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Rijswijk Textile Biennial 2017

21 Cristian Velasco  22 Murat Yildiz  05 Jenni Dutton

12 Karoline Larsen  13 June Lee 08 Daun Jeong


The Textile Biennial 2017 is now in it’s fifth year and features 24 international artists. It is incredibly varied including textile techniques such as knitting, embroidery and weaving.

Work shown above is:

Cristiàn Velasco, País Soñado (Country Dream), 2013, embroidery on cotton, 500 x 150 cm. Photo: Cristiàn Velasco

Murat Yildiz, Detail I Can’t Speak, 2015, thread on canvas, 50 x 70 cm. Photo: ©Murat Yildiz

Jenni Dutton, Dementia Darning: Mum rubbing her hands, 2012, wool threads, fine netting, canvas, 130 x 90 cm. Photo: Rupert Mardon

Karoline H Larsen, Collective Strings, 2014. participatory installation three days, Helsinki Festival, Finland. Photo: Anu Pynnönen

June Lee, Detail Bystander, 2016, thread on plastic cast, 24 x 5 x 4 cm each figure. Photo: Myoung Studio

Daun Jeong, Fabric Drawing Yellow Lines, 2016, fabrics, frame, acrylic on canvas, 90.9 x 72.7cm. Photo: ©Daun Jeong


The exhibition runs until the 24th of September at Museum Rijswijk, Herenstraat 67, 2282 BR Rijswijk, The Netherlands and is open Tuesday to Sunday, 11am -5pm.

For more details visit www.museumrijswijk.nl

Sarah Perret

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Part of the appeal of textiles is using methods passed down through generations that don’t rely on machines or technology, so it is hardly surprising that tracking down some of the artists I feature is a bit tricky. French tapestry artist Sarah Perret is our first featured artist without a social media presence, and while finding Sarah took a bit longer than usual it made the journey all worthwhile as to profile her and her work was a real pleasure and something you don’t find on numerous other social media. Thank you Sarah for being on www.textilecurator.com!

Penny Mateer

Mateer studio          Mateer THIS Revolution Will Not Be Televised det


Penny Mateer’s studio and detail from This Revolution will not be televised (2015) in collaboration with Martha Wasik


Throughout time textiles have been used to tell a narrative and Penny Mateer’s work is no exception. Originally she thought quilts were “purely  utilitarian objects, [but over time] I began to see the potential for quilt making as a way to ask questions and tell stories.” Penny’s work tells more stories than most, partly due to her earlier career as a social worker.

“I advocated for individuals who often were forgotten or had no voice. So I began to realise as I transitioned out of social work to art making that I could use what I learned about advocacy and apply it to my art practice and in so doing develop my artistic voice which centres on protest art and commentary. “

To keep her work fresh she creates collages from The NY Times and posts daily on her Instagram feed. Keep up to date with Penny’s work at www.instagram.com/pennymateer/ or check out her website www.pennymateer.com  





Alicia Scardetta

Alicia Scardetta_studio-01    Alicia Scardetta_studio_02     Alicia Scardetta_studio-04

[Photos by Will Ellis]



The process of textiles comes from techniques that have been practised for hundreds of years so it’s hardly surprising that the majority of textile art tends to be more traditional in it’s subject matter. This is why it is so refreshing to see artists who use time honoured techniques in a way that is fresh and contemporary. One artist currently doing this is Alicia Scardetta who weaves in a converted bedroom in her New York apartment. She says  “the wrapping techniques throughout my work are reminiscent of friendship bracelets and the colors I use wouldn’t be out of place in a Nickelodeon cartoon.” It’s hard to find more current references!



Find out more on her profile page or visit www.aliciascardetta.com




DIS/rupt Exhibition

DISrupt_TSG_Sarah_Burgess DISrupt_TSG_Sian_Martin DISrupt_TSG_Ruth_Issett

From left: Sarah Burgess, Sian Martin and Ruth Issett from the DIS/rupt Exhibition touring the UK. Photographs by Kevin Mead


If you are anywhere near Stroud this May immerse yourself in textiles with The Textile Study Group’s exhibition project DIS/rupt. Part of the Select Festival 2107  it is presented by SIT select and curated by Dr. Melanie Miller. Through workshops and gallery events it will explore several themes linked to the uncertain world we live in today, including global conflict and climate change. The exhibition runs from 5th – 21st of May at the Museum in the Park and Landsown Hall Gallery. It will then be touring to Oldham and Landiloes with other venues tbc.

For further details check out http://www.textilestudygroup.co.uk/exhibitions/ or to book a place on one of the workshops visit www.sitselect.org/futureevents 


Sashiko Sewalong Project

Sashiko - Hishi seigaiha (Waves)    Sashiko - Juji Kikko (Crossed tortoiseshell) (2)  Sashiko - Kakinohanazashi (Persimmon Flower stitch)

Sashiko samplers clockwise from left: Hishi seigaiha (Waves) ; Juji Kikko (Crossed tortoiseshell) ; Kakinohanazashi (Persimmon Flower stitch)


Sashiko is the name of the gorgeous historical Japanese Quilting tradition worked with white thread on an indigo dyed fabric. Sara Cook from Brighton Fashion and Textile School has kindly shared with us her Sashiko Sewalong project that she ran on Instagram #sashikosampler. It was very popular with lots of people trying out this technique for the first time.


“Here are three examples of different patterns that I stitched for the sewalong. At the end you will see the sampler that I made. I love the way the patterns build up often not revealing their wonderful designs until the last few rows are worked.


Kakinohanazashi (Persimmon Flower stitch) The Persimmon Flower stitch is a very popular design and represents a stylised version of the flower. The fruit is sometimes called a Sharon fruit. This was the first pattern I learnt to stitch many years ago.


Juji Kikko (Crossed tortoiseshell) This design is a variation of the traditional tortoiseshell pattern that I have altered with diagonal crosses instead of vertical crosses. I like the hexagon shapes which remind me of grandmother’s flower garden design in English paper piecing.


Hishi seigaiha (Waves) I stitched this pattern while I was travelling around South Korea. It was the one of the last in the Sashiko sewalong project. This was a very formative time for me and somehow the pattern seemed to fit my journey.”


To find out more visit Sara’s website and blog at http://brightonfashionandtextileschool.com


Sashiko examples

Sandra De Berduccy

Sandra De Berduccy    DeBerduccy_8   DeBerduccy_4

Sandra weaving outdoors; Electric Awka – Traditional Andean Weave with Optical Fibre, Alpaca Fibre, LEDs and Sensors;

Jiwasanaka, Ancient double weave tecnique (kurti), Colored threads, leds, copper plates and macrocontroller


Sandra is our first featured artist from Bolivia, a country with a rich heritage in weaving. Sandra’s work respects traditional techniques while adding a fresh approach. ” I explore the relationship between nature, processes of traditional Andean textiles and various languages of the new media art,” she explains. She makes her devices and artifacts with a range of materials and processes including electronics, software code, micro controllers and reverse engineering. While her work is very varied weaving is always at the core. “All [my] practices merge with each other and give continuity to the ancient textile tradition of which I consider myself part.”

To find out more about Sandra visit www.sandradeberduccy.com or check out her Instagram and Facebook pages – details are on her gallery page sandra-deberduccy


Niki McDonald

Niki McDonald, sewing on my balcony     Niki McDonald, sewing at Neilson Park, Sydney  NIKI MCDONALD, tapestry, Urban Bouqet, wool, needlepoint tapestry, 100x120cm 2016

Niki sewing and Urban Bouqet, wool & tapestry needlepoint tapestry, 2016


There is no denying that sewing, beit embroidery or tapestry, is a slow process. The upside is you can take it anywhere as Sydneysider textile artist

Niki McDonald shows here. Fitting her work around teaching at high school means she makes the most of her free time and often sews outdoors.

Working on a number of pieces simultaneously, each of her collections has around five to six pieces which take four to five months to complete. We can’t wait to see what she does next.

To see more of Niki’s work visit tapestrygirl.com


Jana Rumberger

JanaRumberger, textiles Jana Rumberger, textiles JanaRumberger, textiles



Images clockwise from left:  Change in Average Income of the Top 1%, Productivity, and Average Overall Wages 1979-2013, Wood, acrylic, thread, 18 x 24 x 12 in. 2016 .

Marginal Tax Rate, Top 1% and Bottom 99% Income Growth 1913-2005; Piketty and Saez, Historical Marginal Tax Rates for Highest and Lowest Wage Earners 1910-2012; Wikipedia, Tax Revenues Do Not Correlate With Tax Rates 1950-2005; Heritage Foundation, Wood, thread 2016.

Detail from Change in Average Income of the Top 1%, Productivity, and Average Overall Wages 1979-2013, Wood, acrylic, thread, paper, 18 x 24 x 12 in. 2016.



Jana Rumberger is based in San Francisco and works from her home studio in Chinatown. Her work is a combination of trends and visual ideas around her. “I travel a lot for work, and end up spending a lot of time walking around on the street or in museums” Jana explains. “Much of my art involves finding ways to combine all of those references in one place.”


What is your background in textiles?

My mom taught me to sew when I was nine. I used to drive her crazy, because I was always wanted to combine sewing patterns or fabrics and she was very by-the-book. I started by making quilts, and then took a sewing class in my freshman year in high school. There was a period of time that I was torn between fashion and painting, and I ended up focusing on painting and drawing until graduate school (at San Francisco Art Institute (SFAI)), when I began working in sculpture and installation. The minute I started working three-dimensionally again, sewing came back into my practice.


How do you describe your work?

The miniature work I make reflects the scale of the space I live in, and the complexity of communities and ideas that are packed so closely together.

The thread pieces are very meditative to make. The process involves sewing into the wall of the miniature, the back of a chair, or around a wall or other part of the architecture I’m responding to. So, there is a lot of repetition, and that allows me to think about the data that I am depicting, and that starts to reveal and flesh out other ideas about the work or anything else that I am thinking about. 

In my thread pieces I take informational charts I find online and translate them to drawings in space, made with lines of thread.

When I started this work I was thinking about San Francisco and the high rents, how the global monetary system works, and what wealth is based on. That led to thinking about how numbers tell stories in the same way that photographs do, and how they can be distorted in the same ways. I’m also interested in the idea of work – how what we do with our hands is connected to concept of value.

We are living in heavily divisive times, and it’s easy to forget how easily data can be manipulated to serve a specific goal or perspective when we are using it to prove our own point. These sculptures and installations are tricky, because they can exist as straight abstract objects of colour and light. I am excited by the second read, the way that the abstraction works off of the interpretation of factual information embedded in each one, in that back and forth.


Jana Rumberger’s first solo exhibition Metafictions, is at State gallery, in San Francisco.




Calling all Tapestry Artists

tapestry by Sarah Perret Le Colosse Transi  32.THURNER Lisa_Sonnenwarmen Schwermut   20. KOLINOVA Petra_The Week of a Housewife

Tapestries featured in ARTAPESTRY4, from left: Sarah Perret, ‘Le Colosse Transi’ ; Lisa Thurner, ‘Warmth of Sorrow’; Petra Kolinova, ‘The Week of a Housewife’


The ETF (European Tapestry Forum) was set up by tapestry artists to ‘encourage the continuing development of the art of tapestry weaving.’ They are currently calling for entries for it’s fifth European Tapestry Triennial exhibition – ARTAPESTRY5 which is open to all professional tapestry artists who live in Europe. The exhibition opens on 13th January 2018 in Denmark and finishes a year later in Latvia – offering fantastic exposure to any featured artist. The deadline is 31st of March 2017 and you can download the application form at  www.tapestry.dk