This year is the 251st Royal Academy of Arts Summer Exhibition. There were over 16,000 entries – a record number of applicants.
It was Varnishing Day on Friday, 31 May. This is the day, traditionally, that artists put the finishing touches to their work before the exhibition opened to the public.
Now it’s a joyous celebration starting with the gathering of exhibitors in the courtyard, accompanied by a fabulous and very enthusiastic steel band. The courtyard was filled with towering and imposing Thomas Houseago sculptures as a welcome party.
The procession to St James’s church with a special service followed, then back to the RA to see the artwork hung for the first time.
There was a buzz of excitement as artists scanned the walls to find their work.
I’m absolutely delighted to have 2 pieces of work shortlisted for the RA Summer Exhibition – ‘Self Portrait’ and ‘Dots’.
They are now on their way to London for the next stage of the selection process, being presented to the panel of judges.
As a founding member of the newly formed Black Swan Guild, I will be exhibiting alongside the other founding members at the Round Tower from 4-25 May – further details are listed in the poster.
Here is our latest poster with more information about the exhibition - click the image to enlarge it.
The next exhibition will be at the Salthouse Gallery, St Ives, Cornwall where I will be exhibiting alongside the very talented weaver, Angie Parker.
It will be a celebration of colour and textiles entitled ‘Fearless Colour’ contemporary textile art.
Hope to see you there!
Seven members of seam (Kate Bond, Julie Heaton, Desiree Goodall, Angie Parker, Linda Row, Joy Merron and Gill Hewitt) are exhibiting at ‘Extremely Textiles’, Black Swan Arts in Frome, along with two other local artists, Julia Penrose and Sarah Truscott.
Friday night was the Private View of this exciting new textile exhibition, celebrating the diversity of skills and techniques used and exploring the boundaries of textiles and Fine Art. The photos below were taken just before the doors opened for the evening.
The room soon filled and there was an excellent turnout. It was a friendly, happy, seasonal atmosphere on the night of the Frome Christmas lantern parade.
Many thanks to the Curator, Sandra Porter and all staff at the Black Swan for a wonderful evening.
The exhibition continues until 22 December. Please come along to see the exhibition and tell us what you think!
I am delighted that ‘Kingfisher 2’ has been selected by Art Number 23 for their London Exhibition ‘Types of Abstract’.
The private view and party on Friday 20 July was well attended and great fun.
‘Kingfisher 2’ is a study capturing the moment when the swift movements of the Kingfisher emerge from the shadows of the tree canopy. An unexpected explosion of colour, movement and line – a memory of flashes of delightful, intense colour. An encaptured moment.
The exhibition continues until 14 August 2018.
I am so pleased to have my work featured in The Bath Magazine this month. Many thanks to Editor, Emma Clegg and Assistant Editor, Jessica Hope who visited my studio in Bath.
You can see the article here. Bath Magazine feature
Inspired by many visits to Barbara Hepworth’s Sculpture Garden in St Ives; Henry Moore, Picasso and Anthony Gormley
I am using the needlepunch to create a series of wall panels based on ‘Curves’, building layers of texture and colour and working from both sides of the textile.
A photo shoot of this latest framed Stripes panel took place in the beautiful late afternoon light at Sydney Gardens, Bath on Friday.
It is now on its way, with the other Stripes panel shown above, to be displayed at Interior Designers Rubelli’s Showroom at Chelsea Harbour.
Rubelli, The Chambers, Chelsea Harbour Dr, Fulham, London SW10 0XL
A series of experimental studies of faces, using needle punch technology.
The intention is to make large scale wall panels once techniques are perfected.
Seam Collective are proud finalists in the Creative Bath Awards in the ‘Maker’ category.
The winners will be announced on 8 June 2017.
Seam Collective’s shiftWorks exhibition returns to Bath.
Please come along to Bath Spa University, Sion Hill from Monday, 24 April to Friday, 5 May 2017.
My love of textiles began at a very early age, influenced by my grandmother, a weaver and embroiderer, who had cupboards full of natural fabrics and exquisite needlework. I learnt to use a sewing machine and was making my own clothes when I was 9 years old. Being brought up in Lancashire, we were surrounded by a combination of textile mills and beautiful, wild moorlands. I remember the towns being quite dark, with enormous mills overshadowing the terraced houses, making the contrast of the surrounding countryside even more impactful.
The first business I set up was designing and making hand tufted rugs. My ‘studio’ was in an unheated garage with no natural light. To keep warm, I used to wear a black balaclava, cut off gloves and a big black jacket. I managed to scare the postman a few times!
Commissions included a rug for a Contemplation Centre at a Rotterdam Hospital and a rug for the Managing Director’s suite, British Rail, Birmingham.
I now have a lovely warm, bright studio to work in. My favourite textile machine at the moment is the needle punch, which has a bed of 2,000 needles. It blends and distresses layers of fabric in very exciting and sometimes unpredictable ways, as I learnt by trial and error! Experimentation is what I most enjoy.
Working with architects and interior designers, I make large scale art panels for interiors, some of which are also sound absorbing acoustic panels. I also make screens, blinds and soft furnishings.
Inspiration for designs is usually taken from nature, particularly the play of light and shadow on surfaces, and degradation of materials. Fabrics are hand dyed or digitally printed using my photographic imagery before being constructed on the needle punch.
I tend to ‘sketch’ with fabrics to develop the composition
Once the fabric has been digitally printed it goes through many processes, layering of fabrics and being needle-punched to combine them.
Hexagons are cut from the needle-punched fabric and assembled on a backing cloth, hexagons sized to precisely fit the pattern.
The patchwork of hexagons are then stitched in place through a top layer which is cut back to reveal the needle-punched fabric.
I made a variety of samples of hexagons for the Katsura Shadows Shift Dress, investigating the effect of light and shadow, use of colour and the flow of the pattern.
Hexagons were butted up to each other and some spaces left. Colours too muted and the pattern did not flow.
The use of thicker needles in the needle punch gave a hairier distressed effect to the finish of the fabric. I decided to use finer needles.
I tried digitally printing hexagons on the fabric but these distorted when needle punched.
The colours on this sample were much more successful giving a pleasing shadowy effect. The use of finer needles gave a shimmer to the fabric.