Point-Counterpoint II
Handwoven - silk and linen

Art-Led Work

These pieces above are my most recent work exploring the theme of repeats and sequences. 

Each panel is woven with the same repeating pattern in the structure of the fabric. The vertical stripe sequence is a symetrical sequence mirroring out from the centreline. Only the wefts are different in each. I am interested in the effects on the pattern and how we read them.

Interrupted Repeat I

Hand woven in silk and wool and stretched over canvas
30x30x4cm

Interrupted Repeat II

Handwoven in silk and wool and stretched over canvas (sold)
30x30x4cm

Interrupted repeat III

Handwoven in silk and wool and stretched over canvas
30x30x4cm

Art-Led Work

In 2003 I completed an MA in Textiles as Goldsmiths University of London where I explored a more experimental, art-led approach to my work. During that time I wove with a range of materials such as nylon monofilament, wire, and some highly twisted yarns. These gave me a more sculptural effect. In weaving each different yarn has a different quality, nature and behaviour so combining these in one cloth can produce interesting and sometimes surprising results. 

Seascape

This is a details of an experimental piece I wove from my MA. It was woven in three layers. The blueish coloured layer is a nylon monofilament or fishing line. The dark threads are a wire and the creamy white ones are a highly twisted silk. 

The silk is what is creating the sculptural effect of the cloth. Woven in the middle layer it pulls the others in an causes a bubbleing effect.

On the loom it was woven flat, but then when I took it off and washed it, the shrinkage caused 3 dimensional effect I was looking for. For me there was the added drama of not knowing exactly how it was going to react until this last stage, but great fun to see it change when I put it into hot water.

Art-Led Work

In the years following my MA I deveoped a series of experimental pieces using paper yarns, reflective yarns, horsehair combined with bamboo yarns and linen and the high twist yarns. These pieces explored the possibilities of the weave structure and materials to create interesting celular structures and textural surfaces. 

These pieces I had framed.

Sea Study No. 2

Whilst at Goldsmiths I also explored the possibilies of stitch to create surface textures in fabric. I used a pleating techniques usually done on a machine to create rows of stitching. As the fabric I was wanting to use was too stiff to go throught the machine I did all the stitching by hand. 

This piece is a chinese indigo dyed cloth. The indigo dye paste is beaten into the fabric giving it a bronze coloured sheen on an intensly dark indigo fabric. 

Having stitched the lines in coloured cotton; and with very blue hands, I drew the fabric up into pleats, sometimes open some areas more densly to create an undulating surface. This can then be worked into with oil and chalk pastels. 

This piece is framed.

Burnham I

Oil and pastel on hand pleated cotton

Burnham II

Oil and pastel on hand pleated cotton

Landscape II

Oil and pastel on hand pleated cotton

Sea Study No. 3

Oil and pastel on hand pleated cotton

Art-Led Work




(c)2018, All Rights Reserved. Photography by Charlotte Grierson except where otherwise stated.

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