surface of the fabric.

For the last 12 years I have been experimenting with many different textile techniques and materials to express my concepts, from chemical resist, degumming and devore, to direct digital printing. Since 2002, I have worked with other scientists and used scientific technology to inform my work.  In recent works, photomicrographs taken with the Scanning Electron Microscope are manipulated via the computer to produce new compositions that are digitally printed onto cloth.

The recurring theme in my work is to challenge perceptions of the dichotomies between chaos and control, perfection and imperfection - questioning concepts of beauty and veracity.  I seek to encourage others to find an interest in science and its principles through my artwork. I search for the power of transformation inherent in all materials, and I work with textiles because they possess unlimited potential.

 

Exhibition

Alchemic Transformation

19 January - 6 February 2012

Chromophilia

14 Sept - 9 Oct 2016

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Wendy Scott
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Artist Statement

Colour is my signature as I have always been drawn to use pure hues which are found in nature’s jewels, tropical flowers, fish and birds. My background in traditional sewing and quilting instilled the values of quality craftsmanship and once I had mastered the techniques breaking all the rules turned out to be so much fun.

Textile Art is a lifetime passion for me inherited from generations of creative women. It gives me the freedom to create in vivid colours using many different forms, from intricately pieced quilts, vibrant fantasy pieces to fabric journals and even cloth dolls.

Inspiration comes to me from many sources. Often a whole design appears as a finished image in my mind and I will quickly sketch it before I  start. There are always many more sketches than finished artworks however the most compelling ideas get priority. Other work springs from necessity, competition or challenges and I simply start with a coloured fabric and let it guide me. People, travels to experience ancient cultures, the natural environment and intense emotions can all produce that spark to create. I am able to completely immerse myself in the creative process till time seems to disappear and mundane things like meals and sleep are forgotten.

The materials I use vary greatly though fabric is always the foundation. I decorate fabric by dyeing, painting, screen printing, rubbing, foiling, appliqué, digital printing etc then layer sheer fabrics, fibres, yarns, lace. whatever feels good. Finally, pieces may be embellished with free motion quilting, thread drawing, hand embroidery and beading. I am constantly researching new technology, textile materials and techniques to incorporate in my work. I feel a piece is complete when it hangs on the wall or adorns a bed and makes me feel an inner glow of achievement that I can’t wait to share with others.

One of the best things about my work is the opportunity to share the many experiences and skills I have gained over time with new generations of potential textile artists. There is always time to encourage others to discover their creative talents and helping students fulfil that potential has been a life goal for me.

Creating art with textiles is a wonderful experience as it has the added tactile dimensions that encourage the viewer to reach out and touch, becoming physically as well as emotionally involvedwith this unique art form.

Artworks

art works

Workshops

Workshops Sept Octobter and November 2011 with Wendy click here to register

Exhibition

The Journey along the Rainbow 17th November-10th December 2011

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Wilma Simmons
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Artists Statement

I call my art works “handmade treasures” which are inspired by people, places, heritage and literature, and are influenced by an eclectic range of media and approaches. I can’t boast of a childhood interest in creating art, unless designing paper clothes for paper cut out dolls counts! After University when I married and lived in small isolated country towns, I joined spinning, weaving, macramé and pottery craft groups and sewed, knitted and crocheted clothes for myself and our children. My interest in textiles remained a hobby while I followed a career in English and Drama teaching. Cloth doll making, embroidery and beading alleviated the everyday work stress of being a high school principal, a job which also gave me great joy and satisfaction. Not being a “retiring” type, when I finished work in 2005, I began to teach beading and art doll making, gave birth to Empress Wu Designs, volunteered with a village project in Papua New Guinea and became an accredited Contemporary Clay Instructor (polymer clay and precious metal clay – silver). My current work is a coalescence of both past and newly acquired skills, techniques and ideas.

 

 

Exhibition

Wise Women Exhibition  opening 8th March until 6th April

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Polly Stirling
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Artist Statement

I am a maker with a passion for textiles

I love to make things out of different materials and especially out of felt, which I keep making like daily bread.

In making felt the transformation of materials speak to me. I am driven to become more and more creative. What new visual language will emerge?

Sometimes abstractly through colour, form and texture, it grows. Often drawn to illusion, how will this new fabric be enhanced by the human body inside?

The felt making tells of both conscious and unconscious relations to things. Maybe a story emerges telling of cryptoc connections to place and kin. August 2011 

Wearable Art

view Polly's current work

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Myfanwy Stirling
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Artist Statement

I love making felt, designing fabric, thinking about how the fabric would best work on the human form and then making a pattern . I love to cut and sew, mistakes are usually the best thing that could happen, challenging me as to how I can then make this sculpture work. Draping my own patterns allows me to see my 2 dimensional felt in the 3 dimensional and then bring it to life. Stitching felt is the most rewardable part of this process as I see the fabric and pattern come together to create something unique, playing with top stitching, piecing of felts, layering of felts all is a part of the sculpting. My challenge is always the whole process from start to finish to create and complete each garment as an individual work of fiber art.My passion is the totla process of making and designing individual wears from start to finish. Exploration in felt challenges and encourages my pattern making which in turn echoes back to further influence my felt making concepts.

 

Artworks

wearable art 

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Wendy Townsend
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Artworks

bags

scarves  see more

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twenty ten
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Twenty Ten Group Statement

 

Twenty Ten was formed by a group of eight women who share a passion for textile and fibre art.  Each artist employs a range of techniques, including surface stitchery, canvas work, gold work, quilting, machine embroidery, felting, dyeing, mixed media and photography.  Our backgrounds and interests are wide ranging as we challenge ourselves and encourage each other to express our creativity through the medium of textile art.

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zoe wall
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Artists Statement

I love that each scarf is a unique expression of the time I have spent with it... a reflection of the weather that day, my thoughts and how I was feeling.

 

Someone clever once said, ‘it’s a beautiful thing when a career and a passion come together.’  I hope I get to make fabric for the rest of my days. 

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Sylvia Watt
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Artist Statement

At the heart of my work is an exploration of organic form. My main medium is fibres: Ive been a felt-maker for twenty years, and I love the surprise of it, the surface texture, the response of materials, clarity and integrity of materials that remain what they are, that maintain their individual identity, unlike paint. The approach of my work isn't end-driven. It's more about the process than the product, and more about the medium than the image.

Artworks

view Sylvia's current collection of art work

Exhibition

 16th Feburary until 10th March 2012

Workshop

The Art of Embellishment   read more

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25 Haig Street
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Belmont
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nsw
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Australia
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Susan Weaver
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Sun and surf meets silk in new exhibition

Sensual silk meets sun and surf in a new exhibition by local artist Susan Weaver opening at Timeless Textiles Gallery in November.

Better known in the Hunter for her evocative landscapes, which are exhibited regularly at Cooks Hill Galleries, Susan has branched out to create a range of clothing for the Sun, Silk and Surf exhibition.

Using eco-dyed silk, the artist has indulged her love of colour in the beautiful clothing and used the sun as the dominant motif. She has also collaborated with surfboard designer Aaron Frost (from Sealegged) to create boards that incorporate her sun-inspired silk into the board-making process.

“I loved working with the eco-dyes,” Susan said. “The variation of colour and line can be both strong and subtle. Although a fair bit of chance comes into play, I have a good idea of what may happen by the type of folds and objects used to create the patterns.”

The pieces, each of which is unique and unrepeatable, are based on the sun with the circle as a dominant symbol along with radiating lines and clamps arranged to produce hints of skeletal forms. Many have been double-dyed to produce a startling richness in colour and pattern.

“I hope you enjoy the Sun, Silk and Surf exhibition as much as I have enjoyed making it,” Susan said.

Sun, Silk and Surf opens from 6-8 pm on 26 November and runs until 15 December 2015.

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ann wells
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Artist Statement

My work is normally void of any personal meanings or hidden innuendo.  I like it to be about what is seen, not what is underlying.  I chose to focus on manipulating surface texture and exploiting materiality. I prefer to play with colour, form and scale.  However, while making this series of work, I have found myself leaning towards feelings of loss, pain and even regrets.  ON PAPER is made from discarded library books, the first book that started this series was Mummies, Tombs and Treasure: Secrets of Ancient Egypt, which I had been keeping for my partner Peter Speight, who died suddenly in September 2012.  For me, these works aren't sad, even though I was feeling that way when I started making them, nor are they therapeutic, as many people may rightly assume. The process of cutting up and sewing back together isn't new to me, I've been making works this way for years.  Instead, it's the use of the discarded library books that is new and has found it's way into my art practice because of the time I spent with Peter.  I'm thankful for that.  I work in public libraries, and Peter loved books, so I was always borrowing and buying discard books on subjects that I knew or thought he'd be interested in.  When he died, I had yet to give him the Mummies... book.  I'm sure, discarded library books would have filtered into my art practice eventually, but it was because of Peter and circumstance that ON PAPER is made from them.

 

exhibition

 

On paper

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liz williamson
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Artist Statement

Liz Williamson is an internationally respected textile artist who began weaving in the late 1970s. Her work engages with cultural associations, history and construction of cloth with the relationship between clothing, memory and the body informing her practice.

Since establishing her studio in 1985, Williamson has designed for industry, created works for major exhibitions and maintained an ongoing studio production. Specialising in hand-woven textiles, her work embraces traditional techniques alongside digital processes with some designs being woven in India. Williamson’s work is represented in most major public collections in Australia including the National Gallery of Australia, the National Gallery of Victoria and the Powerhouse Museum.

In 2007 Williamson was selected for the prestigious Living Treasures: Masters of Australian Craft series, an award given by Object Gallery and Craft Australia acknowledging her 30-year contribution to the craft and design sector through practice, education and advocacy. The exhibition Liz Williamson: Textiles opened at Object Gallery in November 2008 before touring regional galleries nationally during 2009, 2010 and 2011. Dr Grace Cochrane is the author of the publication with the same name.

In 2008, Williamson was appointed as Head, School of Design Studies, College of Fine Arts, University of New South Wales, Sydney. She regularly presents lectures and workshops in Europe, Asia, North America, with those in Asia being her current focus.

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redback
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Artist statement

Meredith Woolnough is an award winning visual artist that works and lives near the coastal region of Newcastle NSW. Her practice engages with the natural environment utilising the skeletal frameworks of flora and fauna as the basis of her own embroidered specimens. Threads are densely stitched into freeform sculptures that are carefully pinned to paper or set in resin preserving them as delicate handmade artifacts. Her work explores themes of the interconnectedness of living things and environmental degradation.

 

exhibition

Ethereal threads 

 

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3 Edith Place
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NORTHMEAD
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AUSTRALIA
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Rae Woolnough
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Artist Statement

The earth is a constant reminder to me of the mysteries of our existence.  It has witnessed aeons of change and speaks eloquently through its rocks and countless formations. The landscape is a recurring theme in my work, the textures and formations of rocks and vegetation are my main influences. I am intrigued by the irony of using the soft mediums of silk and fine fibre to create felt that depict these hard forms.

The construction of felt is similar to some natural geological processes.  Moisture and pressure work together to meld fibres and create felt. The fibres and materials can be guided through the felting process - but can never be dictated." 

Rae Woolnough

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glenys mann
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Expanding the Possibles exhibition

For more than 2 years there has been a dearth of artistic endeavours from the studio of Glenys Mann.

To get back into the realm of creativity, she has embarked on seeing what comes from “expanding the possibles”… or…. making tiny works.

Finding small canvases, 10cm x 6cm, she started to collect small objects that really had no possibility of becoming anything, to then be assembled onto the face of the canvases.

A leather bound journal, containing information and reports about the properties of alloys, metal and other stuff, with exquisite pen and ink handwriting, came into her possession.

Glenys started her works with sections cut from the journal pages that had absolutely no context to anything after it had been removed from its original page…. but place it near one of the found objects and it becomes another whole narrative of its own!

The viewer is tempted to come closer to the work to read and see if there is any relevance at all to the words, sometimes it is a bit vague, sometimes it is a bit funny, other times it is up to the viewer to make up his/her own mind to what it all means.

 

In the end…it really does not mean anything! It may make you laugh, it may make you scratch your head and think that the artist has completely gone mad…but what really makes this exhibition, is the fact that Glenys Mann has not lost her touch in making art that makes you look closer, think harder and to have a smile on your face as you leave the gallery.

 

She is back!!

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KRISTIN VOURNELIS
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ARTIST’S STATEMENT

As a designer I explore different ways of forming and manipulating textiles as a means of understanding the world around me and my place within it.

I am fascinated by the creative process, and how it can be used to examine and explore the indelible mark left on us as individuals by life and our unique experience of it.

My work is informed by personal contemplations on what is hidden, what is revealed, the public, versus private self, the idea of ‘me’, the things we hide and what we choose to show to the world.

My style has evolved from an exploration of things that fascinate me as well as the restrictions that impact on my work. Hence the evolution of a design and making practice that allows me to work on a small scale, creating individually crafted units that then come together to create a greater whole.

My current range HEIRLOOM is an attempt to return to a slower, more accountable, more meaningful form of personal adornment.  It is inspired by the personal message inherent in the mark of the maker that can be seen in traditional hand-made quilts and the connectedness we feel towards passed-on family treasures. It also explores my fascination with Victorian mourning jewellery.  Each piece of my work is literally imbedded with a unique and enduring mark, using both every-day objects and treasures from my life. My hope is that the wearer will wear it their own way, making it their own personal heirloom and an expression of their own unique style.

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Date Added:
7/11/2012 12:00:00 AM
Date Modified:
7/11/2012 1:15:35 PM
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7/05/2013 12:00:00 AM
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Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.

— Scott Adams