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The Textile Artist: Sculptural Textile Art: A practical guide to mixed media wire sculpture

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One of the great successes of this collaboration was the way in which the textiles were captured and celebrated within the photography- images Yu-Mei was delighted to add to her ever-expanding portfolio of work. Yu-Mei’s knitted textiles are celebrated and showcased with importance and integrity. Photographer: Poyen Chen Photographer: Yahui Huang Bryony then brought Ulfred’s form to life by adding his features and more layers of fabric skin that gave colour and texture to his coat. Everything is held together with a needle and thread. Bryony uses an array of upholstery and darning needles, along with upholstery threads, for sculpting and construction. Then six-ply embroidery cottons are used for visible and functional stitching. As Bryony Jennings tells her students, don’t cling to the rules of stitching when creating something in 3D. Experiment with shapes and forms, and don’t be too precious about your materials. With this realisation reached, Yu-Mei began to “examine the boundaries in different disciplines” which allowed her to work in “an interdisciplinary movement from fibre art to Installation”. Taking on a variety of commissions and consultancy roles simultaneously allowed her to trial new approaches for her refined knitting methods. The same structures and knit knowledge that she honed during her MA were now being applied to different knitted design briefs. Photographer: AUR

To attach the cord to the trowel, I need an anchor point. I use a pillar drill to make a row of holes around the edge of the metal trowel. This gives me the starting point for attaching the cordage to the object. Search Press supports the Self-Regulatory Principles for Online Behavioral Advertising of the Digital Advertising Alliance (DAA), the Digital Advertising Alliance of Canada (DAAC), and the European Interactive Digital Advertising Alliance (EDAA). Yu-Mei created knitted fabrics that became an installation and performance as a dancer tried to open up the large boxes, revealing the fabrics within. The knitted textiles expanded and contracted in relation to the movements of the dancer, echoing the interactive spirit of her MA graduate work but exploring this new, gallery lead context.

Produced in Persia (now known as the country of Iran) and featuring 800 knots per square inch, this richly decorated, pure silk carpet, would have been an extremely expensive and time-consuming product to create. Carpet weaving has played an important role in Persian culture for hundreds of years and this piece was created during the Safavid Period (1501-1732), one of the most fruitful and creative times in Persian art. Surviving carpets from the period are some of the most elaborate and detailed weavings in existence. As author Cecil Edwards notes, this is the timeframe in which Persian carpet manufacture "rose from a cottage métier to the dignity of a fine art". Harlem-born artist and activist Ringgold began working with textiles after a trip to Amsterdam’s Rijksmuseumin 1972. There, a gallery guard introduced her to Tibetan thangkas—traditional Buddhist paintings on cloth, surrounded by silk brocades. Returning home, Ringgold enlisted the help of her mother, a professional dressmaker, to make politically minded thangkasof her own, sewing frames of cloth around depictions of brutal rape and slavery. In 1980, Ringgold crafted her first quilt—again, with some sewing help from her mother—called Echoes of Harlem(1980) ,portraying 30 Harlem residents in a mandala-like composition. The knitting industry is vast and varied, something Yu-Mei exemplifies. Yu-Mei represents an inspirational early career journey, proving that new creators and designers needn’t ‘pigeonhole’ themselves early on in their careers and feel restricted by accolades or training they may have received. As the possibilities of knitted textiles expand further than ever away from ‘just knitwear’, graduate knit specialists can feel excited and heartened to know that this is just the beginning for their careers. Experimentation and innovation with knitted forms are central to Yu-Mei’s artist identity, whether applying these skills to applications on the human form or making objects through structural explorations.

I always feel like the possibilities are endless and the ideas keep expanding. I already have so many ideas and have discovered so many things that I probably won’t be able to make them all while I’m still alive. Remembrance was initially designed for the now-closed SCIN Gallery (London, UK). While out walking one day, a large artwork in SCIN’s window caught Benjamin’s eye. Upon entering the building, Benjamin discovered the upstairs gallery showcased interesting textiles, artworks, and objects inspired by a ‘materials library’ for architects and interior designers housed in the building’s basement. Priscilla Edward’s artistic practice is rooted in contemporary textiles but encompasses a broad range of materials, processes and techniques. Her work explores themes relating to identity, memory and nostalgia drawing inspiration from her collections of found objects, ephemera, literature and film. She has exhibited across the UK, Sweden, Germany and the US and is part of ‘Decorum’, a group of artists exhibiting mixed media textiles and embroidery.The Unicorn Rests in a Garden is one of a series of seven tapestries from the narrative series The Unicorn Tapestries. Heralded for their remarkable condition and quality, these works are some of the finest and most famous examples of weaving from the Late Middle Ages. Each tapestry depicts a scene in the hunt for the unicorn by a group of noblemen and hunters, all donning their finest clothing and weapons. Every scene is brimming with lush vegetation, detailed depictions of people and animals, and the enigmatic unicorn. To show distance, people and buildings are shown significantly smaller in the top register of the tapestry, creating a sense of perspective. As the hunt progresses, the unicorn becomes weaker, culmulating in the final scene, The Unicorn Rests in a Garden, with the creature in docile captivity, showing that the hunters were successful in their chase. In the Middle Ages, the unicorn was a multifaceted symbol, representing everything from the sacrifice of Christ to mystical associations of immortality. Until the 19 th century only fabrics from animals and plants, such as wool, cotton, and silk, and dyes derived from natural sources were available. This changed with the invention of aniline, or coal tar dyes, in 1854. British chemist, William Henry Perkin accidentally discovered mauveine, a purple dye, while trying to synthetize the anti-malarial drug, quinine. He went into production and other colors followed shortly afterwards including vibrant pinks, greens, and yellows. These dyes were more intense and colorfast than their natural predecessors and could be manufactured on a much greater scale, making strong, bright colors more accessible to the general public. Amanda first adapted previous works and tested different shapes using radial stitch patterns. Scale and movement were also tested by hanging pieces from her studio ceiling. She then shared sketches and photos of her tests with the Centre MATERIA gallery in Quebec City where the work would be exhibited. After much discussion, she returned to her studio to start fabricating the embroideries. The cross-stitch textiles are themselves things she finds from flea markets and vintage stores. By using them in this contemporary fashion, she is celebrating the women who created them by hand. Their beautiful work goes uncredited, as cross stitch and other embroidery are often disregarded as simply being “women’s work.” In Stina-Wikander’s format, however, they take on new meaning. Metal construction has been my main focus since 1995; but in 2013, after completing a very involved and technically challenging metal piece,I felt the need to move away from using purely representational imagery and do something more abstract and organic, and with a different material. The result has been my fabric work.

It was the blinds in the hotel rooms that Yu-Mei had to quarantine within whilst travelling between Taiwan and London that caught her eye, and her imagination. She explained, “Whilst we weren’t allowed to go out, blinds became the boundary between people and other people. Blinds closed to preserve personal space within the boundaries that were set, whilst also opening up access to views of nature and the weather. Opening and closing. This became the inspiration for the Coca-Cola collaboration.” Photographer: Poyen Chen Priscilla has over 20 years of teaching experience working in Higher Education, lecturing in several Fashion and Textile Departments including the University of Salford and University of Cumbria. She currently tutors for the University of Creative Arts, and runs independent workshops for textile groups, schools, colleges and universities. Priscilla also works closely with a Cumbria-based charity, Kendal Windows on Art and has been involved in many of their community engagement projects over the past 15 years. The mechanization of industry from the 18 th century using steam and water power sped up textile production considerably and the introduction of new technologies, such as the invention of the flying shuttle in 1733 and the power loom in 1786, helped to lower the cost of making fabric and increased its availability. Machines were also increasingly used for the construction of textile items and they took over the production of most sewn and knitted goods from the early-20 th century. When considering why fabric was an attractive medium to the artists, Professor Peter Jelavich stated: "Christo and Jeanne-Claude claimed that textiles marked the beginning of civilization; agriculture and weaving stood at the dawn of human history. They also contended that fabrics evoke transience, like the tents of nomadic tribes." The extensive history and ephemeral quality of fabric enticed the artists; it would wear and deteriorate over the installation period, and eventually be permanently removed, but it would have a lasting historical impact.In her large-scale sculptures and installation art, Bourgeois experimented with various materials which were not considered artistic up until the second half of the twentieth century. Rubber, silicone, wool, and thread appear throughout Bourgeois’ oeuvre, which was heavily influenced by her early childhood experiences. Bryonny’s purposeful use of reclaimed textiles to create her creatures adds to their appeal. She enjoys knowing the fabrics she uses bear imprints of lives previously encountered, infusing a sense of history into each animal. Most of her materials have been handed down, bought in thrift shops or kindly donated. Although the patron of the work is widely believed to be Bishop Odo of Bayeux, William the Conqueror's half-brother, the individual Anglo-Saxon artists who created the work remain anonymous. It is likely, however, that the intricate needlework was executed by a team of female embroiderers. Unlike most art during the Romanesque period, it displays a detailed secular scene as opposed to Christian subject matter. The work functioned as militaristic propaganda, narrating the Battle of Hastings from the Norman perspective. Besides being inspired by nature, I am also inspired by the material itself. Encountering different types of material in daily life is important to me. Sometimes I’ll come across a material that I find mesmerizing, and it will draw me in and stir my imagination. Car boot sales were a weekly highlight of my childhood so, by nature, I’m a gatherer and collector of the worn out, unloved and discarded. I find beauty in the detritus of the everyday, including old clothes, household linens and timeworn draperies carrying the marks of time and discarded memories.’

I’m inspired by and learn from nature directly. For example, one day I found a very beautiful brain coral at a flea market. Because I was so fascinated by it, I learned how it was structured and recreated it with fabric. Nature is the best teacher. However, Louise Bourgeois’ memories of the time spent in her parents’ workshop, and their complex family relationships never stopped inspiring her works. Ideas that had been developed thanks to the discovery of psychoanalysis show in most of her works – notions of the subconscious, childhood sexuality, desire, tenderness, pain, motherhood, and death are prominent throughout her opus. The image of the spider, most famously depicted in the large-scale public sculpture Maman from 1999, was explained by Louise Bourgeois herself to be a depiction of her mother: clever, subtle, deliberate, and patient. This interplay between weaving and motherhood is also an important aspect of her textile works.This work represents an imagined blue world where the sky touches the earth at the horizon line. It was inspired by Rebecca Solnit’s book A Field Guide to Getting Lost in which the author describes ‘the blue of land that seems to be dissolving into the sky’. In class, I learned photo-etching techniques, and I found myself more fascinated by the metal than by the images printed on the paper. After I took a small metal sculpture class, I began making three-dimensional metal sculptures using photo-etching techniques. After that, I worked with metal for about 18 years and then started to work with fabric about eight years ago.

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