Sunday, 23 April 2017

Stitched textiles and accessories. Open House Studio, Hummingbird Studio. Brighton Festival 2017

It's festival time again and I'm pleased to be presenting some new work to the Hummingbird Studio Open House at 107 Havelock Rd. Brighton BN1 6GL from May 6th -28th [weekends only] 11-5pm.

 I have a lifelong love of textiles and embroidery and have developed a fascination with mixed media techniques. I'm also studying for the Distant Stitch Certificate Embroidery Certificate Level 3.and have enjoyed attending several of their Summer Schools.

 Altogether these have provided me with fabulous opportunities to experiment with exciting texture and colour effects alongside my hand and machine embroidery skills [a match made in heaven]!
I've used them to create my handcrafted accessories, handmade books and jewellery.

 You can access my previous artist statement for 2016 on
http://chainstitched.blogspot.co.uk/search?updated-max=2016-07-25T05:53:00-07:00&max-results=7&start=5&by-date=false


Some examples of my recent work:

Machine embroidered necklace with beaded finish


 Machine embroidered / mixed media Sunflower brooch with decorated box


Flower in a box. Mixed media and machine embroidered flower in decorated box.


Sketchbook with mixed media cover

Butterfly in a box. Machine embroidered butterfly brooch in decorated box.


 Vanity/ evening clutch bag. Mixed media background printed onto silk with hand and machine embroidered finish




Evening bag. Hand dyed silk with embroidered floral detail.


I'd  like to thank the following textile artists for their expertise and support.
 Sian Martin
 www.distantstitch.co.uk
Wendy Dolan
www.wendydolan.co.uk
Kim Thittichai
www.kimtittichai.com












Friday, 13 January 2017

Amendment Module 4 chapter 12.

Cas Holmes is one of the three artists we had to profile for this chapter and she  has kindly left a comment on my blog advising me that she has not taught at Middlesex University some fifteen years ago.

Module five. Chapter 3. Texture and relief in paper.

I have looked at my textured surfaces and photographs in chapter one to observe the textures and relief surfaces.

The following 9 samples correlate with those in chapter one; I’ve used suitable papers to achieve the desired effects:

ch 3 1ch 3 2

ch 3 3ch 3 4

Module five. Chapter 2. Relief paper investigations.

This chapter looks at using a collection  of white papers with which to experiment by ripping, tearing,  folding, scrunching and pleating in different ways.

1. Ripping and tearing;  tearing on or against the grain produces a controlled or random effect respectively.

Then by folding and pleating with different weights and textures of paper I could create further interesting effects.

The examples below are arranged from the top left hand corner down to the bottom of the page and then 2nd row from top to bottom and so on:

ch 1 1

2. Rip, fold and scrunch:

Nine different papers have been scrunched up to fit into a specific shape. Each paper started as an A4 size which has been scrunched up to fit a space one ninth of the original and mounted onto an A4 size piece of black card.

Different weights and textures of paper yield in various ways:

ch 2 2

3. Manipulated tissue paper:

The translucency of tissue paper produced some fabulous effects:

ch 2 3

4. Gathered and pleated samples of tissue paper which have been manipulated differently. All samples have been worked using a long stitch length on a sewing machine:

ch 2 4ch 2 5