Embroidery

Lorna Miller – Dummy

Available at:

http://www.caa.org.uk/exhibitions/archive/2009/inner-voice/lorna-rebecca-miller/

Key themes emerging within this piece are the idea of collage, buttons, and faded colours. Lorna's use of machine embroidery is relevant as she has used it as a means of creating intricate detail and form but also creating lines capturing the essence of the composition perfectly. I have been experimenting with machine stitched lines to recreate the lines featured on the pages of the old accountancy books I have been using within my work. 

Deirdre Nelson 'Willow Napkins'

Available at:

http://www.vam.ac.uk/content/articles/i/interview-deirdre-nelson-embroiderer/

Deirdre Nelson's work is interesting as she uses embroidery as a way of setting the scene. The way her work is laid out and placed is effortlessly simple, yet works in a art based installation setting. Her use of vintage linen napkins as a base for intricate embroidery really helps to set the scene. 

Clare Heminsley 'Magnified Investigations'

Available at:

http://www.incahoots.org.uk/textiles/textiles.html

This piece stood out to me as there are noticeable similarities between the techniques Clare and myself have been using. She has used running stitch as a way of framing compositions, I have found myself doing this also. Whilst running stitch is a basic hand embroidery technique it is particularly effective in relation to my project. At times I worry that I am not using enough technically skilled techniques but I have to remember that the use of running stitch and cross stitch go hand in hand with the ethos of my project. The circular appliqué shapes are relevant as they remind me of the circular medallion shapes I have been creating. Using appliqué suits my theme as it is a lo-fi technique which can be used as a means of creating charming and nostalgic shapes. The graphic quality of the composition is what I like the most, as placement is integral within my work. The incorporation of accents, such as buttons makes the piece come alive. 

Elaine Hughes 'Postcard - Life is Swell'

Available at:

http://www.ohgollygosh.co.uk/page2.htm

The quirky and illustrative quality to Elaine's work is eye catching. The postcard like composition works effectively and is a technique I aim to bring into my own work. This patching things together creates a really strong sense of collage. The use of mixed media is particularly strong, the combination of paper marked with various forms of typography and bits of fabric creates a wonderful layered and patchwork effect. Elaine also uses accents of lace which frames the page wonderfully. Machine stitch is teamed with hints of hand stitch which is simple yet effective. 

Erin Endicott 'Healing Sutra No.5'

Available at:

http://www.erinendicottart.com/gallery.html

Erin Endicott 'Healing Sutra No.14'

Available at:

http://www.erinendicottart.com/gallery.html

I have always been inspired by Erin's work, but it was a recent embroidery exhibition I went to at the Milton Keynes Gallery which reignited my love for her work... I see strong similarities between our work as I find her to be particularly influential. Every detail of her work is meticulously thought out and perfected. Firstly, her use of vintage linen as a background creates a weathered and delicate feel. The way she has created suggested garment shapes is so simple yet effective. As I am creating simple men's shirting suggestions this is a particularly important contextual reference for me. By creating uncomplicated shapes it takes pressure off the creation of an actual garment, which will be so important in the run up to my final collection, as overcomplicating could completely ruin my final outcomes.  Painting the fabric directly with washes of walnut ink adds a stained quality of colour. I am interested in the idea of hand painting my fabrics with washes of colour as I have had a lot of fun working this way on various types of paper. Finally, the most important link I have to Erin's work is my love of intricate hand embroidery. The love and patience which goes into the detailed processes are astounding, this is what I find to be the most stimulating part of embroidery and hope this will be a large part of my final body of work. 

Penny Lever-Green

Embroidery Magazine (March/April 2010)

Surrey, The Embroiders' Guild. 

Penny has produced such a wide breadth of work, it was hard to know where to focus. I looked at an article on her from the March/April 2010 issue of Embroidery magazine to gain general insight rather than to focus on specific projections of her work. She thinks of her work as 'conversational pieces',  creating quirky and eye catching textiles based illustration. Her use of line and buttons work particularly successfully, and I can relate to this as I have been using these also. Piecing together is another key theme emerging, and combining layers of fabric with detailed stitches creates and emotional and compelling journey for the viewer, and also for Penny. 

Riches of Stitches - Beryl Dean MBE

Embroidery Magazine (May/June 2012)

Surrey, The Embroiders' Guild.

The importance of tradition within embroidery is integral. These hand based techniques are what drew me to embroidery in the first place. I am trying to make sure that I don't lose this quality within my work and get caught up in machine based techniques such as digital printing, as doing so would see me lose the passion and attachment I have to hand processes. Goldwork is heavily featured within the War Memorabilia as it is an elaborate and over the top way of showing pride, passion and bravery. It works really well to created motif based stitch, something which I aim to do. By incorporating goldwork into my project I will be able to create more chunky and textural qualities which will juxtapose wonderfully with the delicate linens and colours I have been working with. 

Alice Kettle

Embroidery Magazine (January/February 2010)

Surrey, The Embroiders' Guild. 

Whilst Alice Kettle's work doesn't directly relate to my project, but there is something I can't quite put my finger on that draws me to her work so much. I admire her cross-disciplinery approach to textiles, her blend of ceramics and stitch is eye-catching and bold. If I had more time I would definitely want to experiment with creating ceramics for my final collection, but as I have never done this before I don't have enough time to learn in a way which will create a sophisticated and highly skilled outcome. She uses line and colour as an illustrative tool. What I find to be most interesting is her use of machine stitch built up so heavily it resembles a patchwork effect through a build up of colour. This is a unique and interesting way of working. Her ceramics have inspired me to create a series of circular shaped samples, this could be a really interesting way of creating and developing a large body of work as I don't want my collection to be too similar. 

Judith Brown

Embroidery Magazine (July/August 2012)

Surrey, The Embroiders' Guild. 

Judith Brown's work is interesting as she has found her niche of creating jewelry through the use of embroidery. This innovative way of working is captivating. There is a great sense of sentiment, one of a kind and little pieces personal to the buyer. The delicacy which comes across through the techniques used is eye catching, there is an antique, lace like effect. The key to her success is the use of simple shapes heightened with the detailed contained within. This notion is one which I aim to create within my own work. I am particularly interested in creating jewelry like artifacts, such as broaches and medallions which will be a little part of my collection which the viewer can relate to and purchase if they want a fragment of this.