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26 Articles

FROM THE EDITOR

SCAMMERS – THEY get everywhere, don’t they? I’ve lost count of the number of princes fleeing war-torn countries who have wanted to put millions into my bank account for safe-keeping… And, while we had a wonderful response to our online competition in January to win a set of informative embroidery books, unfortunately entrants on Facebook were falsely told they had won by scammers. It was flagged up quickly by some eagle-eyed readers and we’re very sorry this happened. We weren’t alone; several accounts were hacked over this particular weekend. On a happier note, we can reveal the winner is Sally Bramall, who wrote: ‘I run charity workshops in aid of brain cancer research and always welcome new inspiration for our workshops.’ Your prize is on its way. Our regular book…

FROM THE EDITOR

PATHWAYS IS AN exhibition at Spring Gallery in Cheltenham, from 27 March to 2 April, which features interpretations of the natural world by two very different artists. Friends and colleagues Sylvie Millen and Deborah Collum come together to create a vibrant exhibition of textile and mixed media work. Deborah lives and works in rural Warwickshire, which she believes is one of the loveliest areas in Britain. Her work is based on close, daily observation of the farming landscape and the result is a colourful and highly textured interpretation of the layers of the countryside, through the seasons and in all its moods. Deborah’s work is a celebration of fabric and stitch and demonstrates strong links to domestic textiles traditions, such as patchwork and mending. Sylvie is based in the Worcestershire…

Taking a world view Farfield Mill is the only UK venue for the stunning International Textile Exhibition, inspired by the theme ‘tribes’. It features textile art from the 30 finalists who entered the European Patchwork Meeting in Val d’Argent, Alsace, France. Don’t miss the chance to see the wonderfully quirky artwork, Slavic Mushroom Pickers by Magdalena Gasowska from Poland, pictured below. Of differing ages, poor and barefoot, the women pictured have baskets brimful of fungi from the forest, a traditional ingredient of dishes on the Slavic Christmas table. Based on a photo from the National Digital Archive, circa 1930s (with the author of the photo unknown), this is a work in free-hand quilting, embroidery, raw edge appliqué and acrylic paints. The overall winner is Invisible, pictured left, by Angela Minaudo from…

Mingei is the influential folk-craft movement that developed in Japan in the 1920s and 1930s in response to rapid industrialisation. Japanese philosopher Yanagi Sōetsu coined the term to mean ‘the art of the people’, ascribing cultural value and aesthetic purity to traditional craft objects, unnamed makers and a simpler way of life. More than 80 works on show at William Morris Gallery will encompass ceramics, woodwork, paper, toys, textiles, photography and film. Art Without Heroes: Mingei, 23 March–22 September, William Morris Gallery, London British Nigerian artist Yinka Shonibare’s new works examine systems of power in Western iconography and the legacies of European imperialism. Suspended States will include installations, sculptures, pictorial quilts and woodcuts. His quilts focus on the ecological impact of colonialisation. Suspended States, Serpentine South, London, 12 April– 7…

OLIVIA CONWAY’S TEXTILE PRACTICE is driven by illustration and heavily inspired by haute couture fashion. The artist says: ‘My artistic style is composed of a combination of illustrative and detailed still-life botanicals. This informs my textile practice and the way I approach embroidery. ‘My graduate collection explores key themes of femininity, lust, romance and psychological symbolism, influenced by contextual research on the Roman myth of Eros and Psyche.’ Conway’s graduate collection was tailored towards intimate wear, as she has a long-standing love of lingerie and luxury craftsmanship. Using a combination of digital, freehand and appliqué embroidery, the artist showcased the idea of sculptural silk as opposed to traditional drapery. As well as textiles, Conway engages in life drawing, where she is both the subject and the artist. She enjoys using…

‘I made it at market’

What are your earliest memories of cloth and stitch? When I was about five years old, I wrote to Santa and asked for a wedding dress. On Christmas Day, I was given a beautiful white lace dress with a matching veil. The dress had little pink roses made out of ribbon down the front. The dress came with a note saying that Mrs Claus had been staying up late each night to sew my dress. I loved it so much I insisted on wearing it to school to show it off. Years later I found out it was my mum who had stayed up late to create the dress. When my parents moved a couple of years ago, we found the dress and veil and it’s now hanging in my…

‘I made it at market’

And the winners are…

Embroidery magazine and Brother (Sewing Machines) are delighted to announce the winners of the Machine Made competition – The Brother Creative Machine Embroidery Challenge. The jury met in February to consider the wealth of high-quality entries and, eventually, decided that the winners are Hannah Glossop and Alyssa Robinson. The jury would like to thank everyone who entered and will look forward to working with Hannah and Alyssa over the next four months as they get to grips with the machines and produce some stunning work. You will be able to track their progress in the magazine and on social media. @embroidery_mag @brothersewinguk @hg_textile_arts HANNAH GLOSSOP Hannah’s artistic style is to throw everything at it: ‘make it bold, bright and fun.’ She loves to incorporate a range of techniques into her…

And the winners are…

DARN BRILLIANT!

‘I felt there was something wrong with the fashion industry but wasn’t sure what to do about it’ As an American Bill Bryson was able to cast a critical eye over British culture with hilarious results. Japan-born Hikaru Noguchi, known for her highly sought-after knitted accessories and darning, has a twinkle in her eye as she relates what we know is wrong with the fashion industry and the interior design scene in London: one is worthy of an Oscar for exceptional waste and the other is so dominated by the upper classes it is impossible to break into without a double-barrelled name. Now living in Japan and taking part in a Zoom interview at night because of the nine-hour Tokyo time difference, Hikaru sits in her kitchen swaddled in one…

DARN BRILLIANT!

THE LANGUAGE OFWEAVING is a joint exhibition by artists Katharine Swailes and Caron Penney, who give a glimpse of their work and life together in this meaningful and timely show. Both artists have lived and worked in Sussex for the last 25 to 30 years and use the technique of handwoven tapestry to portray their different approaches to the medium. The artists met at West Dean Tapestry Studio where they were professional master weavers for 20 years. From a young age, Swailes watched her mother paint. Brought up in the Cumbrian hills of Kirkby Stephen, while also holidaying in the Sussex landscape with her great-aunt Peggy Angus, Swailes now evokes a hidden landscape intricately known to her. Her tapestries are made by first dyeing the yarns plein air in her…

A chance view from a train window, established Valerie Potter’s lifelong love of embroidery. Art was always important to her and she felt like she wanted to do it all the time but found this difficult. ‘I tried carrying a brush and paints around with me and a little notebook but that was just no good.’ Reluctant to be tied to a table, Potter observed a woman on the train station platform stitching while standing up, and thought, ‘I can do that’. It was a moment of realisation, and it led Potter to explore the art of embroidery. Although always creative, Potter did not consider herself an art-maker. A fortuitous find in a bookshop of esteemed outsider art historian Roger Cardinal’s 1972 book Outsider Art inspired her to contact him.…

Beyond our wildest dreams

New Zealand-based artist Saskia Bunce-Rath’s ‘intuitive embroidery’ creates snapshots of alternative universes, peopled with dark humanoids, in locations both familiar and unsettling. Saskia’s powerful imaginative dreamscapes are coupled with her painterly use of satin stitch in strong colours. A love of stitch and colour stems from Saskia’s Steiner school upbringing. Rudolf Steiner had unconventional views on the role of colour within art and life, terming blue, red and yellow as ‘lustre’ colours, believing that artists using these shades needed to induce ‘something that expresses an inwardly dynamic quality’. Regardless of Steiner’s theories, the dynamic quality of Saskia’s work is in no doubt as she harnesses deep and vibrant shades to her palette. ‘I’m always running to blue and yellow.’ Saskia sees these colours as moon and sun, bringing a yin/yang…

Beyond our wildest dreams

Abstract Embroidery Emily Botelho Rich in texture and vibrant in colour, Emily Botelho’s stunning abstract embroideries are works of art in thread and have earned her a worldwide following. In this, her first book, she showcases 12 beautiful projects inspired by three distinct environments: coastal, mountain and urban. She leads the reader through her unique creative process, from finding inspiration and creating bespoke fabric backgrounds to embellishing each embroidery with a diverse range of stitches, beads and found items that capture a moment in time. Her use of intuitive, slow stitching and a vibrant palette, taken from sources as diverse as mossy rocks or peeling paint, make each of her pieces unique. Emily is a firm believer that you don’t need to go far to be inspired and encourages you…

Dutch artist Mathilde Renes lives in a houseboat on a little ‘island’ between the river Spaarne and the IJ lake. Located in the village of Spaarndam, made famous by its association with the fictional American story of the boy who stuck his finger in the dyke to save the town from flooding, it’s a 20-minute drive away from Amsterdam. ‘It’s an old boat,’ says Renes. ‘It was built in 1911, it’s made of iron and very big.’ Originally intended as a grain transporter, at 31 metres long and 5.5 metres wide, it is certainly that. Renes and her husband, a civil servant at the Ministry of Justice in the Hague, bought the barge 25 years ago. A permanent severe housing shortage in The Netherlands means that boat-living is common and…

Space for creativity

MEXICO CITY-BASED ARTIST Frieda Toranzo Jaeger (born in 1988) has exhibited her exuberant, multidisciplinary work in Los Angeles, Shanghai, Vienna, Berlin, Melbourne, Paris and NewYork. Now, Modern Art Oxford is preparing to host the first institutional, solo exhibition of the artist’s work in the UK. With five newly commissioned artworks, and pieces in a range of intimate and large scales, the show will occupy the gallery’s upper floors. Toranzo Jaeger describes herself as a self-taught painter. Combining oil painting with a range of embroidery techniques and, occasionally, with applied objects such as rhinestones, the works are often presented as free-standing panelled structures, with multiple sculptural components. She paints motifs such as cars at one-to-one scale which, she says, ‘invites you to take control, to take the power, to sit in,…

Space for creativity

1. SAVE THE DATE FOR SUMMER SCHOOL From a wide range of embroidery classes to talks and special events, the RSN’s International Summer School offers sew much. Immerse yourself in the world of the RSN, with its first-class tuition, and treat yourself to this festival of stitch in July and August. The RSN is offering four ways to get involved: join the International Summer School on-site at Hampton Court Palace and RSN Durham in the UK, as well as Lexington Kentucky in the USA, or take classes live online, from anywhere around the world. Choose from a stunning range of class designs, from captivating crewelwork (1) and coronation goldwork to a Tudor sweete bag, Christmas box-making or a goldwork medieval crown. There are special offers for booking multiple classes. Royal-needlework.org.uk…

Fringe benefits

Creating stunning works in thread, which she describes as three-dimensional paintings, Sámi artist Outi Pieski, based in Ohcejohka (Utsjoki), Finland, takes enormous inspiration from her cultural heritage. Whether fringed, knotted or stitched, and ranging from the small scale to the extremely large, Pieski’s practice is rooted within duodji, the traditional practices of the Sámi people. Her work is engaged in conversation with concerns connected to land and climate, not only in Sámi territory but around the world. She has shown work at many international exhibitions, including biennials in Venice, Sydney and Gwangju, South Korea, with her first major UK exhibition now at Tate St Ives. Pieski’s practice is unique in that it operates between two distinct platforms. On the one hand, she benefits from the perspective of a Western fine…

Fringe benefits

SUE DOVE’S EMBROIDERED, self-professed ‘weird heads’ catch the eye with a riot of reused vintage fabrics and thick threads, applied as though one of the oil crayons she uses alongside collage and paint. ‘They are slightly odd,’ says Sue of her‘portraits’ but explains, ‘I’m inspired by the narratives of people’s lives.’ Well-educated, original and free-spirited, this Cornwall-based artist is influenced by everything from primitive art – especially ‘wild and wonderful’ tribal figures – to the expressionists and impressionists. The work of Russian expressionist Jawlensky (1864–1941) is a favourite, along with Matisse and the colourists, whose intense use of pigments was their driving motivation. ‘I like artists who don’t feel the need to over-describe a face and use lots of colour to produce an abstraction,’ Sue explains. ‘It should be recognisable…

Paws for applause

‘WHAT INSPIRES MY SCULPTURES is a keen interest in the animals that surround me, and a passion for using discarded materials and fashioning them into three-dimensions. I rescue and re-use items and fabrics that would otherwise go to landfill, only to be replaced with even more manmade detritus. Textiles and objects with a history bring something extra to my work and encourage me to look afresh at what is available. Even a simple printed butterfly selected from a fabric can raise a smile if used in the right place. It is something of a mental puzzle and often a physical feat to use old materials. Some fabrics are very delicate and need careful handling, while with others, such as complex multi-weave tapestry or upholstery fabrics, it can be a challenge…

Paws for applause

Every picture tells a story

Textile artist Ali Ferguson is a collector and embroiderer of stories. Found between the fountain-penned lines of a letter, a pencil-scribbled recipe on the back of an envelope or an agony aunt’s response, carefully cut-out and placed in a diary, the stories Ferguson collects are not extraordinary. The artist explains: ‘It’s about giving place, giving value to those things that weren’t, at the time, considered important. It’s like the shopping list I picked up last week after someone had left it in their supermarket trolley, it’s a nothing thing, an ordinary thing. I take people’s words, thoughts and written conversations and give importance to them.’ The context from which Ferguson’s sewn-narrations are drawn is a narrow one, a confined one, some might say. Principally from the domain of women, these…

Every picture tells a story

MEET EAST EAST ANGLIAN STITCH TEXTILES

How did the group start? EAST (East Anglian Stitch Textiles) had its inaugural meeting at Braintree District Museum in September 1995. At that time, founder member Carol Dixon was the Eastern region’s representative on the Embroiderers’ Guild committee and persuaded Anthea Godfrey, past chair of the Embroiderers’ Guild and currently artistic director, to become EAST’s mentor, a role Anthea continues to fulfil. Is there an overriding principle that binds the group members together? At those early meetings it was decided that members would meet regularly and encourage, stimulate and develop their work by research and experimentation. It was also agreed that the group would exhibit as widely as possible to promote textile art. Where and when do you meet? EAST usually meets nine times a year in a village hall…

MEET EAST EAST ANGLIAN STITCH TEXTILES

Black women & stitch

Women’s voluntary needlecrafts have been historically overlooked, especially those of black women. More than a decade ago academic Rose Sinclair set out to reverse this, through sustained research focusing on the Dorcas Clubs set up by Caribbean immigrants of her parents’ age, aka the Windrush generation. Rose is passionate about her subject, asking the question, ‘How can we talk about black women’s contribution to craft? What is written about black women [and craft] in the UK?’ Rose Sinclair’s recent work goes a long way to right this historical wrong, and to celebrate the skills, creativity and enduring influences of black women makers over the last 75 years. Rose is a lecturer in design (textiles) and design education at Goldsmiths, University of London, where she teaches at postgraduate level, linking technologies…

Black women & stitch

Come fly with me

Australian textile artist Annemieke Mein is that rare thing: a consummate craftsperson and a talented artist. She reflects: ‘Good craftsmanship is the backbone of good art in any medium. Factors that also make a difference are research, practice, a bit of flair, hard work and some imagination.’ In 1988, in the Queen’s Birthday Honours, she received the Order of Australia Medal for services to the arts, which she counts as her greatest achievement. Now 80, a retrospective called A Life’s Work, showing more than 200 pieces by the artist, is at Gippsland Art Gallery, 2 March–26 May, from where her first new book for 30 years can be obtained. Annemieke was born in Haarlem in Holland in 1944. Her family left behind the vestiges of war in 1951, when she…

Come fly with me

KINGFLY: IN MY SAFE SPACE

HAVING WATCHED DAVID MORRISH on BBC One’s Make it at Market last year, I was really excited to see his exhibition. David is a digital embroidery artist and this is his first solo exhibition. The Sunbury Embroidery Gallery is a small and beautiful space. When I arrived, I was shown the order in which to view the exhibition. I think it would work however you view it, but nonetheless I followed the path of David’s journey. The show traces his evolution from experimenting with an eBay-sourced Janome Memory Craft machine to becoming an award-winning artist, showcasing his work on TV and collaborations with celebrities. It then takes a turn and goes on to chart his journey from trauma to healing after a serious car accident in 2022. David’s journey in…

KINGFLY: IN MY SAFE SPACE

QUILT ART: MATERIAL EVIDENCE

SHOWCASING WORK BY 16 international textile artists, Quilt Art: Material Evidence is an exhibition divided loosely into two main subjects: landscape and memory. Many of the exhibitors, who are all present or former members of the European group Quilt Art, founded almost 40 years ago, display a penchant for abstraction, favouring this approach to conjure ideas and craft emotional response. Take, for example, The Sea (2017) by German member Inge Hueber, which uses machine piecing and machine quilting to fashion small cotton rectangles into a work that subtly charts the depths of the ocean through a variety of hand-dyed blues and greens. Moving from light to dark downwards, folds and wadding zig-zag the gridded rectangles into a subtly three-dimensional form. Formally, there is much to compare The Sea to Janet…

QUILT ART: MATERIAL EVIDENCE

WALKING INTOTHE SUNLIT GALLERY 57 in Arundel is a treat on most days, but, today I was immediately embraced by a deep sense of texture and materiality. Owner and curator Ann Symes’ latest exhibition, Cloth and Clay, leads you through the work of 22 artists working with textiles or ceramics, a perfect combination of earth and thread. Layers of intuitive understanding confront you at every turn. My first sight of Claire Benn’s earth-bound antique cloth pieces is combined with the delicate woven sculptures by Katharine Swailes, which are shown on jet black plinths among Benn’s series Coal Seams. This lightness of touch in placing one textile in visual contact with another is no easy feat and is seamlessly achieved here. Benn uses earth pigments to saturate the linen ground of…

ON SHOW ARUNDEL Cloth and Clay until 27 Apr, Gallery 57, 57 Tarrant Street BN18 9DJ. gallery57.co.uk AYLESBURY Blooming Threads: 400 years of embroidery blooms – an exhibition delving into the Embroiderers’ Guild Collection. Ongoing. Discover Bucks Museum, Church Street HP20 2PQ. discoverbucksmuseum.org BATH Lubaina Himid: Lost Threads until 21 Apr, Holburne Museum, Great Pulteney Street, Bath, BA2 4DB. holburne.org BIRMINGHAM Quilt Art: Material Evidence until 7 May. Midlands Arts Centre, Cannon Hill Park, B12 9QH. macbirmingham.co.uk BOVEYTRACEY Graduate award-winners from Bath Spa University’s textiles degree and the University of Plymouth. MAKE Southwest, Riverside Mill, Devon TQ13 9AF. crafts.org.uk BRISTOL Slow/Flow until 21 Apr, UWE Bristol students’ artwork inspired by recent show Elias Sime: Eregata. Plus, Acts of Creation: On Art & Motherhood until 2 Jun. Arnolfini, 16 Narrow Quay,…

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