T H E T E XT I L E A RT M A G A Z I N E

embroidery
Purple
reign

62 Group
Alison Aye
MICHELLE
HOLMES’
FACEBOOK
FAVE

SOPHIE
STANDING’S
AFRICAN
ART

TREASURE
ISLANDS
MARIAN
JAZMIK

Preview

LONDON
CRAFT
WEEK

Korean
shock
tactics
Yoon Ji
Seon

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FROM THE EDITOR
Q THE RA Summer Exhibition is an
institution in its own right. The world’s
largest open submission exhibition,
it has been held every year without
interruption since 1769 – even during
Covid lockdowns, when it had to be
delayed but not cancelled.
The publishing calendar is such that I sit
writing this at the end of March, when
Grayson Perry
social media has been peppered with
gives his seal
news of rejection letters from the RA,
of approval to
Claire Mort’s
along with some happier posts.The will
Gloria, Gloria
among artists to win an acceptance
at the 2021
letter from the prestigious show is very
RA show
keen and they take rejection hard.
It must be a perplexing exhibition to
put together, though. Works in a variety of media are eligible and with the
RA’s open submission policy, emerging artists battle it out for a space on the
wall with Royal Academicians.The exhibition is said to be hung with ‘motley
abandon’, cramming in artworks that clash with those surrounding them,
leaving the gallery-goer feeling a little feverish.
The show takes on a different personality every year with each new
coordinator. When Grayson Perry took the helm in 2018 during the RA’s
250th anniversary, there was a particularly good showing of textile works.
And, in 2021,Yinka Shonibare RA curated a show that was considered
‘inclusive’, as well as ‘vibrant, magical and moving’. Grayson Perry was snapped,
as his alter ego Claire at the 2021 show, giving his seal of approval to Claire
Mort’s stitched artwork, Gloria, Gloria (pictured above).
Sculptor Ann Christopher RA takes over as coordinator in 2024 and has the
taxing task of sifting submissions by both household names and emerging
artists. It’s too early to tell who and what from the textile art world will be
included but for one artist there was a glimmer of hope. Alison Aye (featured
on page 38)LEWQEHIMXXLVSYKLXLI½VWXVSYRHSJNYHKMRKEPXLSYKLXLMW
doesn’t mean her work will be automatically included in the show. Alison has
30 years’-worth of rejection notices. Could this be her year?
The RA Summer Exhibition 2024, 18 June–18 August, RA, Burlington House,
Piccadilly, London. royalacademy.org.uk
Turning to this month’s issue, on page 12 we feature the beautiful book
produced by Michelle Holmes focusing on her stitched character Betty.
Michelle has been posting ‘Bettys’ on Facebook nearly every Friday for
SZIV]IEVWERH½RHWXLIJIIHFEGOIREFPIW
her to keep in touch with her audience. If you’d
like to own a copy of Michelle’s book, produced
on lovely recycled cream paper, mention
Claire Waring
Embroidery magazine when ordering to receive a
EDITOR
complimentary Betty card.
Embroidery magazine

embroidery
Embroidery is published six
times a year in January, March,
May, July, September and
November by Embroiderers’
Guild Enterprises Ltd, a wholly
owned subsidiary of The
Embroiderers’ Guild.
7KHPDJD]LQHZDVƓUVW
published in 1932 and is read
today by textile professionals
and enthusiasts around the
world. The Embroiderers’
Guild is a registered charity
(No. 234239), which organises
an annual programme of
events and awards. The
Guild’s Museum Collection
of embroidered items is held
at Bucks County Museum.
EMBROIDERYMAGAZINE.CO.UK

4

EMBROIDERY

May June 2024

EDITOR

Claire Waring
07769 397790
embroideryeditorial@
warnersgroup.co.uk

DESIGNER

Melanie Smith
embroidery.mag.design@gmail.com

PUBLISHER

The Embroiderers’ Guild
Bucks County Museum
Church St, Aylesbury HP20 2QP
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contents

28

10

MAY JUNE 2024

20

44
front

07 EMBROIDERY LOVES

Anne von Freyburg rethinks textiles
within the tradition of painting

08 NEWS

Some stories and events to take note of,
including a Grayson Perry exhibition

features
24 A COLOURFUL LIFE

Catch up with the winners of the Madeira
Embroidery Competition

Mexican artist Victoria Villasana yarnbombs
black and white photographs and also the
street, like a ‘Textile Banksy’

16 ª„ÀR0ªàXyy0ª²ǧ(À0

28 REVELLING IN RUINS

15 w(0Xª§ªXð0

The winners of our Machine Made
competition, in association with Brother
[Sewing Machines], reveal their progress

Delighting in decay, Sue Hotchkis’s art is
ĹňŅļłňņĿŌŊłŅľĸķĴŁķłչĸŁĴŁĸŋĴĺĺĸŅĴŇļłŁ
of the rack and ruin that inspires her

38 NORTH AND SOUTH
10 FRESH TALENT

Katie Tubbing, 27, unveils her latest high
fashion project, chokers with personality

12 „§0y „„j

Michelle Holmes relates the development
of her stitch character Betty, a Facebook
favourite and now the subject of a book

18 OFFBEAT ARTIST

Yoon Ji Seon’s art can be shocking in a
gallery setting, from her nightmarish Rag
Faces to her masculine female nudes

20 THE SEWING ROOM

չĸŅĿłĶľķłŊŁп ľŇĴĴňĿĿĸչĻĸŅ
London studio for the countryside

22 PREVIEW: THE RED DRESS

Alison Aye is delighted to be one of the
newest members of the 62 Group and works
with stitched paper and textiles
Creating vintage-inspired art dolls helped artist
and therapist Sam Miller recover from 15 years
of chronic fatigue syndrome

The RSN is at the pinnacle of the embroidery
world and keeps standards high through
rigorous training programmes

reviews
43 BETWEEN THE COVERS

ĻĴŇяņłŁĴŇłŁķłŁ ŅĴչĸĸľ

Create a British bee in stitch or visit one of
several festivals themed around textiles

Purple
reign
SOPHIE
STANDING’S
AFRICAN
ART

TREASURE
ISLANDS
MARIAN
JAZMIK

Preview

LONDON
CRAFT
WEEK

ON THE COVER:
Silverback Gorilla by
Sophie Standing,
who has observed
African wildlife at
close quarters

Korean
shock
tactics
Yoon Ji
Seon

A new zine spotlights those who stitched while
incarcerated, highlighting their anguish

cover
story

55 EXHIBITIONS

32 ÀR0!„m„Ǫ§Çª§m0

58 WHAT’S ON

Sophie Standing recalls zebra eating her
garden veg, as she explains how living with
ĹŅļĶĴŁŊļĿķĿļĹĸձŅĸķĻĸŅĴŅŇŃŅĴĶŇļĶĸ

The BIBA Story, 1964–1975, at the Fashion
and Textile Museum, by Hattie Gordon
A look at the months ahead

FRAGMENTED
REALITY
SUE HOTCHKIS

03>

UK £6.99

56 PREVIEW: 10 YEARS OF LCW

62 Group
Alison Aye
MICHELLE
HOLMES’
FACEBOOK
FAVE

52 EDUCATION, EDUCATION

40 IXª²À§0ª²„y

TAG are inspired by Calderdale

T H E T E XT I L E A RT
M AG A Z I N E

Tate Britain’s exhibition about women artists
in Britain, 1520–1920, includes two needlepainters, who were famous in their day

37 OUT AND ABOUT

50 w00ÀÀR0ÀJJª„ǧ

embroidery

48 HISTORY: y00(m0ّ§XyÀ0ª²

For Kirstie Macleod, the Red Dress
project has provided her with incredible
highs but also some exceptional lows
Marian Jazmik travels widely, and seeks
inspiration in coastal areas

40

44 SEWING SEEDS OF RECOVERY

UK £6.99

regulars

9 771477 372044

M AY J U N E 2 0 24

May June 2024

EMBROIDERY

5

57 STILLNESS

gallery



     

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P retty little thing
Q ANNE VON FREYBURG’S ART engages in the debate surrounding femininity and female identity.
Departing from norms that sidelined traditionally feminine materials, she reclaims the value of textiles
ERHIQFVSMHIV]MR½RIEVX[MXLERETTVSEGLXLEXHMWVYTXWXLILMIVEVGL]SJGVEJXERH½RIEVX&]
concealing her own paintings with fabrics, she challenges the notion that painting holds the highest
artistic value.The under-painting guides her fabric placement, with Rococo masterpieces repurposed into
fashion fabrics as a nod to the traditional medium.The Rococo aesthetic provides a rich palette, allowing
her both to engage with and distort modern ideals through quilting techniques that simulate cosmetic
‘procedures’. Blending high and low art, she repurposes 1970s tapestry wall-hangings, fusing them with
modern materials like BDSM lacquer faux leather, challenging norms while also commenting on fast
fashion. It’s not just a conceptual statement but a celebration of the artistic possibilities of all materials.
instagram.com/annevonfreyburg facebook.com/anne.vonfreyburg
Anne von Freyburg’s work is part of Standing on the shoulders of giants: A celebration of
Dutch female artists, Saatchi Gallery, King’s Road, London, until 12 May saatchigallery.com
łŇŇňխѻ ոĸŅ łňĶĻĸŅоŅĸĶĿļŁļŁĺŁňķĸѼ, 2023, 185cm x 218cm. Textile painting: acrylic ink, spray-paint, syntheticfabrics, tapestry-fabric, sequin fabrics, hand-embroidery, polyester wadding and hand-dyed tassel fringes on canvas
May June 2024

EMBROIDERY

7

news
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Vibrant creations

Now and Zen
Scottish artist Christine McArthur relates the origins of her love
of embroidery ahead of her forthcoming show in London
‘My grandfather used to embroider, which always seemed unusual to me as a child. I
was fascinated by his sofa, where he sat sewing.The back of the sofa was completely
covered with cut threads of all colours, split and ready to use. It was a beautiful sight.
‘He had been taught to embroider by a “Lady Someone” in Durham. She took in a
group of young lads who had been shell-shocked in the First World War and it must
have been a kind of therapy. He continued to embroider all his life. When he died my
aunt gave me his threads and left-over cloth and this prompted me to produce a series
of embroideries for my post-diploma show at Glasgow School of Art in 1976. I was in
the drawing and painting department so embroidery was not really on the menu but I
wanted to do it and I was allowed to do it. I made embroideries of Persian rugs.
‘I continued to sew and paint and draw.Very few galleries I exhibited with were
interested in the embroidered work and I’ll be eternally grateful to the ones that
accepted my multi-media approach.There was still very much the attitude that the
[SVOWMRJEFVMG[IVIRSX±½RIEVX²EREXXMXYHI-´ZIEP[E]WJSYRHREVVS[QMRHIHERH
after Picasso with all his various creative outlets, a bit outdated.
‘The embroideries of the Zen gardens, pictured, are mainly based on the Storrier
Stearns Japanese Garden in Pasadena, LA. I visited a few times and apart from the
beauty of the place, I was very moved by the story of the Japanese designer, Kinzuchi
Fujii. He ended up in an internment camp in 1941 with the garden incomplete.
‘Sometimes I want to make straightforward drawings, sometimes it will be more
abstract collages but to me the designs and patterns in the garden were asking for
the medium of embroidery: the swirling shapes and bent trees, the paths and plant
patterns. And the slower more meditative approach this requires seemed appropriate.’

An acclaimed Devon textile artist’s dazzling
interpretation of the story of creation is to
be the centrepiece of an exciting festival in
Herefordshire this summer.
Jacqui Parkinson’s Threads through Creation will
be on display at Leominster Priory, 5 June–18
July.The installation features 12 huge textile
TERIPW[LMGLEVIMRWTMVIHF]XLI½VWXTEKIWSJ
the Bible. In the three years they took to make,
Jacqui used countless yards of sumptuous silks,
miles of thread and more than eight million
stitches to create one of the largest textile art
projects by a single artist in the world.
Inspired by the same theme, there will be
a second exhibition showcasing the skills of
Leominster’s community groups and institutions.
Organised by Priory Arts on behalf of
Leominster Priory, an array of events will run for
the duration of the festival, including a weekly
craft cafe, music and theatre, themed walks and
nature talks, workshops and church services.The
Big Stitch-up on 15 June will be a celebration of
knitting, weaving, quilting and sewing.
prioryarts.org.uk jacqui-textile.com

diary

‫ۅ‬In Weaving Abstraction in Ancient and Modern Art,
at The Met, New York, two bodies of work separated
by at least 500 years have been brought together
to explore the connections between artists of the
ancient Andes and those of the 20th century.
Textiles by four modern artists – Anni Albers, Sheila
Hicks, Lenore Tawney and Olga de Amaral – are
shown alongside pieces by Andean artists from the
˛ȲȺɈǿǞǶǶƵȁȁǞɐǿ !ɈȌɈǘƵׁ‫׆‬ɈǘƧƵȁɈɐȲɯ‫خ‬ÀǘƵǿȌȲƵ
than 50 works on display offer insights into the
emergence of abstract imagery.
Until 16 June. metmuseum.org
Left: Anni Albers, American (born Germany), Berlin 1899–1994
Orange, Connecticut. Pasture 1958, mercerized cotton,
14 × 15 1/2 in. (35.6 × 39.4 cm). The Metropolitan Museum
of Art, Purchase, Edward C. Moore Jr. Gift, 1969 (69.135)
XwJ0‫ێب‬ÀR0h„²0Iy(yyXm 0ª²I„Çy(ÀX„y‫غ‬ªÀX²À²ªXJRÀ²²„!X0Àæ‫ن‬ª²‫ةه‬
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8

EMBROIDERY

May June 2024

‫ۃ‬Mary Farmer
(1940–2021) was at the
forefront of radical
textile art from the
late 1960s to 1990s,
creating striking,
abstract tapestries.
‘Colour is to me,’ she
wrote, ‘the single most
powerful and emotive
visual sensation.’
The Crafts Study
Centre celebrates
the donation of
her archive in January 2024, with a show of
tapestries, rugs, sketches, samples, photos,
catalogues and artist’s notes.
7 May–7 Sept. csc.uca.ac.uk

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ׁ‫§خ׃ׇ׉‬R„À„‫§ب‬RXmX§²æ0ª

Christine McArthur,Thackeray Gallery, London, 7–24 May thackeraygallery.com

m0IÀ‫(ب‬0ÀXm„I§XyÀ0(²Xmj§Çª²0‫ س׀׈׉ׁة‬0m„à‫ب‬²Ç0ªyJ0m0æ
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§0ªI0!ÀwÀ!R‫خׁׅ׀ׂة‬À§0²Àªæ‫׀׉ׂخ‬å‫!׃ׄ׃‬w‫׈غׁׁׁׄة‬åׁ‫׈غׁׅ׃‬Xy‫خ‬0(XÀX„y„I‫§׉‬mDz‫׃‬ªÀX²Àٚ²§ª„„I²‫„!خ‬ǪÀ0²æ
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There’s another chance to see Grayson Perry’s vibrant Julie Cope tapestries at
The Arc gallery in Winchester in May/June.The tapestries illustrate key events in
XLIPMJISJ.YPMI'STIE½GXMSREPGLEVEGXIVGVIEXIHF]4IVV]8LI½VWXXETIWXV]A
Perfect Match, pictured above, portrays Julie’s early years from birth to marriage.
Her later years, second marriage and death in a tragic accident are depicted in
a work titled In its Familiarity, Golden. Rich in cultural and architectural details, the
tapestries contain a social history of modern Britain we can all relate to.
The Arc,Winchester, until 12 June. Booking necessary at arcwinchester.org.uk

A medieval romp
Naughty Medieval Embroidery by medieval
stitch specialist Tanya Bentham comes with
an adults-only warning.This practical book
explains a range of techniques used in
medieval embroidery, from simple stem
stitch to silk and goldwork. But, rather than
XLIYWYEP¾S[IVWERHWLMIPHWMXMRGPYHIW
colourful aspects of medieval life, such as
cheeky demons and phallic symbols.
Naughty Medieval Embroidery by Tanya
Bentham,The Crowood Press, £18.99.
crowood.com opusanglicanumembroidery.com

Stitching the Decades, 11 May–5 June, takes a
backwards glance at Sue Rangeley’s fascinating
work. Launching her career in 1974–1975 with a
modest collection of embroidered evening bags,
cushions and waistcoats, she attracted the interest
of Vogue writer Judy Brittain.
Based in a Cotswold studio in a rambling Victorian
house with other artists and craftspeople, Sue’s
career echoed the vibes of the time, with the
revival of British arts and crafts encouraged by
support from the Crafts Council.
During the 1970s, pivotal moments included
couture commissions for designer Bill Gibb;
photos in Vogue; the cover of Crafts magazine, an
exhibition in Paris; and gallery commissions.
The artist’s signature style emerged: romantic
embroidered fashions, delicate painted silks and
JVII¾S[MRKUYMPXMRKTEXXIVRW
strewn with depictions of
¾SVEERHFYXXIV¾MIW
Sue’s embroidered textiles
are explored to date in the
exhibition, including work for
her recent book, Embroidery
Atelier – Visions and Passions.
She has also created a brand
new piece for this show.
Stitching the Decades, 11 May–
5 June, Court Barn: A Museum
of Craft and Design, Chipping
Campden courtbarn.org.uk
suerangeley.co.uk

books

‫ۅ‬Crochet artist and founder of the

popular Instagram site @KnottedNeon,
Aynsley Grealis presents a pattern
collection for making fanciful hats,
balaclavas and handbags in all shapes
and sizes. In Mad Hatter‫ة‬ǘƵȲ˛ȲȺɈƦȌȌDz‫ة‬
Grealis shares her previously unpublished
designs and patterns to teach readers
how to make three simple bases and
then decorate each by incorporating
layers of whimsical appliqués. The
patterns look complicated, but the
secret is in the embellishments, from
ƧȌȲƊǶȲƵƵǏ˛Ⱥǘ‫ة‬ǿɐȺǘȲȌȌǿȺƊȁƮȺɈƊȲȺ
to bees and clouds.

Mad Hatter: Crazy, Colorful Crochet Designs
to Hook and Show Off by Aynsley Grealis,
Abrams, £17.99, 23 May. abramsbooks.com

‫ۅ‬Chloe Giordano is

celebrated for her
delicate, lifelike,
nature-inspired
embroidery. Fans
of Chloe will be
pleased to hear
she’s releasing an
expanded paperback
edition of The
Embroidered Art of Chloe Giordano in June, with
three new artworks and fresh insights into the ways
her style is evolving and developing.
Needlepainted Woodland Animals by Chloe Giordano,
Search Press, £18, June. searchpress.com

May June 2024

EMBROIDERY

9

GLAM

rocks
Katie Tubbing’s
concept driven
fashion is
built around
‘sustainable
maximalism’

T

here is no ignoring Katie Tubbing’s fashion creations. They
scream ‘more is more’. Yet at the heart of this 27-yearold designer’s art, there appears to be a paradox: she is
both a maximalist and a proponent of sustainability. ‘Sustainable
maximalism’ could be her mantra. ‘I always say I’m a maximalist
and I like to challenge the fashion concept where you take
elements away to reveal the essence of the piece. It’s almost like
trying to introduce a new aesthetic.’
'YVVIRXP]QEOMRK³ZIV]¾EQFS]ERX´IQFVSMHIVIHGLSOIVWHVMTTMRK
with repurposed vintage jewellery, this, she says, is as commercial
as her work gets. And it takes a special kind of client to revel in
this look. ‘Because the chokers have so much “personality”, you
need someone who has the personality to carry the piece and
not get lost in it. I’m also making slightly thinner chokers which are
more casual and easier to wear. There’s a German pop star who
has one; people in music love this kind of stuff.’
As for the sustainability of her work, Katie goes to a lot of vintage
markets to source vintage jewellery, which she pulls apart to
upcycle. The stitching involved is simple, securing each jewel to the
JEFVMG½RMWLMRK[MXLEHSYFPIORSX³*SVGIVXEMRTMIGIW]SYLEZIXS
KSXLVSYKLWTIGM½GERKPIWFYXMX´WZIV]MRXYMXMZI´
Katie has a multinational background and is half Irish, half Dutch,
with a softly international accent. She was born in Oxford but
grew up in Brussels. She has always loved ‘materials’ and her
earliest memory of making is with PlayDoh. ‘It was always about
combining two materials together,’ she remembers. Later, she
would visit her milliner uncle in London and was inspired to start
creating herself. ‘I sort of grew up in fashion,’ she remarks.

10

EMBROIDERY

May June 2024

Studying for a BA in fashion design at Amsterdam Fashion
-RWXMXYXIWLI[EWLIEZMP]MR¾YIRGIHF]XLIWGLSSP´WIQTLEWMWSR
sustainability, with the idea to repurpose vintage items stemming
JVSQLIV½VWX]IEV³-VIEPP][ERXIHXSHSWSQIXLMRKPSSOMRK
at sustainability and using jewellery, because there is so much
jewellery in the world... I think people are sometimes afraid of
YWMRKMXMRJEWLMSRFIGEYWIMXGERFILIEZ]ERHHMJ½GYPXXSEXXEGL´
It was while studying for an MA in fashion at ArtEz University in
Arnhem that she conceived the idea that made her a student
JEWLMSR½REPMWXMRXLI,ERH 0SGO4VM^IJSV)QFVSMHIV],IV
piece, called I Shop, Therefore I Am (bringing to mind the work of
conceptual artist Barbara Kruger), was about consumerism.
Having recently moved to Arnhem for her MA, she was walking
along the high street with girls from her class, who were from
China, and they started talking about the fact that high streets
across the world were becoming homogeneous. ‘You see the
same shops and the same stuff and there’s this loss of identity and
½RHMRKYRMUYIRIWWMWZIV]HMJ½GYPX´
,IV½REPMWXTVSNIGX[EWELIEZMP]IRGVYWXIHHVIWWWMQMPEVP]YWMRK
a conglomeration of vintage jewellery sewn on to tulle and then
attached to neoprene. The dress incorporated an integral hood
and what could be described as an upside down balaclava. Here
the eyes are covered and the mouth is left highlighted. ‘The mask
represents a deity of consumerism, Mammon the deity of greed. It
was based on the paradox of choice. We can go on hundreds of
XVMTWERHFY]IZIV]WMRKPIFEKFYX[I´VIRIZIVKSMRKXSFIWEXMW½IH
FIGEYWI[ILEZIWSQYGLGLSMGI.YWXEW[LIR]SYKSXS2IX¾M\
and try to choose what to watch, there’s just too much.’

Opposite page: Embroidered choker (2024).
Upcycled jewellery
§R„À„Jª§R0( æXÀm„Àߪ0²ۜXÀm„À

ĸչсłŇĻĸŅĿĴŁķ (2023). Made from lace
§R„À„Jª§R0( æå0yXm„(0àXhj²ۜå0yXm„(0àXhj²

Below:ĻłŃоĻĸŅĸĹłŅĸ ŀ (2023). Made
from upcycled jewellery and beading
§R„À„Jª§R0( æå0yXm„(0àXhj²ۜå0yXm„(0àXhj²

The mask features coins over the eyes. ‘I was inspired by the
tradition of putting coins over the eyes to pay the ferryman to
get across the river Styx. I also wanted to take away the identity
of the person wearing it and focus on the mouth because you
consume through the mouth.’
In other work Katie has conjured up remarkable threedimensional garments in lace. In these pieces, she uses the human
body as a canvas and sculpts the textile in tandem with it, cutting
out and collaging lace into new forms and structures, hiding the
stitch lines in the pattern. ‘I collect different types of lace and have
accumulated a wide variety over the years. I love working with
lace because it already has a complexity to it.’
/EXMIHIWGVMFIWLIVFYWMRIWWEW³¾IHKPMRK´ERH[LMPI[SVOMRKSR
commercial items such as the chokers, says she thinks her work will
continue ‘to have a meaning but, I think, one that can be absorbed
on so many levels. I don’t want to be an autodidact. It’s really up to
the viewer, the consumer, to take that if they feel like it.’
Katie hopes to move to London in the next few months where
WLIWE]W³MX´WRSVQEPXSFIEPMXXPIFMX¾EQFS]ERX´EPXLSYKL
nearly always dressed in the ‘black uniform’ of the art world, her
creations are not born from her personal style. They are instead
rooted deep in concepts, those that chime with everyone: it’s OK
to follow a maximalist path, but make it a sustainable journey. It
will be exciting to see what this young designer does next. e
Claire Waring
katietubbing.net
instagram.com/katietubbing
facebook.com/katie.tubbing
May June 2024

EMBROIDERY

11

REGULAR

fresh talent

‘The first Betty appeared in
2013 and I have continued
to create a new episode each
and almost every week since’
Above: ĸŇŇŌհŁķņĴŁĸņŇо
ŃĸŅĻĴŃņļŇюņĴĺłĿķĶŅĸņŇюņ, posted
19 February 2021
ĴŅĿĸչсŁŇŅłķňĶļŁĺ ĸŇŇŌļŁĻĸŅ
ĵłŊĸŅ, posted on 11 January,
ҳұҲҴтĻļņŊĴņļĶĻĸĿĿĸяņձŅņŇ
Betty drawing
ĸչсļĶĻĸĿĿĸķłĸņŁяŇŇŅĴŁņĹĸŅ
ĻĸŅņľĸŇĶĻĸņłŁŇłŇĻĸĹĴĵŅļĶ
and instead relies on ‘muscle
memory’ to accurately recreate
ĻĸŅķŅĴŊļŁĺņŊĻļĿĸĹŅĸĸф
motion stitching
Right: ĸŇŇŌĹĸĸĿņŅĸĴķŌŇłĶłňŁŇ
ņĻĸĸŃ, posted 23 April 2021

12

EMBROIDERY

May June 2024

BECOMING BETTY
Every Friday night Michelle Holmes, an artist better known
for her spiritual work, posts a thread drawing of ‘Betty’ on
Facebook. Now, they have been gathered into a book
BETTY IS A QUIRKY EMBROIDERED character whose
adventures I post on my Facebook page on Friday evenings.
8LI½VWX&IXX]ETTIEVIHMRIEVP]ERH-LEZIGSRXMRYIHXS
GVIEXIERI[ITMWSHIIEGLERHEPQSWXIZIV][IIO
8LI½VWX&IXX][EWQSVIERIQFVSMHIVIHWOIXGLXLERE
GSQTPIXIHEVX[SVO'EPPIHIntroducing Betty in her Bower, it
TVIWIRXIHEGSRXIQTPEXMZIPEH][MXLEQ]WXIVMSYWP]TEPIERH
JIEXYVIPIWWJEGI[IEVMRKEJYPPPIRKXLWTSXXIHHVIWWERHWXYVH]
EROPIFSSXW7LIWEXGVSWWPIKKIHMRELSPPS[JVEQIHMRE[MRXV]
WIXXMRKF]XLIFVERGLIWSJEPIE¾IWWXVIIERHEKVSYTSJHMWXERX
stars. So began Betty’s story.
With Betty there was no great vision from the outset, rather
LIVGLEVEGXIVLEWYRJSPHIH[MXLIEGLTEWWMRK[IIO-SJXIRPMOI
to depict her as a quiet observer and in this way invite the
viewer of my work to see the scene through her eyes. Betty has
HIZIPSTIHXLIEFMPMX]XSTEYWIMRXLIQMHWXSJXLIFYWXPISJXLI
IZIV]HE]XSXEOIMRI\TPSVIERHETTVIGMEXILIVWYVVSYRHMRKW
8LIVIEVIWTMVMXYEPIPIQIRXWXSSXLEX&IXX]WSQIXMQIWQMKLX
GLSSWIXSVIZIEP&IXX]MWEP[E]WGYVMSYWXSHMWGSZIVERH

I\TIVMIRGIRI[XLMRKWPIWWPMJI´WFMKIZIRXWQSVIXLIWQEPPIV
SGGYVVIRGIWMRFIX[IIRXLEXGERIEWMP]FISZIVPSSOIHFYX
[LMGLEVIIUYEPP]TVIGMSYW
1EOMRK&IXX]LEWFIGSQIEOMRHSJHMWGMTPMRIJSVQI-QMKLX
FIFYW][MXLEPPOMRHWSJSXLIVXLMRKWXLVSYKLSYXXLI[IIO
FYXXSGVIEXIEWQEPPWGEPITMIGIWXMPPJIIPWEGLMIZEFPIIZIR
MJ-QEOIRSXLMRKIPWI-´ZIJSYRHXLEXXLITVSGIWWGERFIE
WXITTMRKWXSRIXSSXSWSPZMRKZMWYEPTVSFPIQWSVXS½RHMRK
RI[MHIEWMRSXLIV[SVOW[LMPIXLIVIKYPEVMX]LEWLIPTIH
QIMQTVSZIQ]XIGLRMGEPWOMPPW
&IXX]EPQSWXEP[E]WFIKMRWEWEHVE[MRKMRQ]WOIXGLFSSO
It’s here I work on expressing the narrative, the perspective
ERHXLITSWMXMSRMRKSJXLIZEVMSYWIPIQIRXW[MXLMRXLIWGIRI
3RGIXLIWOIXGLMWHSRI-FIKMR[SVOSRXLITMIGIMXWIPJ-
RIZIVSYXPMRIXLIGSQTSWMXMSRSRXLIJEFVMGMRWXIEH-TVSTQ]
WOIXGLFSSOYTGPSWIXSQ]WI[MRKQEGLMRIERHVIJIVXSMXEW
-WXMXGL(YVMRKWXMXGLMRK-I\IVGMWIEOMRHSJQYWGPIQIQSV]
-½RHXLEXMJ-[EWEFPIXSWOIXGLEGSQTSWMXMSR-EQEFPIXS
IQFVSMHIVMXXSS-GSRWGMSYWP]EZSMHYWMRKXLIQEGLMRI´WWXMXGL
May June 2024

EMBROIDERY

13

REGULAR

open book

‘I consciously
avoid using the
machine’s stitch
regulator in
order to give the
stitches a freer,
less formal look’
VIKYPEXSVMRSVHIVXSKMZIXLIWXMXGLIWEJVIIV
PIWWJSVQEPPSSOERHGLSSWIKVI]ERHHEVO
REZ]XLVIEHXSKMZIXLIETTIEVERGISJTIRGMP
PIEHXSPIRHELERHHVE[RJIIPXSXLI[SVO
8LVIEHWEVIWSQIXMQIWPIJXPSRKXSEHH
QSZIQIRXW]QFSPMWMRKFVII^IWXLVSYKLXLI
XVIIWERHKVEWWSVLEMVFMPPS[MRKJVSQELEX
&IXX]MWIQFVSMHIVIHSRXSEWMQTPITPEMR
[IEZILIEZ][IMKLXYRFPIEGLIHGEPMGS
cotton fabric, which I tend to stain in
FEXGLIWYWMRKEXIEWSPYXMSRXSKMZIXLI
QEXIVMEPMXWWITMEPMOIXSRI
4EVMRKHS[RXLIQEXIVMEPWLEWGLEPPIRKIH
QIXSFIGVIEXMZI[MXLXLIUYEPMXMIWSJXLI
QEXIVMEPMXWIPJ8LIVILEZIFIIRI\EQTPIW
of Bettys where I have cut into the fabric,
YWIHETTPMUYqERHVIZIVWIETTPMUYqJVE]MRK
patchwork and mending.
Ideas for techniques have sometimes been
WTEVOIHF]ZMI[MRKERXMUYIXI\XMPIWMR
TEVXMGYPEVXLGIRXYV]WXYQT[SVOEPWS
GEPPIHVEMWIH[SVO[LIVIWXMXGLMWVEMWIH
from the background with wadding.
-SJXIRW[MXGLXSLERHWXMXGLMRKYWMRKWMPOSV
PMRIRXLVIEHXSEHHWSQI½RMWLMRKXSYGLIW
XSXLI[SVO;LIXLIVMXFIEWLMVXGSPPEVSV
EWLSSXMRKWXEVEWTVMRK¾S[IVSVEFMG]GPI
[LIIPXLILMKLPMKLXWEHHEPMXXPIWTEVOPIXS
XLIWGIRIERHLIPTIQTLEWMWIXLIREVVEXMZI
3RGIGSQTPIXIMX´WXMQIXSEHHXLIXMXPIERH
YTPSEH-XV]RSXXSOIIT&IXX]´WPS]EPJERW
JVSQ[EMXMRKPSRK

Betty was created from the outset with
*EGIFSSOMRQMRH-JIIPMX´WZMXEPJSVQ]
[SVOXSQEMRXEMRGSRXEGX[MXLXLITYFPMG
ERH*EGIFSSOKMZIWQIETPEXJSVQXSHS
XLMW8LVSYKL&IXX]´W[IIOP]EHZIRXYVIW-´ZI
WXYQFPIHYTSRE[E]XSFYMPHEVIPEXMSRWLMT
[MXLQ]JSPPS[IVWERHXLVSYKLXLIMV
JIIHFEGO-´QEFPIXSKEYKI[LIXLIVQ]
work continues to resonate with them.
-´PPEHQMXXSFIMRKEWWYVTVMWIHEWER]SRI
XLEXXLIWIVMIWLEWGSRXMRYIHJSVWSPSRKERH
that it continues to this day. It seems Betty
WXMPPLEWTPIRX]SJXLSYKLXWXSWLEVI© e

Above: ŀĴŇļŁĸĸŃĸŅĹłŅŀĴŁĶĸĴŇŇĻĸ ňŅļĶňĿĴ
ĻĸĴŇŅĸ, posted on 5 June 2020. Betty loves her
garden, as does Ronnie, her small but sturdy dog
who appears in the embroidered pictures
Below: Michelle’s new book, printed on recycled
ĶŅĸĴŀŃĴŃĸŅпҜҳұņłչĵĴĶľпҜҴұĻĴŅķĵĴĶľ

ARTIST PROFILE

1MGLIPPIWXYHMIHIQFVSMHIVIHXI\XMPIWEX0SYKLFSVSYKL9RMZIVWMX][LIVIWLI[EW
E[EVHIHE&% ,SRW HIKVIIMR%JXIVKVEHYEXMRKWLIFIKERLIVGEVIIVEWEJYPP
XMQIXI\XMPIEVXMWX[LMGLLEWGSRXMRYIHYRMRXIVVYTXIH,IVGVIEXMZITVEGXMGIMWVSSXIHMR
LIVPSZIJSVREXYVIERHLMWXSV]ERHLIVWTMVMXYEPMX]
,IVMR¾YIRGIWMRGPYHIXLGIRXYV])RKPMWLIQFVSMHIV]XLITEMRXMRKWSJ1EV]2I[GSQF
ERH7EQYIP4EPQIVERGMIRXQETWJSPOXEPIWERHQIHMIZEPGEVZMRKW7LIHVE[WLIEZMP]SR
IEVP]GLMPHLSSHQIQSVMIWSJZMPPEKIPMJIERHMXWXVEHMXMSRW
1MGLIPPIJSPPS[WXLIboroXVEHMXMSRVIMRXIVTVIXMRKXLIGSPSYVWXI\XYVIWERHHIWMKRWSJ
VITYVTSWIHZMRXEKIXI\XMPIWXSGVIEXIRI[GSRXIQTSVEV]EVX[SVO
1MGLIPPITVIWIRXWLIV[SVOEXLIVWXYHMSMRVYVEPRSVXL[IWX0IMGIWXIVWLMVIEW[IPPEW
EXERYQFIVSJ9/KEPPIVMIWERHWTIGMEPI\LMFMXMSRW,IVQSWXVIGIRXI\LMFMXMSR[EW
[MXLJIPPS[0IMGIWXIVWLMVIEVXMWX1MGLEIP'SSOMRXLIREZISJ'SZIRXV]'EXLIHVEP
coventrycathedral.org.uk/events/what-are-you-looking-for

14

EMBROIDERY

May June 2024

This article contains extracts from the recently
published book, Betty decides it’s time to
open up the Shepherd’s hut, a selection of
more than 50 Betty artwork images celebrating
the 10-year anniversary of Michelle’s weekly
stitched story series, together with lots of
background information on the Betty character
and insights into her world.
Copies are available from Michelle’s website at
archangelstudio.co.uk/bettys
Betty is posted each Friday evening on
Michelle’s Facebook page:
facebook.com/MichelleHolmesEmbroidery

competition winners
1

2

3

4

5

Visions of Paris
Q )%',746-2+XLIGSZIXIH1EHIMVE6SWI&S[PXVSTL]MWLSXP]GSRXIWXIHMRXLI1EHIMVE)QFVSMHIV]
'SQTIXMXMSREXXLI*EWLMSRERH)QFVSMHIV]WLS[2)'&MVQMRKLEQ;MXLXLIXLIQI:MWMSRWSJ4EVMWXLMW]IEV´WXST
TVM^I[EWE[EVHIHXS(EZMH1SVVMWLJSVLMWIZSGEXMZIQEGLMRIIQFVSMHIVIHEVX[SVOParis in Bloom: A Lover’s Tale.
(EZMHWGSSTIHE,YWUZEVREWI[MRKQEGLMRI1EHIMVEXLVIEH8VIEWYVI'LIWXERHXLI1EHIMVE6SWI&S[PXVSTL]
'EVSPMRI(EZMIWJVSQ&VSQPI][EWI\GMXIHXS[MRXLI:MWMXSVW´'LSMGIE[EVHWTSRWSVIHF]EmbroideryQEKE^MRI
[MXLLIVHIPMGMSYWEVX[SVOGEPPIHWMQTP]Croissant'EVSPMRIGSQQIRXIH³-XQIERWEPSXXSQIXLEXTISTPI-´ZIRIZIV
QIXPMOIHQ][SVOIRSYKLXSZSXIJSVMX%WEREVXMWXMXKMZIWQIEVIEPWIRWISJZEPMHEXMSRERHTVMHI´
*VSQJVYMXNYMGIGEVXSRWJVMIHIKKWERHJVYMXTMIXS&EXXIRFIVKGEOIERHFMWGYMXW[SVOMRKMRXLVIIHMQIRWMSREP
WXYQT[SVOWSQIXMQIWGEPPIH³VEMWIH[SVO´XSGVIEXIIQFVSMHIVIHJSSHMXIQWMWWIGSRHREXYVIJSVXLIEVXMWX
'EVSPMRIGSQQIRXIH³%GVSMWWERXLEWFIIRSRQ]³XSQEOI´PMWXJSVE[LMPIERHXLIXLIQI:MWMSRWSJ4EVMWWIIQIH
PMOIXLITIVJIGXSTTSVXYRMX]XS½REPP]QEOIMXEWJSSHMWWYGLERMQTSVXERXTEVXSJ*VIRGLGYPXYVI´
7LIEHHW³-YWIHPE]IVWSJJIPXXSGVIEXIXLIGPEWWMGGVSMWWERXWLETI3RGI-´HIQFVSMHIVIHXLIHIWMKR-WI[IHSRXLI
FSXXSQSJXLIGVSMWWERXERHWXYJJIHMXXSKMZIEJYPPXLVIIHMQIRWMSREPIJJIGXFIJSVIEXXEGLMRKMXXSXLIFEGOMRKJEFVMG´
'EVSPMRI[MRWE]IEV´WWYFWGVMTXMSRXSEmbroideryQEKE^MRI,ETT]VIEHMRK
Save the date for next year’s Fashion and Embroidery show on 13–16 March, NEC, Birmingham. ichfevents.co.uk
1. CATEGORY WINNER – B: Mainly Hand Embroidery – Sponsored by Madeira: Snapshots of Paris: A Tale of Textiles by Natalie Tyler, Reading
2. OVERALL WINNER – B: Mainly Machine Embroidery – Sponsored by Madeira and Husqvarna: Paris in Bloom: A Lover’s TaleĵŌ ĴʼnļķłŅŅļņĻпňķķĸŅņձĸĿķ
3. CATEGORY WINNER – A: Mainly Machine Embroidery – Sponsored by Madeira: Bird’s Eye View: Champs de Mars by Alyssa Robinson, Leicestershire
4. HIGHLY COMMENDED – B: Mainly Hand Embroidery: La Danseuse by Julie Cavanagh, Cupar, Scotland
5. VISITORS’ CHOICE – B: Mainly Hand Embroidery – Sponsored by Embroidery magazine: Croissant by Caroline Davies, Bromley

1E].YRI

EMBROIDERY

15

MACHINE MADE

winner s update

GET TO KNOW THE WINNERS OF OUR MACHINE MADE
COMPETITION, IN ASSOCIATION WITH BROTHER, AS THEY
SHARE FIRST STEPS WITH THEIR SEWING MACHINE LOAN

SHAKING IT UP
0IEVRQSVIEFSYX,ERREL
+PSWWST[LSPSZIWXSMRRSZEXI
[MXLQEXIVMEPWERHHMJJIVIRX[E]W
of working and has just started to
try out her Brother machine
łňĿķŌłňŇĸĿĿňņĴĵłňŇŌłňŅĵĴĶľĺŅłňŁķъ
My earliest memory of textiles is of
my gran teaching me to use a sewing
machine about 15 years ago. I was used
to being around creativity from an early
age, but the turning point in my design
journey was when I opted for art and
textiles at GCSE. I chose to focus on
ŇĸŋŇļĿĸņпձŁķļŁĺĻĴķĴŃĴņņļłŁĹłŅļŇĴŁķ
that I wanted to pursue it.
չĸŅņĶĻłłĿпņŇňķļĸķĹĴņĻļłŁĴŁķŇĸŋŇļĿĸņ
at Nottingham College, exploring both
construction and pattern cutting, as well
ĴņķļծĸŅĸŁŇŇĸŋŇļĿĸĴŃŃŅłĴĶĻĸņтŅĸĶĸŁŇĿŌ
ĴĶĻļĸʼnĸķĴձŅņŇļŁŀŌ ļŁŇĸŋŇļĿĸ
design at De Montfort University, where
I specialised in mixed media, exploring
fabric manipulation, embroidery and a
range of embellishment techniques.
ĻĴŇļŁņŃļŅĸņŌłňŅŊłŅľъ
I create vibrant pieces that bring people
joy and evoke imagination. Natural forms
inspire me, from sea to plant species, and
it is rewarding when my work inspires
other people, through the bright colour
ŃĴĿĸŇŇĸĴŁķŇĻĸĹňŁпշňļķņĻĴŃĸņт
ĻĴŇľļŁķłĹŀĴŇĸŅļĴĿņķłŌłňňņĸъ
łչĸŁŊłŅľŊļŇĻŀĴŇĸŅļĴĿņŊĻļĶĻ
have contrasting qualities, everything
from leather to faux fur. In the past,
I’ve experimented with crystal organza,
PVC, lycra and neoprene for various
ŃŅłĽĸĶŇņпĸŋŃĿłŅļŁĺĻłŊķļծĸŅĸŁŇĹĴĵŅļĶ
qualities react when combined to create
compelling textural pieces.
ĻĴŇŃļĸĶĸņĴŅĸŌłňŊłŅľļŁĺłŁŁłŊъ
I continue to experiment with a variety
of materials, as well as a vibrant colour
palette. Since graduating last year,
I’ve been working with beading and
hand-embroidery and various handembellishment techniques, as well as
reusing plastic waste to create bottle-top
and textile wall hangings and brooches.
16

EMBROIDERY

May
1E].YRI
June 2024

ĻĴŇĻĴņļŇĵĸĸŁĿļľĸĺĸŇŇļŁĺŇłĺŅļŃņŊļŇĻ
ŌłňŅ ŅłŇĻĸŅŀĴĶĻļŁĸъ
The Brother INNOV-IS Stellaire2 XE2
embroidery machine is incredible.
I really enjoyed experimenting with
ķļĺļŇĴĿĸŀĵŅłļķĸŅŌļŁŀŌձŁĴĿŌĸĴŅĴŇ
university, where I used another Brother
machine. This previous experience has
helped me get to grips with the Stellaire2.
I’m enjoying pushing the limits of the
machine and getting to know all the
amazing features.
ĻĴŇķłŌłňŇĻļŁľĴŅĸŇĻĸŀłņŇňņĸĹňĿ
ĴņŃĸĶŇņłĹŇĻĸŀĴĶĻļŁĸĹłŅŌłňŅŊłŅľъ
I would describe being able to draw a
design straight on to the machine with
the touch pad feature as being absolutely
magical. I think I’ve probably enjoyed
exploring this feature the most, as it
ŊłŅľņŊĸĿĿŊļŇĻŀŌշňļķĴŁķĴĵņŇŅĴĶŇ
style of pattern-making. This feature,
paired with My Design Snap, a free app
from Brother, allows you to scan the
hoop in order to line up designs. I’ve also
explored how the machine translates
imagery into stitched designs. I’m looking
forward to using the machine’s couching

features as well, in order to add more
depth and texture to my designs.
ĻĴŇĴŅĸŌłňŃĿĴŁŁļŁĺŇłķłŊļŇĻŇĻĸ
ŀĴĶĻļŁĸłʼnĸŅŇĻĸĹłňŅуŀłŁŇĻĿłĴŁъ
I’m going to create my own tropicalthemed patterns in my signature, joyful
ĶłĿłňŅŃĴĿĸŇŇĸпĶłŁĽňŅļŁĺňŃĴĵņŇŅĴĶŇշłŅĴĿ
patterns inspired by mark-making on a
range of interesting materials.
I’ve been having great fun so far, creating
some patch designs, which I sold at
the Fashion and Embroidery Show at
the NEC in Birmingham in March. I’ve
also been looking at reusing materials
by embroidering on to wool and woven
structures to create my own base fabric
with fun textures. I’m very much looking
forward to pushing these kinds of
ideas and focusing on an experimental
approach to digital embroidery.
Since graduating, I’ve missed being able
to use a technologically advanced piece
of equipment, so it is wonderful to have
been given this opportunity to experiment
further with a Brother machine.
hannahglossop.com
instagram.com/hg_textile_arts

machine made

SECOND NATURE
0IEVRQSVIEFSYX%P]WWE6SFMRWSR[LSLEWSRP]VIGIRXP]
FIIRXVEMRIHSRLIV&VSXLIVQEGLMRIFYXLEWFMKTPERW

ĻĴŇļŁņŃļŅĸņŌłňŅŊłŅľъ
ձŁķŀŌļŁņŃļŅĴŇļłŁłňŇņļķĸļŁ
nature, mostly. Walking in woodlands,
ձĸĿķņпĹĴŅŀĿĴŁķĴŁķĶłĴņŇĴĿĴŅĸĴņпŇĻĸ
ĺĸłĺŅĴŃĻĸŅļŁŀĸĶĴŁĴĿŊĴŌņձŁķņłŀĸ
fascination in landforms, shapes and
patterns in the landscape. Trees and
woodland, and the way light falls on the
landscape, are recurring themes.
Travelling slowly on, and in, the water
has given me time to fully appreciate the
beauty of riverbanks and water margins.
Maps will always be a passion and so
ĶĻĴŅŇņпŃĿĴŁņĴŁķĵļŅķяņфĸŌĸʼnļĸŊņłչĸŁ
inspire my artwork.
I have a family of mathematicians and
ŇĻĴŇĴŃŃĸĴŅņŇłĻĴʼnĸĿĸչĴŁļŁķĸĿļĵĿĸ
mark. I love the patterns found in nature
and the fun of creating my own designs
from numerical data or using repetition
and symmetry.

ĻĴŇŀĴŇĸŅļĴĿņķłŌłňňņĸъ
I use inexpensive utility fabrics, such
as calico and canvas, or pre-loved
textiles, such as linen sheets and
tablecloths. Sometimes I dye the
fabric, but generally it is completely
covered with stitch. No machine
thread is safe… I use anything
– cheap polyester, shiny rayon,
łŅķļŁĴŅŌņŇňծĴŁķпłĶĶĴņļłŁĴĿĿŌп
ņŃĸĶļĴĿŅĸĸĿņĴņĴŇŅĸĴŇтչĸŁňņĸ
ŇŊłķļծĸŅĸŁŇŇĻŅĸĴķņŇłĺĸŇĻĸŅп
mixing colours and textures.
ĻĴŇĴŅĸŌłňŊłŅľļŁĺłŁŁłŊъ
I’ve been working mostly on framed
pieces to hang on the wall, including
landscapes and waterscapes but also
abstract patterns inspired by the
colours of British birds.
łŊķłŌłňļŁŇĸŁķŇłňņĸŇĻĸ ŅłŇĻĸŅ
ņĸŊļŁĺŀĴĶĻļŁĸķňŅļŁĺŇĻĸĿłĴŁъ
I’ve been lent the Brother Innov-is
NV2700 embroidery/sewing/quilting
machine. I’ve only recently had the
training course, and have spent
a little time familiarising myself
with the embroidery functions and
combining pre-programmed motifs.
I haven’t yet had a chance to use the
Artspira+ subscription features, but
I’m anticipating this is where I will
ձŁķŇĻĸĹĸĴŇňŅĸņŇĻĴŇĴŅĸŀłņŇňņĸĹňĿ
to me. I’d like to be able to scan in my
own drawings and manipulate them
into stitch. This isn’t something I’ve
ever been able to do before, so I’m
excited to have a go.
яŀŃĿĴŁŁļŁĺŇłձŁķŊĴŌņŇłĵĿĸŁķ
the digital stitch and my usual
free machine embroidery – maybe
layering them or just in combination,
I’m not sure yet, but that’s what
experimentation is all about. e

alyssarobinsontextiles.com
instagram.com/alyssarobinsontextiles

)\EQTPIWSJ%P]WWE´WTEWX
[SVOMRGPYHI
8STBluebell Woods
6MKLXWilbarston War Dead
(100 years on) was part of
XLI)QFVSMHIVIVW´+YMPH
Hearts War Stories members’
TVSNIGXMR
%FSZI%P]WWE[MXLXVEMRIV8VMGME
Hudson from Brother
3TTSWMXITEKIQEMRMQEKI,ERREL
stitches a design in trademark neons with
XLI&VSXLIV-223:-77XIPPEMVI<)
-RWIX,ERRELKIXWXSKVMTW[MXLLIVRI[QEGLMRI

Jewel peacock wall-hanging by Riana Auret

łňĿķŌłňŇĸĿĿňņĴĵłňŇŌłňŅĵĴĶľĺŅłňŁķъ
I grew up in a family of makers and
menders: grandma, grandad and mum
were avid stitchers, knitters, crocheters
and dressmakers. My great uncle was a
tailor, so I think it’s in the genes. łĿķĸŁ
ĴŁķņmagazine was pounced on when it
arrived each month. Mum made clothes
for my sister and me, so the sewing
ŀĴĶĻļŁĸŊĴņĴĹĴŀļĿļĴŅձŋŇňŅĸĴŇĻłŀĸт
I started making dolls’ clothes and then
things for myself and never really stopped.
I studied textiles and dress to A-level
at school, but switched to sciences for
further education, gaining a degree in
geology and cartography.
չĸŅŇĴľļŁĺŇļŀĸłňŇŇłĵŅļŁĺňŃŇĻŅĸĸ
children, I enrolled on a City & Guilds
embroidery course at the local college,
eventually gaining the level 3 diploma
under the watchful eye of our tutor, Pam
Keeling. When Pam retired, I took over
teaching the City & Guilds course and
was the tutor for the next 15 years or so.

embroidery
THE TEXTILE ART MAGAZINE

x

@embroidery_mag @brothersewinguk
1E].YRI
May June 2024

EMBROIDERY



The power
to disturb

KOREAN ARTIST YOON JI SEON IS AN
ICONOCLAST WHOSE WORK MAKES FOR
UNSETTLING VIEWING, SAYS ELLEN BELL
QTHE WORK OF THE /SVIEREVXMWX=SSR.M7ISRMWMQTSWWMFPIXS
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³PSZILEXI´VIPEXMSRWLMT[MXLTEMRXMRK%RMGSRSGPEWXQEOMRK[SVOXLEX
IWGLI[WXLIXVEHMXMSREPWLIXEPOWEFSYXLIVGLSWIRSIYZVIEW³GEYWMRK
a rift between me and my teacher’.
Turning the ostracisation to her advantage,Yoon decided to go her
S[R[E]³8LIJEGXXLEXRSSRI[EWTE]MRKEXXIRXMSRXSQIKEZI
QIJVIIHSQ-GSYPHHSER]XLMRK´WLIVIQEVOW%RHWLIHMHQEOMRK
[SVO[MXLJSYRHSVKERMGSFNIGXWPMOIERMQEPFSRIWHVMIHGLMGOIRJIIX

ERHLSVRIHWOYPPWEPPSJ[LMGLWLIIQFIHHIH[MXLLIVLEMVSV
EHSVRIH[MXLSWXVMGLJIEXLIVWERHNI[IPW
=SSR´W³4VMGOIH´WIVMIWSJ[SVOWGEQIEFSYXXLVSYKLXLEX
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[MPPMRKRIWWXSFSXLHIWXVS]ERHHMWGSZIV
³&]QEOMRKELSPIMRXLIFEGOSJETLSXS[MXLEREGYTYRGXYVI
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IQFSWWMRK´6IRHIVMRKXLIJEGIHIPMGEXIP]EGRIHTMQTPIVMHHIR
SVKSSWIFYQTIH=SSRHMWVYTXWRSXMSRWSJTIVJIGXMSRSJMH]PPMG
beauty. It’s both a disturbance of surface and of image.
-X´WMQTSWWMFPIRSXXSVIEHKIRHIVWTIGM½GMX]IZIRKIRHIVFEWIH
SYXVEKIMR=SSR´WZMWYEPQYXMRKXLEXYFMUYMXSYW[SQER´WJEGI
TVMQEVMP]LIVW[MXLMXWJIEXYVIWQEWOIHSVWXVIXGLIHFI]SRH
VIGSKRMXMSRERH[MXLMXWQSYXLWI[RYT8LIVI´WE/SVIEREHEKI
XLEXMJ]SYHSR´XPMOISVETTVSZISJ[LEXWSQISRILEWWEMH]SY
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=SSR´WZMWYEPMGSRSGPEWQLEWIZIRQSVITSXIRG][LIRWIIRMR
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to damage the body that your parents gave you is considered
LMKLP]HMWVIWTIGXJYP%RH]IXEW[MXLQSWXGYPXYVEPQSVIWXLIVI
EVISJXIRMRI\TPMGEFPIGSRXVEHMGXMSRWWYGLEWXLIJEGXXLEX/SVIE
MWORS[REW³XLITPEWXMGWYVKIV]GETMXEPSJXLI[SVPH´MRWTMVMRKE
FSSQMRKXSYVMWXXVEHIMRMXW[EOI
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GSRXVSZIVW]³7SQITISTPI[IVIZIV]SJJIRHIHGLMPHVIRGVMIHERH
the exhibition was boycotted.’ In a country where sewing was
TVMQEVMP]YWIH³XSWLS[SJJXLIRIEXWOMPPWSJEQSHIWX[SQER´
XLIWIMQEKIW[IVIEREFIVVEXMSR³%VI]SY3/#´TISTPI[SYPHEWO
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TVSGIWWSJWIPJVI¾IGXMSRSJVIGSRGMPMEXMSRERHEREGGITXERGI
SJ[LEXMW%RHJSVEPPXLIZMWGIVESJXLIMQEKIV]LIVTMIGIW


EMBROIDERY

May June 2024

EVII\UYMWMXIP]VIRHIVIHERHGVEJXIH[LIXLIVXLI]EVIXI\XMPI
TLSXSKVETL]SVWGYPTXYVI
7XYH]MRK½RIEVXEX/SVIE´W,ERREQ9RMZIVWMX]MRXLIPEXIW
=SSR´WI\TSWYVIXSXI\XMPIEVXMWXW[EWPMQMXIH³-[EWQSVIJEQMPMEV
[MXLERHMRXIVIWXIHMRXI\XMPI[SVOWQEHIF]EVXMWXW´8[S[IWXIVR
EVXMWXW[IVITEVXMGYPEVP]MR¾YIRXMEPXLIWYVVIEPMWX1IVIX3TTIRLIMQ
QSWXRSXEFP]JSVLIVBreakfast in Fur,1936, and Kiki Smith for her
ethnographic, totemic mask pieces.Yoon shares their curiosity, their
EFMPMX]XSGVSWWEVXMWXMGFSYRHEVMIWERHQIHME[LIVIXIGLRMUYIERH
QEXIVMEPEVIWIGSRHEV]XSGSRGITXERHQIWWEKI
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[SSH[SVOQEOI0)(PMKLXTMIGIWERHTVSHYGITVMGOIH[SVO´
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XLIXLMGORIWWSJXLIPE]IVWWYGLEW[MXLLIV6EK*EGIWIVMIWQEOIW
LERHWI[MRKHMJ½GYPX8LIQEGLMRI[MXLMXW³JVIUYIRXZEVMEFPIW´SJXIR
introduces an unexpected happening within the piece, a serendipity,
EPSWMRKSJGSRXVSPXLEXTPIEWIW=SSR³-XJIIPWPMOIEGSPPEFSVEXMSR
FIX[IIRXLI[SVOERHQ]WIPJ-EQZIV]LETT][MXLXLMW´
;MXLX[SQENSVI\LMFMXMSRWXLMW]IEVXLI½VWXMRXLI)KK+EPPIV]MR
/SVIE´WJSVQIV,ERWIR´WHMWIEWIZMPPEKIERHXLIWIGSRHMR(EINISR´W
JEQSYW+EPPIV]7S]MLYR=SSRXVMIWXSPMQMXLIV[SVOMRKHE]XSIMKLX
LSYVW³-YWIHXS[SVOJSVQSVIXLERLSYVWEHE]ERH[EWLETT]
XSWTIRHXLIXMQI[SVOMRKPMOIGVE^]FYXQ]LIEPXLHIXIVMSVEXIH´
2IZIVXLIPIWWWLIMW³EP[E]WXLMROMRKEFSYX[SVO´(SMRK³WSQIXLMRK
RI[´MWXLIQSWX³ETTIEPMRKEWTIGX´SJLIVTVEGXMGIERHWLIMWGYVVIRXP]
I\TPSVMRK[SVOMRK[MXLWIGSRHLERHQMVVSVJVEQIWPMKLXWERHMQEKIW
SJJEQSYWVIPMKMSYWTEMRXMRKW.YKKPMRKXLIX[SSJXIRSTTSWMRKJSVGIW
SJWEXMWJ]MRKXLIRIIHXSJVIIP]I\TVIWWLIVWIPJERHXLEXSJIEVRMRKE
PMZMRKWIPPMRKLIV[SVO=SSREHQMXW³[LIRMX´WHVMZIRF]Q]GLSMGIW
VEXLIVXLERXLSWIJSVGIHYTSRQI[SVOJIIPWPMOILETTMRIWW´ e
yoonjiseon.com craicam.com instagram.com/craic_am

‘By making a hole in
the back of a photo with
an acupuncture needle,
the image took on a kind
of rough embossing’

Opposite page, top: ĸŊŀĸҗҰҶҰҰұ (2006)о15cm x 10cm,
sewing on a photographic portrait
Opposite page, bottom: ŅļĶľĸķҗұҲҰҲ(2012), 15.5cm x 10cm,
piercing holes in a paper photo with an acupuncture needle
This page, top: ĴĺĹĴĶĸҗҲҳҰҰұ (2023), 53cm x 61cm,
ņĸŊļŁĺłŁĹĴĵŅļĶĴŁķŃĻłŇłĺŅĴŃĻŌ
ĵłʼnĸс!łłŁļĸłŁņňŅŅłňŁķĸķĵŌŇĻĸʼnļʼnļķĶłĿłňŅņłĹ
her studio, sewing her Rag Face series
May June 2024

EMBROIDERY

19

REGULAR

offbeat artist

the sewing room

NEW STUDIO, NEW SHADES
ĿĿĸŁ ĸĿĿձŁķņŇĻĴŇĹłŅ ľŇĴĴňĿпŇĻĸŀłʼnĸłňҳųŁķłŁŇłĴ
studio in the countryside has brought fresh colours to her palette
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XVERUYMPPMX]SJVYVEP&IVOWLMVIXLIIQFVSMHIVIV)OXE/EYPTEGOIHYT
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QI;LIRMX[EWTSWWMFPIXSVIXYVRXSQ]WXYHMS-VIEPMWIHXLEX-[EW
spending over two hours commuting there and back.’
/EYPFIKERPSSOMRKJSVEREPXIVREXMZIWXYHMSWTEGIRIEVIVLSQIFYX
RSXLMRKWIIQIHWYMXEFPI³8LIRSYXSJXLIFPYIXLMWWTEGIEX=IPHLEPP
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TQERHERSXLIVEXTQWE]MRKXSQ]WIPJ]SYVIEPP]RIIHXS
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JIIPPMOI±3LQ]+SHXLIVI´WRS[LIVIXS[SVO²´


EMBROIDERY

May June 2024

'YVEXIH[MXLIZMHIRXGEVIERHXLSYKLXJYPRIWWXLISFNIGXWERHXSSPW
XLEXWMXSVPMISRWLIPZIWEQSRK/EYP´WFSSOWSVSRLIVHIWOEPSRKWMHI
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my grandmother so as to carry her trousseau to my father’s home.
)ZIV][MRXIVXMQIWLI[IRXXLVSYKLXLIVMXYEPSJFVMRKMRKXLIWEVMWSYX
of them to air them on the terrace and expose them to the sun. Such
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³8LIVI´WHI½RMXIP]ERIPIQIRXSJGYVEXMRKKSMRKSR-X´WEPQSWXPMOI-´Q
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-X´WYRHSYFXIHP]ETVMZEXIWTEGI¯EWERGXYQE[E]JVSQXLIGPEQSYV
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[MXLXLISGGEWMSREPWSRKSJFMVHWSVXLIQYVQYVMRKWSJGSRZIVWEXMSR
between the other three makers on site.
)\GMXIHF]XLITSWWMFMPMXMIWSJXLIPY\YV]XLEXXLMWRI[X[SVSSQIH
¯³SRIQIWW]SRIRSRQIWW]´¯WTEGISJJIVWLIV/EYPMRXIRHWXSYWI
MX³XSMRZIWXMKEXIXLIWTSRXERIMX]SJ[EXIVGSPSYVTEMRXMRKERHQEOI
connections with the stitched work.’ e
Kantha: Sustainable Textiles and Mindful Making by Ekta Kaul,
Herbert Press/Bloomsbury Publishing, hardback, £22, is out on 20 June.
Read our review in the July/August issue of Embroidery magazine.
ektakaul.com instagram.com/ekta_kaul

REGULAR
EKTA KAUL, HOUSE OF BELONGING, 2023. PHOTO: YESHEN VENEMA

EKTA KAUL, RIVERSIDE WALK. PHOTO: YESHEN VENEMA

May June 2024

EMBROIDERY

21

Dress to
impress
DEENA BEVERLEY
MEETS THE CREATOR
OF THE RED DRESS,
AHEAD OF ITS RETURN
TO SOMERTON

22

EMBROIDERY

May June 2024

PHOTO: NICOLE ESSELEN

preview
Main image: Lekazia Turner from Jamaica
wears the Red Dress, stitched by 380 people
ĴŁĸĿĿĸչпĶĿłĶľŊļņĸĹŅłŀĵłŇŇłŀĿĸչс
Bron Bradshaw stitches a dove in Somerset;
Women depicted carrying heavy loads by the
Kenyan Embroiderers’ Guild of Nairobi;
A section showing French knots by artisan
Zenaida Aguilar from Mexico;
Gisele, Esther and Esperance working with
KISANY, a social enterprise dedicated to
ĵňļĿķļŁĺĴŁĸĶłŁłŀŌłĹņľļĿĿĸķĴŁķձŁĴŁĶļĴĿĿŌ
independent artisans in DR Congo;
Silk shading by Liberty Cook in the UK
Inset right: The artist
behind the Red Dress,
Kirstie Macleod
estimates the project
will run for another 10
years, continuing to
bring women together
from around the world
PHOTO: MARK PICTHALL

PHOTO: MARK PICTHALL

O

ne dress, 14 years in the making,
with 380 stitchers from 51
countries and ‘literally hundreds
of millions of embroidery stitches
– 500,000 at least on just one panel’.The
statistics on Kirstie Macleod’s Red Dress
project are dizzying. Back in 2009 she had no
idea how far the project would extend, but
about some things, she felt certain. ‘I wanted
it to take 10 years to build and have time
to evolve.The seed of the idea was about
bringing different cultures and identities
together, and that’s remained, but other things
have come into it since then.’
Initially an installation artist, Kirstie wore the
dress and stitched on it while visible in a clear
cube, but the project has become less about
her as an artist, with the Red Dress emerging
literally and metaphorically from the cube and
taking on a life of its own.
Describing herself as an ‘inward not outward’
person, Kirstie was initially unprepared for the
level of interest in the dress and requests for
talks and interviews, but ‘stepped into it, and
began to love that about it.’
As the project gained momentum, Kirstie
extended its reach beyond galleries and
museums, ‘purposefully directing it to charities
and vulnerable groups’ and there was a
noticeable shift. ‘It brought a huge amount of
emotional weight I wasn’t prepared for and
didn’t know how to handle. I was absorbing
so much of it… in tears a lot, struggling with
the stories I’d heard. It was really hard.’
Things came to a head after a 2021 trip to
Kosovo. ‘For about a week, I had a sense of
not really being in my body. I was so much “in
my head”, really struggling to do my “mum”
stuff because I was so traumatised.’

Kirstie had been particularly deeply affected
by her photoshoot in the red dress at the
Heroinat [Heroines], a memorial by the
artist Ilir Blakçori, honouring Kosovo’s 20,000
women raped by Serbian forces during the
1998–1999 war. ‘It felt important to bring the
Red Dress to the memorial, the voices of 231
women from around the world stitched into
the fabric – in some way standing in solidarity
with Kosovo women.’
The image brought global awareness to
the issues raised. Kirstie ‘realised the dress
was a tool to inform and shine a light’ on
unpalatable, important subjects, but also
realised she needed to heal herself.
Kirstie explains: ‘After the completion of the
project in June 2023, I dedicated six months
to healing, integrating and processing what
I’d just come out of. I really needed to hear
myself. I’d dedicated so much of my time
to other people’s voices, but hadn’t really
nourished enough of mine.’ In 2021 Kirstie
began counselling and still has monthly
sessions, but ‘now it’s not all about the dress’.
Some unexpected emotions emerged
alongside the dress’s fame, including ‘guilt
triggered by people outside the project’
expressing disappointment that the dress isn’t
going to be fully global. ‘It’s covered one-third
of the world and some people are upset that
it isn’t going to do the other two-thirds.’
The reasons for this are manifold, including
allowing the embroidery on the dress, ‘to
have space around it to breathe’, but also
maybe, that Kirstie herself needs some
valuable breathing space.
Although the dress will continue to travel
the world, often for exhibition alongside the
work of those whose embroidery it holds, it’s

also coming home, to
ACEarts gallery and
education charity in
Somerton, Kirstie’s
local art gallery,
where people travelled
from as far as the USA to see it in 2022 and
where it will again be on show this June.
Exuding natural humility, Kirstie’s enormous
sense of responsibility to the Red Dress
project prevails in our interview, despite
encouragement to discuss her own new work.
In the next decade – the timeframe Kirstie
estimates the Red Dress will take to complete
MXWKPSFEPI\LMFMXMSRG]GPIFIJSVI½RHMRKMXW
‘forever home’ – Kirstie’s own embroidery
voice will fully emerge, speaking for her,
distinct from the many stories she has helped
vocalise so eloquently, now all held within the
Red Dress’s silken folds.
A friend visiting Kirstie’s studio observed how
the Red Dress was appearing subconsciously
in Kirstie’s new pieces.The artist says: ‘When I
close my eyes, I often see everything broken
into millions of pieces, like stitches. I’m drawn
to depicting that with repetitive markmaking…building up form with lots of stitches;
exactly the same as the Red Dress.’
One thing is clear.The Red Dress, like Hans
Christian Andersen’s red shoes, will continue
its own dance for a long while yet, and
perhaps aspects of it will dance on in Kirstie’s
own work for even longer than the journeys
of the dress itself. e
The Red Dress is at ACEarts, Somerton, 1–29 June.
Postcards and a catalogue are available at
acearts.co.uk reddressembroidery.com
kirstiemacleod.com
instagram.com/kirstiemmacleod
May June 2024

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23

profile

A colourful life
‘TEXTILE BANKSY’ VICTORIA VILLASANA BRINGS MEXICAN
HUES TO PHOTOS AND THE STREETS. BY ANNEKA FRENCH

‘C

olour is in the culture of Mexico,’ notes Victoria
Villasana. ‘The celebrations, markets, street life
and architecture are all colourful. Although I
lived for a time in Brighton and London, I think
that this colour has stayed with me, unconsciously, right
from my childhood, and it has translated into my work.’
Villasana was born in Guadalajara, Mexico. The artist
draws upon a wide pool of inspiration to make uplifting
works which combine vividly coloured embroidery in the
form of geometric shapes, highly linear or more organic
patterns – often featuring loosely hanging threads or
fringed elements – with predominantly black and white
photography. From art and design history, to the rich
cultural impact of Mexico, the vibrant stitched portraits
she has been making for the last 10 years celebrate the
world she observes around her.
Originally trained in design, Villasana’s work, in which
elements of modernism, op art or art deco can
SGGEWMSREPP]FIKPMQTWIHVI¾IGXWXLI[E]WLILEW
absorbed information over time, through nature, books
and cultural experiences. ‘There are ancient Mayan
traditions in Mexico, with patterns that have a philosophy
and a vision,’ she explains. ‘I didn’t train in that particular
way but these are part of my culture and my country. I

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May June 2024

don’t use any Mayan patterns intentionally, though there
might be some similarities; I’m not 100% indigenous and I
don’t think appropriating this would be right.’
The patterns she makes are not pre-planned but instead
emerge intuitively and experimentally, avoiding any
conscious decision to resemble patterns from other
cultures by working ‘in the zone’. Indeed, at the heart of
her work is a mixing of geometry and brilliant colours to
tell a story with a portrait.
Villasana uses a combination of different photographic
subjects, including musicians such as David Bowie, Jimi
Hendrix, Nina Simone and Argentinian musician Gustavo
Cerati, and fashion icons like Vivienne Westwood and
Iris Apfel. She also uses vintage found photographs of
people who belong to different cultures, postcards and
photographs shot by friends to stitch on to.
‘The decisions I make about photographs are related
to whether I like the person for a particular reason,’ she
explains. ‘Most of them are because I consider them
visionaries or people who question things, who make
changes for the better for other people. Sometimes
the story behind the works relates to something that
I’m going through emotionally and I want to share.
Sometimes it’s about the message, sometimes it’s about

Above: Fibonacci Sequence (2019), laminated paper size
60cm x 50cm. Photo: Riccardo La Valle
Opposite page: Uncertainty is Evolution (2023),
20 inches x 14 inches

Above: Wake Up (2023), 6 inches x 4 inches, paper
and textile, is an example of Villasana’s street art,
making the artist a kind of ‘Textile Banksy’
Right: The Evolution of Consciousness (2022),
18 inches x 13 inches
Opposite page: Ļĸ ňŇŇĸŅնŌ խĸĶŇ(2022),
24 inches x 18 inches

the person, sometimes it’s about the image.
There are different layers.’
At times her work can be seen to have an
activist or political overtone. ‘I think art is a tool
that we can use to explore different things,
like a bridge,’ she explains. ‘People don’t feel so
resistant to art and can be very open but when
it comes to politics there is a lot of resistance
and clashes. I try not to be too divisive and to
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working against injustices, thinking about how
we all affect one another and the importance
of working together, something that living in
London showed me especially.’
As well as making stitched portraits for commercial clients like
2IX¾M\ERHHarpers Bazaar, artwork for book covers and musicians,
on clothing and for display in galleries, Villasana also works within
street art and could be called the ‘Textile Banksy’. While always
aiming to respect private property, she pastes up stitched portraits
made on thin paper, embroidered with brightly coloured yarn.
7SQIXMQIWXLIWIEVIEHHIHXSI\MWXMRKTMIGIWSJKVEJ½XMSVSGGYT]
spaces on crumbling walls or fences, usually placed low down so as
to be subtly visible, their hanging threads blowing in the breeze.
‘The street art started when I was living in East Dulwich in London.
I didn’t plan it. One day a guy put some little miniature artworks
in my street. They caught my eye, especially because I always
thought about street art being big murals. I Googled him and he
was Mexican. I’d been doing portraits for a couple of years and
so thought I’d try putting them on the streets. That’s how people
started getting to know my art.
‘I think some people feel intimidated by galleries so it’s important to
have an element accessible in the street. It gets people’s attention,
breaks a routine, brings colour and invites curiosity. I think the
beauty of this work is that it is ephemeral. A piece might last one
hour or six months; people pull on the thread, dogs pee on the
paper, the weather starts to wear down the piece and this is all part
of the process. It’s for me a kind of metaphor for life – of letting go
of stuff you cannot control.’
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May June 2024

For other commissions and gallery work, the artist stitches on to
thicker paper and also on to canvas backgrounds, using a mixture of
cotton, wool and polyester threads, making selections from vibrant
colour options and choosing textures and thicknesses suitable for
the differing scales of work.
Right now,Villasana is based solely in Mexico and is working on a
commission for sportswear brand Nike, for a new Michael Jordan
shop opening in Mexico City. Making three works for display in the
shop, including one which is completely abstract, she is bringing
together ideas from basketball culture with Mexican culture.
In terms of more personal projects, she explains: ‘I’m working on a
collage series, creating videos of the collages.They have a message;
most of them have words and I add textile and painting to them,
stitching back into the textile and the paper. It’s exciting because
sometimes I do get bored of working on faces, on portraits. A
Mexican architect called Luis Barragán, whose work is recognised
worldwide, made very beautiful, very minimal, very geometric and
GSPSYVJYP[SVOERH-[ERXXSQEOIEWIVMIWSJ[SVOWMR¾YIRGIHF]
him too, adding in textile in a more geometric way.
‘My work has taken so many routes that I was not expecting,’ says
Villasana. ‘It’s been really exciting in that way. I think it’s amazing what
just yarn and photographs can do.’ e
victoriavillasana.com
instagram.com/villanaart
facebook.com/victoria.stylemarmalade

May June 2024

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27

q&a feature

REVELLING
Sue Hotchkis loves to portray decay in her work
ĴŁķłչĸŁձŁķņļŁņŃļŅĴŇļłŁļŁňŁňņňĴĿŃĿĴĶĸņ

IN RUINS
Could you share some of your early memories of textiles?

My parents were creative, mostly out of necessity rather than choice, as money was tight.
My father was a skilled woodworker and made furniture and my mum would make the
soft furnishings. She often created curtains and cushions, along with our clothes.There is
a photo of my mum and I in identical pink Crimplene trouser suits, with huge white lace
VYJ¾IWHS[RXLIJVSRX8LMW[EWRSVQEPJSVXLIW
I remember my grandmother gave mum a huge collection of fabric and curtains that
she didn’t want. I enjoyed playing shop with them, folding and sorting them into piles of
colour and pattern. I had a sewing machine from an early age, which worked by turning
the handle at the side, and I would make clothes for my dolls with fabric scraps. I was
always creative; I loved making things and still do.
How did you begin your textile art journey?

I was a mature student in my late twenties when I did my BA degree. It was one of
those things that happen in life, where you do a three-week work experience job at the
IPIGXVMGMX]FSEVHERHIMKLX]IEVWPEXIV½RH]SY´VIWXMPPXLIVI-´HEP[E]W[MWLIHXLEX-´HKSRI
to university, so when the opportunity of voluntary redundancy arose I took it. I worked
part-time for a year while doing a foundation course.The days I attended the course
were the days the textile unit was in operation, so, as they say, the rest is history.
Could you tell us a little about your education in textiles?

I have a BA in embroidery and a master’s in textiles, both from Manchester Metropolitan
University, along with a PGCE, which allowed me to teach. During my master’s, the tutor
didn’t want me to use embroidery; she wanted to take me out of my comfort zone
and push my work in another direction.This made me focus on using print techniques,
of which I had basic knowledge from my BA. At the time it was a challenge, but on
VI¾IGXMSRMX[EWXLIVMKLXXLMRKXSHS2S[-GER´XMQEKMRIRSXGSQFMRMRKTVMRX[MXLWXMXGL
MX´WQ]KSXSXIGLRMUYI4VMRXMRKKMZIWQIXLIWXEVXMRKTSMRXE½VWXPE]IVXS[SVO[MXL
What is so engaging about working with textiles?

So many aspects of textiles appeal to me: the rich colours and surfaces that can be
achieved by dyeing, layering and stitching are wonderful. Unlike a painting, textiles can be
physically manipulated to create form and shape.Textiles can be very tactile and personal.
Where is your studio and what is it like?

My studio is in a converted bedroom at home. I have a whole wall covered in a soft
board so I can pin my work up. On the opposite side, I have tables with my two sewing
machines set up. We removed the room’s en suite and put in a sink unit and print table,
so I can dye and print and generally make a mess and then close the door.The room is
south-facing, which isn’t ideal for a studio, but I wanted to have the view of the sea. I’m
very lucky as our home is in a beautiful situation facing the Moray Firth in the Highlands
of Scotland, although looking out the window can be quite a distraction...

Right: Ortigia (detail) (2019), 220cm x 92cm, cotton, felt and voile.
Techniques: screen-printed, quilted, free-motion stitched, smocking.
Inspiration was found in the city of Ortigia in Sicily, where the artist was
drawn to the marks created by damp and grime on the walls

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May June 2024

May June 2024

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29

Where do you look for inspiration?

Finding beauty in the textures, shapes and patterns within erosion
is my primary inspiration. I’m drawn to surfaces that are layered,
ephemeral, broken or worn away, either caused by nature or human
XSYGL-RXLIGSYRXV]WMHI-½RHMRWTMVEXMSREQSRKVYWXMRKJEVQ
machinery and corrugated-roofed farm sheds. In urban areas, I look at
old buildings, faded signs, rusting skips and cracked pavements. Places
like harbours and train stations are an endless source of inspiration.
Do you concentrate on one project at a time?

No, I have several projects on the go.This helps if I get stuck on a
piece; I can work on another, then come back to it with fresh eyes.
Could you take an example artwork and talk us through your process?

For the piece Drought Of Honesty, I worked with an image I took
while visiting a rooftop cafe in New York.The Tarmac/concrete had
been eroded to have a resemblance to cracked earth.
I dyed large pieces of cotton with Procion dyes, then used Photoshop
to prepare the image and had it turned into a Thermofax screen. I
printed with this and a couple of other screens on to the dyed fabric,
using Procion dyes mixed with manutex or discharge paste, then
overprinted with a print medium.The Procion dyes sink into the
fabric, while the print medium sits on top, creating a layered effect.
Using the screenprint pattern, I created a digitally-stitched design on
my Bernina 730e machine, stitching on to the printed fabric in certain
areas. I also stitched the design multiple times on synthetic voile and
used a heat gun (while wearing a mask) to create holes in the voile.
I make printed/stitched fabrics before I construct a work, then piece it
together, using sketches from photos or working intuitively. I visualise
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I began by pinning the printed cotton to the wall, cutting away several
parts. Using pins, I added the voile. Sometimes, I sandwich another
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May June 2024

fabric layer between the cotton and voile, so it shows through the
holes. In this way, I can control the colour.
I stitched around the digital embroidery using free-motion stitch on
my Bernina 1008; it’s not computerised and copes with lots of layers.
I added more printed cotton fabric and worked on the shape. I like
my works to have a three-dimensional quality, so they become almost
an object rather than a picture; they hover between the two.
My pieces are often asymmetric, to give the feeling of being a
fragment. I don’t see the world in rectangles; things have edges and
form.The broken edge was free-motion stitched and heat-distressed.
I then added wadding and a back and quilted the whole piece.
Are there particular stitches that are useful in creating your works?

I use free-motion stitching as it’s so versatile; you can build up dense
surfaces or have simple clean lines. I also like to use bobbin work.
How are your pieces received by the public?

On the whole, they are received very well. Abstraction can be
HMJ½GYPXJSVWSQITISTPIXSGSRRIGX[MXLFYXFIGEYWIQ][SVOLEW
organic qualities people can relate to it; they see nature, aerial views,
landscapes and seascapes.They are quite complex and people are
often fascinated by them and I’ve even had them described as ‘otherworldly’.They are not exact representations but exaggerated to
highlight and intensify the beauty found in decay.
What’s next on the agenda for you?

I recently visited Iceland and have lots of inspiration to work with. e
Drought of Honesty is in Quilt National ’23, USA, with other work in Quilt
Art shows: Material Evidence, MAC, Birmingham, until 27 May; Following the
Thread, Guildford House, Guildford,12 Oct–9 Nov; and the 40th birthday show,
Layers and Narratives at De Kantfabriek, Horst, NL, 19 Jan–27 Apr 2025.
suehotchkis.com instagram.com/suehotchkis

ŃŃłņļŇĸŃĴĺĸсĿĸչпPhoenix (2019), right, Phoenix
(detail), 235cm x 114cm, cotton, felt and voile.
Techniques: screen-printed, trapunto quilted,
appliqué, free-motion stitched, digital stitch.
Made for Quilt Art: Material Evidence and inspired
by a dilapidated barn that was partially burnt
This page, top: Drought of Honesty (detail) (2022),
119cm x 110cm, cotton, voile. Techniques: dyed,
screen-printed, discharge printed, quilted, appliqué,
free-motion stitched, digital stitch.
ŁņŃļŅĴŇļłŁсŅłłչłŃĴŅŀĴĶѪĶłŁĶŅĸŇĸпĸŅłķĸķŇł
resemble cracked earth
ĻļņŃĴĺĸпĹĴŅĿĸչпAvastѼķĸŇĴļĿѽĴŁķпĴĵłʼnĸĿĸչпAvast
(2022), 95cm x 110cm, voile and felt. Technique:
screen-printed, quilted, free-motion stitched, digital
stitch, appliqué, couched.
Made for an exhibition on whaling. ‘Avast’ is a
nautical term meaning ‘stop’. Inspiration came from
ĴŁłĿķĶĸĿĴŁķļĶձņĻļŁĺĵłĴŇ
ĴŅĿĸչсňĸłŇĶĻľļņпŃļĶŇňŅĸķĴŇĻĸňĵпĿĸĴĹłŅķп
a former venue for Quilt Art: Material Evidence
May June 2024

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cover story

The Colour
PURPLE
ANNEKA FRENCH MEETS
SOPHIE STANDING FOR
A PICTORIAL SAFARI
AROUND HER EXOTIC
AFRICAN ARTWORK

A

n exhilarating African safari is a once-in-a-lifetime experience
for many of us, but for Sophie Standing, her husband and young
children, it became a daily thrill.The British-born artist lived
cheek by jowl with ‘coalitions’ of cheetah and ‘dazzles’ of zebra,
so it was natural to let these denizens of the savannah animate her art.
Although British-born, Sophie moved with her husband to Cape Town in
South Africa in her twenties, and more recently lived in Kenya. Now based
in Dorset on the south coast, her vibrant works combine these diverse
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&VMXMWL¾SVEPGSXXSRJEFVMGWPE]IVIH[MXLHIRWIP][SVOIHIQFVSMHIV]SR
canvas, she describes her process as ‘thread painting’.
Sophie has always had a love of colour, with her father’s architectural
FEGOKVSYRHMR¾YIRGMRKLIVXEWXIMRMRXIVMSVWERHGPSXLMRK%QSRKLIVIEVP]
QIQSVMIWSJXI\XMPIWWLIVIGEPPW³1]QYQLEHXLIQSWXSTYPIRXSZIV
¾SYRG]GLMRX^GYVXEMRWEPPHSYFPIPMRIHERHQ]KSHQSXLIVYWIHXSQEOI
me little smocked dresses in Liberty fabric. I’ve always worked with fabric
and textiles, including knitting and crochet.’

ĸչсĻĸŀĴĽĸņŇŌłĹłŃĻļĸяņSilverback GorillaѼҳұҲҷѽĿļĺĻŇņňŃ
ĴŁŌņŃĴĶĸпŊļŇĻĴŃŃĿļńňųļŁŃňŅŃĿĸĹĴĵŅļĶņĴķķļŁĺļŀŃĴĶŇŇł
ŇĻĸĵňĿľłĹŇĻļņĻĸŅĵļʼnłŅłňņĺŅĸĴŇĴŃĸ
ĵłʼnĸсĻĸŅĸļņņłŀňĶĻĶĻĴŅĴĶŇĸŅļņĴŇļłŁĴŁķļŁŇĸŁŇļŁŇĻĸ
ĹĴĶĸłĹŇĻĸĴŅŇļņŇяņLilac lionessѼҳұҳҵѽпŊĻļĶĻļņĴĶĻļĸʼnĸķŇĻŅłňĺĻ
ķĸŁņĸĿŌŊłŅľĸķĸŀĵŅłļķĸŅŌĴŁķĶĴŅĸĹňĿŃĿĴĶĸŀĸŁŇłĹĶłĿłňŅ
May June 2024

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Sophie initially studied for a Bachelor of Design, working with wood,
metal, ceramics and textiles, specialising in ceramics and textiles.
For her degree show, she focused on knitting and pattern-cutting
garments, but her embroidery is self-taught. While her studies were
geared towards production and sales, being able to use her artistic
skills to make and sell work was a wonderful surprise to her.
‘In Cape Town, I made clothes by drawing, painting and handembroidering them, using knitwear and making new patterns from
these garments. I wasn’t part of the art scene in the city; instead,
I managed a clothes shop for a good friend and sold some of my
GPSXLIWXLIVI1]JVMIRHEWOIHMJ-GSYPHQEOIWSQIEVX[SVOWSRXLI
walls. I said, “I’m sure I can” and did a couple of really big pieces with a
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fabrics like chiffon, polyester and towelling.’
³1]LYWFERH[EWXVERWJIVVIHXS/IR]EERHXLIWIQYPXMQIHMETMIGIW
in the shop were seen by two German tourists who contacted me
and commissioned two pieces: one with birds, and one with two
rhinos in grasses under a tree. A friend in Kenya then asked me to
make an elephant for her husband for Christmas, kicking up dust
and swinging its trunk. I had an exhibition at an amazing restaurant
in Karen, a suburb of Nairobi, that was very popular. I made 15
pieces and everything sold out in two days. It was absolutely amazing.
From there I started to hold exhibitions.’ Sophie’s practice effectively
accelerated from this point onwards.
8LI[MPHVYVEPPERHWGETIWSJ/IR]ELEZIFIIRELYKIMR¾YIRGI*VSQ
the scale and strength of the rhinoceros, elephant, lion and hyena, to
the majestic giraffe, distinctive zebra and diminutive meerkat, it is clear
that she has huge respect for the country and for these denizens of
LIVJSVQIVLSQIRIEV1SYRX/IR]E
‘We would hear hyenas at night while we were brushing our teeth,’
she recalls. ‘Elephants would come through and crash the fences.
Zebra would eat our vegetables and one of our dogs got taken by
a leopard. I’m a wildlife lover and when you witness something like a

ĸչсLilac-breasted rollerѼҳұҲҶѽĴŁķĴĵłʼnĸѼķĸŇĴļĿѽтĻļņĵŅļĺĻŇĿŌĶłĿłňŅĸķ
ĵļŅķļņŀłņŇĴĵňŁķĴŁŇļŁĸŁŌĴпĴĿŇĻłňĺĻĿĸņņņłļŁŅĸĶĸŁŇŇļŀĸņ
ļĺĻŇсLionѼҳұҳҴѽпĴŅĸĺĴĿķĸŁļōĸŁłĹŇĻĸ ĹŅļĶĴŁņĴʼnĴŁŁĴĻŅĸŁķĸŅĸķļŁ
łŃĻļĸяņņļĺŁĴŇňŅĸĴŃŃĿļńňųĴŁķķĸŁņĸĿŌŊłŅľĸķĸŀĵŅłļķĸŅŌ
ĸĿłŊс ʼnĸŅʼnĸŇŀłŁľĸŌĹŅłŀĸŁŌĴпŊĻłņĸĶĻĴŅĴĶŇĸŅĹňĿĹĴĶĸļņ
ĶĴŃŇňŅĸķŃĸŅĹĸĶŇĿŌļŁłŃĻļĸяņĴŅŇŊłŅľ

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May June 2024

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35

‘We would hear hyenas at
night while we were brushing
our teeth. Elephants would
crash our fences and zebras
ate our vegetables’

ĵłʼnĸс ĿĸŃĻĴŁŇņňņĸķŇłĶŅĴņĻŇĻĸĺĴŅķĸŁ
ĹĸŁĶĸņŊĻĸŁłŃĻļĸĿļʼnĸķĴŇŇĻĸĹłłŇłĹ
łňŁŇĸŁŌĴпĴĿĿłŊļŁĺĻĸŅŇłņŇňķŌĶĿłņĸĿŌ
ŇĻļņľĸŌձĺňŅĸłĹŇĻĸņĴʼnĴŁŁĴĻ
ĵłʼnĸсłŃĻļĸňņĸņĻĸŅĴŁłŀĸŀĴĶĻļŁĸ
ŇłձŁļņĻņłŀĸłĹŇĻĸշłŅĴĿķĸŇĴļĿņłĹĴ
ŊłŅľĹĸĴŇňŅļŁĺĴĿļłŁĸņņ
ĸչсłŃĻļĸŇĴŁķļŁĺяņĸŀĵŅłļķĸŅŌļņ
ņĸĿĹфŇĴňĺĻŇтĻĸļņŃļĶŇňŅĸķļŁĹŅłŁŇłĹĻĸŅ
շłŅĴĿōĸĵŅĴĴŅŇŊłŅľпŊĻļĶĻŊĴņĹĸĴŇňŅĸķļŁ
ŇĻĸĸŋĻļĵļŇļłŁпĴծĸĴņņĸŇŇсĻĸłŊĸŅ
łĹĴŇŇĸŅŁпձŅņŇņĻłŊŁĴŇŇĻĸĴņĻļłŁĴŁķ
ĸŋŇļĿĸňņĸňŀļŁłŁķłŁļŁҳұҳҴ

36

EMBROIDERY

May June 2024

lion, yes, of course, they can be ferocious and scary but you also see
them with their cubs, the mothers letting their youngsters come in
and eat before they do.You see the gentleness and the way the pack
sticks together.This tenderness is entwined in my work as well.’
Sophie is keen not to overthink her practice conceptually, instead
highlighting ideas about the wonder, power and preciousness of
REXYVI7LIVIGEPPWEVIUYIWXJSVEGSQQMWWMSRJIEXYVMRKE[MPHFSEV
viewed from the perspective of the barrel of a gun, for a woman
whose husband was a hunter. Sophie refused the commission.
)\TPSVMRKXLIMR¾YIRGIWSJXLIIRZMVSRQIRXIZIRJYVXLIV7STLMI´W
thick canvas backgrounds feature the application of mud, clay and
rust – natural materials that give an earthy feel – along with watered
down acrylic paint.The canvases are washed and painted while wet
and then Sophie irons them dry.
The artist also uses botanical eco-printing to create background
fabrics, a process in which she coats canvas in vinegar or aluminium
sulphate, covers this with fresh leaves, rolls it up into a cylinder
and steams the whole length of fabric.The tannins from the leaves
produce lasting marks on the canvas.
Photographs are used as starting points for animals but, as Sophie
explains, what looks good in a photograph doesn’t necessarily look
good in fabric and thread. Next, she produces drawings, either in
HIXEMPSVEUYMGOWOIXGLI\TPSVMRKXLI[E]JYVJSVMRWXERGIGLERKIW
direction around an animal’s facial features.These drawings are
enlarged on a photocopier and cut out to use as a stencil on the
GERZEWHVE[RFEGOMRXSEKEMRERHXLIRGSZIVIHYT[MXLETTPMUYqH
cotton fabrics from Liberty and the Kaffe Fassett Collective.
7STLMII\TPEMRWXLEXSRGIXLIQEXIVMEPWJSVXLIETTPMUYqEVIMRTPEGI
it ‘means you can’t see the drawing any more which sounds a bit
counter-productive but it’s also muscle memory.The more times
you draw something and the more times you study something, your
mind remembers it, so when I then go to thread paint or do all the
details with the cotton threads, I’ve drawn it on to paper, then canvas
and I’m now making marks for the third time.’ Sophie also uses digital
photographs to zoom in and out of sections and make checks, with
½REPHIXEMPWWYGLEWEKPMRXMRERERMQEP´WI]IQEHI[MXLGLEPOTIRW
Sophie is not short of wildlife in Dorset either, noting daily sightings
of deer, and multiple encounters with badgers, foxes, mink, owls and
a wren which has made a nest above her front door.These creatures
EVIMR¾YIRGMRKLIVVIGIRX[SVOMRGPYHMRKEFEVRS[PJSVEVIGIRX
solo exhibition at Shaftesbury Art Centre in Dorset, featuring a
mixture of African and British wildlife.
For the remainder of the year, Sophie will be teaching workshops in
%YWXVEPMEERH7GSXPERHPSGEXMSRW[LIVIWLIMWWYVIXS½RHTPIRX]SJ
natural inspiration around her. e
sophiestanding.art
instagram.com/sophiestandingart
facebook.com/sophiestandingart
Cards of the artist’s African animal art, from elephants to ostriches, can be
obtained from her website in a four-pack, along with artist’s prints.
A selection of original works is also available.
The artist enjoys working with the Kaffe Fassett Collective’s fabrics, with
her artwork included in the exhibition, Kaffe Fassett:The Power of Pattern
at the Fashion and Textile Museum, London, in 2023. She also uses and
VIGSQQIRHW GSXXSRXLVIEHWJVSQ-XEPMERWTIGMEPMWX%YVM½P

5

2. Make a needlefelt/stitch bee

As we start to hear the drowsy thrumming of bumblebees in the
garden, this workshop in creating a British bee, from the aptly named
0]HME2IIHPIMW½XXMRK=SY´PPPSSOEXXLIEREXSQ]SJFIIWERHLS[
they can be represented in beautiful British wool and stitch in a small
container, one of Lydia’s trademarks. Held at ACEarts, Somerton, on
1E]†EQ¯TQ7YMXEFPIJSVFIKMRRIVWacearts.co.uk

3. Shop or take a workshop at Thread festival

8LVIEH©EJIWXMZEPSJXI\XMPIWSR.YRIEX*EVRLEQ1EPXMRKW7YVVI]
promises to be a sociable and inspiring day out. Browse the curated
marketplace for artisan fabrics and haberdashery or buy original
handcrafted work from artists and makers. Learn from the experts,
too, with a host of workshops, from natural textile dyeing and
KMRKLEQUYMPXMRKXSJVIIQSXMSRQEGLMRIIQFVSMHIV]LERHFIEHMRK
ERH.EMTYVTEXXIVRTVMRXMRKfarnhammaltings.com

ҴсĸʼnĸĿļŁŅňĺуĻłłľļŁĺĴŇĴŅհĸĿķļĿĿ
6YKLSSOMRKEPPS[W]SYXSYTG]GPISPHGPSXLIWJEFVMGWGVETWERH
]EVRWMRXSFIEYXMJYPXEGXMPITMIGIWSJLERHGVEJXIH[SVO8YXSV.ERI
Cook, who has been hooking, prodding and dyeing for 24 years and
is inspired by the countryside, will help you produce a small wall
LERKMRKSVXVMZIXEFSYXGQ\GQ8LIGSYVWIMWWYMXEFPIJSV
beginners, but some knowledge of sewing and using textiles would
FIFIRI½GMEP*EV½IPH1MPP1E]EQTQ†JEV½IPHQMPPSVK

5. Visit Sunny Bank Mills’ Threads festival

7YRR]&ERO1MPPW´XI\XMPIJIWXMZEP8LVIEHWVIXYVRWJSVEWIGSRH
MRWXEPQIRXJVSQ¯.YRIGIPIFVEXMRKXI\XMPIWEGVSWWXLIWMXI[LMGL
LEWSRISJXLIQSWXWMKRM½GERX[SZIRXI\XMPIEVGLMZIWMR&VMXEMR
%PSRKWMHIEQEVOIXMRXLI1MPP[MXLQSVIXLERXI\XMPIWXEPPW
an extensive programme of workshops and talks will be on offer;
EQ¯TQ† YRHIVWJVII JVIITEVOMRKsunnybankmills.co.uk

Ҷс ŅĸĴŇĸĶłňŇňŅĸĵňŇŇĸŅնļĸņ

With the guidance of expert tutors, you’ll create a series of
FIEYXMJYPP]IQFVSMHIVIHFYXXIV¾MIWYWMRKGSYXYVIQEXIVMEPWJVSQ
Hand and Lock’s archive collection.The class combines traditional
IQFIPPMWLQIRXERHKSPH[SVOXIGLRMUYIW[MXLMREGSRXIQTSVEV]
HIWMKRTMIGIERHMWXEYKLXMRJSYV[IIOP]WIWWMSRWSR1SRHE]W¯
.YRITQ¯TQZME>SSQ8LIQEXIVMEPW[MPPFIWIRXXS]SYFYX
]SY´PPRIIHEMRGLWIEXJVEQISVERIUYMZEPIRXIQFVSMHIV]JVEQI
or slate frame, £275. handembroideryshop.com

7. Take part in the RSN’s Summer School

.SMRXLI672-RXIVREXMSREP7YQQIV7GLSSPMR.YP]ERH%YKYWX
with an online class.Take part in a mixed ability silk-shaded peacock
lesson, an intermediate class to make a Tudor ‘sweete bag’ (7), or an
EHZERGIHGSYVWIMRGVIEXMRKEKSPH[SVOGEVVMEKISV.EGSFIERWGIRI
1SWXSJXLIGSYVWIWEVIXEYKLXSZIVEJI[HE]Wroyal-needlework.org.uk

ҸсŁķĸŅņŇĴŁķŊĸĴʼnļŁĺĴŇэĸոļʼnĴĿю
:MWMX;LMXGLYVGL7MPO1MPPJSVXLIWIGSRH;IJXMZEPIZIRX[LIVI]SY
can meet a community of textile and weaving professionals and learn

TOURS OF PARIS

Set within an ancient deer park below the South Downs, Parham is
SRISJXLIGSYRXV]´W½RIWX)PM^EFIXLERLSYWIW3R1E].YP]ERH
18 September visitors can take a tour of their remarkable collection
of 17th century embroidery, which has an unparalleled selection of
Stuart embroidered pictures and panels, as well as room-hangings
ERHFIHLERKMRKW4PEGIWEVIPMQMXIHWSFSSOIEVP]8LIXSYVXEOIW
minutes, £21 (and includes admission to the gardens from noon and
the house from 2pm). parhaminsussex.co.uk
11

JONATHAN JAMES WILSON 2021/PARHAM PARK LTD

1. Tour a 17th century embroidery collection

1

2

TEXTILE
REBECCA DEVANEY /

FESTIVALS AND WORKSHOPS

SUNNY BANK MILLS’ THREADS FESTIVAL /
JOANNE CRAWFORD

out and about

7

about different types of weaving and textiles through
talks, demos, production tours, a weaving exhibition
ERHTVIFSSOEFPI[SVOWLSTW¯.YP]EQ¯TQ
*VMHE]JIEXYVIWEXEPOJVSQWTIGMEPKYIWX.ERIX4LMPPMTW
hand-weaver, fabric designer and author. Saturday features
craft stalls, children’s activities and Tabby & Tweed.To pre-book tickets,
workshops and tours visit whitchurchsilkmill.org.uk

9. Learn with the Embroiderers’ Guild

8LI)QFVSMHIVIVW´+YMPH8LVIEH8EPOWWIVMIWJIEXYVIW(EZMH1SVVMWL
ERHXLIWXYRRMRKHMKMXEPIQFVSMHIVMIWSJLMWGVIEXMZIFYWMRIWW/MRK¾]
SR1E]TQ[LMPISR.YRITQ%PI\ERHVE1EOMR[MPPKMZIER
introduction to medieval embroidery.
3R1E]8EPOMRK8LVIEHWTVIWIRXIHF]7YWER;IIOWSJXLI7XMXGLIV]
7XSVMIWTSHGEWX[MPPJIEXYVIERMRJSVQEPGLEX[MXL6MGLEVH7ENEORS[R
for his intriguing ‘historically inaccurate’ embroidery.
7EFMRI/ERIVPIEHWERSRPMRI[SVOWLSTSR1E]TQ¯TQ
where, using only hand-stitch, you’ll learn how to design and make
ERIQFVSMHIV][VETXSLSPHXLVIEHWERHXSSPW3R.YRITQ
TQ]SYGER½RHSYXLS[XSIQFVSMHIVJYRLEMVXI\XYVIW[MXL
&MERGE7TVMRKIV[LMPISR.YRITQ¯TQ,ERREL+PSWWST
will show you how to make embellished bottle top brooches.
Finally, the Guild is offering three online, study-at-your-own-pace
courses in the Inspired to Create range – Foundations, Exploring
3TTSVXYRMXMIWERH)\XIRHMRK'VIEXMZI,SVM^SRW8LI]SJJIVER
alternative to the ‘follow the teacher’ course recipe, instead focusing
on developing your own creative talents. embroiderersguild.com

ұҰс ŅĴոĴŇĴņņĸĿĴŇĸņŇ ĸĴŁюņŁĸŊĶĴŀŃňņ

Passementerie: Cotton Key Tassels with Anna Crutchley on 18–19
1E]†MWSRSJJIVEX;IWX(IER´WRI[0SRHSRGEQTYWMRXLI
heart of creative and cosmopolitan Bloomsbury. Working with
[SSHIRXEWWIPQSYPHWERH½RIGSXXSRERHVE]SR]EVRWMREKPSVMSYW
colour range, you’ll be taught how to cover the tassel mould vertically
with yarn, or rolling the mould horizontally with cord.You’ll also learn
how to make a plain cut skirt and trial a ruff or embroidered ‘waist’.
8IGLRMUYIWJSVX[MWXMRKGSVHYWMRKEWTIGMEPJSYVLSSOGSVH[MRHMRK
tool will also be explored. westdean.ac.uk

ұұсĸŇłխĹłŅĴŅļņļĴŁŀĸŅĶĸŅļĸņ
,EYXIGSYXYVIIQFVSMHIVIV6IFIGGE(IZERI]PIEHW8I\XMPI8SYVW
of Paris where you can discover the city’s celebrated merceries,
FVMQQMRK[MXLXLILMKLIWXUYEPMX]*VIRGLVMFFSRW]EVRWXLVIEHW
FIEHWWIUYMRWKIQWERHFYXXSRW%TEVEHMWIJSVER]XI\XMPIIRXLYWMEWX
XLIWIFSYXMUYIWEVIENS][MXLWLIPZIWHVE[IVWNEVWERHHMWTPE]GEWIW
SZIV¾S[MRK[MXLWYQTXYSYWGSPSYVJYPERHKPMWXIRMRKXVIEWYVIW8LI
XSYVWGSWXºTIVTIVWSRERHEVISR*VMHE]WEQ¯TQPIEZMRK
you with plenty of time in the afternoon to return to any, or all, of the
FSYXMUYIWXSQEOITYVGLEWIWtextiletoursofparis.com
May
1E].YRI
June 2024

)1&63-()6=
EMBROIDERY

37

NORTH & SOUTH
ŁĸłĹŇĻĸŁĸŊĸņŇŀĸŀĵĸŅņłĹŇĻĸҷҳŅłňŃп ĿļņłŁ ŌĸŅĸŇĴļŁņ
ŇŅňĸŁłŅŇĻĸŅŁĺŅļŇпķĸņŃļŇĸĿļʼnļŁĺļŁłŁķłŁņļŁĶĸŇĻĸҲҺҹұņ

A

lison Aye is a marvel.Tantamount to a juggler keeping
several plates spinning at the same time, she manages to
hold down two jobs, running a home, a family and an arts
practice, as well as caring for her father. Evidently a born pragmatist,
the artist makes when she can, which is mostly on trains. ‘I always have
something small with me,’ explains Alison, ‘that’s how my work is, lots
of small things joined together.’
Describing herself as ‘the daughter and granddaughter of miners and
seamstresses’, Alison’s childhood amid the coal pit districts of the
North East, and her teenage years overshadowed by the 1984–1985
strike, have made their mark not only on her sensibilities and political
EJ½PMEXMSRWFYXSRLIV[SVOERHMRHIIHLIVLYQSYV7LIMWGPIEVP]
TVSYHSJLIVYTFVMRKMRK%RHWLIMWIUYEPP]TVSYHXLEXLIV³1EQ´ERH
LIVKVERHQSXLIVWI[IH³I\UYMWMXIP]´
1SZMRKXS0SRHSRMRXLIPEXIWXSWXYH]EX+SPHWQMXLW9RMZIVWMX]
SJ0SRHSR[LIVIIZIRXLSYKLXLISJ½GMEPXMXPISJXLIHIKVII[EW½RI
art (embroidery), Alison believed textiles was regarded by the artistic
hierarchy as ‘a lesser art’. ‘I tried to do painting but it always ended up
as textiles. I’d start painting and then cut it up and stitch it together.’
And it’s a compunction that still directs her practice today. ‘It’s a
practical thing; I’ve never had a studio, so I have small things that don’t
take up any space and that I can work on when I’m out and about.’
Though Alison’s Goldsmiths work was mostly abstract (but with
³½KYVEXMZIIPIQIRXW´ MXWWXMXGLIHXSKIXLIVTEXGL[SVOSJWOIXGLFSSO
pages and sheets of life drawing was essentially using the sewn paperon-cloth process that she still employs.
A hiatus in practice followed graduation, though, as she says, ‘I’d always
been doing it.’ But the necessity to earn a living, mostly through
[SVOMRKMRFSSOWLSTWHSQMREXIH3RISJXLIWIFSSOWLSTW[EW
1S[FVE]´WRS[WEHP]HIJYRGXERHVITPEGIHF]EW%PMWSRHIWGVMFIW
it, ‘Bravissimo – a bra shop for the larger lady’. She laughs at the

incongruity. Her sense of fun, her openness, and playful responsiveness
to the absurd, directs her practice. And it all began with ‘the faces’.
³-VIQIQFIVHMWXMRGXP][LIR-WXEVXIHHSMRKXLIQ-X[EW.ERYEV]
%.ILSZEL´W;MXRIWWFSSOPIXGEQIXLVSYKLXLIPIXXIVFS\ERH
-GYXEPPXLIJEGIWJVSQMX1]MHIE[EWXLEXIZIV]XLMRKXLEXGEQI
through the door that I hadn’t asked for I was going to stitch. I called
MX±8LI9RMRZMXIH²´-XFIGEQIETVSNIGX[MXLRSHMWXMRGXIRHTSMRX
³-IRHIHYT[MXLSZIVJEGIW´,S[IZIVYREFPIXSWEXMWJ]XLI
piece’s demand for ‘unasked for’ faces from junk mail, Alison started
cutting faces from the then free, Time Out: ‘I had to change the title
XS±8LI1SWXP]9RMRZMXIH²´%FPIXSKEYKILS[FMKJEGIW[SYPH
be when placed on cloth – ‘roughly the size of a double-bed’ – Alison
FIKERXSIRZMWEKIIZIRFMKKIVTMIGIW³-R-WXEVXIHHSMRKE]IEVP]
log, a face-a-day record of the year.’
Alison always uses the original paper. Again, it’s a pragmatic thing, a
waste-not-want-not thing. She adopts the same attitude to the cloth
XLEXWLIWI[WLIVJEGIWERHRS[½KYVIWSR+IRIVEPP]JEQMP]PMRIRW
are the source but it’s not a sentimental utilisation: ‘it’s more about a
need to not waste.’The paper and the cloth are heavily starched and
then backed with either cardboard or other stiffer recycled materials.
³8LITETIVHSIWXIEV´%PMWSREHQMXW7LI´WIUYEPP]EGGITXMRKSJXLI
fact that the paper will, over time, disintegrate. After all, and this is
particularly true of her overt political pieces in the tradition of the
KVIEXWEXMVMGEPGSPPEKIEVXMWXWSJXLIXLERHWXGIRXYVMIWXLMWMW
conceptual work, ideas rather than material led.The paper and the
textiles carry the message; they are a means to an end.Though for
Alison the need to stitch, is a necessity: ‘it brings order to my life.’
The artist’s works take years. She is fastidious, as she is with her
painstaking citing of every politician featured, every photographer
and image source. ‘I came from an environment where we were the
“unnamed workers”. It winds me up when people don’t get named.’

‘That’s how my work is, lots of small things joined together’

38

EMBROIDERY

May June 2024

profile

ĵłʼnĸс ŅŇļņŇ ĿļņłŁ ŌĸļņłŁĸłĹŇĻĸ
ŁĸŊĸņŇŀĸŀĵĸŅņłĹŇĻĸҷҳŅłňŃт
§R„À„‫به׃ׂ׀ׂن‬wX!R0mm0ªX!Rª(²

ĸչсExile TextileѼҳұҳұѽпҲұҲĶŀŋҹҸĶŀп
ķļņĶĴŅķĸķĹĴĵŅļĶт§R„À„‫§ب‬RXm²R0mmæ
ŃŃłņļŇĸŃĴĺĸпĵłŇŇłŀŅłŊс
ĸչсR.A. B*****d S****sѼҳұҲҹѰҳұҳҳѽпҸҺĶŀŋ
ҸҶĶŀпķļņĶĴŅķĸķĹĴĵŅļĶт§R„À„‫§ب‬RXm²R0mmæ
ļķķĿĸсѼĿĸչѽMam’s Christmas Tablecloth
ѼҳұҳҲѽпҵұĶŀŋҵҶĶŀпķļņĶĴŅķĸķŇĴĵĿĸĶĿłŇĻп
ĶĻļĿķŅĸŁяņķŅĴŊļŁĺņт
ļķķĿĸѼĽňņŇʼnļņļĵĿĸѽсĴŀļĿŌ խĴļŅѼҳұҳҳѽп
ҴҸĶŀŋҴҲĶŀпķļņĶĴŅķĸķŃĴŃĸŅĴŁķĹĴĵŅļĶт
§R„À„‫ب‬wX!R0mm0ªX!Rª(²

ļĺĻŇсMajorca ’79ѼҳұҳҴѽпҷҳĶŀŋҵҸĶŀпłĿķ
ŃĻłŇłĺŅĴŃĻѼňŁľŁłŊŁŃĻłŇłĺŅĴŃĻĸŅѽĴŁķ
ķļņĶĴŅķĸķŇĸĴŇłŊĸĿт§R„À„‫ب‬mX²„yæ0
ĸĿłŊсBeing EqualѼķĸŇĴļĿѽѼҳұҳҲѽпҴҳĶŀŋ
ҳҹĶŀп ĴķяņłĿķņĻļŅŇĴŁķĻĴŁķľĸŅĶĻļĸĹт
§R„À„‫ب‬mX²„yæ0

For all her 38 years of living in the South-East, she still has northern
KVMX%RHMXWLS[WMRLIVHSKKIHRIWWXLEXHIWTMXIXLI]IEVW´[SVXL
SJVINIGXMSRWJSVXLI6S]EP%GEHIQ]7YQQIV)\LMFMXMSR ERHFIMRK
featured in the BBC programme Joe Lycett: Summer Exhibitionist) she still
keeps applying, and also in the acceptance of what is, such as having no
privacy when she’s making. She works from a table in her living room,
where life, as she says, ‘goes on around me’.
1ERMJIWXP]SZIVXLIQSSREFSYXFIMRKMRZMXIHXSNSMRXLI+VSYT
%PMWSRMWTVSYHIWXSJXLITMIGIWLIQEHIHYVMRKXLITERHIQMG.YWX
before it broke her mother was diagnosed with inoperable cancer and
given three months to live so Aye took all her annual leave and went
north. She ended up staying for a whole year.
Sitting up late at night with her dad (who’d also had a stroke) she began
WXMXGLMRK³-WXEVXIHVIGSVHMRK'SZMH[MXLFMXWERHFSFW-GSYPH½RH
EVSYRHXLILSYWIPMOIQI1EQ´WSPHHYWXIVW¯[ILEHRSRI[WTETIVW-
called it Exile Textile. I made three. I was really proud of them. And it was
XLI½VWXXMQIXLEX-´HIZIV[SVOIHWSPIP]MRXI\XMPIW´ e
Alison’s conceptual portrait-based stitched paper collages can be viewed
on her website at alisonaye.com
instagram.com/alisonaye
The artist’s work is included in the 62 Group show:Tailored at The Hub, Sleaford,
Lincolnshire NG34 7TW, until 7 July. hub-sleaford.org.uk
1E].YRI

)1&63-()6=

39

Beachcombing
for inspiration
MARIAN JAZMIK FINDS IDEAS FOR HER
WORK AT THE COAST, WHETHER THAT’S IN
THE CARIBBEAN OR CLOSER TO HOME
ALTHOUGH TRAINED AS A home
economist, I taught textile art and design
for more than 30 years. My working life
LEWEP[E]WFIIREFSYX½RHMRKMRWTMVEXMSR
developing ideas and teaching creative
QEOMRKXIGLRMUYIWYWMRK½FVIWERHJEFVMGW
Since retiring from teaching, I’ve been
lucky enough to travel widely and this has
inspired my own creative journey. I’m a keen
photographer and enjoy nothing more than
taking macro images of nature’s surfaces using
my smartphone. Every walk is an exhilarating
adventure and I’m always on the lookout for
something to pique my interest.
Coastal areas provide a wealth of
inspirational material for many artists, from
sandy paths to the abundance of detritus
washed up on the beach. My most recent
work is inspired by the coast, which has
provided a plethora of wonderful textures
40

EMBROIDERY

May June 2024

and patterns, from idyllic Caribbean beaches,
with riches of corals and shells, to the dark
FIEGLIWSJ-GIPERH[MXLXLIMVQEKRM½GIRX
eroded rock structures.
Our own coast, of course, has fabulous rock
pools, pebbles, stones and driftwood, all
eroded by the elements, which gives them
unusual colours and textural surfaces. An
EQE^MRKEVVE]SJ¾SVEERHJEYREMW[EWLIH
up on the beach by the rhythmic tidal waves
and ideas for making abound. Many happy
hours can be spent beachcombing and
HSGYQIRXMRK½RHW
Downloading the images on to my computer
provides the opportunity to review the
highly textured surfaces, as this wealth of
detail is not easily visible to the naked eye.
Using these macro images as a springboard
for initial ideas, I work intuitively with a wide
variety of fabrics and threads.

I endeavour to reuse, recycle and repurpose
materials and components. Along with mixed
materials found in the home, I also use DIY
products, such as washers, screw-head covers,
door bumpers, plasterer’s scrim, plastic tubes
and pipes. Nothing is out of bounds. Family
and friends are always dropping materials
off they think I could use. My favourites are
¾S[IVLIEHTVSXIGXSVXYFIWGSXXSRFYHW
non-slip rug underlay, electrical tubing and
various meshes and protective fabrics from
the garden centre. Scrap stores which sell on
manufacturers’ waste are also an excellent
source of materials and components.
My work is about the construction of new
fabrics and the deconstruction of acquired
fabrics and components, along with the
manipulation and inclusion of these mixed
media materials. I don’t follow established
rules; I don’t use a sketchbook and I don’t

ĸչсErosion 1ѼҳұҳҳѽпҴҶĶŀŋҵĶŀт
ŌĸķпĻĸĴŇфŇŅĸĴŇĸķĴŁķŀĴŁļŃňĿĴŇĸķ
ĺĴŅķĸŁŊĸĸķĹĴĵŅļĶĴŁķʼnĴŅļłňņ
ļŁŇĸŅĹĴĶļŁĺņтŅĸĸфŀĴĶĻļŁĸ
ĸŀĵŅłļķĸŅŌĴŁķĵĸĴķļŁĺт
ļĺĻŇсTidal Debris 3ѼҳұҳҵѽпҳҶĶŀŋҴĶŀт
ŌĸķĻĴļŅĵłĵĵĿĸņпņŇļŇĶĻĸķշłŊĸŅфĻĸĴķ
ŃŅłŇĸĶŇłŅņĴŁķķĸĶłŁņŇŅňĶŇĸķŁŌĿłŁ
ŀĸņĻтŁņŃļŅĸķĵŌņĸĴŊĸĸķт
ĸĿłŊсļķĴĿ ĸĵŅļņҲѼҳұҳҵѽпҳҶĶŀŋ
ҶĶŀтĸĴŇфŇŅĸĴŇĸķŁŌĿłŁŇňĵļŁĺŊļŇĻ
ņŇļŇĶĻĸķĵĸĴķņпĸĿĸĶŇŅļĶĴĿŊĴņĻĸŅņĴŁķ
ŊļŅĸтŁņŃļŅĸķĵŌņĴŁķķŅļչņт
PHOTOS: MARIAN JAZMIK

‘Many happy
hours can be spent
beachcombing and
documenting finds
with my camera’

May June 2024

EMBROIDERY

41

REGULAR

first person

ĵłʼnĸсCorallum 5ѼҳұҳҴѽпņļŋĻĸŀļņŃĻĸŅĸņŅĴŁĺļŁĺ
ĹŅłŀҲҳĶŀŇłҳҶĶŀŋҶĶŀŇłҲұĶŀт
ĴŇĸŅļĴĿņсĻĸĴŇфŀĴŁļŃňĿĴŇĸķĵĴŇĻŅłłŀюņĶŅňŁĶĻļĸя
ĴŁķņŌŁŇĻĸŇļĶŀĸņĻŊļŇĻņŇļŇĶĻĸķŊļŅĸтŁņŃļŅĸķĵŌ
ĴĹŅĴĺŀĸŁŇłĹķĸĴķĶłŅĴĿт
ĸĿłŊсTidal Debris 4ѼķĸŇĴļĿѽѼҳұҳҵѽт
ĴŇĸŅļĴĿņсĿĴņŇļĶĸĿĸĶŇŅļĶĴĿŇňĵļŁĺŊļŇĻķŌĸķ
ĵĸĴķņтŁņŃļŅĸķĵŌĵĴŅŁĴĶĿĸņłŁŅłĶľт
PHOTOS: MARIAN JAZMIK

42

EMBROIDERY

May June 2024

follow a plan but produce numerous
‘samples’, which become my library and
reference resource. It is these smaller
compositions that allow me to develop and
I\TPSVIMHIEW[LMGL[MPPIZSPZIMRXSE½REP
piece of work, whether that is art for the
wall, a vessel or a sculpture.The artworks
I create are abstract in nature and are my
interpretation of what I have seen.
Throughout my whole process, it is the
TLSXSKVETL]XLEX-½RHXLIQSWXETTIEPMRK
and interesting.These images trigger my
imagination and are the starting point for
my work. I have great pleasure in ‘having a
go’, ‘playing’ or in simply trying out ideas and
observing what happens. I explore the use
of many different materials, components and
techniques until a concept evolves and drives
forward the creative journey.
It is during this stage in the process that
new ideas develop. I don’t always know the
destination of my journey, as I’m always open
to the ideas that pop into my head while I’m
making, and I’ll often trial an idea for another
work while still completing the initial piece.
This means I tend to produce series of works
on a particular theme.
A major characteristic of my art is the use of
heat tools.The soldering iron, the hot air gun
ERHXLIREOIH¾EQIEVIQ]JEZSYVMXIW
I am driven by the unknown reaction of
½FVIWJEFVMGWSVQM\IHQEXIVMEPWXSLIEX2SX
being able to predict the result is exciting.
It drives my creative journey. Will it distort?
Will it melt? Will it vanish? Will it change
colour…Who knows? I can burn away
layers to reveal the underlying surface; I can

make holes and singe edges; I can distort
and manipulate fabric and components into
interesting shapes. I especially like to work
with synthetic fabrics, usually layering them
and free machining them together, prior
to heat treating. I’m always amazed at the
changes that occur to the surface when heat
is applied. Combining these with a range
of other mixed materials enables me to
produce my highly textured work.
I particularly enjoy creating fabric threedimensional sculptures using these techniques
and materials, examples of which can be seen
in Invasion, a series of work which explores
the eroded, weathered surface textures
of decaying trees and shrubs, and also in
Corallum, a series exploring the structure
and form of dead coral.
I show my work with the international
exhibiting group Prism and the Society of
(IWMKRIV'VEJXWQIR-LEHQ]½VWXWSPS
exhibition at the Knitting and Stitching Shows
in London and Harrogate in 2019.
I continue to develop my work and push the
boundaries of textile art while maintaining
my love of free machine embroidery.
I delight in the act of simply creating what I
feel and what I see. e
*NB: for health and safety reasons it is always
necessary to wear a full respiratory mask when
undertaking this type of work.

Textures from nature in textile art by Marian
Jazmik is published by Batsford, 2021
marianjazmik.co.uk
instagram.com/marian_jazmik_textile_art
pinterest.co.uk/marianjazmik

between the covers

FREEDOM OF STITCH
ŁŁĸľĴŅĸŁĶĻķĸĿʼnĸņļŁŇłĴĹĴņĶļŁĴŇļŁĺŁĸŊōļŁĸŅĸʼnĸĴĿļŁĺ
ŇĻĸĸŀĵŅłļķĸŅŌłĹŇĻłņĸļŁĶĴŅĶĸŅĴŇĸķŇĻŅłňĺĻĻļņŇłŅŌ

S

ĻļŁļŁĺŁĸŊĿļĺĻŇłŁņŇłŅļĸņłĹĻĸĴŅŇĵŅĸĴľпķĸձĴŁĶĸĴŁķ
ĻłŃĸŇĻŅłňĺĻҲҳĶĻŅłŁłĿłĺļĶĴĿĶĴņĸņŇňķļĸņп ŅņĴĵĸĿĿĴ
łņŁĸŅяņŁĸŊōļŁĸпŃňĵĿļņĻĸķĵŌ łŀŀłŁĻŅĸĴķņŅĸņņп
ĹĸĴŇňŅĸņĴņĸĿĸĶŇļłŁłĹŅĸŀĴŅľĴĵĿĸĸŀĵŅłļķĸŅļĸņĴĿĿŀĴķĸļŁ
ŃŅļņłŁņпŊłŅľĻłňņĸņĴŁķŀĸŁŇĴĿĻĸĴĿŇĻĻłņŃļŇĴĿņт
ŀĵŅłļķĸŅŌĴņĴŇłłĿĹłŅĶłŀŀňŁļĶĴŇļłŁĴŁķĹłŅĶŅĸĴŇļʼnĸĴŁķ
ŇĻĸŅĴŃĸňŇļĶĵĸŁĸձŇĶłŁŁĸĶŇņŇĻĸņĸķļʼnĸŅņĸņŇłŅļĸņпĹŅłŀŇĻĸ
ňծŅĴĺĸŇŇĸņĴŁķĶłķĸķńňļĿŇņĵŌŃŅļņłŁĸŅņłĹŊĴŅļŁŇĻĸҲҺҵұņпŇł
ŅĴōļĿļĴŁĸŀĵŅłļķĸŅĸŅ ŅŇĻňŅ ļņŃłķłłņŏŅļłпŊĻłŀĴķĸŀłŅĸ
ŇĻĴŁҲпұұұŃļĸĶĸņļŁŇĻĸŀĸŁŇĴĿĻĸĴĿŇĻĻłņŃļŇĴĿŊĻĸŅĸĻĸĿļʼnĸķпĴ
ŊĻłĿĸŊļŁĺłĹŊĻļĶĻŊĴņĺļʼnĸŁłʼnĸŅŇłĻļņŃŅĴĶŇļĶĸтю ŀĵŅłļķĸŅŌ
ļņĵłňŁķňŃŊļŇĻŇĻĸĺłłķĴŁķŇĻĸĵĴķŇĻļŁĺņļŁĿļĹĸѰŇłŇĻĸ
ķŌŁĴŀļĶņłĹĺĸŁķĸŅпĶĿĴņņĴŁķĶłĿłŁļĴĿļņŇŃłŊĸŅпяłņŁĸŅņŇĴŇĸņт
юŇяņņłŇļĸķŇłŇĻĸĻňŀĴŁĸŋŃĸŅļĸŁĶĸтя
łņŁĸŅпĴŁĴŅŇĻļņŇłŅļĴŁпĶňŅĴŇłŅłĹŇĻĸłŌĴĿĶĻłłĿłĹ
ĸĸķĿĸŊłŅľĴŁķŅĸņĸĴŅĶĻĴņņłĶļĴŇĸĴŇļŇŁĸŌ ŁŇļńňĸņпŊĴņ
ľĸĸŁŇĻĴŇŇĻĸņŇłŅļĸņŃŅĸņĸŁŇĸķĴŅĸĴņļŁĶĿňņļʼnĸĴŁķĴĶĶĸņņļĵĿĸĴņ
ŃłņņļĵĿĸт łʼnĸŅļŁĺҶұұŌĸĴŅņпņĻĸĻĴņņĸĿĸĶŇĸķĴŀļŋŇňŅĸłĹŀĸŁ
ĴŁķŊłŀĸŁпĹŅłŀĴŅŌпňĸĸŁłĹĶłŇņѼҲҶҵҳѰҲҶҹҸѽļŁŇĻĸձŅņŇ
ĶĻĴŃŇĸŅпŇĻŅłňĺĻŇłļĶĻļĺĴŁфŁĴŇļʼnĸĴŌĴŇĸŅņłŁѼĵłŅŁҲҺҶҵѽп
ŇĻĸłŁĿŌĿļʼnļŁĺŀĴľĸŅļŁĶĿňķĸķт
ŇłŅļĸņĴŅĸļĿĿňņŇŅĴŇĸķĵŌĴľĴľł łŃĸĿĴŁķпŊļŇĻłņŁĸŅłծĸŅļŁĺ
ĴĶłŁĶļņĸłʼnĸŅʼnļĸŊłĹŇĻĸĶļŅĶňŀņŇĴŁĶĸņłĹĸĴĶĻŃĸŅņłŁяņ
ļŁĶĴŅĶĸŅĴŇļłŁпĵĴĿĴŁĶļŁĺŇĻļņŊļŇĻķĸŇĴļĿņłĹŇĻĸļŅŊłŅľпłչĸŁ
ŀĴķĸŊļŇĻņĶĴʼnĸŁĺĸķŀĴŇĸŅļĴĿņпņňĶĻĴņĶĿłŇĻļŁĺĴŁķĹłłķņĴĶľņт
łŁķłŁĸŅ ŁŁļĸĴŅľĸŅѼĶļŅĶĴҲҹҵҸѰҲҹҹҶѽпĹłŅĸŋĴŀŃĿĸп
ŃŅłķňĶĸķĻĴļŅŊłŅľņĴŀŃĿĸŅņŊĻļĿĸĶłŁձŁĸķĹłŅŀĴŁŌŌĸĴŅņ
ļŁŃŅļņłŁņĴŁķŇĻĸŊłŅľĻłňņĸтюĸŅŊłŅľĶĻĴŁĺĸķŀŌŊłŅĿķ
ĵĸĶĴňņĸŇĻĸĵłķļĿŌŁĴŇňŅĸłĹļŇĹĸĿŇņłŅĸĴĿĴŁķņłŇĴŁĺļĵĿĸпя
łņŁĸŅņĴŌņтюĸłŃĿĸĿļľĸłŅļŁĴ ňĿŊĸŅҀѼҲҹҴҹѰҲҺҲҳѽпŊĻł
ŊĴņņĸŁŇŇłŅĸĴŇ!ĴŅŀłňŇĻŊłŅľĻłňņĸпłŅĹłĿľпĵŌĻĸŅ
łŊŁĵŅłŇĻĸŅпĴŅĸĴŁĺŅŌĴŁķŌłňĶĴŁĹĸĸĿŇĻĸļŅĿłŁĺļŁĺĹłŅĿļĹĸ
łňŇņļķĸŇĻŅłňĺĻŇĻĸļŅŊłŅľтĸķłŁяŇŁĸĶĸņņĴŅļĿŌŁĸĸķŇłķłĴ
ĿłŇłĹŅĸņĸĴŅĶĻłŁŇĻĸŀŇłňŁķĸŅņŇĴŁķŇĻĸĶłŁŇĸŋŇłĹŇĻĸŊłŅľт
ĴŅľĸŅяņŃļłňņʼnĸŅņĸņĴŅĸŀĴķĸŊļŇĻĻĸŅłŊŁĻĴļŅĴŁķŌłňĶĴŁяŇ
ŇĸĿĿĹŅłŀĻĸŅĸŀĵŅłļķĸŅŌŇĻĴŇņĻĸĻĴķĵĸĸŁĴŅŅĸņŇĸķĻňŁķŅĸķņłĹ
ŇļŀĸņтĴŅľĸŅņĴŌņņłŀňĶĻŊļŇĻŇĻłņĸŃļĸĶĸņŊĻļĿĸĴĿņłņĴŌļŁĺ
ŁłŇĻļŁĺт!łňĶĴŁĴĿŀłņŇĹĸĸĿĻĸŅŃĿňĶľļŁĺłňŇĻĸŅĻĴļŅłŅŇĻĴŇ
ņĻĸяņĶłŀĵļŁĺłňŇĻĸŅĻĴļŅĴŁķŇĴľļŁĺłծŃļĸĶĸņтĻĸŅĸяņĴĿĸʼnĸĿ
łĹĶĴŅĸŇĻĴŇķłĸņŁłŇŃłļŁŇŇłŇĻĸĹĴĶŇŇĻĴŇņĻĸяņķłļŁĺŇĻļņļŁ
ĴķĴŅľпķĴŁľĶĸĿĿňŁķĸŅŇĸŅŅļĵĿĸĶļŅĶňŀņŇĴŁĶĸņтĻĸņĴŀŃĿĸŅņ
ĴŅĸŀĴŇĸŅļĴĿņňŅʼnļʼnĴĿņłĹĴŅľĸŅяņĿļĹĸĴŁķĻĸŅĵłķŌтĻĸĿĸʼnĸĿłĹ
ķĸŇĴļĿļņĵłŇĻĸŋĶĸŃŇļłŁĴĿĴŁķķĸʼnĴņŇĴŇļŁĺтя
ŁłŇĻĸŅłĹłņŁĸŅяņľĸŌձĺňŅĸņļņŃŅļņłŁĸŅĴŌĴŇĸŅņłŁп
ŊĻłŀņĻĸĿĸĴŅŁŇĴĵłňŇŊĻļĿĸŅĸņĸĴŅĶĻļŁĺĹłŅĻĸŅŃłķĶĴņŇņĸŅļĸņ
ĸŊĻĴŇыюŊĴņĶłŀŃĿĸŇĸĿŌĵłŊĿĸķłʼnĸŅĵŌĻļņŊłŅľтŇļņ
ĸŋŇŅĸŀĸĿŌņŀĴĿĿĴŇłŁĿŌĴĹĸŊļŁĶĻĸņтĻĴķĴŁłŃŃłŅŇňŁļŇŌŇłņĸĸ
ĻļņŊłŅľņļŁĸŊ!łŅľĿĴņŇĸŃŇĸŀĵĸŅтŁĴņĸĿĹфŃłŅŇŅĴļŇĶĴĿĿĸķ
SerenityĻĸļņņŇĴŁķļŁĺŁĸŋŇŇłĴŇŅĸĸŊļŇĻĴŁĴŋĸļŁĻļņĻĴŁķт
ĸяņļŁŁĴŇňŅĸĴŁķŇĻĴŇņŇňĶľŊļŇĻŀĸĵĸĶĴňņĸĻĴķłŁĿŌĽňņŇ
ĿĸĴŅŁĸķŇĻĴŇĻĸņŇĴŅŇĸķĸŀĵŅłļķĸŅļŁĺļŁŃŅļņłŁт
юłŀĸŇĻļŁĺŇĻĴŇŅĸĶňŅņļŁŇĻĸōļŁĸĴŅĸĶłŁŇŅĴņŇņĵĸŇŊĸĸŁŇĻĸ
ĶłŀĹłŅŇŇĻĴŇĸŀĵŅłļķĸŅŌĶĴŁŃŅłʼnļķĸļŁŃĿĴĶĸņŇĻĴŇĴŅĸŁłŇ
ĶłŀĹłŅŇļŁĺпĶłŀĹłŅŇĴĵĿĸłŅŃĸĴĶĸĹňĿтĴŇĸŅņłŁļņŅĸշĸĶŇļŁĺłŁ
ĻļņłŊŁĿļĹĸĴŁķĹĸĸĿļŁĺņļŁĻļņŊłŅľтĸňņĸķŇĻĸŇłŃņłĹŃĿĴņŇļĶ

%FSZI%LEMV[SVOWEQTPIVF]%RRMI4EVOIVGSR½RIHJSVQER]]IEVWMR
prisons and the workhouse. Photograph by Isabella Rosner, private collection.

ĽňĺņĴņĸŀĵŅłļķĸŅŌĹŅĴŀĸņпŀĴľļŁĺŊłŅľŇłŇŅĴķĸŊļŇĻŃŅļņłŁĸŅņ
ĹłŅĶłծĸĸĴŁķĶļĺĴŅĸŇŇĸņтĸĶłŁŇļŁňĸņŇłŀĴľĸĻļņĿļʼnĸĿļĻłłķ
ĹŅłŀĸŀĵŅłļķĸŅŌĴչĸŅŃŅļņłŁтʼnĸŅŌŀňĶĻĿļľĸķŇĻĴŇĽłňŅŁĸŌтя
ĴŇĸŅņłŁяņņŇłŅŌпŇĻĸŀłņŇĶłŁŇĸŀŃłŅĴŅŌĴŁķňŃĿļչļŁĺłĹŇĻłņĸ
ķļņĶňņņĸķпĶłňŁŇĸŅņŃŅĸņňŀŃŇļłŁņĴĵłňŇĸŀĵŅłļķĸŅŌтĻļņļņ
łņŁĸŅяņļŁŇĸŁŇļłŁтĻĸņĴŌņŇĻĸŁĴŅŅĴŇļʼnĸŇĻĴŇŅĸŀĴļŁņŃĸŅʼnĴņļʼnĸ
ļņŇĻĴŇĸŀĵŅłļķĸŅŌļņŀĴķĸĵŌĿĸļņňŅĸķŊłŀĸŁтĴŇĸŅņłŁ
ĸŀĵłķļĸņĻłŊňŁļʼnĸŅņĴĿĴŁķĴĶĶĸņņļĵĿĸĸŀĵŅłļķĸŅŌĶĴŁĵĸт
ĻĸōļŁĸĴĿĿłŊņŅĸĴķĸŅņŇłŇŅĴĶĸĶłŁŁĸĶŇļłŁņĵĸŇŊĸĸŁņŇłŅļĸņп
ņňĶĻĴņŇĻĸķĸĿļĵĸŅĴŇĸňŁŅĴʼnĸĿĿļŁĺłĹĸŋļņŇļŁĺŇĸŋŇļĿĸņĿļľĸņłĶľņ
ŇłŀĴľĸŁĸŊŊłŅľņтĻĸňŅĺĸŁĶŌłŅķĸņŃĸŅĴŇļłŁłĹĸĴĶĻŀĴľĸŅ
ļņĸʼnļķĸŁŇрŇĻĸķĸņŇŅňĶŇļłŁłĹŃŅĴĶŇļĶĴĿĺĴŅŀĸŁŇņļŁłŅķĸŅŇł
ŀĴľĸĶŅĸĴŇļʼnĸĴŁķĸŋŃŅĸņņļʼnĸłŁĸņĴŃŃĸĴŅņłŁņĸʼnĸŅĴĿłĶĶĴņļłŁņт
Stitching Freedom: Embroidery and IncarcerationļņĴĶłĿĿĴĵłŅĴŇļłŁ
ŊļŇĻ łŀŀłŁĻŅĸĴķņŅĸņņпĴŁļŁķĸŃĸŁķĸŁŇŃŅĸņņĹłňŁķĸķ
ĵŌĴňŅĴłņĸĿĸŌŊļŇĻĴĹłĶňņłŁŅĴķļĶĴĿĴŁķļŁĶĿňņļʼnĸĶŅĴչ
ŃŅĴĶŇļĶĸтĴňŅĴņĴŌņсюĻĸĻļņŇłŅŌłĹĶŅĴչļņŁłŇĶłŀŃĿĸŇĸ
ŊļŇĻłňŇŇĻĸĶłŁŇŅļĵňŇļłŁņłĹŇĻłņĸŊĻłĻĴʼnĸĶŅĸĴŇĸķňŁķĸŅŇĻĸ
ŃŅļņłŁņŇĴŇĸĴŁķŊĸĻĴʼnĸĴķňŇŌŇłŃŅĸņĸŅʼnĸŇĻĸŀтя
ĻļĿĸĿļŇŇĿĸļņľŁłŊŁĴĵłňŇŇĻĸ
ļŁŇĸŁŇļłŁņłĹŇĻłņĸļŁŃłŊĸŅļŁĴĿĿłŊļŁĺ
ŇĻĸŃĸłŃĿĸļŁŇĻĸōļŁĸĴĶĶĸņņŇłŁĸĸķĿĸņ
ĴŁķŇĻŅĸĴķпļŇļņĶĿĸĴŅŇĻĴŇĸŀĵŅłļķĸŅŌ
ĴņĴŅĴķļĶĴĿпŃłŊĸŅĹňĿĴŁķĸŀłŇļłŁĴĿ
ŇłłĿłծĸŅĸķŇĻĸŀĺĿļŀŀĸŅņłĹĻłŃĸт
łņŁĸŅĸŋŃĿĴļŁņŇĻĴŇĸʼnĸŁŇĻłňĺĻŇĻĸņĸ
ļŁķļʼnļķňĴĿņĿłņŇĴĿłŇłĹŇĻĸļŅĴĺĸŁĶŌп
ĸŀĵŅłļķĸŅŌĴĿĿłŊĸķŇĻĸŀŇłĺĴļŁ
ņłŀĸłĹļŇĵĴĶľт e
Stitching Freedom: Embroidery and
Incarceration by Dr Isabella Rosner, 2024,
Common Threads Press, £10.
commonthreadspress.co.uk
May June 2024

EMBROIDERY

43

profile

Sewing the
seeds of
recovery

44

EMBROIDERY

May June 2024

Artist and therapist Sam
Miller started making art
dolls while recuperating
from severe illness

S

ĴŀļĿĿĸŅŀĴľĸņĶňŅļłňņĴŅŇķłĿĿņпĻłŁłňŅļŁĺ
ĻĸŅŁłņŇĴĿĺļĴĹłŅĴĿĿŇĻļŁĺņŅĸŇŅłĴŁķĻĸŅĴղŁļŇŌ
ŊļŇĻĴŁŇļńňĸņпŊĻļĶĻķĴŇĸņĹŅłŀĻĸŅĶĻļĿķĻłłķт
łŀĸļņĴļĶŇłŅļĴŁŃŅłŃĸŅŇŌļŁ ĴņŇłŁķłŁпĵňŇņĻĸ
ĺŅĸŊňŃļŁĴҵұұфŌĸĴŅфłĿķĻłňņĸłŁŇĻĸŋĹłŅķņĻļŅĸѪ
ļĿŇņĻļŅĸĵłŅķĸŅтĸŅŀłŇĻĸŅŀĴķĸюʼnĸŅŌĵŅĴʼnĸяĶłĿłňŅ
ĴŁķŇĸŋŇļĿĸĶĻłļĶĸņĴŁķĴŀļŀĵļĵĸķĻĸŅĿłʼnĸłĹ
ļĵĸŅŇŌĹĴĵŅļĶņпļĿĿļĴŀłŅŅļņĴŁķŀĴľļŁĺŇĻļŁĺņт
ňŅļŁĺłňŅĶłŁʼnĸŅņĴŇļłŁłʼnĸŅ"łłŀпĴŀņļŇņłŁ
ĴĶĿĴņņļĶŃňŅŃĿĸņłĹĴпņňŅŅłňŁķĸķĵŌĻĸŅķłĿĿņпŇĻĸ
ĻłŁĸŌņňĶľĿĸфĻňĸķŊĴĿĿĵĸĻļŁķŃĿĴņŇĸŅĸķŊļŇĻ
ļŁĻĸŅļŇĸķłļĿŃłŅŇŅĴļŇņĴŁķĿĴŁķņĶĴŃĸņт
ĻĸĴŅŇļņŇĻĴņĴķĸķļĶĴŇĸķņŇňķļłļŁĴĵĸķŅłłŀŇłŇĻĸ
ŅĸĴŅпŊļŇĻĻĸŅŊłŅľĵłŅŁłňŇłĹŇĻĸʼnļŁŇĴĺĸņĶĸŁĸп
ŊĻĸŅĸĿļľĸфŀļŁķĸķŃĸłŃĿĸŁłŇłŁĿŌĶłĿĿĸĶŇпĵňŇ
ŀĸŁķпŀĴľĸĴŁķļŀĴĺļŁĸпюŊĻļĿĸņŇļĿĿĵĸļŁĺņŇĴňŁĶĻ
ĹĸŀļŁļņŇņпłĵʼnļłňņĿŌпяņŀļĿĸņĴŀт
ĴŀĸņŃĸĶļĴĿĿŌĿłʼnĸņҲҺҳұņŇłҲҺҵұņļŇĸŀņĴŁķŇĻĸ
ĸŀĵŅłļķĸŅŌŊłŀĸŁŀĴķĸŇĻŅłňĺĻłňŇŇĻĸķĸĶĴķĸņ
ĹłŅŇĻĸļŅĵłŇŇłŀķŅĴŊĸŅтĻĸņĸļōĸņłŁʼnļŁŇĴĺĸ
ŇĴĵĿĸĶĿłŇĻņпŊĻļĶĻňŁŇļĿŅĸĶĸŁŇĿŌŊĸŅĸłŁĸłĹŇĻĸ
ĿĸĴņŇŊĴŁŇĸķļŇĸŀņѰĴĿłŁĺŊļŇĻĶĻļŁŇōтю łŌłň
ŅĸŀĸŀĵĸŅľĸĴяņ ĻňĶľňŇ!łňŅ ĻļŁŇōҀŇĸĿĸʼnļņļłŁ
ĴķʼnĸŅŇļņĸŀĸŁŇņļŁҲҺҺҷҁыŊĴņĿļľĸпѐłпĺļʼnĸļŇŇł
ŀĸшёяĿĴňĺĻņĴŀтłŀĸĿŌĶĻļŁŇōŊĴņŃĴŅŇļĶňĿĴŅĿŌļŁ
ʼnłĺňĸļŁŇĻĸҲҺҵұņĴչĸŅŇĻĸĸĶłŁķłŅĿķĴŅт
ĴŀķŅĸņņĸņĸŋĶĿňņļʼnĸĿŌļŁҲҺҵұņĶĿłŇĻĸņтłŇłŁĿŌķłŇĻĸŌĿłłľ
շĴŇŇĸŅļŁĺłŁŀĴŁŌŃĸłŃĿĸпņĻĸĶłŁņļķĸŅņĻĸŅĴŇŇļŅĸŇłĵĸĴŊĴŌ
łĹŊļŇĻķŅĴŊļŁĺĹŅłŀŇĻĸŀĴļŁņŇŅĸĴŀĴĸņŇĻĸŇļĶŇłŅĸĶĿĴļŀĻĸŅ
ŅĸĵĸĿĿļłňņŁĸņņļŁŀļķфĿļĹĸт
ŋŃĸĿĿĸķĹŅłŀĴĿłňĶĸņŇĸŅņĻļŅĸĵłĴŅķļŁĺņĶĻłłĿĹłŅŇĻĴŇʼnĸŅŌ
ĴļŅłĹŅĸĵĸĿĿļłŁпŊĻļĶĻĿĴŇĸŅŇłłľŇĻĸĹłŅŀłĹюĿłŇņłĹŇĴŇŇłłņяпņĻĸ
ĴķŀļŇņŁłŊŇĻĴŇņĻĸĺĴļŁĸķĹŅłŀĻĸŅņĶĻłłĿĸŋŃĸŅļĸŁĶĸт
ĸŇļŁĴĹłŅŀĸŅņŇĴŇĸĿŌĻłŀĸļŁĿłňĶĸņŇĸŅņĻļŅĸпŊļŇĻŅĸŀŁĴŁŇņ
łĹķĴŀĴņľŊĴĿĿŃĴŃĸŅĴŁķĻĸĴʼnŌĶňŅŇĴļŁņпŇĻĸņĶĻłłĿĵĸņŇłŊĸķ
юŇĻĸĴĸņŇĻĸŇļĶĹłŅĵĸĴňŇļĹňĿŇĻļŁĺņяпĵňŇŊĴņюňŁĶĻĴŁĺĸķņļŁĶĸŇĻĸ
ŊĴŅĴŁķķļķŁяŇŅĸĴĿĿŌĶĴŇĸŅŇłłňŅŁĸĸķņят
չĸŅŁłłŁņŊĸŅĸņŃĸŁŇļŁĴĶĿĴņņľŁłŊŁĴņюķŅĴŊļŁĺŅłłŀяп
ŊĻĸŅĸŃňŃļĿņŇłłľňŃĴĶŅĴչŊĻļĿĸĴŇĸĴĶĻĸŅŅĸĴķŇłŇĻĸŀп
юŃŅĸŃĴŅļŁĺňņŇłĵĸŊļʼnĸņĴŁķŀłŇĻĸŅņѰĴĺĴļŁņŇłňŅŊļĿĿтяĴŀ
ĶĻłņĸŃĴŇĶĻŊłŅľпŊĻļĶĻņĻĸņŇļĿĿňņĸņŇłķĴŌпĴŁķŊĴņĴŀłķĸĿ
ŃňŃļĿļŁĻĸŅĴŅŇĴŁķņĸŊļŁĺĶĿĴņņĸņт
ĻĸĶłŀŃĿĸŇĸķĴ ļŁĴŅŇĻļņŇłŅŌĴŇļķķĿĸņĸŋŁļʼnĸŅņļŇŌ
łŁķłŁĴŁķŇĻĸŁŇłłľĴŃłņŇĺŅĴķňĴŇĸĶĸŅŇļձĶĴŇĸļŁĸķňĶĴŇļłŁ
ĴŇŇĻĸŁļʼnĸŅņļŇŌłĹłŁķłŁпĵĸĶłŀļŁĺĴņĶĻłłĿĴŅŇŇĸĴĶĻĸŅĹłŅ
Left: Art doll-maker Sam Miller, who lives in East London, holding a host of
her uncanny dolls, some resembling rabbits, others sprites, but all having that
facsimile of the human quality that makes them slightly unnerving...
The artist dresses exclusively in 1940s clothing, which she describes as being a
way of reclaiming her rebelliousness in mid-life
Above right: Assemblages of vintage and antique items are framed by wooden
drawers, ready for hanging on the wall

‘MY DOLLS ARE MAGICAL CREATURES
THAT ARE “SORT OF HUMAN”’
ձʼnĸŌĸĴŅņт ňŇпĴչĸŅŅĸĴĿļņļŁĺņĻĸюłŁĿŌŅĸĴĿĿŌŅĸņłŁĴŇĸķŊļŇĻŇĻĸ
ŁĴňĺĻŇŌłŁĸņяпņĻĸĶĻĴŁĺĸķķļŅĸĶŇļłŁпŃŅĴĶŇļņļŁĺŇĻĸŅĴŃĸňŇļĶ
ĴŅŇĴŇĸŁŇłŁʼnļĿĿĸŃŅļņłŁĴŁķĻłņŃļŇĴĿĹłŅŇŊłфĴŁķфĴфĻĴĿĹ
ķĸĶĴķĸņтĴŀłչĸŁňņĸķĶĿĴŌĹłŅŇĻĸŅĴŃŌņĸņņļłŁņпŊĻļĶĻņĻĸ
ĹłňŁķʼnĸŅŌĸծĸĶŇļʼnĸĹłŅĻĸĿŃļŁĺŃĸłŃĿĸŊļŇĻŀĸŁŇĴĿĻĸĴĿŇĻ
ŃŅłĵĿĸŀņтňĿŇļфŀĸķļĴŊłŅľļŁĶĿňķļŁĺŇĸŋŇļĿĸņŊĴņĴĿņłłŁ
ŇĻĸĴĺĸŁķĴпŊļŇĻņłŀĸŃĴŅŇļĶļŃĴŁŇņņŇļŇĶĻļŁĺļŁŇłŇĻĸĶĿĴŌтю
ŊĴņŊłŅľļŁĺŊļŇĻĴĶňŇĸŃĴŇļĸŁŇņņłŇĻĸŅĸŊĴņŁłĿļŀļŇŇłŇĻĸļŅ
ļŀĴĺļŁĴŇļłŁпяĴŀĸŋŃĿĴļŁņт
ŁļŇļĴĿĿŌпʼnłĿňŁŇĸĸŅņĹŅłŀļŁĸ ĸĿĿłŅľпĴŅĸĻĴĵļĿļŇĴŇļłŁ
ĴŁķņłĶļĴĿĸŁŇĸŅŃŅļņĸĶĻĴŅļŇŌпĶĴŀĸļŁŇłŇĻĸŃŅļņłŁŇłŇĸĴĶĻ
ŃĴŇĶĻŊłŅľļŁĺпĸŀĵŅłļķĸŅŌпŇĴŃĸņŇŅŌĴŁķĶňņĻļłŁфŀĴľļŁĺт
ŁĹłŅŇňŁĴŇĸĿŌпļŇĶĴŀĸŇłĵĸņĸĸŁĴņĴņĸĶňŅļŇŌŇĻŅĸĴŇтюŇŊĴņ
ĴŊłŁķĸŅĹňĿŊĴŌŇłĵĴĿĴŁĶĸŇĻĸņĸĴĿŃĻĴŀĴĿĸņŊĻłĹĸĿŇŇĻĸŌ
ŁĸĸķĸķŇłĵĸĿļľĸŇĻĴŇŇłņňŅʼnļʼnĸтĻĸŌĴķłŅĸķļŇтя
ĻĸŁĴŀĹĸĿĿļĿĿŊļŇĻņĸʼnĸŅĸĶĻŅłŁļĶĹĴŇļĺňĸņŌŁķŅłŀĸтĻĸ
ĹłňŁķļŇļŀŃłņņļĵĿĸŇłŀłʼnĸĹŅłŀĻĸŅĵĸķтĻĸĻĴķĵĸĸŁŀĴľļŁĺ
ĿĴŅĺĸĴņņĸŀĵĿĴĺĸņłĹĴŁŇļńňĸĴŁķʼnļŁŇĴĺĸļŇĸŀņļŁĺĿĴņņʼnļŇŅļŁĸņп
ĵňŇŇĻĸŊłŅľĵĸĶĴŀĸňŁŀĴŁĴĺĸĴĵĿĸтĻĸĶłňĿķłŁĿŌŀĴľĸņŀĴĿĿ
ļŇĸŀņпņňĶĻĴņŇļŁŌľŁļŇŇĸķņńňĴŅĸņпņłľŁĸŊņĻĸŁĸĸķĸķŇłձŁķ
юĴŀĸŇĻłķłĹŀĴľļŁĺŇĻĴŇŊĴņĴĶĶňŀňĿĴŇļʼnĸятĻĸņŇĴŅŇĸķŇł
ĻĴŁķфņĸŊĴŅŇķłĿĿņĴŁķļŇķĴŊŁĸķŇĻĴŇņĻĸĶłňĿķņŇļĿĿŊłŅľŊļŇĻ
ĴņņĸŀĵĿĴĺĸņпłŁĿŌŇĻļņŇļŀĸķļņŃĿĴŌĸķłŁŇĻĸķłĿĿņяĶĿłŇĻļŁĺт
May June 2024

EMBROIDERY

45

‘DO YOU REMEMBER IKEA’S “CHUCK OUT YOUR CHINTZ”
TELEVISION ADVERTISEMENTS? I WAS LIKE, “NO, GIVE IT TO ME!”’
ĴľļŁĺĻĴķņłŊŁŇĻĸņĸĸķņłĹ
ŅĸĶłʼnĸŅŌĹŅłŀҲҶŌĸĴŅņłĹļĿĿŁĸņņрĹłŅ
ņļŋŌĸĴŅņņĻĸяķĵĸĸŁņĸʼnĸŅĸĿŌňŁŊĸĿĿт
ĸŅŅĸŇňŅŁŇłĹňĿĿĻĸĴĿŇĻŊĴņŇłŇĴľĸ
ŇŊłŌĸĴŅņтĻĸĵĸĺĴŁĵŌŅłĿĿļŁĺłʼnĸŅ
ļŁĵĸķłŁĶĸĴŁĻłňŅŇłŅĸŇŅĴļŁĻĸŅ
ŁĸŅʼnłňņņŌņŇĸŀпŇĻĸŁņĴŇŃŅłŃŃĸķ
ňŃļŁĵĸķпĵĸĹłŅĸŃŅłĺŅĸņņļŁĺŇł
ŀłŅĸķĸŀĴŁķļŁĺŇĴņľņłŁŇĻĸ
ŃĴŇĻŇłŊĸĿĿŁĸņņт
łķĴŌпņĻĸŊłŅľņłŁĸфŇłфłŁĸ
ŊļŇĻŃĸłŃĿĸŊļŇĻŀļŁķфĵłķŌ
ķļņłŅķĸŅņпņňĶĻĴņĶĻŅłŁļĶ
ŀļĺŅĴļŁĸņпĶĻŅłŁļĶĹĴŇļĺňĸ
ņŌŁķŅłŀĸпĿłŁĺ łʼnļķĴŁķ
ĺňŇļņņňĸņпňņļŁĺĵŅĴļŁ
ŅĸŇŅĴļŁļŁĺтĴŀĸŋŃĿĴļŁņс
ю ĸĶĴňņĸĸծĸĶŇļʼnĸĿŌ
ŅĸĶłʼnĸŅĸķĹŅłŀĶĻŅłŁļĶ
ĹĴŇļĺňĸņŌŁķŅłŀĸпľŁłŊ
ŇĻĸņĸĶŅĸŇтяĻĸĻĴņĴĿņł
ĵĸĸŁŇŅĴļŁļŁĺĹłŅձʼnĸŌĸĴŅņ
ļŁ"ĸŁ ňķķĻļņŀпŊĻļĶĻ
ņĻĸŇĸĴĶĻĸņʼnļĴĴŁłŁĿļŁĸ
ŃĿĴŇĹłŅŀłŁłŁķĴŌņт
ŊłŁķĸŅĻłŊĹĴŅŀĴľļŁĺĴŅŇ
ķłĿĿņŊĴņĴŇĻĸŅĴŃŌĹłŅŇĻĸĴŅŇļņŇŊĻĸŁņĻĸ
ŊĴņĴŇĻĸŅĿłŊĸņŇĸĵĵтюĴĵņłĿňŇĸĿŌĿłʼnĸļŇпяķŃŅłĵĴĵĿŌĵĸķĸĴķ
ĵŌŁłŊŊļŇĻłňŇļŇшяņĻĸĸŋĶĿĴļŀņт
ĻĸķłĸņŁяŇňņĸĴņĸŊļŁĺŀĴĶĻļŁĸŇłĶŅĸĴŇĸĻĸŅķłĿĿņпŃŅĸĹĸŅŅļŁĺ
ŇłĻĴŁķфņĸŊŇĻĸŀĴņņĻĸĿłʼnĸņŇĻĸŃŅłĶĸņņтю ʼnĸŁŊĻĸŁŀĴľļŁĺ
ŇĻĸķłĿĿņяĵłķļĸņŊłŁяŇňņĸĴŀĴĶĻļŁĸтĻĴʼnĸĴĶŇňĴĿĿŌĺłŇ
ĴņĸŊļŁĺŀĴĶĻļŁĸтŇŊĴņŀŌĻňņĵĴŁķяņĺŅĴŁķŀłŇĻĸŅяņтŇяņ
ĴļĶŇłŅļĴŁļŁĺĸŅҀņĻĸŀłŇļłŁņŇňŅŁļŁĺŇĻĸŊĻĸĸĿҁѰŇĻĴŇяņ
ĴņŀłķĸŅŁĴņĺĸŇтяĸŅĻĴŃņŊłŅľļŁĺŊļŇĻĻĸŅĻĴŁķņļņņŇļĿĿ
ŇĻĸŅĴŃŌпĴņļŇļņĹłŅņłŀĴŁŌłŇĻĸŅņŇļŇĶĻĸŅņт
ĸŅķłĿĿņļŁĶłŅŃłŅĴŇĸŃĴŇĶĻŊłŅľпĴŃŃĿļńňųпńňļĿŇļŁĺĴŁķņĸŊŁ
ŃĴŃĸŅпĴĿłŁĺŊļŇĻņĴŇļŁпŅňŁŁļŁĺпĶĻĴļŁĴŁķłʼnĸŅņŇļŇĶĻпŅĸŁĶĻ
ľŁłŇņĴŁķľŁļŇŇļŁĺтĴŀļņľĸĸŁŇłĺĸŇŇłĺŅļŃņŊļŇĻĻļņŇłŅļĶ
ņŇňŀŃŊłŅľĴŁķňծłĿľŃňծņŁĸŋŇтюĿļľĸŇłĵňļĿķŇĻļŁĺņňŃпņł
яĿĿŃĴķĵĸĻļŁķĴŁķńňļĿŇŇĻŅłňĺĻтя
ņŇłŊĻĸŇĻĸŅĻĸŅĹĴŁŇĴņŇļĶĴĿĶŅĸĴŇļłŁņĴŅĸĻňŀĴŁłŅĴŁļŀĴĿп
ņĻĸņĴŌņсюĻĸŌяŅĸŀĴĺļĶĴĿĶŅĸĴŇňŅĸņŇĻĴŇĴŅĸѐņłŅŇłĹĻňŀĴŁётя
łŀĸŅĸņĸŀĵĿĸŅĴĵĵļŇņĵĸĶĴňņĸņĻĸĿłʼnĸņŇĻĸļŅĸĴŅņĴŁķŇĸĸŇĻр
łŇĻĸŅņĴŅĸʼnĸŅŌķĸձŁļŇĸĿŌķĸŁļōĸŁņłĹŇĻĸĹłŅĸņŇтŁĸŊłłķĿĴŁķ
ĶŅĸĴŇňŅĸĻĴņпюĴĶŇňĴĿĻłŅŁņĵĸĶĴňņĸļŁĻĸŅļŇĸķŇĻĸŀĴŁķķĸņŃļŇĸ
ĵĸļŁĺĴʼnĸĺĴŁпŇĻłňĺĻŇłňĺĻŇŇłķłņłŀĸŇĻļŁĺŊļŇĻŇĻĸŀтŌ
ĻňņĵĴŁķņłĿķĴŃĿĴĶĸļŁĶłŇĿĴŁķŇĻĴŇĵĸĿłŁĺĸķŇłĻļņňŁĶĿĸĴŁķ

Above: Sam used to make very large assemblages of vintage and antique items
in glass vitrines but once illness meant she could no longer do this came up
with the idea of creating the assemblages on the clothing of her dolls
Opposite, clockwise from top left:
Similar to the hare who attended the Mad Hatter’s tea party in Alice in
Wonderland, this hare has made his home in a vintage teapot;
A collection of the artist’s vintage-themed dolls, which sport a variety of horns
or rabbit ears and teeth, each creature lovingly made by Sam;
One of the artist’s earlier works based on a child’s vintage dress complete
with the saying, ‘Anything you lose comes round in another form’;
Sam’s whippet, Walnut, in his window seat in the artist’s studio, from where
Sam says he likes to indulge in watching ‘squirrel TV’
46

EMBROIDERY

May June 2024

ŊĸĴĿņłĹłňŁķĴľĸŌŅļŁĺŊļŇĻŇĻĸļŁņĶŅļŃŇļłŁѐĻĸĴŀĸľĸĸŃĸŅяņ
ňŇётŇĻłňĺĻŇпѐŇĻļņŊłłķĿĴŁķņŃŅļŇĸĻĴņŇĻĸľĸŌņŇłŇĻĸ
ĺĴŀĸľĸĸŃĸŅяņĻňŇŇłŇĻŊĴŅŇĻļŀтёя
ĴŅŇłĹĻĸŅļŁņŃļŅĴŇļłŁĹłŅŇĻĸķłĿĿņяĶĿłŇĻļŁĺĴņņĸŀĵĿĴĺĸņĶłŀĸņ
ĹŅłŀŇĻĸŃĸķĿĴŅķłĿĿņŇĻĴŇŊĸŅĸŃłŃňĿĴŅĹŅłŀŇĻĸҲҸŇĻŇłҲҺŇĻ
ĶĸŁŇňŅļĸņрĿļŇŇĿĸŀłķĸĿņłĹŇĻĸŊłŀĸŁŊĻłňņĸķŇłņĸĿĿĻłňņĸф
ŇłфĻłňņĸпŇĻĸļŅŊĴŅĸņņŇŅňŁĺĴĶŅłņņŇĻĸļŅĵłķŌтĴŀņĻłŊņŀĸ
ĴļĶŇłŅļĴŁĸŋĴŀŃĿĸпņĴŌļŁĺсюĻĸŌĶłňĿķŁяŇ ŀĴōłŁļŇļŁŇĻłņĸ
ķĴŌņрņĻĸĸʼnĸŁĻĴņĵŅňņĻŊłłķłŁĻĸŅĵĴĶľтя
ĻĸļŇĸŀņĴķłŅŁļŁĺĴŀяņķłĿĿņĴŅĸпюŇĻĸĴĶĶłňŇŅĸŀĸŁŇņłĹ
ĽňņŇĵĸļŁĺĴŊłŀĴŁпŃĸŅŇĴļŁļŁĺŇłĴĹňĿĿĿļĹĸпĻĴʼnļŁĺĴķļĴŅŌф
ĿļľĸʼnĴĿňĸпĴŁĴŅŅĴŇļʼnĸńňĴĿļŇŌтяĻĸņĸŃłņņĸņņļłŁņпŃĸŅĻĴŃņ
ŁłŇŇĻĴŇļŀŃłŅŇĴŁŇļŁļņłĿĴŇļłŁпłŁĶĸĺŅłňŃĸķĻĴʼnĸĴюņŇŅłŁĺĿŌ
ņĸŁŇļŀĸŁŇĴĿŁłņŇĴĿĺļĶʼnĴĿňĸпŊĻļĶĻĻĴņĶňŅŅĸŁĶŌят
ĴŀņĻłŊņŀĸłŁĸłĹĻĸŅĿĴŅĺĸŅķłĿĿņѰŇĻĸŌĶĴŁĵĸňŃŇłҵұ
ļŁĶĻĸņŇĴĿĿѰŊĻļĶĻļŁĶłŅŃłŅĴŇĸņĴņłĿļķņļĿʼnĸŅ ķŊĴŅķļĴŁĵňŇŇłŁ
ĻłłľсюņłĵĸĴňŇļĹňĿĵňŇŃĸłŃĿĸķłŁяŇŊĴŁŇŇĻĸŀярĴņŊĸĿĿĴņĴ
ҲҺҳұņĸŁĶŅňņŇĸķŃňŅņĸŀļņņļŁĺĴĹĸŊĵĸĴķņтĻĸļņюŅĸĶĿĴļŀļŁĺ
ŇĻĸņĸĿłʼnĸĿŌŇĻļŁĺņĴŁķňņļŁĺŇĻĸŀļŁĴķļծĸŅĸŁŇŊĴŌтя
łŅĴŀпŅĸŃňŅŃłņļŁĺĶĻĸŅļņĻĸķĻļņŇłŅļĶĴĿļŇĸŀņпĴŇŇŅĴĶŇļʼnĸ
ĹĴĵŅļĶņĴŁķĸŀĵŅłļķĸŅļĸņŃĴŌņюĻłŀĴĺĸяŇłŇĻĸŊłŀĸŁŊĻł
ŀĴķĸĴŁķňņĸķŇĻĸņĸĵĸĴňŇļĹňĿŇĻļŁĺņтłŅņļŀļĿĴŅŅĸĴņłŁņ
ņĻĸņłŀĸŇļŀĸņļŁĶĿňķĸņņŀĴĿĿĹŅĴŀĸķņĸŃļĴŃĻłŇłņłĹŊłŀĸŁ
ŇĻŅłňĺĻĻļņŇłŅŌпĴĿŇĻłňĺĻŇĻĸŌĴĿņłĴĶŇĴņĴmemento moriп
ŃĴŅŇļĶňĿĴŅĿŌļŁņłŀĸłĹĻĸŅĸĴŅĿļĸŅпķĴŅľĸŅŃļĸĶĸņĹĸĴŇňŅļŁĺ
ļĶŇłŅļĴŁķŅĸņņĵłķļĶĸņłŅĴŁŇļńňĸĶĻļĿķŅĸŁяņĹŅłĶľņт
ĻļĿĸŊłŅľļŁĺĴņĴŇĻĸŅĴŃļņŇпĴŀĻĴņŁяŇĻĴķŀňĶĻŇļŀĸŇł
ķĸʼnłŇĸŇłŁņŇĴĺŅĴŀĴŁķŇĻĸĴĿĿфļŀŃłŅŇĴŁŇĵňņļŁĸņņłĹņĸĿĿļŁĺ
łŁĿļŁĸтюяŀŇĸŅŅļĵĿĸĴŇņĸĿĿļŁĺпяņĻĸĿĴňĺĻņпюŇĻĴŇяņŊĻŌŁłłŁĸĻĴņ
ĸʼnĸŅĻĸĴŅķłĹŀĸтя ňŇņĻĸŊłňĿķĿļľĸŇłĻĴʼnĸĴŁĸŋĻļĵļŇļłŁрņł
ĹĴŅпņĻĸĻĴņłŁĿŌķļņŃĿĴŌĸķĻĸŅĴŅŇķłĿĿņļŁĿłĶĴĿĶĴĹĸņт
ňĵĿļĶłŃļŁļłŁļņюŃłĿĴŅļņĸķяпņĻĸŅĸŀĴŅľņтĸłŃĿĸłĶĶĴņļłŁĴĿĿŌ
ņĴŌĻĸŅŊłŅľļņюņĶĴŅŌĴŁķķĴŅľятю ĸĶĴňņĸяʼnĸŊłŅľĸķļŁŀĸŁŇĴĿ
ĻĸĴĿŇĻņĸŅʼnļĶĸņпŇĻļŁľпѐŇĻĴŇяņŌłňŅŃŅłĽĸĶŇļłŁёт łĿĿņĶĴŁ
ķļņŇňŅĵĵĸĶĴňņĸŇĻĸŌĻĴʼnĸĴĹĴĶņļŀļĿĸłĹŇĻĸĻňŀĴŁńňĴĿļŇŌņł
ŃĸłŃĿĸĶĴŁձŁķŇĻĸŀňŁĶĴŁŁŌтĻĸŀĴĽłŅļŇŌłĹŃĸłŃĿĸŊĻłĵňŌ
ŇĻĸŀŇĻļŁľŇĻĸŌĴŅĸʼnĸŅŌņŊĸĸŇтŌŊłŅľňņĸķŇłĵĸļŁĶŅĸķļĵĿŌ
ķĴŅľĵĸĹłŅĸŅĸņłĿʼnĸķĴĿłŇłĹŀŌĶĻļĿķĻłłķŇŅĴňŀĴпĵňŇ
ŁĴŇňŅĴĿĿŌŀŌĴŅŇĻĴņĵĸĶłŀĸĿļĺĻŇĸŅтя
ņŇĻļņĶĻĴŁĺĸłĶĶňŅŅĸķпŇĻĸĹĴķĸķпŊĸĿĿфŊłŅŁĴŁķĹĴŀļĿļĴŅ
ĶłĿłňŅņłĹŇĻĸʼnļŁŇĴĺĸŃĴĿĸŇŇĸĶĴŀĸļŁŇłŇĻĸļŅłŊŁпŊļŇĻĹĴĵŅļĶņ
łŇĻĸŅņĻĴķĿłʼnĸķпĹŅĸņĻĿŌŃĴŇĶĻĸķŇłĺĸŇĻĸŅĵŌŇĻĸĴŅŇļņŇт
ĸŅĴŅŇķłĿĿņłչĸŁĶĴŅŅŌŀĸņņĴĺĸņпŇłłпņňĶĻĴņю ĸĶłŀĸ
ŌłňŅņĸĿĹяłŅюĻĸĽłňŅŁĸŌļņŇĻĸķĸņŇļŁĴŇļłŁяѰĴŁłŇĻĸŅŇĴĿľņłĹ
юłʼnĸĴŁķĿłņņяѰĻĸŅŇĻĸŅĴŃļņŇĴŁķ"ĸŁ ňķķĻļņŀŇĸĴĶĻĸŅĴĿŇĸŅ
ĸĺłņņĻļŁļŁĺŇĻŅłňĺĻтюĻĸľĸŌŇłĴĿĿĻĸĴĿļŁĺļņŇłĵĸŊĻĴŇŌłň
ĴŅĸтķłŇŅŌŇłŃňŇŀĸņņĴĺĸņłŁŀŌķłĿĿņŇĻĴŇŅĸĿĴŇĸŇł"ĸŁпņňĶĻ
ĴņŇĻĸĹĴĿĿļŁĺĿĸĴĹпĵĸĶĴňņĸŇĻļŁĺņĹĴĿĿĴŁķķļņĴŃŃĸĴŅĴŁķŁĸŊ
ŇĻļŁĺņĶłŀĸĴĿłŁĺпяĴŀŅĸʼnĸĴĿņт
ĴŀяņķłĿĿņŀĴŌĻĴʼnĸĵĸĸŁŇĻĸŇĻĸŅĴŃŌŇĻĴŇŇłłľĻĸŅĹŅłŀŇĻĸ
ķĴŅľŁĸņņłĹĶĻŅłŁļĶĹĴŇļĺňĸņŌŁķŅłŀĸŇłĹňĿĿŅĸĶłʼnĸŅŌпĵňŇļŇ
ņĸĸŀņŇĻĸŌĴĿņłĶĴŅŅŌŊļŇĻŇĻĸŀĴŁļŁŁĴŇĸĻĸĴĿļŁĺŃłŊĸŅпĴ
ŁłņŇĴĿĺļĴĶĴŃĴĵĿĸłĹŅĸņŇłŅļŁĺʼnĴĿňĸņрĴŃłŇĸŁĶŌŇĻĴŇĴņľņňņ
ŇłĴŃŃŅĸĶļĴŇĸŇĻĸŃĴņŇпŇłĿłʼnĸĴĺĴļŁĵĸĴňŇļĹňĿłĵĽĸĶŇņŇĻĴŇĴŅĸ
ŁłŇŌĸŇŅĸĴķŌŇłĵĸĶĴņŇłծпŇłĶĻĸŅļņĻŊłŀĸŁĴŁķŇĻĸļŅŅłĿĸņ
ŇĻŅłňĺĻŇĻĸĶĸŁŇňŅļĸņĴŁķŇłĿłłľĶĿłņĸĿŌĴŇŇĻĸŊłŁķĸŅĹňĿĿŌ
ļŁŇŅļĶĴŇĸĸŃĻĸŀĸŅĴłĹłňŅĿļʼnĸņпĵłŇĻŇĻĸŁĴŁķŁłŊт e
Claire Waring
Sam Miller can be found online at instagram.com/sam_miller_artist
Sam’s joint exhibition,Welcome to the Dollhouse, will be at Espacio Gallery,
159 Bethnal Green Road, London, in September.

May June 2024

EMBROIDERY

47

Needle-painting pioneers
IN A NEW EXHIBITION ON WOMEN ARTISTS, TATE BRITAIN INCLUDES TWO
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T

wªæjy„àm0²ׁ‫ةׇ׀׈ׁِ׃׃ׇ‬y00(m0à„ªj§X!ÀǪ0‫خ׉ׇׇׁة‬y00(m0à„ªj‫خ‬²Xmjy(à„„m‫!ׂخ׉׈ة‬wå‫!ׅخׄ׈‬w‫خ‬
THE ROYAL COLLECTION TRUST © HIS MAJESTY KING CHARLES III

ĴŇĸ ŅļŇĴļŁļņշŌļŁĺŇĻĸշĴĺĹłŅŊłŀĸŁĴŅŇļņŇņļŁŇĻĸļŅ
ĹłŅŇĻĶłŀļŁĺĸŋĻļĵļŇļłŁłŊ!łňĸĸņсłŀĸŁ
ŅŇļņŇņļŁ ŅļŇĴļŁҲҶҳұѰҲҺҳұпĹŅłŀҲҷĴŌŇłҲҴĶŇłĵĸŅт
ŇņĻłňĿķĵĸĴĺŅĸĴŇņĻłŊпŅĸŀļŁķļŁĺňņłĹŊłŀĸŁĴŅŇļņŇņŊĸ
ľŁĸŊłĹпĴŁķŀĴŁŌŊĸķļķŁяŇт
ŊłĴŅŇļņŇņļŁŇĻĸĸŋĻļĵļŇļłŁпĴŅŌłŅŅļņŁłŊĿĸņ֪ѼҲҸҴҴѰ
ҲҹұҸѽĴŁķĴŅŌļŁŊłłķ֪ѼҲҸҶҶѰҲҹҵҶѽ֪ŊĸŅĸĸŀĵŅłļķĸŅĸŅņт
ňŅĴŇłŅĴĵļŇĻĴ ĴŅĵĸŅĶĻłņĸŇĻĸŇŊłŊłŀĸŁĴņŃŅļŀĸ
ĸŋĴŀŃĿĸņłĹŊĻĴŇŊĴņłչĸŁĿĴĵĸĿĿĸķсŊłŀĸŁяņŊłŅľтюĻĸņĸŇŊł
ŊłŀĸŁļŁŃĴŅŇļĶňĿĴŅĶŅłņņŇĻĸĵłňŁķĴŅŌĵĸŇŊĸĸŁĸŀĵŅłļķĸŅŌ
ĴŁķĴŅŇĵĸĶĴňņĸļŇяņŁĸĸķĿĸфŃĴļŁŇļŁĺпŊĻļĶĻļņŀļŀļĶľļŁĺ
ŃĴļŁŇļŁĺķĸĿļĵĸŅĴŇĸĿŌтя ĴŅĵĸŅяņĶĻłļĶĸņŅĸʼnĸĴĿĴŁňŁķĸŅф
ŅĸņĸĴŅĶĻĸķĴŅĸĴłĹĸŀĵŅłļķĸŅŌĴŁķłŁĸŇĻĴŇŊĴņĸŋŇŅĸŀĸĿŌ
ŃłŃňĿĴŅĴŇŇĻĸŇļŀĸпĸŀĵŅłļķĸŅļŁĺĶłŃļĸņłĹĹĴŀłňņŃĴļŁŇļŁĺņт
łŇĻŁłŊĿĸņĴŁķļŁŊłłķĻĴķļŁŇĸŅĸņŇļŁĺĴŁķ
ňŁĶłŁʼnĸŁŇļłŁĴĿĿļʼnĸņтĴŅŌŁłŊĿĸņпĴńňĴľĸŅŃłĸŇпĴĵłĿļŇļłŁļņŇ
ĴŁķĸĴŅĿŌĹĸŀļŁļņŇпŊĴņĵłŅŁļŁňĺĸĿĸŌпŇĴծłŅķņĻļŅĸļŁҲҸҴҴт
ĸŅŃļĶŇňŅĸļŁĶĿňķĸķļŁŇĻĸĴŇĸĸŋĻļĵļŇļłŁпSelf-portrait, making
ĴŁĸĸķĿĸŊłŅľĴոĸŅ"łխĴŁŌпҲҸҸҺпņĻłŊņŁłŊĿĸņĻłĿķļŁĺĻĸŅ
ĸŀĵŅłļķĸŅŌłĹŇĻĸ"łծĴŁŌŃłŅŇŅĴļŇłĹĸłŅĺĸт
ŁłŊĿĸņяŁĸĸķĿĸфŃĴļŁŇļŁĺļņļŁŇĻĸĶłĿĿĸĶŇļłŁłĹŇĻĸłŌĴĿŅňņŇ
ĴŁķŇĻĸļŅŊĸĵņļŇĸŇĸĿĿņňņłĹŁłŊĿĸņяŃŅłĶĸņņсюĻļņŇĸĶĻŁļńňĸ
ѐņłĻļĺĻĿŌձŁļņĻĸķпŇĻĴŇļŇĻĴņĴĿĿŇĻĸņłչŁĸņņĴŁķ ծĸĶŇ
łĹŃĴļŁŇļŁĺёŊĴņĴĶĻļĸʼnĸķŊļŇĻĴĶłŀĵļŁĴŇļłŁłĹļŅŅĸĺňĿĴŅ
ņĴŇļŁфņŇļŇĶĻĴŁķĿłŁĺфĴŁķфņĻłŅŇņŇļŇĶĻпŊłŅľĸķłŁĻĴŁķфŊłʼnĸŁ
ŇĴŀŀŌļŁĴŁĴŅĵļŇŅĴŅŌŃĴŇŇĸŅŁĴŁķĴŇņŃĸĸķпňņļŁĺձŁĸŊłłĿ
ķŌĸķļŁĴŊļķĸŅĴŁĺĸłĹĶłĿłňŅņňŁķĸŅĻĸŅłŊŁņňŃĸŅʼnļņļłŁтя
ĻļņŁĸĸķĿĸфŃĴļŁŇļŁĺŊĴņĴĶłŀŀļņņļłŁĹŅłŀňĸĸŁ ĻĴŅĿłŇŇĸ
ѼҲҸҵҵѰҲҹҲҹѽĴŁķłŁĶłŀŃĿĸŇļłŁŊĴņŃŅłŁłňŁĶĸķŇłĵĸŇłŇĻĸ
ŅłŌĴĿĹĴŀļĿŌяņюĸŁŇļŅĸņĴŇļņĹĴĶŇļłŁятĻļņĶłŀŀĸŁķĴŇļłŁŊĴņ

ĴĶĶłŀŃĴŁļĸķĵŌĴĺļչŇłŁłŊĿĸņłĹҜҹұұпŊļŇĻŊĻļĶĻņĻĸ
ĸŁĴĵĿĸķĻĸŅĻňņĵĴŁķŇłņŇňķŌŀĸķļĶļŁĸт
ĴŅŌļŁŊłłķпĵłŅŁļŁ ļŅŀļŁĺĻĴŀļŁҲҸҶҶпŅĴŁĴĵłĴŅķļŁĺ
ņĶĻłłĿпĴĵňņļŁĸņņļŁĻĸŅļŇĸķĹŅłŀĻĸŅŀłŇĻĸŅтĻĸĴĿņłŊłŅľĸķ
ĴņĴŁĸŀĵŅłļķĸŅĸŅĹŅłŀŇĻĸĴĺĸłĹҲҴпĸʼnĸŁŇňĴĿĿŌŇĸĴĶĻļŁĺĴŇ
ĻĸŅŀłŇĻĸŅяņĵłĴŅķļŁĺņĶĻłłĿпŊĻĸŅĸĸŀĵŅłļķĸŅŌŊłňĿķĻĴʼnĸ
ĵĸĸŁłŁŇĻĸĶňŅŅļĶňĿňŀтļŁŊłłķłŃĸŁĸķĻĸŅłŊŁĺĴĿĿĸŅŌļŁ
łŁķłŁļŁҲҹұҺпņĻłŊļŁĺҷҵłĹĻĸŅŁĸĸķĿĸфŃĴļŁŇļŁĺņпĶłŃļĸņ
łĹŃĴļŁŇļŁĺņĵŌĸŌŁłĿķņпŇňĵĵņпĴļŁņĵłŅłňĺĻĴŁķłŇĻĸŅņт
ŇŊĴņŇĻĸձŅņŇĺĴĿĿĸŅŌŇłĵĸłŊŁĸķĵŌĴŊłŀĴŁтюŇŊĴņĿļľĸĴ
ŇĸŋŇļĿĸĴķĴŀĸňņņĴňķņрļŇŊĴņŃĻĸŁłŀĸŁĴĿĿŌŃłŃňĿĴŅĴŁķĴ
ĵļĺŇłňŅļņŇĴŇŇŅĴĶŇļłŁпяņĴŌņ ĴŅĵĸŅт
ļŁŊłłķŊĴņŇłŀĴľĸĻĸŅĿĴņŇĸŀĵŅłļķĸŅŌŊĻĸŁņĻĸŊĴņĴĺĸķ
ҸҹтĻĸĿļʼnĸķŇłĵĸҺұĴŁķŊłŅľĸķĴņĴŇĸĴĶĻĸŅňŁŇļĿĴŌĸĴŅ
ĵĸĹłŅĸĻĸŅķĸĴŇĻтļņŇłŅļĶĴĿĿĸĺĸŁķĻĴņļŇŇĻĴŇĻĸŅĸŀĵŅłļķĸŅŌ
ĶłŃŌłĹĴŃĴļŁŇļŁĺĵŌŇĻĸŇĴĿļĴŁĴŅŇļņŇĴĿʼnĴŇłŅłņĴņłĿķĹłŅ
ŀłŅĸŇĻĴŁŇĻĸłŅļĺļŁĴĿт
ŁŇĻĸĴŇĸĸŋĻļĵļŇļłŁĻĸŅĴĿʼnĴŇłŅňŁķļоĴոĸŅ ĴŅĿł łĿĶļп
ĶļŅĶĴҲҸҺҹпķĸŀłŁņŇŅĴŇĸņĽňņŇĻłŊĶĿłņĸŇłŇĻĸłŅļĺļŁĴĿņŇĻĸņĸ
ŁĸĸķĿĸфŃĴļŁŇļŁĺņĶłňĿķĵĸт ĴŅĵĸŅŅĸĶĴĿĿņņĸĸļŁĺŇĻĸŃļĶŇňŅĸņ
ĵŌŁłŊĿĸņĴŁķļŁŊłłķĹłŅŇĻĸձŅņŇŇļŀĸļŁŇĻĸłŌĴĿ
łĿĿĸĶŇļłŁсюĻĸŁŌłňņŇĴŁķļŁĹŅłŁŇłĹŇĻĸŀŇĻĸŌĴŅĸĴŀĴōļŁĺр
ŇĻĸļŁĶŅĸķļĵĿĸŊłŅľŇĻĴŇĻĴņ峣ĸļŁŇłŇĻĸŀтĻĸŌĴŅĸŁłŇĽňņŇ
ĸŀĵŅłļķĸŅĸķĶłŃļĸņпŇĻĸŌĴŅĸŇŅŌļŁĺŇłļŀļŇĴŇĸŃĴļŁŇļŁĺпņłŇĻĸ
ŊĴŌŇĻĸŌĴŅĸņŇļŇĶĻĸķпŇĻĸĴĶŇňĴĿŇĻŅĸĴķņŀļŀļĶŃĴļŁŇņŇŅłľĸņтя
ņŁļĶĻĸĴņŇĻļņĴĿĿņłňŁķņпļŁ ŅļŇĴļŁĴŇŇĻĸŇļŀĸŊłŀĸŁяņ
ĶŅĴչĻĴķŅłŌĴĿņňŃŃłŅŇтŇĻĴķĶĴňĺĻŇŇĻĸļŁŇĸŅĸņŇłĹňĸĸŁ
ĻĴŅĿłŇŇĸпŊĻłļŁʼnļŇĸķĴŅŌŁłŊĿĸņĴŁķĴŅŌļŁŊłłķ
ѼĴĿłŁĺŊļŇĻĶłĿĿĴĺĸĴŅŇļņŇĴŅŌ ĸĿĴŁĸŌѽŇłļŁķņłŅ ĴņŇĿĸт
ĻĸňĸĸŁĻĴķĻĸŅłŊŁņŃĸĶļĴĿļŁŇĸŅĸņŇļŁĴŅŇŀĴķĸĵŌ
ŊłŀĸŁĴŁķļŁҲҸҷҹĻĴķĻĸĿŃĸķŇłĸņŇĴĵĿļņĻĴŁĸĸķĿĸŊłŅľ
ņĶĻłłĿĹłŅŊłŀĸŁļŁ ŀŃŇĻļĿĿп ňĶľļŁĺĻĴŀņĻļŅĸт֪ ŇŇĻĸŇļŀĸ
ŁĸĸķĿĸŊłŅľĶłŃļĸņłĹĸŇĶĻļŁĺņпľŁłŊŁĴņŃŅļŁŇŊłŅľпĴŁķ
ŁĸĸķĿĸфŃĴļŁŇļŁĺņŊĸŅĸĸŋŇŅĸŀĸĿŌŃłŃňĿĴŅĹłŅŀņłĹŊłŀĸŁяņ
ĸŀĵŅłļķĸŅŌтĻĸĶĿĸʼnĸŅŁĸņņłĹŇĻĸĶłŃļĸņŊłňĿķĻĴʼnĸĵĸĸŁ
ŇĻĸĴŃŃĸĴĿт ĸŅĿļŁŊłłĿŊłŅľŊĴņʼnĸŅŌŀňĶĻŇĻĸĻłĵĵŌłĹŇĻĸ
ķĴŌŇĻĸŁпŇłłтŁłŊĿĸņĴŁķļŁŊłłķĵłŇĻŅłķĸŇĻĴŇŊĴʼnĸłĹ
ŃłŃňĿĴŅĴŀĴŇĸňŅĸŀĵŅłļķĸŅŌт
ĻĸĴŇĸļņņĻłŊļŁĺŁłŊĿĸņĴŁķļŁŊłłķŊļŇĻĴŅŌ
ĸĿĴŁĸŌпĴŅĴĻ ļծĸŁĴŁķłŇĻĸŅŊłŀĸŁŀļŁļĴŇňŅļņŇĴŅŇļņŇņ
ŊłŅľļŁĺļŁŀĴŇĸŅļĴĿņĿļľĸļʼnłŅŌĴŁķņĻĸĿĿņтĹĶłňŅņĸпŊłŅľļŁĺ
ļŁюĶŅĴչĸķяŀĸķļňŀņŊĴņŁłŇĻŅĸĴŇŇłŇĻĸŀĴĿĸĴŅŇļņŇņяņŇĴŇňņ
ńňłтĻĸņĸĶĴŁŁŌĴŁķŇĴĿĸŁŇĸķŊłŀĸŁŀĴķĸĺłłķĻĸĴķŊĴŌļŁ
ĵĸĶłŀļŁĺņĸĿĹфĸŀŃĿłŌĸķĴŅŇļņŇņļŁĸŅĴņŊĻĸŁŊłŀĸŁĿļľĸŇĻĸŀ
ķļķŁяŇŊłŅľпŁĸʼnĸŅŀļŁķŊłŅľĹłŅŇĻĸŀņĸĿʼnĸņтĴŅŌļŁŊłłķ
ŊĴņĴŁĸŀĵŅłļķĸŅĸŅŊĻłĴĿņłĻĴķĴŁłŇĻĸŅĿļĹĸĴņĴŊŅļŇĸŅт
ŁłŊĿĸņпŇĻłňĺĻпŊĴņĴŃŅłĹĸņņļłŁĴĿĸŀĵŅłļķĸŅŌĴŅŇļņŇт
ĻĸĿļʼnĸņłĹŇĻĸņĸŊłŀĸŁŀĴŌŁłŇĻĴʼnĸĵĸĸŁĸĴņŌłŅ
ņŇŅĴļĺĻŇĹłŅŊĴŅķĵňŇŇĻĸŌŊĸŅĸпĴŁķĴŅĸпļŁņŃļŅļŁĺтюĻĸ
ĸŋĻļĵļŇļłŁĴļŀņпяņĴŌņ ĴŅĵĸŅпюŇłŇňŅŁŇĻĸļķĸĴłĹŊłŀĸŁ
ĴņĴŀĴŇĸňŅņłŁļŇņĻĸĴķтĻĸŅĸŀĴŌĻĴʼnĸĵĸĸŁĴŁļķĸĴŇĻĴŇ
Left: Self-portrait, making a needlework after Zoffany, circa 1779, shows Mary
Morris Knowles holding her embroidery of the Zoffany portrait of George III,
which was commissioned by Queen Charlotte
Right: Mary Linwood’s Salvator Mundi, after Carlo Dolci, circa 1798, demonstrates
just how close to the originals these needle-paintings could be. Mary Linwood
[EWEXVEMPFPE^IVSTIRMRKXLI½VWXKEPPIV]XSFIS[RIHF]E[SQERWLS[MRK
of her needle-paintings of works by Reynolds, Stubbs and Gainsborough

48

EMBROIDERY

May June 2024

MARY LINWOOD, SALVATOR MUNDI, AFTER CARLO DOLCI‫خ׈׉ׇׁخ!ة‬y00(m0à„ªj‫خ‬²Xmj‫!׆خ׃׉ة‬wå‫!ׅخ׆ׇ‬w‫خ‬ÀR0ª„æm!„mm0!ÀX„yÀªÇ²À‫ێ‬RX²wh0²ÀæjXyJ!Rªm0²XXX

history

‘Linwood opened her own gallery in
mȌȁƮȌȁǞȁׁ‫خ׉׀׈‬XɈɩƊȺɈǘƵ˛ȲȺɈǐƊǶǶƵȲɯ
to be owned by a woman’
ŊłŀĸŁķļķŇĻĸļŅŊłŅľĹłŅĺĸŁŇĸĸĿĴŀňņĸŀĸŁŇĵňŇĴĶŇňĴĿĿŌ
ŇĻĸŊłŀĸŁŇĻĴŇŊĸяŅĸņĻłŊļŁĺŇłłľŇĻĸļŅŊłŅľпĴŁķłŊŁĸķļŇп
ĴŁķŇňŅŁĸķļŇļŁŇłĴŃŅłĹĸņņļłŁĴĿĶĴŅĸĸŅтя ŀĵŅłļķĸŅŌŀĴŌĵĸ
ņłŀĸŇĻļŁĺłĹĴņļķĸĵĴŅļŁŇĻļņĸŋĻļĵļŇļłŁпĵňŇŇĻĴŇļņŀĴļŁĿŌп
ĴŅĵĸŅĸŋŃĿĴļŁņпĵĸĶĴňņĸĴŇĸ ŅļŇĴļŁļņձŅņŇĴŁķĹłŅĸŀłņŇ
ĴŁĴŅŇĺĴĿĿĸŅŌт ňŇŊĻĴŇļŁŇĸŅĸņŇļŁĺņŇłŅļĸņŇĻĸŊłŅľłĹĴŅŌ

łŅŅļņŁłŊĿĸņĴŁķĴŅŌļŁŊłłķŇĸĿĿтĻĴŇŇĻĸŌŅĸʼnĸĴĿ
ĴĵłňŇŇĻĸĸĴŅĿŌķĴŌņłĹĸŀĵŅłļķĸŅŌĴņĴŃŅłĹĸņņļłŁĴĿŃŅĴĶŇļĶĸ
ļņĹĴņĶļŁĴŇļŁĺт ŁķŇĻĸłŇĻĸŅŊłŅľĵŌŊłŀĸŁĴŅŇļņŇņļŁŇĻĸ
ĸŋĻļĵļŇļłŁĿłłľņĹĴĵňĿłňņпŇłłт
ю ņŊĸĿĿĴņĿłłľļŁĺĴŇŊĻĴŇŇĻĸŊłŀĸŁŃŅłķňĶĸķпŊĸĴŅĸ
ĿłłľļŁĺĴŇļŇŇĻŅłňĺĻŇĻĸĿĸŁņłĹŇĻĸĵĴŇŇĿĸņŇĻĴŇŇĻĸŌĻĴķŇł
ĸŁķňŅĸŇłĴĶŇňĴĿĿŌŃŅłķňĶĸĴŅŇтĸŅĸĴĿĿŌŊĴŁŇŇĻļņĸŋĻļĵļŇļłŁ
ŇłĻĴʼnĸĴĿĸĺĴĶŌт ŁķŇĻļņļņŃĴŅŇłĹĴķŅļʼnĸĴŇĴŇĸ ŅļŇĴļŁпŇł
ŀĴľĸņňŅĸŊłŀĸŁĴŅŇļņŇņĴŅĸŃĴŅŇłĹŇĻĸņŇłŅŌтя e
Now You See Us:Women Artists in Britain 1520–1920,
16 May–13 October. tate.org.uk
May June 2024

EMBROIDERY

49

MEET T A G
TEXTILE
ART GROUP
How did the group start?

TAG was set up in 1994 by friends who had met on City
& Guilds creative embroidery courses and were looking to
continue working creatively and collaboratively, sharing their
expertise and investigating new approaches to textile art.

Is there an overriding principle that binds you together?

Members of the group focus on sharing their individual
practice, together with a genuine excitement in exploring
new techniques and processes. Work in a variety of media is
welcomed, and celebrated, in order to encourage diversity in
the textile and mixed media art pieces produced. Discussions
during group meetings feed individual practice and
collaborative projects. We make it a priority to use, where
TSWWMFPI&ERO½IPH1YWIYQ´WTVIWXMKMSYWXI\XMPIGSPPIGXMSRWMR
their rich and diverse galleries.

Where and when do you meet?

1IIXMRKWEVILIPHSRXLI½VWX;IHRIWHE]SJIEGLQSRXLEX
&ERO½IPH1YWIYQEX%OVS]H4EVO,EPMJE\

Do members share practice tips?

Each meeting features the opportunity to show ongoing
work and receive critique and support from group
members. Sketch and design book ideas are shared and single
session activities and workshops, in-house or from visiting
speakers, are included in our programme to inspire individual
or group themes and ideas. Members also share details of
inspirational visits to galleries and exhibitions.

Are there any important dates in the group’s calendar?

;IEVIZIV]I\GMXIHXSFIMRZSPZIHMR'EPHIVHEPI´WXL
anniversary festival, CultureDale, and are currently working
on individual pieces and a group sculptural project for our
exhibition, Colours of Calderdale, to be held in the upstairs
KEPPIV]WTEGIEHNEGIRXXSXLI'SWXYQI+EPPIV]EX&ERO½IPH
Museum (8 June–28 September).
Our work is an expression of the rich diversity of
'EPHIVHEPI´WGSQQYRMXMIWGYPXYVIWHVEQEXMGERHZEVMIH
topography, parks, buildings and the industrial heritage of its
renowned textile and carpet industries.
8%+´WXLERRMZIVWEV]ERHGIPIFVEXMRKMXXLVSYKLXLMW
magazine article, are both very important events in 2024.

Can you describe the most memorable moment in the
group’s 30-year history?

6IXYVRMRKXSQIIXEKEMRJEGIXSJEGIEX&ERO½IPH1YWIYQ
LEZMRK[SVOIHSRE;IIOP]4SWXGEVH4VSNIGXHYVMRKXLI
isolation period of the Covid pandemic. We received a very
warm welcome and support from staff, who then invited
YWXSQSYRXERI\LMFMXMSR7XMXGL1IIXW4VMRXMRXLIMVQEMR
gallery (April–May 2022).
Keep up to date with TAG through their social media site at
instagram.com/taghalifax or by visiting one of their meetings,
where you will receive a warm welcome.
'SPSYVWSJ'EPHIVHEPIF]8%+MWEX&ERO½IPH1YWIYQ,EPMJE\
8 June–28 September. culturedale.co.uk
50

EMBROIDERY

May June 2024

ĿłĶľŊļņĸĹŅłŀŇłŃĿĸչс
Wall by Vivienne A Brown (2024), 21cm x 29.7cm, mixed media
Moorland Shades Number 1 by Margaret Brown (2024),
18cm x 18cm, mixed media

Sculpture Length by Jackie Ford (2023), 80cm x 100cm, sun-print

Calderdale Textile Heritage by Jo Greenwell (2023), 100cm x 100cm,
piece for group sculpture

CALDERDALE’S CREATIVES
Working as a multi-disciplinary artist, HELEN HAYMAN is
beginning to explore how best to use the versatility of textiles
in her current practice.Through the use of two- and threedimensional processes, she hopes to bring the many aspects of her
working practice into a new cohesive whole.
The moorland is a forever changing landscape. Using paint, gesso,
applied fabrics and stitch, MARGARET BROWN aims to portray
this aspect of Calderdale in all its moods and shades.
VIVIENNE A BROWN, a geologist and botanical artist, has
looked at the physical setting of Calderdale, with its urban
developments set among areas of natural beauty. She has marvelled
at the ancient stone walls and explored the parks and recreation
areas within them.Vivienne combines digital imagery with paper,
print, fabric, machine and hand-stitch to create detailed, tactile
representations of the natural world and its beauty.
HELEN SMITH has taken the canals which run through
Calderdale as her inspiration. For the group sculptural project, she
has interpreted the narrowboats’ decoration with emblematic
painted roses and castles, through machine appliquéd canal and
castles and block-printed roses on dyed green fabric. Intriguingly,
she has also embroidered a ‘spiderweb belt’ which the artist says
would be ‘better wear’ for men.
JACKIE FORD enjoys experimental patterning on fabrics, anything
JVSQFPSGOERHWYRTVMRXMRKXSQEVFPMRKERHGPMRK½PQH]IMRK
Swatches from the resulting mountain of fabric form her collages.
Photographs and poems received from friends prompted the work
Calderdale Skies, while the use of text came from reading about
Agnes Richter’s stitched prison uniform.
FIONA EDMONDSONXVEMRIHMR½RIEVXTEMRXMRKFYXEP[E]W
enjoys working with mixed media. For the CultureDale project,
Fiona focused on the legacy of Calderdale’s industrial heritage
and the way in which nature has reclaimed these structures. Print,
ceramics and free-motion embroidery have been used to create
responses to the theme.
JOAN BURNIP has a fascination with old industrial machinery,
[LMGLWLI½RHWFIEYXMJYPTEVXMGYPEVP]XLIMRXIVPSGOMRKGSKWERH
wheels. Her very free interpretations use a variety of colours and
stitches to make patterns and pictures.
Calderdale is a special part of Yorkshire. For such a small area it
encompasses a wonderful variety of history and beauty. Many
walks and treks follow traditional stone causeways on packhorse
routes which pass through villages and old mill towns. In her twodimensional piece, LESLEY BOHANNA uses a combination of
EGV]PMGTEMRXERH[SSP½FVIW[LMGLEVIIQFIPPMWLIHSRXSXLI
surface, to convey a feeling of time passed and distances travelled.
Creating pieces for this exhibition has enabled JO GREENWELL
to combine her love of the natural surroundings of Calderdale,
with its textile heritage and landmark buildings.Working with gelli
plate and collagraph printing techniques is a new departure for
Jo, while her three-dimensional pieces feature her love of colour,
texture, layering and stitch.
Inspired by her father, Arthur, JENNY DENNISON WHITE’s
interest in Calderdale’s local history drew her to the area’s map,
XLISYXPMRISJ[LMGL[LIRXIWWIPPEXIHTVSHYGIHE¾S[IVWLETI
Sheep, white roses and blue printing on a green background with
gold highlights completed her fabric design for the group project. e

May June 2024

EMBROIDERY

51

REGULAR

a common thread

E D U C AT I O N
E D U CAT I O N
EDUCATI ON
ĸĸŁĴ ĸʼnĸŅĿĸŌհŁķņ
the RSN is as passionate
about educating the next
wave of hand-embroiderers
as it is about completing
some of its celebrity
commissions

F

SPPS[MRKXLI/MRK´WGSVSREXMSRQIHME
GSZIVEKISJXLI672´WTLIRSQIREP[SVO
on nine major commissioned pieces
made conversation about embroidery a
water-cooler moment. Elevating stitch as an
art form to levels commanding international
EXXIRXMSRLEWFIIRGSVIXSXLI672´WIXLSW
since its 1872 inception.
Dr Susan Kay-Williams, chief executive,
explains that initially ‘Berlin woolwork,
IWWIRXMEPP]SRIWXMXGLTVIZEMPIH´PIEZMRKSXLIV
WXMXGLIWMRHERKIVSJI\XMRGXMSR,ETTMP]EVX
embroidery was evolving. ‘We worked with
William Morris, Burne-Jones and Walter
Crane; our founders were keen to see
IQFVSMHIV]HMWTPE]IHEPSRKWMHI½RIEVX´
To create work of global repute, the RSN has
³EP[E]WFIIREFSYXGEVIIVWMRIQFVSMHIV]´
Established to offer employment to ‘educated,
middle-class women otherwise destitute
because the main male breadwinner died or
52

EMBROIDERY

May June 2024

[EWYREFPIXSIEVREPMZMRK´WXYHIRXWVIGIMZIH
nine days of tuition, ‘testing their attitude to
WXMXGLERHGSQQMXQIRX´8LSWI[LSTEWWIH
went into the workroom, learning on the job.
In the 1890s, the RSN, always at the forefront
of educational development, started teaching
embroidery to professional level, awarding
a diploma with which you could teach in
technical colleges or schools.
The continuing success of the RSN
4VSJIWWMSREP8YXSV4VSKVEQQITVSZIWXLI
farsightedness of this early vision. Now more
accessible than ever, students can study
alongside family and work commitments as
XLILSYVE[IIOGSYVWISRP]VIUYMVIW
RSN attendance twice a week.
%TTPMGERXWHSR´XRIIHXSLEZIWXYHMIH
previously at the RSN, although Susan advises
XLEXXLI][SYPH³VIGSQQIRH]SY´ZIXEOIREX
least one or two short or self-paced courses
XSWIILS[[I[SVO´

³8VEHMXMSREPWOMPPWRIIHXSFIQEMRXEMRIH´
echoes Anne Butcher, the head of studio
ERHWXERHEVHW³8LEX´WSYVIXLSW8LI[E][I
teach is similar across the board, even down
XSLS[[IWXEVXERH½RMWLWXMXGLMRKERH
YWMRKEWPEXIJVEQI´
To keep teaching standards high on the tutor
programme, ‘we only take on six people,
including a funded scholarship and bursary
TPEGIJSVSRI¯]IEVSPH´8LIWGLSPEVWLMT
age cap is designed to bring in ‘different,
]SYRKIVTIVWTIGXMZIW´ERHXLILSTIMWMX[MPP
attract applicants from communities they
HSR´X]IXVIEPP]GSZIVFIGEYWIXYMXMSRJIIW
have excluded some young people.
Does this mean that the RSN is actively
broadening its reach from the ‘educated,
QMHHPIGPEWW[SQIR´[LS[IVIMXW½VWX
students? Susan responds emphatically:
‘Yes. We want to broaden out even more.
Careers in hand-stitch are for everyone

education

‘Traditional
skills need to
be maintained’

ĵłʼnĸсłŅľļŁĺłŁňĸĸŁ ĴŀļĿĿĴяņ
Robe of Estate, designed by the RSN.
ĻĸշłŊĸŅņļŁŇĻĸķĸņļĺŁŊĸŅĸĶĻłņĸŁ
for their symbolism or connection to
Their Majesties
ĴŅĿĸչсĸĿĿļĸļĶĻĸĿłпĻĸĴķłĹŇĻĸ
RSN paint room, 1879–1939
ĸչсňŇłŅ ňĵňŅŁ ĿĴļŅĸňĶĴņ
provides guidance to a student

May June 2024

EMBROIDERY



łŃĿĸչсŇňķĸŁŇ ĵļĺĴļĿłŅłŁĻĴŊłŅľņłŁĻĸŅĵĸĴňŇļĹňĿձŁĴĿ
major project for her degree
ĸչсŇňķĸŁŇłŀĴņ ņŀĸĿĴņĻŊļŇĻĻļņņŇŅļľļŁĺձŁĴĿŀĴĽłŅ
project for his degree
ĵłʼnĸсĻĸ ŀĵŅłļķĸŅĴĸĿձĸŃŅłĽĸĶŇĻĸĿŃņŇłĸŁĶłňŅĴĺĸŀłŅĸ
stitch in schools, giving young people the opportunity to learn
about the fun, creative and therapeutic aspects of stitch
ļĺĻŇсłŀĸłĹŇĻĸŊłŅķņĴŁķŀłŇļĹņŊĻļĶĻĴŅĸņŇļŇĶĻĸķļŁŇĻĸ
ĶĻļĿķŅĸŁяņĴŁķĹĴŀļĿŌŊłŅľņĻłŃņ

ERH[IEPWSXIEGLXLI(IKVIIMR,ERH
Embroidery, with our students going on
to careers in haute couture, interiors and
textile art.The degree is validated by
Kingston University London and taught at
,EQTXSR'SYVX4EPEGI´
8LI672´WIHYGEXMSRTVSKVEQQIMWR´X
GSR½RIHXS,EQTXSR'SYVX4EPEGI´W
beautiful walls. It also offers innovative
programmes for schools and pop-up
stitching sessions, linking ‘with textile-related
exhibitions so children can absorb and
immerse themselves in stitch, then put it into
TVEGXMGIMQQIHMEXIP]´7YWERI\TPEMRW
Venues include The Turner Contemporary,
FEWIHMR1EVKEXI&PIRLIMQ4EPEGI-GSRW
of Fashion show; and the D-Day Museum:
Overlord Embroidery.
A passion for embroidery developed at an
IEVP]EKI[EWGIVXEMRP]SR%RRI&YXGLIV´W
mind when she entered the RSN as a
]IEVSPHETTVIRXMGI7LI´WFIIR[MXLXLI
672MRZEVMSYWVSPIWIZIVWMRGI4IVJIGXMSRMWQ
and attention to detail are paramount to
QEMRXEMRMRKXLI672´WPIKIRHEV]WXERHEVHW
³-JWSQIXLMRK´WRSXUYMXIVMKLX[I´PPVIHSMX
;IVIZMI[VIZMWMXERHGSRXMRYEPP]HMWGYWW´
-X´WHSYFXJYP[LIR%RRI[EPOIHMRXSLIV
MRXIVZMI[EX4VMRGIW+EXIXLI672´WTVIZMSYW
home in London, carrying her portfolio
containing embroidery kits of Mrs TiggyWinkle and a soft sculpted cheeseburger
54

EMBROIDERY

May June 2024

stuffed with tights – ‘very much work of that
IVE´WQMPIW%RRI¯XLEXWLI´HFISZIVWIIMRK
and working on pieces for royalty 40 years
PEXIVMRGPYHMRK%PI\ERHIV1G5YIIR´WWXYRRMRK
[IHHMRKHVIWWJSV'EXLIVMRI4VMRGIWWSJ
;EPIWERHXLI¾S[IVWTVMROPIHVSFI5YIIR
Camilla wore after the coronation.
%PPXLI¾S[IVWSRXLI5YIIR´W6SFI
of Estate, designed by the RSN in close
GSPPEFSVEXMSR[MXLXLI4EPEGI[IVIGLSWIR
for their symbolism or connection to Their
Majesties. Lily of the Valley was in Queen
'EQMPPE´WFVMHEPFSYUYIXJSVKIXQIRSXWEVI
SRISJLIVJEZSYVMXI¾S[IVWHIPTLMRMYQW
EVI/MRK'LEVPIW´WJEZSYVMXIWEW[IPPEW,IV
1ENIWX]´WFMVXLQSRXL¾S[IV'LEVQMRKP]
WGEFMSWERMGOREQIH³TMRGYWLMSR¾S[IV´MW
MRGPYHIHJSV,IV1ENIWX]´WVSPIEWXLI672´W
TEXVSR8LI9/´WJSYVIQFPIQEXMG¾S[IVW¯
daffodil, thistle, shamrock and rose – are also
included.Techniques encompass cut work
and couching, with 14 metal thread types.
Working for royalty is just one of many
exciting career paths open to students.
%PYQRE,EXXMI1G+MPPQEHIGPSEOW
JSV&IRIHMGX'YQFIVFEXGL´WGLEVEGXIV(V
Strange in the 2016 Doctor Strange½PQ
[LMGLMWFEWIHSR1EVZIPGSQMGW,EXXMI´W
work since graduating, includes embroidery
JSVXLI½PQZIVWMSRSJWicked.
The RSN also works on ecclesiastical,
conservation and renovation pieces, haute

couture and more. Christening gowns,
antique wedding veils and a dazzling myriad
of other commissions, all have a story to
tell, from the layers of iconography in the
Anointing Screen on which the RSN worked
JSV/MRK'LEVPIW---´WGSVSREXMSRXSXLITMIGI
JSVE[MHS[IVOIIRXSWIILMWPEXI[MJI´W
YR½RMWLIHIQFVSMHIV]GSQTPIXIHJSVHMWTPE]
in his home where he could enjoy it.
³;IRIZIVORS[[LEX´WKSMRKXSGSQI
XLVSYKLXLIWXYHMSHSSVRI\XERHXLEX´W
XLINS]SJMX´VIQEVOW%RRI
;LIXLIV]SY´VIERIWXEFPMWLIHLERH
embroiderer seeking to deepen and
enrich your knowledge by immersion
MRXLI672´WGPEWWMGEPXIGLRMUYIWERH
knowledge evolved over centuries, matched
by world class innovation and a peerless
international reputation, or at the start of
your career and eligible to apply for the full
scholarship programme, early application is
VIGSQQIRHIH4PEGIWEVIWYVIXSFI
hotly contested. e
royal-needlework.org.uk
To explore the RSN Professional Embroidery Tutor
Programme, book for the online information day,
1E]EQIMXLIVXLVSYKLXLI[IFWMXISVZME
email tutorprogramme@royal-needlework.org.uk
For info on the RSN degree programme, visit the
website or email degree@royal-needlework.org.uk
For info on schools/pop-up events visit the website
or email enquiries@royal-needlework.org.uk

exhibition
ÀR0 X ²À„ªæ‫ׇׅ׉ׁِׄ ׆׉ ׁ ة‬
FASHION AND TEXTILE MUSEUM, LONDON, until 8 September
QON GRADUATING FROM Brighton Art School in the midW4SPMWLFSVR&EVFEVE,YPERMGOMFIGEQIELMKLP]WYGGIWWJYP
fashion illustrator pretty much overnight. She covered the post-war
4EVMWGSYXYVIWLS[WSJ(MSVERH&EPQEMRJSVVogue, Harper’s Bazaar,
and Women’s Wear Daily, and rendered extravagant fashion in her
graphite and gouache illustrations.
Back in London, with a heavy purse and a head full of fashion, she
wanted to go out and buy clothes that epitomised the youth culture
SJLIVKIRIVEXMSR=IX[LEXWLIHIWMVIHHMHR´XI\MWXERHXLMW[EW
the impetus for Biba. Barbara and her husband Fitz launched Biba
(named after her younger sister) as a mail-order company.
This exhibition charts the sensational and breathtakingly speedy
&MFEFSSQ[LMGLPEWXIH]IEVWJVSQXLI½VWXHVIWWXSXLIWIZIR
WXSVI]PMJIWX]PIHITEVXQIRXWXSVISR/IRWMRKXSR,MKL7XVIIX&EVFEVE
and Fitz were a streamlined team; she with her endless effervescent
creativity and expansive vision, and he making sure production and
manufacturing aligned with the business and their ideology.
8LI½VWX&MFEHVIWW[EWQEHIJVSQTMRO[SZIRKMRKLEQERH[LIR
it appeared in The Daily Mirror it was an instant hit. In the exhibition,
this shift dress is a replica as despite 17,000 being manufactured at
XLIXMQIRSSVMKMREPGSYPHFIJSYRH-RXIVIWXMRKP]½RHMRKSVMKMREPWJSV
this fantastic show has been a challenge; in the beginning no labels
were included in the garments to keep costs down.
%]IEVPEXIVXLI½VWXFSYXMUYISTIRIHMREXMR]SPHGLIQMWXSR
Abingdon Road and was frequented by Twiggy, Mick Jagger,The
Beatles, teenage girls – everyone wanted a piece of Biba, and
they could have it.The clothes were well-designed, well-made and
affordable (particularly in comparison to Mary Quant clothes, which
XLIQENSVMX]SJ]SYRK[SQIRGSYPHR´XEJJSVH†JSVE&MFEHVIWW
ERH†JSVE1EV]5YERXHVIWW 
As Biba grew so did the technical team, cutters and manufacturers,
allowing for more complex shapes and silhouettes.The same shades
of mulberry, aubergine, plum and rust (Barbara says it was decades
before she discovered Fitz was colour-blind) moved from mini-skirts
XSWSTLMWXMGEXIHFMEWGYXHVIWWIWMRWTMVIHF],SPP][SSHKPEQSYV
ERHMRVIGSKRMXMSRXLEXXLI³&MFEKMVP´[EWRS[XLI³&MFE[SQER´
Sourcing fabric was key and at times tricky. Barbara always wanted
something new and different and thousands of Biba fabrics were
designed in house. Clothing designs were limited to 500 in any fabric
XSEZSMHQERYJEGXYVMRKHMJ½GYPXMIWERHQIERXXLIWLST[EWEP[E]W
freshly stocked to feed the jolly queues snaking down the street.
8LIEVXHIGSHITEVXQIRXWXSVIITMXSQMWIH&EVFEVE´WSVMKMREPEMQ
to create a world around the clothes, a story, a performative way
SJPMJIXLEX[EWEGGIWWMFPIXSEPP,IVI]SYGSYPHFY]XLI½VWXQEOI
up for black skins, try on clothes in the communal changing rooms
ERSXLIV½VWX HIGO]SYVMRXIVMSVWFY]&MFEFEOIHFIERWERHHVMRO
SRXLIVSSJXIVVEGI[MXL¾EQMRKSW
Biba closed amid the three-day work week and plummeting
property prices, and Barbara and Fitz moved to Brazil. Devastated
but never one to look back, Barbara dropped her collection of Biba
clothes at the edge of a favela.The single trouser suit she kept, grey
leopard print tailored cotton, appears in this exhibition, a testament
to the woman who changed fashion forever.
Hattie Gordon

ĵłʼnĸĿĸչсĴņĻļłŁŀłķĸĿŊļĺĺŌĴŇŇļŅĸķļŁ ļĵĴ
©Justin de Villeneuve / Iconic Images
ĵłʼnĸŅļĺĻŇс ļĵĴĹĴņĻļłŁļĿĿňņŇŅĴŇļłŁĵŌ
Barbara Hulanicki
ļĺĻŇс ĴŅĵĴŅĴňĿĴŁļĶľļпĹłňŁķĸŅłĹ ļĵĴ
© Fashion and Textile Museum
ĸĿłŊсĿłŅĴĿŃŅļŁŇņĻļչķŅĸņņĴŁķŀĴŇĶĻļŁĺŇłŇĸĵĴĺ
ĴŁķĻĴŇĵŌ ļĵĴпҲҺҷҷт ѪŊŃĻłŇłсĸŇĸŅ ŇĻĸŅŇłŁт
© Fashion Museum Bath / Bridgeman Images

8YIWHE]¯7EXYVHE]EQ¯TQ8MGOIXW†8MGOIXLSPHIVWGERFSSOE
free volunteer-led Wednesday afternoon tour at fashiontextilemuseum.org
*EWLMSRERH8I\XMPI1YWIYQ&IVQSRHWI]7XVIIX0SRHSR7)<*
May June 2024

EMBROIDERY

55

10 years of

LONDON CRAFT WEEK
0SRHSR'VEJX;IIO´WPMZIP]TVSKVEQQIMRGPYHIW[SVOWLSTWF]2SYVME2EKM3&)
who will explain how Yemeni embroidery is helping families change their lives
Why did you set up Yemen Noor Foundation for Education and Relief?
YENOF is the result of more than 21 years of charitable work. We
used to be called YERO (Yemen Education and Relief Organisation)
ERHWXEVXIHMR%TVMPMR7ERE´EXLIGETMXEPSJ=IQIR-WIXYTXLI
organisation for many reasons; one of them was seeing children in the
streets and not at school, with their mothers selling items or begging
or washing cars. I felt sad for them and still it upsets me, especially
[LIR-EWOE]SYRKFS]SVKMVP³;L]EVI]SYRSXEXWGLSSP#´8LI
answer always is, ‘I have to help my family and my younger brothers
and sisters with the living expenses because my father is dead or sick
ERHGERRSX[SVO´8LEXQEHIQIXLMROSJLIPTMRKXLIJEQMPMIWXLI
TEVIRXW½VWXFIGEYWIXLI]EVIXLIQEMRVIEWSRXLIGLMPHVIREVIMRXLI
street. I thought if I want to help the child, I have to help the family.
Why do you put education at the heart of what the charity does?
Education is very important and I mean by that, not only reading
and writing or graduation from top universities, but, especially among
poor families, education to give them a sense of belonging in a world
where money has so much power. We have helped over 500 children
[MXLQSVIXLERWXYHIRXWGSQTPIXMRKYRMZIVWMX]+VEHYEXMRKMR
ZEVMSYW½IPHWRS[XLI]LEZIXLIMVS[RJEQMPMIW[LSQXLI]IHYGEXI
We have seen how circular this is (education brings education) and
how there is little hope of a better future without education.

PHOTO: ASMA HAMDI

56

EMBROIDERY

May June 2024

You train mothers in embroidery skills. How important is this and what
impact is the training having?
Training mothers in embroidery and the young girls in their school
holidays is important, not only to help them make a living, but to
empower them so they feel they can rely on themselves to improve
their life.They acquire a skill that helps them and their family.They also
KEMRTVMHIMRYRHIVWXERHMRKERHTVIWIVZMRKXLIMVGSYRXV]´WLIVMXEKI
łŊŊłňĿķŌłňķĸņĶŅļĵĸ!ĸŀĸŁļĸŀĵŅłļķĸŅŌĴŁķĻłŊķłĸņļŇķļխĸŅĹŅłŀ
other types of embroidery?
The embroidery stitches are similar to other countries, but the
shapes, colours and arrangements in most countries are different.
For example, in Yemen, the stitches and designs stem from ancient
embroidery and in this, lies the spirit of the environment and the
VIEPMX]SJ=IQIR´WGYPXYVIERHVMGLGMZMPMWEXMSR=IQIRLEWQER]
different regions/geographies, each with varying embroidery
traditions. Different types of clothes are worn for different occasions,
[LMGLXLIWX]PISJIQFVSMHIV]VI¾IGXW8LIVIMWEPSXSJHMZIVWMX]ERH
GVIEXMZMX]MR=IQIR´WIQFVSMHIV]
What are the key techniques and stitches used?
The technique and stitches used depend on the piece. After drawing
the piece, we choose appropriate colours and use a mixture of
WXMXGLIWJVSQ½PPMRKERHGLEMRWXMXGLXSPMRMRKWXMXGL

preview

It’s wonderful to see embroidery being used to make better lives for
people. How do you feel looking back at all you have achieved?
%WMXMWGLEVMXEFPI[SVOXLEXFIRI½XWWSGMIX]ERHMQTVSZIWJEQMPMIW´
standard of living, one feels pride and honour. Changing mentalities
and ways of thinking, and giving hope and encouragement, making
families realise that if you are poor and illiterate you still can learn
and aspire to a better life, is the greatest achievement.The fact that
embroidery has become a source of livelihood for them, gives them
a strong motivation to continue and create.
What is the state’s attitude to the work of YENOF?
I have been doing charitable work for more than 21 years. Some
people in the country know of me and our work and their attitude
is respectful and some appreciate what we do. As for restrictions,
we never had any in the past. Now, I would not call it restriction; we
can say maybe control or rather monitoring everything.
ĻŌĴŅĸŌłňŅňŁŁļŁĺŇĻĸĸŀĵŅłļķĸŅŌŊłŅľņĻłŃĴŇłŁķłŁ ŅĴոĸĸľъ
It is very important for me to introduce people to Yemeni
embroidery through which they can learn about Yemen and the
civilisation and culture of Yemen.
Is there anything that we in the UK can do to help?
You are already helping us by introducing our work, that of the
women and young girls, which they do with so much care and hard
work and love, because they see how their circumstances and lives
have improved through embroidery and creativity.
yenof.org/en
=IQIRMIQFVSMHIV]1E]EQ¯TQ†0IMKLXSR,SYWI0SRHSR
In partnership with The Barakat TrustERHEWTEVXSJ0SRHSR'VEJX;IIO
Nouria Nagi’s workshop will introduce the patterns and techniques of
Yemeni embroidery, traditionally used to embellish costumes.
1EOI]SYVS[RIQFVSMHIVIH=IQIRMWUYEVIJEQMP][SVOWLST1E]
TQ¯TQTEVIRXW†GLMPHVIR´WTPEGIWJVII
londoncraftweek.com

§R„À„‫ب‬w„„yªæ²ÀÇ(X„‫„!خ‬ǪÀ0²æmm„æ(!R„XJmm0ªæ‫ۋ‬m00²„ّª

-8:46)7)28)6 and crafts champion Jay
Blades is behind Craftworks, 15–17 May, a free
I\LMFMXMSREX7LSVIHMXGL8S[R,EPPTVIWIRXMRK
traditional and contemporary makers, as well
as seminars, workshops and panel sessions.
(IWMKR2EXMSR´WKEPPIV]SJQEOIVW[MPPMRGPYHI
Darren Ball, Lucie Summers, Majeda Clarke,
ŅĴչņĶĻĴŀŃļłŁ
Jay Blades
1MGLIPPI,SYWI4EQIPE4VMRXERH7IPMRE6SWI
- FUTURE ICONS SIPIGXWEX3\S8S[IV;LEVJ ´WMGSRMG
Bargehouse building, 15–19 May, is to showcase more than 50
I\GMXMRKGSRXIQTSVEV]QEOIVWERHMWWIXXSFIXLMW]IEV´WPEVKIWX
showcase of contemporary crafts.
-'6%*87,3;, Staffordshire Street, 17–19 May, will display
20 talented textile artists and makers, exploring the breadth of
textiles, from printing and knitting to weaving and stitch.
-(-7'3:)68,)4MQPMGS6SEH(IWMKR(MWXVMGXERH]SY´PP
½RHEJVEXIVRMX]SJ[SVPHGPEWWGVEJXWTISTPI*VSQWGYPTXSVWXS
[SSH[SVOIVWIQFVSMHIV]XSERXMUYIWXI\XMPIWXSGV]WXEPWMX´WE
melting pot and meeting place for creativity.
-,-(()2+)17 is a group show curated by Lloyd Choi,
¯1E]'VSQ[IPP4PEGI[LMGLJIEXYVIWETVIWIRXEXMSRSR
14 May by the self-taught South Korean textile artist Lee Sora, who uses Jogakbo, a traditional style of Korean patchwork
using pieces of salvaged fabrics. In her work Blue Jogakbo, she
demonstrates her meditative approach and has created a tranquil
hue using natural cold indigo dye from plants she grew herself.
After repeated dyeing and drying, Lee cuts the silk into small
pieces and uses a rice starch to stiffen and strengthen the material,
each piece hemmed twice
before being sewn together.
Working without a planned
arrangement or sketch, the
artist sets out the patches
spontaneously, stitching them
with immaculate ‘Ssam-ssol´E
traditional Korean stitch that
can only truly be appreciated
under close examination.
0II´W[SVOW[MPPFII\LMFMXIH
alongside leading South
Blue Oksa Jogakbo by Lee So-ra
Korean artist-makers in
(2013), Oksa silk, indigo cold-dyed
wood, furniture, ceramic and
and hand-stitched, 200cm x 189cm
mother of pearl.
- At the V&A on 16 May master artisan José Luis Sanchez and
fellow Gonzalo García will host a demo. José has been in charge
of the Santa Clara embroidery
Master artisan José
workshop, USA, dedicated to
Luis Sanchez and
sacred embroidery, for almost
fellow Gonzalo Garcia
]IEVW,MWTVEGXMGIMRZSPZIW
embroidering with gold, silver,
and silk threads to dress virgins
and saints, but he also applies his
mastery to fashion projects.
londoncraftweek.com
PHOTO: MANUEL MARIN. © JOSÉ LUIS SANCHEZ

May June 2024

EMBROIDERY

57

COX LONDON FOR CRAFTWORKS © 2024 ALUN CALLENDER

PHOTO: BARAKAT TRUST

Bringing together the work of celebrated and
emerging artists, makers and designers, London
ŅĴոĸĸľоұҳѯұҹĴŌоņĻłŊĶĴņĸņŇĻĸĵĸņŇłĹ
ĶŅĴոņŀĴŁņĻļŃĴŁķĶŅĸĴŇļʼnļŇŌĹŅłŀĴŅłňŁķŇĻĸ
world as it celebrates its tenth anniversary.

what’s on
ON SHOW
%0()&96+,7eamless Flow,
new work by 02 Textiles, 6–11
Jun.The Courtyard Gallery,The
&EPPVSSQ%VXW%,MKL7XVIIX
7YJJSPO-4%5textiles.co.uk
ARUNDEL Stillness, mixed media
show, 11 May–6 July, Gallery 57,
57 Tarrant Street BN18 9DJ.
gallery57.co.uk
AYLESBURY Blooming Threads:
400 years of embroidery blooms
– an exhibition delving into the
)QFVSMHIVIVW´+YMPH'SPPIGXMSR
Ongoing. Discover Bucks
1YWIYQ'LYVGL7XVIIX,4
45discoverbucksmuseum.org
BEDFORD Ukrainian Folk Art:
200 embroidered items, pysanky
decorated eggs, beaded jewellery,
Petrykivka art and woodwork,
plus a Ukraine map embroidered
by women recently arrived in
Bedford due to the war. Until 11
May, Wed-Sat, 12pm-4pm. Free.
John Bunyan Museum Basement
+EPPIV]1MPP7X1/)9
&-61-2+,%15YMPX%VX1EXIVMEP
Evidence until 27 May. MAC,
'ERRSR,MPP4EVO&5,
macbirmingham.co.uk
BOVEY TRACEY 20 Years in the
Making until 22 Jun, featuring past
Craft Festival winners, with 20th
anniversary Craft Festival 7–9 Jun.
MAKE Southwest, Riverside Mill,
(IZSR85%*crafts.org.uk
BRISTOL Acts of Creation: On
Art & Motherhood until 2 Jun.
%VRSP½RM2EVVS[5YE]&7
4QA. EVRSP½RMSVKYO
CARDIFF Gypsy Makers Tour
with the The Romani Cultural &
Arts Company until 25 May
;IH¯7EX K3\JSVH7XVIIX
'*(8KSVK
',-44-2+'%14()27XMXGLMRK
the Decades by Sue Rangeley
11 May–5 Jun, Court Barn
GL55 6JE. courtbarn.org.uk
'314832:)62)=%7TMVMX
-RWMHI[SVOJVSQ8LI;SQIR´W
Art Collection and The Ingram
Collection, until 1 Sep.
;EV[MGOWLMVI':,>
comptonverney.org.uk
DUNDEE Dundee Stitch and
Textile Group:The journey so far,

MAKING BIG STRIDES IN STITCH
11 May–21 Jul.Verdant Works
1YWIYQ((&8%HYPXW†
GSRGIWWMSR†GLMPHVIRIRXIV
free. verdantworks.co.uk
DUNDEE Kimono: Kyoto to
Catwalk opens 4 May.V&A
Dundee, 1 Riverside Esplanade
(()>vam.ac.uk/dundee
)(-2&96+,%RH];EVLSP8LI
8I\XMPIWYRXMP.YR4PYW4EYPMRI
'EYP½IPH8I\XMPIWYRXMP.YP
(SZIGSX7XYHMSW-R½VQEV]7X
),08dovecotstudios.com
*%62,%11EV]*EVQIV%0MJIMR
Tapestry 7 May–7 Sep. Crafts
Study Centre, UCA, Falkner Rd.
GU9 7DS. csc.uca.ac.uk
FOULDEN Borders in Stitch by
The Border Textile Group,
8–9 June, 10am–4pm. Foulden
:MPPEKI,EPP&IV[MGOYTSR8[IIH
8(9,:MPPEKIGEVTEVO%HYPXW
†bordertextilegroup.org.uk
GRESFORD 41st Gresford Festival
of Crafts 18–21 Jun. Includes
Gresford Craft Group show, All
Saints Church LL12 8RG, and
Wrexham Quilting Circle show,
1IQSVMEP,EPP0047
%HQMWWMSR† JSVFSXLIZIRXW 
proceeds to charity. FMXP]\PE/'Z
,%(0)-+,&SVHIVWEVXXI\XMPIW
F]*IIH(SKW(S[R5YMPXIVW´
+YMPH¯.YR,EHPIMKL3PH
7GLSSP¯&VMHKI7X7YJJSPO-4
6BY. quiltersguild.org.uk
,%0-*%<'SPSYVWSJ'EPHIVHEPI
F]8%+.YR¯7IT&ERO½IPH
1YWIYQ%GOVS]H4O&SSXLXS[R
6H,<,+culturedale.co.uk
LEOMINSTER Threads through
'VIEXMSR.EGUYM4EVOMRWSR.YR¯
.YP0ISQMRWXIV4VMSV]'LYVGL
7X,62,jacqui-textile.com
0-',*-)0(8LVIEHW8LVSYKL
'VIEXMSRF].EGUYM4EVOMRWSR
YRXMP.YR0MGL½IPH'EXLIHVEP
;70(jacqui-textile.com
LOCKERIDGE Textile and Stitch
Around Marlborough summer
exhibition, 7–9 June, 10am–4pm.
/IRRIX:EPPI],EPP72)0%HYPXW
†GLMPHVIRJVII6IJVIWLQIRXW
textilesandstitch.co.uk
032(32%VX[MXLSYX,IVSIW
Mingei until 22 Sep. William Morris
+EPPIV]0PS]H4EVO,W*SVIWX
6SEH)44wmgallery.org.uk

QŇĸŃĵŌŇĸŃпĴŇĴŅձĸĿķļĿĿпļņĴĽłļŁŇĸŋĻļĵļŇļłŁĵŌĴŌĸĸĶĻ
ĴŁķļĿĿļĴŁ łłŃĸŅпĶłŀŃŅļņļŁĺĴņĸŅļĸņłĹŇĸŋŇļĿĸĴŁķŀļŋĸķŀĸķļĴ
ŊĴĿĿĻĴŁĺļŁĺņĴŁķņĶňĿŃŇňŅĴĿŃļĸĶĸņпļŁņŃļŅĸķĵŌŊĴĿľņļŁŇĻĸļŅĿłĶĴĿ
ĿĴŁķņĶĴŃĸņтĴŌĴŁķļĿĿļĴŁĴŅĸĵłŇĻĸŀĵŅłļķĸŅĸŅņĴŁķńňļĿŇĸŅņт ņĴŌ
lives in Cumbria and Gillian lives in the Trossachs, textiles and walking
ĴŅĸļŁŇĸŅŇŊļŁĸķļŁŇĻĸļŅĿļʼnĸņтĻĸņŇĸĴķŌŅĻŌŇĻŀłĹŊĴĿľļŁĺļņĸĶĻłĸķ
ĵŌŇĻĸŅĻŌŇĻŀłĹņŇļŇĶĻтĻĸĵňļĿķļŁĺňŃłĹĿĴŌĸŅņĴŁķŇĻĸŅĸŃĸŇļŇļʼnĸ
ŃŅłĶĸņņłĹņĸŊļŁĺŅĸņłŁĴŇĸņŊļŇĻŇĻĸĿĴŌĸŅņłĹĹłłŇŃĴŇĻņĶŅļņņфĶŅłņņļŁĺ
ŇĻĸĿĴŁķņĶĴŃĸпķĸʼnĸĿłŃĸķłʼnĸŅĻňŁķŅĸķņłĹŌĸĴŅņŇĻŅłňĺĻŇĻĸŅĸŃĸŇļŇļʼnĸ
ŃŅłĶĸņņłĹŊĴĿľļŁĺтUntil 7 July. ĹĴŅհĸĿķŀļĿĿсłŅĺ

Kay Leech, *EPPMRK0IEZIW (detail)

Gillian Cooper, One Small Step (detail)

LONDON Christine McArthur
7–24 May.Thackeray Gallery, 18
Thackeray Street W8 5ET.
thackeraygallery.com
LONDON David Batchelor:
New Skin for the Old Ceremony
YRXMP1E]+6S]EP3EO=EVH
&IVQSRHWI]7XVIIX7)+)
ceciliabrunsonprojects.com
032(321EVO'SV½IPH1SSVI
We Speak Chicken, until 2 Jun.
+SPHWQMXLW''%7X.EQIW´W7)
6AD. goldsmithscca.art
LONDON NAOMI: In Fashion
opens 22 June.V&A South
Kensington, Cromwell Road
SW7 2RL. vam.ac.uk

1YW&IVQSRHWI]7X7)<*
fashiontextilemuseum.org
LONDON The RSN & Five
'SVSREXMSRW¯1E]
Royal School of Needlework, Apt.
E,EQTXSR'SYVX4EPEGI/8
9AU. royal-needlework.org.uk
032(329RVEZIP8LI4S[IV
ERH4SPMXMGWSJ8I\XMPIWMR%VXYRXMP
26 May.The Art Gallery, Barbican
Centre, Silk St. EC2Y 8DS.
barbican.org.uk
LONDON Yinka Shonibare
until 1 Sep. Serpentine South
Gallery, Kensington Gardens,
;<%serpentinegalleries.org
2);4368Gypsy Makers Tour
LONDON Out shopping:The
with The Romani Cultural & Arts
Company, 4–27 June.The
dresses of Marion and Maud
Sambourne (1880–1910) until 20 6MZIVJVSRX/MRKW[E]24,+
3GX0IMKLXSR,SYWI,SPPERH newportlive.co.uk
4O6H;0> 7EQFSYVRI
2388-2+,%1,EQMH>qREXM
,SYWI7XEJJSVH8IVVEGI;
25 May–8 Sep. Nottingham
&,FMXP]9QK
Contemporary NG1 2GB.
LONDON RA Summer
nottinghamcontemporary.org
Exhibition 2024, 18 Jun–18 Aug.
3<*36(*VMIHE8SVER^S.EIKIV
6%&YVPMRKXSR,SYWI4MGGEHMPP]
A future in the light of darkness,
W1J 0JB. royalacademy.org.uk
until 26 May. Modern Art Oxford,
LONDON Sargent and Fashion
4IQFVSOI7XVIIX3<&4
YRXMP.YP4PYW2S[=SY7II9W
modernartoxford.org.uk
Women Artists in Britain 1520–
3<*36(/EFYOM/MQSRSYRXMP
1E]¯3GX8EXI&VMXEMR Dec 2024. Ashmolean Museum,
1MPPFERO7;46+tate.org.uk
&IEYQSRX7XVIIX3<4,
LONDON Standing on the
ashmolean.org
shoulders of giants: A celebration
4)8)67*-)0(/EXLEVMRI7[EMPIW
of Dutch female artists until 12
'EVSR4IRRI]8LI0ERKYEKISJ
1E](YOISJ=SVO´W,5/MRK´W6H ;IEZMRKYRXMP.YRI4IXIVW½IPH
7;6=saatchigallery.com
Museum and Art Gallery, St
LONDON The Biba Story, 19644IXIV´W6SEH+9,<
1975, until 8 Sep. Fashion + Textile
TIXIVW½IPHQYWIYQGSYO

World’s leading sewing machine manufacturer
Go ahead… get creative!

janome.co.uk

58

EMBROIDERY

May June 2024

6)((-8',1EOMRK'SRRIGXMSRW
by Midlands Textile Forum until 2
.YR4PYW2S[ERH8LIRF]
Tangent Textiles 5 Jun-14 Jul.
Forge Mill Needle Museum,
Needle Mill Lane, Riverside B98
,=forgemill.org.uk

Guild, 8–16 Jun. Sullington Manor
Farm, Sullington Lane, W. Sussex
6,%)curiousthreads.co.uk
sullingtonmanorfarm

2)%8,7XYHMS%VXWTEGIGEPPW
for submissions on the theme of
‘Remembering the past: creating
XLIJYXYVI´¯JSVMXW-RXIVREXMSREP
Textile Exhibition, 17 May–15 Jun.
Closing date: 1 May. Studio 40, 40
Queen St., S. Wales SA11 1DL.
studio40neath.com

792&96=328,%1)7&VMXMWL
Tapestry Group: Earth Threads,
YRXMP.YR4PYW%PMWSR&E\XIV
SALISBURY Fashioning our
,MHHIR,MWXSVMIWSJ;SQIR
World, stories of sustainability,
Jun–18 Aug. Sunbury Embroidery 78%6463.)'8%;%6(8LI
until 12 May. Salisbury Museum,
Gallery,The Walled Garden TW16 Textile Study Group is offering a
FMERRYEPE[EVHSJ†JSVE
8LI'PSWI74)2
6AB. sunburygallery.org
XIEGLMRKTVSNIGX'PSWIW1E]
salisburymuseum.org.uk
WAKEFIELD Solo show by Igshaan textilestudygroup.co.uk
7)(&96+,8LI7TEGI;I*MPP
%HEQW;IIVLSYH.YR¯2SZ
¯230-8)<YRXMP.YP7XITF]
8LI,IT[SVXL;EOI½IPH;IWX
OVERSEAS
Step: Kay Leech, Gillian Cooper
Yorkshire WF1 5AW.
AUSTRALIA
YRXMP.YP*EV½IPH1MPP'YQFVME
LIT[SVXL[EOI½IPHSVK
LA10 5LW. JEV½IPHQMPPSVK
NEWCASTLE Enmesh: Winsome
;-2',)78)6+VE]WSR4IVV]
SLEAFORD 62 Group:Tailored,
8LI)WWI\,SYWI8ETIWXVMIW¯8LI .SFPMRKYRXMP1E]4PYW(EVO
YRXMP.YP8LI,YF2EZMKEXMSR
Life of Julie Cope, until 12 Jun.The Forest: Janet Clouston 29 May–
.YP8MQIPIWW8I\XMPIW,YRXIV
;LEVJ'EVVI7XVIIX2+8; Arc, Jewry Street, Winchester
St, Newcastle, New South Wales.
hub-sleaford.org.uk
737&arcwinchester.org.uk
timelesstextiles.com.au
72%4)8I\XMPI%VX+VSYT7YJJSPO
7%0)%RRIQMIOI1IMR%0MJI´W
OPPORTUNITIES
+EQIW;I4PE]¯.YP]
Work – A Retrospective,
3TIRHEMP]4SRH+EPPIV]7RETI
AUSTRALIA One Red Thread
GSMRGMHMRK[MXL%RRIQMIOI´WXL
1EPXMRKW7YJJSPO-474
8I\XMPI%VX4VM^IERH)\LMFMXMSR
birthday, until 26 May, Gippsland
tags.org.uk
8LIQI³-7II6IH´'PSWIW.YR Art Gallery, 70 Foster Street, Sale,
textilefest.com.au/ort2024.html
731)6832/MVWXMI1EGPISH´W
Victoria. gippslandartgallery.com
Red Dress project, 1–29 Jun.
032(328LI&VSHIVIVW´
SYDNEY Sydney Craft and Quilt
%')EVXW8LI3PH8S[R,EPP
Exhibition: The Art of Embroidery Fair and The Australian Quilt Show
1EVOIX4PEGI8%2&
will return to Bankside Gallery in ¯.YP]-''7]HRI])\LMFMXMSR
acearts.co.uk
London 25 Feb–2 Mar, 2025.
Centre, 14 Darling Drive,
Submissions close summer 2024. New South Wales 2000.
78366-2+8327TMVMXSJ4PEGI
broderers-exhibition.co.uk
by Curious Threads5YMPXIVW´
craftfair.com.au/wp/Sydney

CANADA
TORONTO Sheridan College
Textiles Graduates Showcase,
27 May–18 Jun.Textile Museum
of Canada, 55 Centre Avenue.
textilemuseum.ca
NORTHERN IRELAND
&)0*%78%6/'SR¾MGX8I\XMPIWE
VSXEXMRKI\LMFMXMSRYRXMP1E]
1G'PE]0MFVEV]5YIIR´W9RMZIVWMX]
'SPPIKI4EVO%ZI&804
FMXP]3ZJ:T'

USA
CALIFORNIA Ava Roth:
,SRI]GSQF'SPPIGXMSRYRXMP%YK
Wilding Mus. of Art and Nature,
1511-B Mission Dr, Solvang, CA
wildingmuseum.org
;%7,-2+8324EXXIVRERH
4EVEHS\8LI5YMPXWSJ%QMWL
Women until 2 Sep. Smithsonian
American Art Museum,
Washington, DC. si.edu
;%7,-2+832;SZIR,MWXSVMIW
Textiles and Modern Abstraction,
until 28 Jul, East Building,
Concourse Galleries, National
Gallery of Art, 4th Street and
Constitution Avenue NW,
DC 20565. nga.gov
Dates may be subject to change and advance
booking may be necessary. Please check with
the venue before making your journey.

Apply now

FOR THE BRODERERS’
EXHIBITION 2025
ORGANISED BY THE BRODERERS’ COMPANY
ҳҶ ѱҳ  ҳұҳҶп    !п 
  ч  т т

Q ĻĸłŅņĻļŃĹňĿ łŀŃĴŁŌłĹ ŅłķĸŅĸŅņļņķĸĿļĺĻŇĸķŇł
announce that the Broderers’ Exhibition is returning to the
ĴŁľņļķĸĴĿĿĸŅŌļŁłŁķłŁĵĸŇŊĸĸŁҳҶĸĵŅňĴŅŌĴŁķҳĴŅĶĻ
ҳұҳҶĴŁķļņĶňŅŅĸŁŇĿŌļŁʼnļŇļŁĺņňĵŀļņņļłŁņт
Ļĸ ŅłķĸŅĸŅņя ŋĻļĵļŇļłŁсĻĸ ŅҳŠŀĵŅłļķĸŅŌŃŅłŀłŇĸņ
ĴŁķĶĸĿĸĵŅĴŇĸņĸŀĵŅłļķĸŅŌĴņձŁĸĴŅŇтŇļņĴŁłŃĸŁфņňĵŀļņņļłŁ
ĴŅŇĸʼnĸŁŇпņļŀļĿĴŅļŁĶłŁĶĸŃŇŇłŇĻĸňŀŀĸŅ ŋĻļĵļŇļłŁĴŇŇĻĸ
łŌĴĿ ĶĴķĸŀŌтŅłĹĸņņļłŁĴĿĴņŊĸĿĿĴņĸŀĸŅĺļŁĺĴŅŇļņŇņĶĴŁ
ĸŁŇĸŅŇĻĸļŅĴŅŇŊłŅľŇłĵĸĶłŁņļķĸŅĸķĹłŅļŁĶĿňņļłŁт
ĻĸĸŋĻļĵļŇļłŁļņłŅĺĴŁļņĸķĵŌŇĻĸłŅņĻļŃĹňĿ łŀŃĴŁŌłĹ
ŅłķĸŅĸŅņпłŁĸłĹŇĻĸĴŁĶļĸŁŇĿļʼnĸŅŌĶłŀŃĴŁļĸņłĹŇĻĸ ļŇŌłĹ
London, formed to regulate the standard of embroidery,
ĴŀĴĽłŅ ļŇŌŇŅĴķĸļŁŇĻĸļķķĿĸ ĺĸņт
ĻĸĸŋĻļĵļŇļłŁŃŅłʼnļķĸņĸŀĵŅłļķĸŅŌĴŅŇļņŇņŊļŇĻĴŃĿĴŇĹłŅŀŇł
ĺĴļŁĸŋŃłņňŅĸĴŁķķļņŃĿĴŌĴŁķņĸĿĿŇĻĸļŅĴŅŇŊłŅľņтŇĶłŁŁĸĶŇņ
ĿłʼnĸŅņłĹձŁĸĴŅŇĸŀĵŅłļķĸŅŌŊļŇĻŇĻĸĴŅŇļņŇņт
Open to UK and international artists aged 18 years or over,
artwork may be hand embroidery, machine embroidery or a
combination of both. Traditional and contemporary works are
welcomed. All pieces must be original and available for sale – with
a selling price to include the commission of 32% plus VAT. Works
submitted must be physically available for exhibition at the gallery
during the exhibition.

Images from
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Exhibition 2022

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artworks will be made by a judging panel from digital imagery
accompanying the entry form.
Artist registration is now OPEN. Please visit the exhibition
entry page on the Broderers’ website for entry procedures and
for detailed terms and conditions.
Apply now! LXXTWFVSHIVIVWI\LMFMXMSRGSYOWLSTI\LMFMXMSRIRXV]
(IEHPMRI%YKYWX
'SRXEGXinfo@broderers-exhibition.co.uk

May June 2024

EMBROIDERY

59

Start your career in
hand embroidery with the
Royal School of Needlework
Professional
hand embroidery
courses taught at
Hampton Court Palace.
RSN Professional Embroidery
Tutor Programme

BA (Hons) Hand Embroidery
validated by Kingston University

Become a Professional Embroiderer and
Tutor and join this three-year, flexible course.
Scholarship available for 18-25 year olds.

Study hand embroidery for couture,
interiors and textile art. Bursaries available.
UCAS Code W237.

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The International Centre of Excellence for the Art of Hand Embroidery
royal-needlework.org.uk @royalneedlework
RSN is a registered charity no: 312774

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May June 2024

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61

Celebrating 30 years
supplying textile artists

Creative Textiles • Silk Painting
Fabric Dyeing, Painting & Printing
Felt Making • Creative Embroidery
Mixed Media and more
Sign up to our newsletter
and keep up to date with
new products & special offers
www.rainbowsilks.co.uk
caroline@rainbowsilks.co.uk
01494 727003


 

 



Manual pleating machine for smocking,
shibori and creative textiles
Give your designs the professional finish

To advertise in
Embroidery Magazine
please contact
Order now at : www.princess-pleaters.co.uk
For enquiries contact : +44 (0) 1253 738842
Est:1980 Made in Great Britain

62

EMBROIDERY

May June 2024

Beverley Carter
020 3137 8582
bev@media-shed.co.uk

A C E L E B R AT I O N
O F T E X T I L E S AT
SUNNY BANK MILLS
FR I 7 TH – SUN 9 TH JUNE 2 02 4
• Textile Fair
• Workshops
• Demonstrations
• Talks
• Museum and Archive Open
• Gallery Exhibition
Festival opening hours
from 10am daily

• Tours
• Food & Drink

1912 Mill, Sunny Bank Mills, Leeds, West Yorkshire LS28 5UJ. Tel: 0113 256 3239

May June 2024

EMBROIDERY

63

Join the Embroiderers’ Guild for a
host of activities this Spring & Summer!
Talking Threads
9 MAY 2024 ‘Historically Inaccurate’ Needlework
with Richard Saja

Threads of Creativity: David Morrish

An American artist based in New York, Richard says “My intention
is to continue the decorative art tradition and be part of its
evolution by making functional pieces that convey bigger
concepts”. This will be an exciting informal discussion with Susan
Weeks about how historical works can be ‘updated’ to the 21st
century to keep history alive without losing the original design.

Thread Talks
14 MAY 2024 Threads of Creativity: David Morrish
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Have you ever been spellbound by the intricate designs
of digital embroidery and wondered about the enigma
that lies behind each thread? Dive into an enchanting
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will be unspooled before your very eyes.

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and where they came from and the stitches used to create motifs,
why they were used and their deeper, hidden meanings.

Demonstrations
20 MAY 2024 Foiling Frenzy with Angie Hughes

Transfer foil is a shiny transferable colour you apply to a glue
surface, learn how to use it to create fabulous effect on fabrics
and make your projects shine.

Workshops
23 MAY 2024 &UHDWLYH+DQGVZLWK6DELQH.DQHU

Learn how to decorate and construct a felt wrap to hold
embroidery threads and tools. An opportunity to discover the
potential of hand stitch and felt and enjoy the playfulness of
shapes whilst creating a useful item especially when travelling.

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8 JUNE 2024 *RRG+DLU'D\(PEURLGHU)XQ+DLU
7H[WXUHVZLWK%LDQFD6SULQJHU
Learn hand embroidery techniques to add depth and
dimension to your designs. Using the Good Hair Day
pattern students will embroider 11 varied hairstyles on
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techniques to add to their embroidery practice.

22 JUNE 2024 %RWWOHWRS%URRFKZLWK+DQQDK*ORVVRS

A playful exploration to create fun and imaginative embellishment,
experimenting with reusing unusual materials like milk bottle
tops and straws. You will leave the workshop with your own
unique milk bottle top brooch.
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art craft heritage

free entry

Exhibitions - Artists' Studios - Heritage
Workshops - Craft Gallery - Tea Room

www.farfieldmill.org
Please check out website for
opening days and times Garsdale Road Sedbergh
Cumbria LA10 5LW

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www.sunburygallery.org

BRITISH TAPESTRY GROUP
“Earth Threads” | 23 APRIL TO 23 JUNE

FREE ENTRY

A touring exhibition of contemporary
weft-faced woven tapestries.
Free Weaving demonstration in the Gallery on:
Sunday 28th April, Saturday 4th May, Sunday 12th May,
19th May, 26th May Friday 31st May and Sunday 9th June.

www.sunburygallery.org/britishtapestrygroup
thesunbury_gallery

thesunburygallery

The Sunbury Gallery, The Walled Garden,
Sunbury-on-Thames, TW16 6AB
Gallery & Café open Tuesday - Sunday 10.30 to 4.00pm
Reg Charity No. 1162121

May June 2024

EMBROIDERY

65

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Studio Préniac

&ƵůůLJĂƚĞƌĞĚƌĞĂƟǀĞdĞdžƟůĞƐ,ŽůŝĚĂLJƐ
in South West France

Inspiration & Techniques
Do you want more ideas?
Do you want to know what to use and how
to develop your creativity and skills?
If so, the books and DVDs from Jan Beaney & Jean Littlejohn,
known together as Double Trouble, are just for you.

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holidays, set in a stunning and tranquil
part of South West France.
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For further details, contact Chris & Nicki

ǁǁǁ͘ƐƚƵĚŝŽƉƌĞŶŝĂĐ͘ĐŽŵ

нϯϯ;ϬͿϲϯϬϬϱϱϰϰϱŝŶĨŽΛƐƚƵĚŝŽƉƌĞŶŝĂĐ͘ĐŽŵ
SIRET: 878 449 156 00016

Books from £7.50 - £19.99 plus p&p

Textile Travels
Venice
Guides for Intrepid Travellers in Need of a Fantastic List
& at least the Beginnings of a Good Map

Rebecca Devaney
& Jo Andrews
www.textiletoursofparis.com

DVDs from £19.99 - £28 plus p&p
Books and DVDs are available to purchase on our website
www.doubletrouble-ent.com. DOWNLOADS are available for the
DVDs and some books from our website or www.gallicreative.com
You can also see and buy the hand stitching frames we use,
the galleries showing our textile work and a list of our
teaching events on our website www.doubletrouble-ent.com
Follow us on Instragram doubletroublejanjeanofficial
Order online or by sending a cheque to: Double Trouble Enterprises,
233 Courthouse Road, Maidenhead SL6 6HF.
Please allow upto 21 days for delivery.

doubletrouble-ent.com
66

EMBROIDERY

May June 2024

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OFNT CO 24
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£D2ISCO BG
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1st – 4th August 2024
NEC, Birmingham, England

World renowned Textile Galleries
Inspiring competition quilts
Huge variety of shopping and workshops

For more information or to book tickets visit

thefestivalofquilts.co.uk
Artist: Carolina Oneto | Imaginary Places III
T&CS: £2 off standard adult / concession tickets. Offer expires Sunday 28th July. Booking fee applies.

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