Danish artist Anne-Marie Nygaard Eilertsen is now based in Southern Spain where she weaves her huge tapestries.
Only about 40 cms of the image is shown and the full image is only revealed once the weaving is completed and it is cut down from the loom.
Find out more about Anne-Marie’s fascinating work on her profile page on this website.
Work in progress by Rachel Wright
We’ll be sharing an interview and work from machine embroider Rachel Wright in a few weeks,
but when she sent through this beautiful work in progress, we couldn’t wait to share it. Sew inspiring!
www.rachelwright.com
Chris Bogia, ‘Selfie with Pink Eye’ (detail); Larry Krone, ‘Then and Now Cape’ (detail); LJ Roberts, ‘Portrait of Deb’
Books about Textile Art are often hard to find which makes ’Queer Threads: Crafting Identity and Community,’ an exciting addition to the genre. It features 30 artists of the LGBTQ community including the brilliant Chiachio and Giannone who we featured on Textile Curator a while ago.The range of artists is truly international and like our website it shows the diversity of fibre art today. From the opulent exquisite embroidery by Larry Krone to the minimalist textural shapes by Chris Bogia. As designer Todd Oldham explains “this book celebrates not just fiber art, but queer creativity, which feels all the more necessary and vital in today’s political climate.” It also includes interviews from a range of people in the arts world including Jonathan Adler and Tim Gunn. Curated by John Chaich with Todd Oldham it is published by AMMO Books and is available now on Amazon.
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
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’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
[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
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 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
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