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THE 100% AUSTRALIAN-OWNED TEXTILE ART MAGAZINE #146 JUNE 2022 $11.50 AUD $16.50 NZ ARTIST PROFILES * FEATURES * REVIEWS * EXHIBITIONS Gwendydd Fox Gilded Cage PIINPI: CONTEMPORARY INDIGENOUS FASHION WEARABLE ART MANDURAH AIN’T THE ARCHIES 96 9 770818 630003



Contents ISSUE #146, JUNE 2022 REGULAR ITEMS 03 LETTER FROM THE EDITOR — Moira G. Simpson 19 43 SITUATION SVENJA — Svenja 59 READER GALLERY Marjorie Coleman 63 ADVERTISER INDEX 60 BOOK REVIEWS 64 ALL THAT SPARKLES — Molli Sparkles ARTIST PROFILES 04 TRACEY ROBB — Tracey Robb 11 31 19 MARJORIE COLEMAN - PART 2: The Cloth Speaks — Moira G. Simpson EXHIBITIONS 27 SKIN: WORKS BY GARRY GREENWOOD — Svenja Wearable Art Mandurah 2021 38 CURATING AIN’T THE ARCHIES AT TIMELESS TEXTILES GALLERY — Anne Kenton 31 INDIGENOUS FASHION TAKES THE STAGE — Inga Walton 54 INDIGO: NEW WORKS BY ALVENA HALL — Moira G. Simpson FEATURES 11 WEARABLE ART MANDURAH 2021 — Moira G. Simpson Piinpi: Contemporary Indigenous Fashion 49 ‘JUST DO IT ONLINE’. The Convenor in the Virtual World — Jo Franco, Judi Tompkins, and Kira Mead TEXTILE FIBRE FORUM® Senior Graphic Designer: TFF is an independent Australian Publication Daniel Cordner is a registered trademark of: www.danielcordnerdesign.com Worldwide subscriptions and single issues: ArtWear Publications, Ashburton, Vic. Aust. www.artwearpublications.com.au Adverts, barcode & digitisation: or digital versions available via app stores Editor: Moira Simpson Kylie Albanese and www.pocketmags.com.au [email protected] The editor reserves the right to edit all material. ArtWear Australian distribution by Are Direct Advertising sales and marketing: Publications cannot accept responsibility for contents of Agents order online or call 1800 032 472 Lynda Worthington Tel: 03 9888 1853 articles, ads or notices. ArtWear Publications cannot and [email protected] will not be liable for any copyright infringements of authors’ New Zealand distribution Are Direct NZ Ltd., work that occurs from public access. Any infringements Phone +64 9-928 4200 Layout & Design: Copyright © 2022 that occur will be the right and responsibility of the author themselves. Views expressed are each author’s own and do USA and Canada distribution by DISTICOR Published in Australia ISSN 0818-6308 not necessarily reflect that of ArtWear Publications. Magazine Distribution Services Printed in China by Tel: +905 619 6565 C & C Offset Printing Co., Ltd. UK distribution by Manor House Magazines Tel: +44 (0) 1672 514 288 Front cover image: Gwendydd Fox, Gilded Cage, latex, acrylic paint, gold organza, cotton cord, tissue, Velcro, ribbon and elastic. Photo by Ario Productions. Save now and subscribe! www.artwearpublications.com.au

DANIEL We sell CORDNER colour, DESIGN so you can danielcordnerdesign.com be creative. magazines / logos / brochures / flyers / advertising posters / websites / business cards Shop Gallery Conscious C oth Company caring for people & the planet • • •Ethical Sustainable Beautiful Special Events Exhibition: Material Magic - textiles by Carole Douglas August 5 - September 25 Tour: Pacific Patterns - a New Zealand textile odyssey October 5 - 23 For futher imformation please contact: [email protected] Opening hours Sat & Sun 9am - 4pm & Fridays (by appointment) Shop 6 ,Galleria, 189 Ocean View Rd, Ettalong Beach Mob: 0438772795

Letter from the Editor Moira Simpson Greetings! The annual Wearable Art Mandurah they encourage and offer warnings competition – which had to be about the challenges and rewards of We have a great issue cancelled in 2020 due to COVID – collaborations in the virtual world. of TFF, packed with returned in 2021 in its new time slot inspiring artwork in of November. In this issue, we show Inga Walton reviews the exhibition many different textile- some of the fantastic entries that Piinpi - Contemporary Indigenous related media including reached the finals and won awards. Fashion organised by the Bendigo quilting, digital imagery The creativity and commitment of Art Gallery, the first major survey of on fabric, sculptural all the entrants is really impressive Indigenous fashion. In her article, crochet, wearable art, and the use of unusual materials is she discusses some of the highlights leather sculpture, textile inspirational. of the diverse outfits which show portraits, felting, fashion, thoroughly modern designs that draw and virtual exhibitions. Svenja, our regular columnist upon techniques and materials such who has been charting her journey as screen printing, as well as evoking Y ou can read the second part of from creating wearable art to fine unmistakable references to Australian the profile of WA artist Marjorie art, shares her joy in completing First Nations colour, pattern and Coleman, who has been a body of work arising from her technique used in new and very creating textiles for over fifty years. residency on King Island in late creative ways. You can see more In the last issue, we looked at her 2019. Despite COVID restrictions, pattern, but all in blue and white, in work as she first learned patchwork she was delighted to be able to Alvena Hall’s exhibition, Indigo. and then branched out in exploratory return to attend the opening of her ways with various other mixed media exhibition, Algalrhythms! Svenja was Anne Kempton, of Timeless textiles techniques. Part 2: The Cloth also able to travel to Tasmania in Textiles in Newcastle, shares the very Speaks shows examples of her time to see an exhibition of leather diverse portraits that she showed work as she increasingly focused sculptures by Tasmanian sculptor, in the exhibition Ain’t the Archies on concepts and ideas from pioneer Garry Greenwood (1943-2005). last year; portraits by fibre artists history, to human relationships with Greenwood’s skill in manipulating of other fibre artists. This exhibition the natural environment, and Middle leather into sculptural forms is demonstrates the versatility of Eastern politics. evident in the beauty and elegance textiles as a medium for a subject of the artworks and the fact that that is more commonly thought of as Gardens of Delight is a profile several are actually playable musical the domain of painters. of Tracey Robb, who calls herself instruments used by a couple of ‘a crochet fanatic’. Tracey uses musical groups. Molli Sparkles muses on the crochet, a technique traditionally textile artist’s love of luscious fabrics used mainly as decorative trim on Virtual exhibitions were in their and the feelings of preciousness that garments and domestic textiles, or infancy prior to the pandemic and often hold us back from those we to make tablecloths and bedcovers, many of us had little understanding regard as treasures – I am sure that but she uses freestyle crochet or experience of participating as you can all relate to that and spot to create complex, 3D sculptural artists or as organisers. Some some beauties in your stash that artworks. These are based upon virtual exhibitions were designed to have never been touched other than close observation of the structures, overcome the costs and difficulties to fondly admire them! textures and colours of some of the of shipping artworks internationally smallest plants and animals that we or as a way of reaching out to Enjoy reading! can see with the naked eye: lichens, global audiences. Others have Kind regards, corals, and various marvellous been organised over the past two Moira marine plants and creatures that live years because of lockdowns and on coral reefs. restrictions that led to cancellation Erratum: of physical exhibitions. Jo Franco, The March 2022 issue of TFF (no. 146) Kira Mead and Judi Tompkins of included an artist profile article by Global Textile Hub share their Diana Wood Conroy. Regretfully, her experiences of working with artists name on the cover and contents page to present virtual textiles exhibitions. was incorrectly written as Diana Wood In their article, ‘Just Do It Online’: Conway. My sincere apologies to Diana and to readers for this editorial slip. The Convenor in the Virtual World, Never miss an issue! www.artwearpublications.com.au 3

ARTIST PROFILE Australia Tracey Robb Hello, I’m Tracey Robb, a Mackay textile artist and self- professed sufferer of OCD - Obsessive Crochet Disorder! Spanish Dancer 2, 2015, 34 x 20 x 13 cm, acrylic yarn, wire, hyperbolic hairpin crochet. Photo by the artist.

AUTHOR: Tracey Robb Spanish Dancer 1, 25 x 38 x 20 cm, 2015, cotton yarn, wire, hyperbolic hairpin crochet. Photo by the artist. Wedding Dress, 2010, 126 x 50 x 50 cm, hemp/silk fabric, cotton yarn, hairpin crochet, Irish crochet. Behind is the bedspread, 2011, 210 x 210 cm, acrylic and natural yarns, freeform crochet. Photo by the artist. Art and nature have been two As a kid, I would walk around from an Open Learning Bachelor of of the biggest influences the streets crocheting, I crocheted Arts and attended a wonderful mixed- in my life from as far back a double bedspread on the school media textile course at McGregor as I can recall. My early childhood bus on my way to school and back. Summer School at the University of was spent fishing, building cubby In high school I crocheted clothing Southern Queensland in Toowoomba. houses and running around carefree that I sold at a craft shop in town for I learnt a range of hand and machine with my brothers and sister on the pocket money. I spent seven hours sewing techniques that enabled me remote islands of Queensland where crocheting in the delivery room when to manipulate fabrics and fibres to my father was a lighthouse keeper. I was having my first baby! I have produce two- and three-dimensional Thus, during my formative years, I even crocheted while suspended 4.5 works of art. These courses started learnt to keep myself occupied with metres above the ground dressed in a me in a new direction which led to what nature provided and the limited harness and clipped onto the cage in the production of non-functional supplies that the fortnightly store a knuckle boom crane while installing works and the adaptation of a boat would bring the 240-square-metre yarn bomb for number of these techniques to suit All Wrapt Up on Paxtons Warehouse in my crochet practice. When I was eight years old, my Mackay in 2013. family shifted to the mainland and My first solo crochet exhibition, we went to live at the beach where I Growing up, I constantly looked for Hooked, was at the Upstairs Gallery would spend most of my spare time ways to make a living from crochet. in Paxtons Warehouse, Mackay in beach-combing, even bringing home My most enjoyable attempt was 2013. It included clothing, cushion a WW2 marine bomb one day! My making crochet bikinis during my late covers, freeform 3D wired sunbird grandma taught me to crochet during teens, but it still wasn’t enough to nests, a freeform crochet bedspread, her annual holidays with our family, provide me with a reasonable living. and featured my wedding dress. and this opened a whole new world of So, in my early twenties, I bought a This dress took eighteen months to possibilities for me. I loved the tactile screen-printing business in Daintree, make and consisted of a hemp-silk nature of yarn and was fascinated put down my crochet hook (in a strapless dress dyed with mango by the concept of producing two- professional sense) for nine years leaves and overlaid with cotton lace and three-dimensional fabrics and and took up commercial screen- of Irish and Maltese crochet, and a objects simply by manipulating printing and sewing. I completed a bolero featuring an Irish lace sunbird yarn with a hook into a series of Certificate in Commercial Art and and passionfruit vine. interlocking loops. I was such a Design and started designing and prolific crocheter during my school manufacturing a range of t-shirts The most significant breakthrough years that I remember unpicking and resort-wear featuring my own in my career as a crochet artist jumpers to reuse the yarn for some tropical flora and fauna designs. came in 2015 when I collaborated of my projects, before I developed my with two ceramic artists on a very skills enough to sell the garments I After the sale of my business, I successful Great Barrier Reef was making. This then provided me moved back to Mackay and returned exhibition called Symbiosis. This with a source of income to spend on to producing crochet clothing and was my first serious foray into more hooks and yarn. resort-wear in my spare time. During sculptural, non-functional crochet, this time, I studied selected courses which gave me an opportunity to Subscribers get a free newsletter every issue, filled with exhibitions and calls for entries 5

AUTHOR: Tracey Robb ARTIST PROFILE Tracey Robb, Lalune Croker, Coral Polyp 2, 2015, 23 x 16 x 14 cm, clay, glaze, acrylic yarns, wire. Photo by Tracey Robb. Tracey Robb, Lalune Croker, Joanne Wood, Symbiosis 1, 2015, 13 x 20 x 11 cm, clay, glaze, acrylic and natural yarns. Photo by Tracey Robb. Featherstar, 2015, 43 x 50 x 39 cm, rock, wire, glass beads, cotton yarn. Photo by the artist. experiment with bifurcation and exaggerate the curves. Featherstar photosynthesis and the corals provide hyperbolic stitch techniques. I also is an example of the bifurcation a protected environment for the algae dabbled with a new idea of crocheting technique, which involves the splitting as well as compounds that the algae directly onto wire to support the of a single branch into two. I achieved need for photosynthesis. fluted shapes I was producing. The this by crocheting over two wires wire held the shapes much more at the base for their legs, joining During this research I discovered securely than the traditional crochet them all at the body then spreading that there are other types of algae method of starching and blocking them apart to produce their fringed that form a land-based symbiotic the finished works. I discovered arms. This is also an example of the relationship with specific types of that a combination of the traditional combination of crocheting over wire land-based fungi. Interestingly, blocking method worked really well and blocking with PVA glue to achieve neither these algae nor the fungi can with my new wiring technique. the 3D shape. live independently of each other and these little “combination-plants” are Spanish Dancer 1 and 2 are Whilst working on the corals called lichens – the tiny insignificant examples of the hyperbolic stitch for Symbiosis and the crochet wall things that grow on rocks and trees technique with wired perimeters. panel The Coral Garden, I developed as well as many other things around Crocheting over wire on the outer a fascination with the mutually us such as plastic outdoor chairs and edge of the work enables me to beneficial symbiotic relationship shade-cloth. And very happily for me achieve a lot of stretch which I then between the corals and algae. The as an artist, they come in an amazing manipulate into graceful curves. The algae which contain the colour diversity of form and colour. inner edge is gathered together by that we associate with the corals rapidly decreasing the stitches to produce food for the corals through Focusing on land-based lichens was a natural progression for my _____ ‘HAVING CROCHETED FOR OVER FORTYFIVE YEARS, I FEEL THE NEED TO FIND CHALLENGES TO KEEP MY INTEREST PIQUED AND I DO THIS BY EXPERIMENTING WITH NEW STITCHES, STITCH PATTERNS, UNUSUAL AND UNEXPECTED YARNS AND METHODS TO CREATE WORKS IN THREE- DIMENSIONAL FORMS.’ _____ Tracey Robb, Crown of Thorns Starfish, 2015, 20 x 20 x 12 cm, cotton yarn, echidna quills, polyester filling. Photo by Tracey Robb. 6 www.artwearpublications.com.au

BESPOKE TOOLS The making of The making Relicina Limbata, of Xanthoria 2021, 110 x 116 Parientina, 2021, x 16 cm, acrylic 75 x 70 x 4 cm, yarn, cotton fabric, polyester twine, wire, Photo by the acrylic yarn, wire, artist. This photo hairpin crochet, shows the process Photo by the artist. of securing the This photo shows wire with a clamp polyester twine for the crocheting being crocheted of the outer edge on a hairpin of the lichen. to produce the circular apothecia of Xanthoria Parientina. work, as it enabled me to continue brought me another step closer to to create works in three-dimensional developing earlier techniques. achieving my goal of supporting forms. My experiments have led to In 2018, I secured a Regional myself financially through my arts the development of wire frameworks Arts Development Fund Concept practice and assisted me in my to support my crochet as well as Development Grant which enabled quest to demonstrate that fibre arts, crocheting with wire and wrapping me to get into some serious and crochet in particular, can be a wire with fabric strips to give the look experimentation with my 3D wired legitimate and exciting form of fine of textile crochet with the support crochet practice. During this process, art. I have had many requests to tour and stability of wire. My experiments I developed the techniques to The Lichen Garden so this is another with alternative yarns have included produce a variety of macro lichens project in the pipeline! splitting and plaiting natural fibres and a lesson plan for 3D wired such as bark, leaves and corn husks, crochet workshops that I delivered Having crocheted for over forty- and cutting or tearing pliable objects, in conjunction with my exhibition. five years, I feel the need to find such as fabric, plastic bags and The Lichen Garden exhibition opened challenges to keep my interest piqued newspaper into strips, then spinning on July 30th 2021 at the Foundation and I do this by experimenting with with drop spindles and zigzagging Gallery at Artspace in Mackay. This new stitches, stitch patterns, unusual into cords with a sewing machine. and unexpected yarns and methods Detail of The Coral Garden, Photo by the artist. The Coral Garden, 2018, 110 x 135 x 7 cm, natural and acrylic yarn, wire, freeform crochet, Photo by the artist. 7 Subscribers get a free newsletter every issue, filled with exhibitions and calls for entries

AUTHOR: Tracey Robb ARTIST PROFILE 23 4 1 1. Lecanora Alba, 2020, 98 x 84 x 6 cm, acrylic yarn, cotton yarn, cotton fabric, wire, Photo by Donna Maree Robinson. 2. Relicina Limbata, 2021, 110 x 116 x 16 cm, acrylic yarn, cotton sheet, wire, Photo by Donna Maree Robinson. 3. Jackelixia Streimannii, 2020, 65 x115 x 3 cm, acrylic yarn, cotton fabric, organza curtain, wire, Photo by Donna Maree Robinson. 4. Psoromidium Versicolor, 2019, 120 x 110 x 5 cm, acrylic yarn, metallic yarn, wire, Photo by Donna Maree Robinson. 5. Xanthoria Parientina, 2021, 75 x 70 x 4 cm, polyester twine, acrylic yarn, wire, hairpin crochet. Photo by Donna Maree Robinson. 6. Knightiella Splachnirima, 2021, 100 x 70 x 5 cm, cotton yarn, polyamide yarn, wire, Photo by Donna Maree Robinson. 7. Pseudocephalaria Crocata, 2021, 65 x 62 x 4 cm, acrylic yarn, cotton yarn, glass beads wire. Photo by Donna Maree Robinson. 8. Placopsis Perrugosa, 2020, 108 x112 x 5 cm, acrylic yarn, cotton yarn, satin sheet, organza curtain, wire, Photo by Donna Maree Robinson. 9. Relicina Abstrusa, 2021, 67 x 57 x 3 cm, acrylic yarn, cotton yarn, cotton sheet, polyester cord, wire. Photo by Donna Maree Robinson. 10. Fuscoderma Amphibolum, 2021, 42 x 80 x 9 cm, rayon yarn, acrylic yarn, glass beads, wire. Photo by Donna Maree Robinson. 6 5 8 ISSUE NO.146 Textile Fibre Forum www.artwearpublications.com.au

10 9 7 _____ MY EXPERIMENTS WITH ALTERNATIVE YARNS HAVE INCLUDED SPLITTING AND PLAITING NATURAL FIBRES SUCH AS BARK, LEAVES AND CORN HUSKS, AND CUTTING OR TEARING PLIABLE OBJECTS SUCH AS FABRIC, PLASTIC BAGS AND NEWSPAPER INTO STRIPS, THEN SPINNING WITH DROP SPINDLES AND ZIGZAGGING INTO CORDS WITH A SEWING MACHINE. _____ 8 Subscribers get a free newsletter every issue, filled with exhibitions and calls for entries 9

AUTHOR: Tracey Robb ARTIST PROFILE _____ THESE LITTLE “COMBINATION-PLANTS” ARE CALLED LICHENS – THE TINY INSIGNIFICANT THINGS THAT GROW ON ROCKS AND TREES AS WELL AS MANY OTHER THINGS AROUND US SUCH AS PLASTIC OUTDOOR CHAIRS AND SHADE- CLOTH. _____ Sticta Stipitata, 2021, 120 x 40 x 30 cm, acrylic yarn, wire, wood, Photo by Donna Maree Robinson. This series of projects is in keeping with my philosophy of minimising These methods are in addition to projects. This has led to my my impact on the environment. I use of combinations of different participation as a lead artist and start my day on the beach picking mediums such as the fabric and wire workshop facilitator in the Plastic up plastic waste that has washed combination mentioned previously. I Boutique projects in Mackay. which in with the tide and I’m appalled by make bespoke tools as supports and comprise a series of public art the sheer volume of rubbish that is frameworks to crochet onto, such as workshops that culminate in large- in our oceans. I use many of these hairpins and drop spindles from CDs scale recycled art installations. The natural and found objects in my work, and knitting needles. most recent Plastic Boutique: Healthy as well as upcycled products. I also Planet was hung from the ceiling at enjoy finding new and exciting ways I am a founding member of the Caneland Central shopping centre in of repurposing materials no longer of Artist Collective Caneland at Mackay in September 2021, featuring use or bound for landfill. For Plastic Canelands Central, a major shopping over 350 birds and 6m x 3m of forest Boutique: Pledge to the Planet in 2019 centre in Mackay. The Artist Collective canopy made from preloved clothing I used bubble wrap, garbage bags is a gallery-style gift shop featuring and household linen. Over 800 and computer cables to make two artworks that are handmade by local members of the public attended three wedding dresses as a statement to artisans. I love that the shop gives me months of free art workshops where encourage dialogue about plastic an outlet for my creations and allows our group of artists taught sculpture pollution and the need to repurpose me to make a living from doing what I and a variety of textile techniques to our waste products. I hope that I can love. Our members also work produce this installation. make a difference to the preservation together on exhibitions and public art of our native flora and fauna by producing art that gets people thinking and talking about issues such as caring for our environment, the need to make conscious choices about the products we purchase, and disposing of our waste thoughtfully. The process of crochet is very repetitive (5% inspiration and 95% perspiration!) so I find my thoughts helplessly sliding down rabbit holes where I explore new ideas and problem-solve new techniques to bring my ideas to life. Usually, by the time I have finished a project I have already come up with a well- developed concept for my next body of work – the next one will be 3D crochet fungi. Tracey Robb 10 ISSUE NO.146 Textile Fibre Forum www.artwearpublications.com.au

FEATURE Wearable Art MANDURAH 2021 AUTHOR: Moira G. Simpson Gwendydd Fox, Gilded Cage, latex, acrylic paint, gold organza, cotton cord, tissue, Velcro, ribbon and elastic. Photo by Stephen Heath. 11

AUTHOR: Moira G. Simpson FEATURE For the Wearable Art Mandurah Showcase 2021, held as part of the Mandurah Arts Festival, entrants were asked to create ‘extravagant, revolutionary, provocative works of art on the body’ that are ‘expressions of history, personal stories and a new perspective of design’. Their responses are diverse in designs and concepts but, as the finalists shown here demonstrate, they all showed a high level of creativity, imaginative use of materials, and concern for social and environmental issues. The competition attracted and flux of travelling populations, a record 158 entries from both human and wild’. Winner Australia and overseas. Stephanie Munro created The Red Eighty-six were selected as finalists Army, a reference to the annual and 13 won awards. There were five wet season migration of millions equally weighted criteria: artistic of red crabs on Christmas Island: vision which included both the ‘Guided by the moon and tides, the ‘articulated inspiration or narrative’ crustaceans move in streams toward in the artist statements and also the water’s edge climbing high inland ‘the synergy between your artwork cliffs over and around a myriad of and the artist statement’; ‘creativity obstacles, following familiar routes’ and originality’ as seen in the ‘use to reach the coastline where they of traditional techniques in a non- spawn. The dress and overskirt are traditional way’ and ‘the presentation decorated with dozens of individual of unconventional ideas’; ‘innovation, crabs made from painted stuffed manipulation and transformation of fabric, while the beige overskirt and materials’; ‘quality of craftsmanship shoulder straps are painted and and construction’; and ‘visual impact’ embellished to represent sand, rock, when the garment is viewed from lichen, shells, beads, and moss. all angles. For the Black and White Category, The Avant-Garde award called for entrants were asked to ‘strip your entrants to push the boundaries of garment back to the essentials of radical design, innovation, concept form, texture and technique in the development and execution and put monochrome’. The winner, New the ‘revolutionary’ into Wearable Art Again, Full Circle, was created by a trio Mandurah. Winner Gwendydd Fox of mother and two daughters, Alana based her entry Gilded Cage on a Grant, Ruby Vale and Aysha Vale, who poem of the same name and the idea repurposed an old wedding dress and that a bird in a gilded cage is kept safe several artworks. The use of feathers from danger but becomes a prisoner: to create the headdress and plastic ‘After an eternity, the bird has become gloves for the dress creates a light, one with its prison. Now its song is feathery appearance. The inclusion of a caution ... a hard prison of gold battery-operated LED lights enabled combines with soft feathery forms the dress to be illuminated, creating behind a lock that will never open, the an ethereal glow. bird is indistinguishable from its bars.’ In her dramatic black and gold dress New in 2021 was the inaugural and headdress shown on the cover, Paper Category requiring entries Fox evoked the gilded filigree cage by to be made from at least 90% shaping rope dipped into latex and the paper. Anzara Clark, Paper soft down of the bird using hand-cut Category Coordinator, organza feathers painted gold. described it as ‘a celebration of paper’ The conceptual Migration Category and a challenge that invited entrants to ‘explore the flow was ‘not one for the Stephanie Munro, The Red Army, www.artwearpublications.com.au dyed and painted fabric, feathers, wire, polyfilla, builders’ foam, Powertex. Photo by Stephen Heath. 12 ISSUE NO.146 Textile Fibre Forum

Shaun Vandenberg, Aerdrie Faenya, card, paper, crepe paper, paper weaving, finger spinning, glue. Modelled by Maddison McFie. Photo by Tracey McFie. Alana Grant, Ruby Vale and Aysha Vale, New Again, Full Circle, plastic gloves, willow, old wedding dress, ceramic, feathers, macramé, gems, shells, paper lantern, Powertex, Led lights, battery. Photo by Stephen Heath. Maddy Constable, The Beauty of Ningaloo, paper, fabric, wax, papier-maché, feathers, sculpted, screen printed, free-hand machine embroidery. Photo by Stephen Heath. fainthearted … As a material the Elven expression of freedom Beauty of Ningaloo. Using various that is both fragile and resilient and impulse, one who delights shades of blue, turquoise and at once, preserving the material in the swirling sound of the wind white, Constable was inspired quality of paper in a wearable and the creation of mischievous by snorkelling on Ningaloo art garment requires patience, unpredictable weather.’ Reef in the coastal waters of perseverance and the willingness Vandenberg built armatures Western Australia. The billowing, to take creative risks. It requires of hardened paper and used a pleated skirt, made from paper skill and patience to coax and variety of sculptural techniques sculpted and stiffened with manipulate paper into durable to create decorative elements, wax, represented the ocean forms that retain fluidity and including woven paper and hand teeming with fish swimming softness.’ spun crepe paper. In a white through seaweed; these were palette, the effect was visually screen-printed with fabric First-time entrant Shaun light and delicate but physically overlays and attached free-hand Vandenberg won with his work strong, described by Clark as machine embroidery. The corset Aerdrie Faenya, a character ‘astounding in its construction, represented the blue sky above, drawn from fantasy novels and detail and textural richness.’ and the white headdress, a cloud, games. She is ‘The winged while birds circling in the sky mother, Elven Lady of the Air While many entrants have are made from papier-maché & Wind and Queen of Avariel – submitted in previous years, covered with feathers. known by the Faery folk as the one award is reserved for a goddess of weather, birds and first-time entrant. This was The Tertiary Category is bringer of rains & storms. She is won by Maddy Constable for The for students registered at

AUTHOR: Moira G. Simpson FEATURE Cat Shepherd, Crossing the Line, fabric, polyester foam, wire, Cassidy James, Hear the Silent Screaming, Foss non-woven fabric, heat-moulded Worbla, acrylic paint. lino printed fabric, wire, plaster, fibreglass. Photo by Stephen Heath. Photo by Stephen Heath. Zahara Dos Santos for Makayla Parr, ATAR Stressball, recycled fabric, vinyl, Love of Dolls, pre-loved paper. Photo by Stephen Heath. dolls; recycled fascinator, baseball cap, and shoes; leotard; earring hooks, chain. Photo by Stephen Heath. 14 ISSUE NO.146 Textile Fibre Forum www.artwearpublications.com.au

AUTHOR: Moira G. Simpson universities, TAFE institutions or _____ government-approved registered training organisations. It was won ‘EXTRAVAGANT, REVOLUTIONARY, PROVOCATIVE by Cat Shepherd for Crossing the WORKS OF ART ON THE BODY’ THAT ARE Line, a garment and mask based on an Elizabethan court jester, shown ‘EXPRESSIONS OF HISTORY, PERSONAL STORIES as if being held in the stocks and AND A NEW PERSPECTIVE OF DESIGN.’ pelted with tomatoes, having ‘crossed the line’. Shepherd engages with _____ a very contemporary subject by using this character to ‘highlight the Philomena Hali consequence of speaking truths, in a and Monica humorous fashion. Women commonly Goodall, Menos, use humour to discuss issues and grape vines, barriers in the workplace. In pure raffia, silk comedy everything is open to stripping and ridicule, but entanglement with fabric scraps, power and control create potentially kozo bark, tulle threatening situations.’ and distressed muslin. Photo Another noteworthy entry in by Stephen this category was Hear the Silent Heath. Screaming by Cassidy James, from the Mandurah area. ‘My inspiration Award. It was won by nine-year-old made specifically to an international is mental illness and anxiety. Anxiety Zahara Dos Santos for Love of Dolls, entrant. The winner was Oana Maria can make you feel like all logic is a piece that reflects her personal Rosca, a lecturer at a fashion design overruled by darkness created by passion – she has a collection of over university in Romania for White the monster inside your head, it’s an 125 dolls. She says, ‘Dolls are one Rainbow, which she had entered into intense suffocating feeling that can the first tools I was given that helped the Black and White category. She manipulate perception of reality. I me learn to love, nurture, and accept is concerned about environmental chose this topic to bring awareness without judgment because they were issues such as ‘pollution, depletion about the power of mental illness, all so different’ and they allow her ‘to of natural resources, climate change’ and to support those who face mental imagine, role play, create, and open and uses recycled materials in her illness. This topic is important to my mind to the wild and wonderful creative work: ‘I make costumes from me as I have friends and family world of fashion and style’. However, unconventional materials, including members who have suffered from she left her collection intact and by recycling objects with a negative mental illness and in the last twelve instead, obtained pre-loved dolls ecological impact’. Her entry is months, my life has revolved around from op-shops and second-hand intended to convey a sense of hope. the suffocating effects of anxiety as stores. She has given each doll a Like the phoenix that ‘was reborn from my sister underwent recovery from name, and new hairstyle and clothes. its own ashes’, her white phoenix is anorexia.’ The artist lino printed ‘reborn from things that others would fabric with powerful and dramatic While most entrants are Australian, see in the trash: bottles and other imagery in black and white and used WAM does attract entries from plastic objects, feathers, synthetic felt’. wire and plaster ‘to create a “rib- overseas and a special award is cage” over my garment to represent the restrictions of mental illness’. Fifteen entries in the Youth Category (18 years and under) were selected as finalists. Winner Makayla Parr’s ATAR Stressball ‘explores the stress, anxiety, hope, and obsessive thoughts that come with high school’. She incorporated old exam and homework papers to ‘symbolise the unbreathability of the pressure and expectations experienced especially in those final years’. WAM receives enough entrants aged twelve and under, that they have a category for these artistic youngsters: the Gillian-Kaye Peebles Subscribers get a free newsletter every issue, filled with exhibitions and calls for entries 15

FEATURE Oana Maria Rosca, White Rainbow, synthetic felt and netex, bottles, glasses and plastic forks, feathers. Photo by Stephen Heath. _____ LIKE THE PHOENIX THAT ‘WAS REBORN FROM ITS OWN ASHES’, HER WHITE PHOENIX IS ‘REBORN FROM THINGS THAT OTHERS WOULD SEE IN THE TRASH: BOTTLES AND OTHER PLASTIC OBJECTS, FEATHERS, SYNTHETIC FELT’. _____

AUTHOR: Moira G. Simpson Artist of the Year: Margarete Palz, Oscillating Curves, photographic paper, fabric stitch. Photo by Stephen Heath. Renate Jamieson, Bodies of Water, paint, skewers, straws, yarn, faux foliage, tulle, wire, wire fruit bowl, wrapping paper, Christmas decorations, beads. Photo by Stephen Heath. TAFTA Inc, an organisation that of life and dependence on water the Artist of the Year Award, awarded runs an annual arts retreat in for survival. It illustrates pathways to the artist with the highest score Geelong, sponsors an award which for migration from snow- capped across all categories. This year it was was won by Philomena Hali and mountains down to vast oceans won by Margarete Palz for Oscillating Monica Goodall for their entry Menos. emphasising how all waterways Curves. Palz observed Bauhaus ‘Menos’ is a Portuguese word derived are intricately linked … Adversity principles of formal abstraction from the Latin ‘minus’ meaning less occurring in any of our waterways and an openness to industrial and and their entry represents the loss may precipitate the need for lifeforms contemporary materials, using blue- experienced by those who suffer from to migrate or else die making safe coloured photographic paper cut dementia and by their family and water and migration synonymous into narrow strips and stitched onto friends. The monotone colour palette with quests for survival.’ a fabric base to create a somewhat represents ‘the shrinking of the futuristic look. world’ of the dementia sufferer and All entries are in the running for ‘the empty cell-like structures speak to the lessening of their abilities. The distressing of the materials signify breakdown. Encircled in a halo is the person who still has value and should be respected and made visible.’ Many entrants across various categories used recycled materials and were therefore eligible for the Creative Reuse Award. Renate Jamieson’s outfit, Bodies of Water, was the winner. The gown comprised 2500 straws topstitched with yarn, skewered faux foliage bound with tulle, and discarded wrapping paper. The headpiece was a wire fruit bowl base, decorated with Christmas decorations, yarn, and beads. The regal gown’s flowing design and blue- green colour palette was inspired ‘by viewing aerial photographs of majestic global waterways and invites contemplation regarding the fragility Never miss an issue! www.artwearpublications.com.au 17

FEATURE AUTHOR: Moira G. Simpson An interesting development in 2021 Emily Pedlow, was the introduction of a new award Aerial Migration, EVA for a Tertiary Pairing Project. This foam, silk georgette, cotton, did not merely require two students dyed and spray painted. to collaborate; instead, the WAM Photo by Stephen Heath. organisers created a more challenging context by pairing each student — who Maria Dumitrescu, had been nominated by their college The Metamorphosis, or university — with a student from a foil acetate, paper, different institution, state or country. silicone, wire, spray The students then had to create a paint. Photo by complementary pair of garments Stephen Heath. exploring the theme which might relate to any form of migration: birds, 18 ISSUE NO.146 Textile Fibre Forum human migration, trade, and so on. Winners Maria Dumitrescu and Emily Pedlow created The Metamorphosis and Aerial Migration which together represent ‘the cyclical journey from one Promised Land to another’. The students based their designs on the concept of bird migration, which they described as ‘an endless spiral related to space and time, therefore evolution’ and a response to the environment that ‘can also mean instability’, and used this as a metaphor for the human experience. ‘We are currently living in instability and the endless spiral of life; finding a common element can create a peaceful and harmonious presence’. The angular shapes of the bodice of the Aerial Migration dress represent the V formation in which the birds fly when migrating and are cut from Eva foam moulded to the body. The light, billowing train of the dress suggests the paths which the birds follow. The Metamorphosis represents ‘the body of a fragmented bird’, created using organic shapes cut from foil acetate and paper with silicone ‘lace’ to suggest bird feathers. The use of a palette of blue for both garments, acts as a unifier and represents sky, water, ‘the finite and the infinite’. Moira G. Simpson [email protected] All photos by Stephen Heath. For more information about the annual Wearable Art Mandurah events see: wearableartmandurah.com and @wearableartmandurah www.artwearpublications.com.au

AUTHOR: Moira G. Simpson ARTIST PROFILE Subscribers get a free newsletter every issue, filled with exhibitions and calls for entries MARJORIE COLEMAN Part 2: The Cloth Speaks. The second of a two-part series about the work of Marjorie Coleman, looks at the conceptual aspects of her works as she increasingly used textiles as an expressive art form. A s a young woman, Marjorie Coleman wrote poetry to express ideas, but later devoted her energies to textiles as her primary medium of self- expression. She is a thoughtful, articulate woman who uses a needle and thread as eloquently as words to articulate her ideas and observations on subject matter as diverse as family and memories, settler history, the beauty of the Australian bush, threats to the environment, and the physics of thermodynamics. Some of her poetry and other writings are included with her artworks on her website and in the book Marjorie Coleman: Lyrical Stitch, 50 Years of artistic endeavour (2020). After her early experience of traditional patchwork and quilting, Coleman was keen to develop her textile skills expanding her repertoire of techniques and developing her own designs during the 1990s onwards. ‘I think it important to use one’s own thoughts and loves of one’s own time and place, rather than someone else’s hand-me-downs; the past used for the steps it can suggest, rather than for the provision of present substance.’ The beauty of having access to so many works by one artist made over a period of more than fifty years, is being able to see the evidence of personal and artistic growth: technical, stylistically, aesthetically and conceptually. She first developed decorative designs of Australian flora and fauna and has said of her work: ‘In the beginning my ideas were fairly simplistic representations of native plants; then I incorporated philosophical and Let the Cloth Speak: #1 Of Pioneers, 2000–01, 110 x 46 cm, textile, newspaper, acrylic, twine, hand appliqué, hand and machine stitching. 19

ARTIST PROFILE Heart Trace: #1 Five Acres, 1996, 138 x 125 cm, shellacked muslin, Heart Trace: #4 Generation, 1997, 160 x 132 cm, shellacked, dyed calico, linen and cotton threads, hand stitching painted, glued muslin, calico, linen and silk thread, constructed forms, hand and machine stitching. Detail of Heart Trace: #1 Five Acres, 1996. Four Weeks in Europe (2013), 94 x 60 cm, linen, hand stitching. 20 ISSUE NO.146 Textile Fibre Forum www.artwearpublications.com.au

AUTHOR: Moira G. Simpson Seven Good Years, 2003, 56 x 79 cm, hand-dyed and commercial cotton, burning and over dyeing, vestigial stitching. ‘THE NEEDLE IS MY STYLUS, THE THREAD MY PIGMENT. I LIKE TO EXPRESS IDEAS; I CAN’T HELP IT’ — MARJORIE COLEMAN _____ political ideas into the themes I was she first endeavoured to achieve In a series entitled Heart Trace, stitching. I have also stitched social this, examining the use of different Coleman produced four pieces in commentary and representations of colours, textures and materials. which her imagery became more my own special memories.’ ‘Let the Cloth Speak: #1 Of Pioneers’ graphic and abstracted, as she (2000–01), was ‘an attempt to let explored ideas associated with Like other textile artists of the the medium (textile) alone express the land and human occupation, times, Coleman was intrigued by and an idea instead of adding form’. She while also experimenting with a experimented with materials and used fabric, newspaper and twine range of surface design techniques techniques being adopted by artists in a subdued colour palette ‘to tell that includes hand stitching, dyed working with surface design and through a single medium something calico and shellacked muslin. Of she began to explore ways of using of the life of pioneer women, that of Heart Trace: #1 Five Acres (1996) her textiles to communicate ideas. hardship and make-do, of tents and she explains: ‘Many people yearn ‘The needle is my stylus, the thread whitewashed bag walls and simple to work the soil, live with the land, my pigment. I like to express ideas; cloth’. In contrast, in Let the Cloth its fruits and grasses. As well as I can’t help it’. She has said ‘I prefer Speak: #2 Of Princesses, (2000–01) satisfaction, there well may be to intrigue rather than to excite. So, she used colourful cottons and silks heartbreak. There are limitations there is constant tension between to suggest the more comfortable lives to ownership, and climate is a hard developing new ways to manipulate of women of some wealth, who led taskmaster. In this piece there are fabric, or learning new technology, ‘a soft, privileged life, whereas that the dry curls of summer and fences… and submerging it into what the of the pioneer woman was one of Nothing suggests ease of growth piece is saying’. hardship and make-do’. and juiciness. I live in a water-short Two related pieces show how Never miss an issue! www.artwearpublications.com.au 21

ARTIST PROFILE Tree of Life #2, 2000, 104 x 80 cm, hand-dyed polyester and cotton, hand stitching

AUTHOR: Moira G. Simpson Tree of Life #3, 2000, 105 x 76 cm, discharged cotton, hand stitching. Tree of Life #4, 2000, 114 x 68 cm, hand dyed cotton, hand stitching. Tree of Life and Death, 2001, 102 x 85 cm, hand-painted linen, mixed media collage, sewn leaves, matches, chop sticks. state where only the southernmost Queensland’. These works show an and even the ties which hold the tip is lush and juicy.’ In Heart Trace: organic, flowing mosaic of images piece become somewhat detached. #4 Generation, (1997), Coleman that include human figures, birds, The base which supports the memory creates an abstracted composition and references to snorkelling in the is quite misty (transparent). The that hints at humans, trees, water, to coastal waters: marine plants, a sea image has to be “nailed” in place as indicate the links ‘between all forms turtle, an octopus and a weedy sea it were.’ of life. Everything alive depends on dragon. In Seven Good Years (2003), everything alive.’ bright colours radiate from a dark Memories are also depicted in background emphasising life and Four Weeks in Europe (2013), this Several pieces of Coleman’s work vitality. In Nailing the Memories (2003), time using monochromatic stitching as based on imagery related to she has used a restricted palette of to ‘draw’ objects and people and so family or memories. Reflecting on oranges and soft greens on a white, record memories of a holiday, a style time spent living in Queensland, for semi-transparent background, the of work that she has developed over instance, Coleman produced a pair of materials and colours chosen to the past decade and has become her works: Seven Good Years and Nailing reflect the idea that ‘memories can main practice. the Memories. She used the same be ephemeral’. She describes this composition for each; ‘a montage piece as ‘a reality check with regards Coleman frequently depicted the of life, objects and activities which to Seven Good Years. The image is the natural environment in her own represent my seven years spent in same, but memories become dimmer designs, especially flora and trees Caloundra on the Sunshine Coast, observed within the Australian bush. While many of these works The Search for the Tree of Life: #1 In the Light, 2007, 103 x 62 cm, silk organza, embroidery thread, interfacing, hand stitching. Save now and subscribe! www.artwearpublications.com.au 23

AUTHOR: Moira G. Simpson ARTIST PROFILE Memento Mori, 1989, 109 x 95 cm, polished cotton, rayon, hand appliqué, Hi Paul (They All Twitter Now), 2016, 40 x 40 cm, linen, cotton machine embroidery, hand quilting embroidery thread, hand stitching. G’Day Gaddafi, 1989, 90 x 202 cm, cottons, polyester cotton, rayon, machine piecing, hand appliqué, hand quilting. celebrated the beauty of the forms works, she explored the symbolic different personality types. In Tree of of trees, leaves, and flowers, the meanings associated with the Tree of Life #1, she suggests that ‘this one concepts that she explored through Life, and the interconnectedness of is aware of the interconnectedness her use of tree imagery became different forms of life. These works of everything, Of Tree of Life #2, she increasingly philosophical. She has on a common theme illustrate her has explained that ‘Life on land, sea said that ‘It is literature, philosophy artistic growth, her experiments with and air is represented within the and psychology that informs much design, and developing use of textiles tree. It is a different personality type of my work’ and her fascination to express ideas, concerns and than Tree of Life #1. This Tree of Life with the Tree of Life illustrates this. reflections on life. speaks for a showy, full-blown type of The first quilt that Coleman ever person.’ Tree of Life #3 shows images made was from a kit depicting a In 1999-2000, she produced a intended to illustrate that Land, sea Tree of Life quilting pattern in 1974; series of four works of the Tree of Life later it was to become the subject exploring the concept as a reflection and air life abound, shown in a design of at least twelve works. In these of human experiences and using of ‘formal constrained elegance’ variations in design to represent while Tree of Life #4 represents a 24 ISSUE NO.146 Textile Fibre Forum www.artwearpublications.com.au

Sister, Sister on the Wall, 1989, 122 x 93 cm, nylon, satin, lurex, cotton, dacron, machine and hand piecing. 25 COLEMAN HAS ALSO USED HER ARTWORK TO EXPRESSFRUSTRATIONS AND CONCERNS FOR ISSUES OF A SOCIAL OR POLITICAL NATURE. _____ Subscribers get a free newsletter every issue, filled with exhibitions and calls for entries

AUTHOR: Moira G. Simpson ARTIST PROFILE Menaces (Series): #2 Sea (Longline Fishing), 2007, 67 x 65 cm, hand dyed cotton, found fabric, cord, stitching. ‘modern’ carefree type of person with While much of her work has drawn Works for Monsanto), rectangular a conservation perspective. The fish upon imagery and ideas related to blocks of fabrics dyed in soft golden has been caught, the fruit canned, the natural environment, Coleman hues remind us of fields of wheat and the bird caged. All of which has also used her artwork to express ripening in the late summer sun. would upset a nature lover.’ These frustrations and concerns for Across this are scattered patches of works produced over a ten-year issues of a social or political nature. seed stitches and French knots, some period show her use of a variety of ‘Politics has always interested me; within the rectangular boundaries, techniques, materials and designs for and I have stitched several political others flowing into adjoining ‘fields’. representing the Tree of Life. pieces. I have also stitched social The work expresses Coleman’s commentary.’ Examples of these ‘irritation at Monsanto’s philosophy’, Tree of Life Biography (2000) shows include: Sister, Sister on the Wall a point spelt out in embroidered six depictions of trees ‘to be read (1989), which she describes as ‘A words reading: ‘God works for as a progression of a person’s life celebration of the beauty of dark Monsanto’. She also produced a through youth, middle years and on’. skin and a statement about common Menaces series, which includes Tree of Life and Death (2001), she sisterhood. It is NOT about culture’. #2 Sea (longline fishing), depicting uses mixed media including sewn In G’Day Gaddafi (1989), colourful, marine plants and creatures with leaves, matches, and chop sticks to geometric patterns of diamonds are netting and a line of sharp hooks express dismay at the destruction of superficially pretty: ‘The sense of cutting across. trees: ‘Trees turn into wood chips, dazzle and swirl inside a traditional paper bags, matches and skewers, tent common in the Middle East. Now in her nineties, Coleman disposable chop sticks – all gone in Colonel Gaddafi’s is spectacular’, continues to stitch and to keep up to an hour.’ She returned to the theme but the work alludes to undertones date with developments in technology ten years later, producing a series of of violence: ‘Is there the suggestion and social media. Hi Paul (They All ten works entitled, The Search for the of blood drops and bullet holes?’ Twitter Now) (2016) is a reference to Tree of Life. In this series, there is no In Memento Mori (1989), an elegant Paul Klee’s The Twittering Machine obvious depiction of the tree; instead composition in subdued blues and which she features as part of the it is represented by leaves, fruit and turquoises, was made ‘to mark the composition, but has extended to the berries, and birds are shown in flight native plants overtaken by introduced contemporary practice of electronic in a series of contexts: in the light, in crop plants. A personal memory.’ twittering. Through her art and her the dark, in the mists, in the village, writings, Marjorie Coleman has in the past, in the mirror, and so on. In another work Landscape (God produced a large body of work that is keenly observed, thoughtfully expressed, and produced with great diversity of styles and materials. Her work reflects an inquiring mind, love of the natural world, strong and enduring commitment to her art, and a desire to communicate with audiences. ‘Each piece is a discovery. I have to keep exploring. There is a sense in which every single piece is part of a development — of ideas and / or techniques. One is never bored with such things to think about.’ Moira G. Simpson www.evocativearts.com.au Quotations in this article are drawn from Marjorie Colman’s writings in the publication Marjorie Coleman – Lyrical Stitch, and from her website http://www. marjoriecoleman.com/marjorie-coleman- lyrical-stitch-in-her-own-words/ All photographs are by Bewley Shaylor. 26 ISSUE NO.146 Textile Fibre Forum www.artwearpublications.com.au

AUTHOR: Svenja FEATURE Skin WORKS BY GARRY GREENWOOD Installation shot, Skin exhibition at QVMAG. Photo by Melanie Kate Photography When she visited the Queen Victoria Art Museum and Gallery in Launceston, Tasmania in 2020, fibre artist Svenja visited an exhibition of works by Garry Greenwood (1943-2005) who exploited the unique qualities of leather to create exquisite, elegant, sculptural forms, some of which function also as playable musical instruments. W ith travel plans to Tasmania in place, I did a experimentation with musical instruments, and Windform search for things I absolutely must see – and is a strong representation of this type of work. Again, this exhibition at the Queen Victoria Art Museum the shadow cast upon the wall added to the work itself, and Gallery in Launceston certainly took my eye. I’m sad creating a visage of an almost Viking-like ship for the work to say that I was unfamiliar with the artist, although I am to float upon. Not only was this wet-formed, but laminated, sure that over Garry Greenwood’s long career, I would where several pieces of leather are glued together to have seen something of his work in publications such as create a carvable form. Although greatly inspired by music this. Walking into the gallery I was immediately struck by and musical instruments, Greenwood also liked to remove the imposingly strong and sinuous lines of all the pieces, the playable elements such as strings, leaving people to which were gently reinforced by their own distorted simply admire the form of the instrument without feeling shadows transposed onto the wall behind them, adding obliged to be able to play it. an extra dimension to the displayed work. Just inside the doorway was Moth, a sure favourite for someone with a His head-pieces are testament to his attempt to deep affection for winged and antennaed creatures. This recreate and emphasise the qualities that he liked about stunning wet-formed piece was created for Tasdance in musical instruments without aiming for the creation of 1996, and was striking in its rigidity and dimension. sound, as is his Reclining Viola II, which seems to meld the instrument with the player in a sensuous sculpture. Greenwood was best known for his fascination for and Writing in an obituary of the artist published in The Subscribers get a free newsletter every issue, filled with exhibitions and calls for entries 27

FEATURE Garry Greenwood, Moth, 1998, wet formed cowhide and exotic leathers Melanie Kate Photography Garry Greenwood, Mercury newspaper on 24 April 2005, Simon Belivacqua Windform, 1980, wet-formed commented that ‘No matter how useful, or able to be and laminated cowhide, used, his leather creations were, there was always the suede. Melanie Kate fantastic waiting to explode. His work was always a tug-of- Photography war between the logical and the illogical, the rational and irrational -- the serious and the playful.’ 28 ISSUE NO.146 Textile Fibre Forum Greenwood did, however, create many playable instruments, and a selection of ocarinas with accompanying sound pedals made these unique and beautiful sounds audible for the gallery visitor. Many of his instruments were decorative versions of standard instruments, using regular wind and brass instrument mouthpieces; however, he did create the unique new instrument, the Tasmanian Mountain Harp. Hovering over the gallery space was the striking Windform trumpet, described by Ashley Bird, the curator of Skin, as: ‘…an impressive and dramatic wind instrument made by Garry while he was a senior lecturer at the Canberra School of Art. At 6.5 metres in length and 2 metres across, the elegant lily-flower-styled Windform is one of the biggest instruments created by Greenwood. Made with multiple layers of laminated and wet-formed cowhide, it can be played with either saxophone, tuba or leather mouthpieces. The Windform has an imposing presence whenever its displayed and is the centre piece of many performances with Tasmanian Leather Orchestra.’ The Tasmanian Leather Orchestra and four-piece group The Chordwainers play over thirty of Greenwood’s unique string, wind, and percussion instruments as part of Garry’s vision to have a living collection. Prior to reaching the Launceston show, I was able to experience Garry Greenwood’s installation work Untitled (1975) at its permanent home in the Burnie Regional Art Gallery. Extending from ceiling to floor, it is an impressive, www.artwearpublications.com.au

AUTHOR: Svenja _____ ALTHOUGH GREATLY INSPIRED BY MUSIC AND MUSICAL INSTRUMENTS, GREENWOOD ALSO LIKED TO REMOVE THE PLAYABLE ELEMENTS SUCH AS STRINGS, LEAVING PEOPLE TO SIMPLY ADMIRE THE FORM OF THE INSTRUMENT WITHOUT FEELING OBLIGED TO BE ABLE TO PLAY IT. _____ Garry Greenwood, Reclining Viola II, 1987, wet-formed and laminated cowhide. Collection of the Queen Victoria Museum and Art Gallery. Photo Angela Casey. Garry Greenwood, Forestal Shoe, DATE, leather. Collection of the Queen Victoria Museum and Art Gallery. Photo Angela Casey. Save now and subscribe! www.artwearpublications.com.au 29

AUTHOR: Svenja Garry Greenwood, Saddle 1, 1988, cowhide, buffalo hide, suede. Melanie Kate Photography FEATURE viscerally organic work which does not appeal to all, to all, as there had been no community consultation. although I found it magnetically fascinating. Leather Burnie Arts Bounce Back was formed by ‘an alliance of and jute combine to cover the space in a seething creep concerned citizens and representatives from Burnie’s of moulded leather shapes all connected by woven and cultural, arts, and heritage organisations’ to combat these plaited jute cords. proposed actions. I urge you to visit the Facebook page of Burnie Arts Council to keep updated on this situation and Only days later, whilst still travelling the state (3rd help wherever possible. Burnie has worked hard to create May 2021), I heard on the radio that Burnie Council was an artistic identity based on its history of papermaking shutting the art gallery and Creative Paper Tasmania, – the burgeoning paperonskin wearable art competition, and the Visitor Centre and the museum (already closed performance, and exhibition that I have twice been due to COVID) would remain closed. The Burnie Arts and involved with, was part of this effort. The Tasmanian arts Function centre would also close, to be refurbished to community deserves better than this – as does the work of create a combined Burnie Regional Art Gallery + Burnie master leather sculptor, Garry Greenwood. Regional Museum + the Arts and Function Centre. These were the very places that I had specifically targeted in my Svenja visit to Burnie – clearly the council has little regard for All photos are courtesy of the Queen Victoria Art Gallery. arts tourism, despite the fact that they brand themselves as the ‘City of Makers’. This came as an enormous shock www.artwearpublications.com.au _____ WALKING INTO THE GALLERY I WAS IMMEDIATELY STRUCK BY THE IMPOSINGLY STRONG AND SINUOUS LINES OF ALL THE PIECES, WHICH WERE GENTLY REINFORCED BY THEIR OWN DISTORTED SHADOWS TRANSPOSED ONTO THE WALL BEHIND THEM, ADDING AN EXTRA DIMENSION TO THE DISPLAYED WORK. _____ Garry Greenwood, Untitled, 1975, leather and woven/braided jute. In the collection of Burnie Regional Art Gallery. Photo Ashley Bird. 30 ISSUE NO.146 Textile Fibre Forum

AUTHOR: Inga Walton EXHIBITIONS Australia INDIGENOUS FASHION TAKES THE STAGE Subscribers get a free newsletter every issue, filled with exhibitions and calls for entries Shannon Brett, Femme gem, top, skirt shawl and bag, 2020, hand painted ink on fabric. (Courtesy of the artist). Photographer: Ian Hill 31

AUTHOR: Inga Walton EXHIBITIONS (L-R) Lyn-Al Young, Towera (fire), hand-painted silk, leather cord; Banga (wind), hand-painted tussah silk; Ngoorntook (winter), hand-painted silk, netted fabric, diamanté, (all) 2020. (Courtesy of the artist). Forthcoming Acquisition, Bendigo Art Gallery. Installation photography: Leon Schoots The exhibition Piinpi: Contemporary Indigenous Fashion was curated by Shonae Hobson at Bendigo Art Gallery. It brought together the work of seventy designers and artists and over one hundred objects for the first major survey to focus on garments, accessories, fibre material and textiles by First Nations makers from around Australia. P iinpi is a Kuuku Ya’u word commissioned by Bendigo Art Gallery Island (Kunhanhaa) in the Gulf of commonly used across regions from Gunnai, Wiradjuri, Gunditjmara Carpentaria. Five dresses suspended of the East Coast of Cape York and Yorta Yorta woman Lyn-Al Young: in the largest gallery space were Peninsula to describe ‘seasonal Yarraga (spring), Towera (fire), Banga produced by the affiliation of women changes’ across the landscape. The (wind), and Ngoorntook (winter), all who make up The Bentinck Island exhibition celebrates Indigenous 2020. These one-off pieces represent Artists and those who work with art, history and culture through the the stories of Young’s family, Mornington Island Art (est. 2005). lens of contemporary fashion, and community, her saltwater Country, The forerunner of this movement is thematically based around four markings and totems. For the artist, was the renowned painter Aunty Kuuku Ya’u seasons: Kayaman (dry), painting and creating is a spiritual Mirdidingkingathi Juwarnda Sally Ngurkitha (rain), Pinga (regeneration), and ceremonial act, honouring the Gabori (c.1924-2015) whose artistic and Piicha Piicha (cool). Seasonal sacred storytelling and passing career began when she was in her changes signify the availability of down of gifts, and connecting to her early eighties, but whose influence mayi (bush foods), when to travel, Ancestors on a deeper level. Guided on contemporary Indigenous art and when to collect traditional by them, Young uses an ancient was profound. The dresses are all materials for ceremony and malkari method of singing over each of her called Burrkunda in reference to body (traditional dance). Another space, creations. Following her songline, markings that connect the women ‘Blak and Deadly’, acknowledges she speaks positive words into the to their kandu (blood relations and the development of urban and silk, dyes and water; her aim is to family). The markings made on paper, metropolitan streetwear that drives imbue each design and silk painting canvas and fabric strengthen the ties empowerment through fashion. she creates with ‘Marrumbang’ (love of the women, both to each other and (The term ‘blak’ was coined by and kindness). their lived experience of Country. multimedia artist Destiny Deacon, and can be traced to her 1991 triptych Vibrant colours and semi- Liyagawumirr-Garrawurra master Blak lik me). abstract lines, shapes and forms, weaver Margaret Rarru lives on painted directly onto the fabric Langarra, a remote island off the The exhibition opened with a suite are expressive of the complex coast of Arnhem Land. It seems of filmy hand-painted silk gowns marine systems around Mornington somewhat incongruous that this 32 ISSUE NO.146 Textile Fibre Forum www.artwearpublications.com.au

Subscribers get a free newsletter every issue, filled with exhibitions and calls for entries (Left) Birmuyingathi Maali Netta Loogatha, Helena Gabori, Agnes Kohler, Grace Lillian Lee (collaborator), Burrkunda, dress, 2017, synthetic polymer paint on cotton, 140.6 cm (centre back) 20.5 cm (sleeve length). (Far right) Helena Gabori, Rayarriwarrtharrbayingathi Mingungurra Amy Loogatha, Alison Kirstin Goongarra, Dibirdibi Amanda Jane Gabori, Grace Lillian Lee (collaborator), Burrkunda, dress, 2017, synthetic polymer paint on cotton, 116.7 cm (centre back) 22.6 cm (sleeve length). (All) Collection, National Gallery of Victoria, Melbourne. (Purchased with funds donated by Krystyna Campbell-Pretty, AM, 2017). Courtesy Mornington Island Art Centre, Queensland. Installation photography: Inga Walton. Margaret Rarru, Madonna bra, 2015. Pandanus, kurrajong, natural dyes. Courtesy of the artist and Onespace Gallery, Queensland. (Collection, Elisa Jane Carmichael & Jasper Coleman). Installation photography: Inga Walton. Bede Tungutalum (print design), Heather Wallace (designer), Robyn Trott (designer), Wedding dress and underskirt, 2018, screenprint on fabric. (Courtesy of Goalpost Pictures). Installation photography: Inga Walton. senior artist would engage with the Balanda (European) world of popular culture within her practice. Yet Rarru has become known for her humorous interpretation of French designer Jean Paul Gaultier’s satin cone bra bodysuit worn by Madonna on her ‘Blonde Ambition’ tour (1990). Madonna bathi (baskets) and Madonna bra (both 2015) demonstrate Rarru’s great skill with forms and textural contrast for wearable pieces. These intricate works are achieved after a lengthy process of harvesting firewood and preparing the raw materials: stripping pandanus, beating kurrajong, collecting the roots, leaves and bark for dyes, tending to fires and pots of dye, and then finally sorting and storing in preparation for weaving. The Australian film Top End Wedding (Wayne Blair, 2019) was filmed across multiple locations in the Northern Territory and the Tiwi Islands. Costume designers Heather Wallace and Robyn Trott paid tribute to the traditional owners of the lands on which the film was shot with Wedding dress and underskirt (2018) worn by Larrakia actress Miranda Tapsell. It uses a print design by Bede Tungutalum who learned carving from his father the sculptor Gabriel 33

EXHIBITIONS Grace Rosendale, Seed Pods top and pants, 2019, linen. (Courtesy of Esmae Bowen, Buthaya (Bush Lady Apples) top and skirt, 2019, silk organza, the artist, Hope Vale Art & Culture Centre, and Queensland University of cotton. (Courtesy of the artist, Hope Vale Art & Culture Centre, and Queensland Technology). Collection, Bendigo Art Gallery. Photographer: Ian Hill. University of Technology). Collection, Bendigo Art Gallery. Photographer: Ian Hill. Tungutalum, and was then taught instrumental in creating the youth as a member of the Gamba to cut woodblocks for printing Legacy Dress (2019) with the Gamba group (senior women) while attending Xavier Boys School textile artists there, for which she at the Centre. The voluminous at Nguiu (now Wurrumiyanga) on was also the model. The work is and abbreviated Seedpods dress the southern coast of Bathurst inspired by the Kimberley region; (2019), and the more conventional Island. In 1969, Tungutalum its story places, rivers and native ensemble Seedpods top and pants established Tiwi Design with flora are hand-painted onto the (2019), show the versatility of fellow artist Giovanni Tipungwuti, layers of fabric. Rosendale’s designs when applied an art centre dedicated to the to different garment forms. production of hand-painted fabrics Hope Vale Art and Culture by Indigenous artists. Centre in far north Queensland At the Bábbarra Women’s collaborated with fashion design Centre in Maningrida (est. 1989), Bendigo Art Gallery used students at the Queensland artists create vibrant designs and Esmae Bowen’s Buthaya (bush University of Technology (QUT) hand-printed textiles capturing lady apples) top and skirt (2019) for to produce the collection Wubuul their ancestral stories of Arnhem the wall-print of the Pinga space Buii (‘together’), that was Land. Jennifer Kamanji Wurrkidj to emphasise the importance of showcased at the 2019 Cairns is a daughter of Australia’s fabric printing for artists living and Indigenous Art Fair (CIAF). Grace most highly acclaimed bark working on traditional homelands. Rosendale, a senior elder of the painter John Mawurndjul; she Senior Miriwoong artist Peggy Binthi Warra clan, is committed is also known for her bark Griffiths Madij, a Director of to inter-generational sharing paintings, hollow logs and carved the Waringarri Arts Board, was between community elders and sculptures. A screenprint on silk 34 ISSUE NO.146 Textile Fibre Forum www.artwearpublications.com.au

AUTHOR: Inga Walton Grace Lillian Lee, Body Armour - A Weave of Reflection Pink and Orange (ed. 1/5), 2018, cotton webbing, cane, goose feathers, cotton yarn. (Courtesy of the artist). Photographer: Wade Lewis. Save now and subscribe! www.artwearpublications.com.au 35

EXHIBITIONS AUTHOR: Inga Walton Grace Lillian Lee, Body Armour - A Weave of Reflection Green and Blue (ed. 1/5), 2018, cotton webbing, cane, goose feathers, cotton yarn. (Courtesy of the artist), Collection, Bendigo Art Gallery. Installation photography: Inga Walton.

printed at the Centre, Kururrk _____ 2021 highlighting the works Kare (going underground) dress of Lee, designer Clair Helen, and jacket (2019), is inspired by THE EXHIBITION AARLI (artist/designer Teagan digging for manme (bush foods). CELEBRATES INDIGENOUS Cowlishaw), Paul McCann, Sown Her sister, Deborah Kamanji ART, HISTORY AND in Time (artist Lynelle Flinders), Wurrkidj, follows the family CULTURE THROUGH THE Ngarru Miimi (designer Lillardia tradition of artistic excellence LENS OF CONTEMPORARY Briggs-Houston), Nungala Creative in fibre weaving, bark painting, FASHION, AND IS (founded by Jessica Johnson), and woodcarving and printmaking. THEMATICALLY BASED Amber Days (a children’s wear Mankurndalh (bush plum) dress AROUND FOUR KUUKU YA’U label by Corina Muir). (2019) was produced by the same SEASONS: KAYAMAN (DRY), team, and sewn by Raw Cloth NGURKITHA (RAIN), PINGA The following day saw the in Darwin. Founded by Rhonda (REGENERATION), AND Indigenous Fashion Projects (IFP) Dunne, the family business was PIICHA PIICHA (COOL). runway showcase, a program of one of the first labels to work with _____ the Darwin Aboriginal Art Fair remote Indigenous communities. Foundation (DAAFF), home of Grace Lillian Lee, Hibiscus sunrise the National Indigenous Fashion Three ‘Body Armour’ sculptural (ed. 1/4), 2018, cotton webbing, assorted Awards (NIFA). That parade featured works by Grace Lillian Lee, beads and corals, canvas, cotton drill, Indii Swimwear (founded by Nancy A weave of reflection (2018), permaset paint. (Courtesy of the artist). Pattison), Kirrikin (founded by reference ritual performance Collection, Bendigo Art Gallery. Installation Amanda Healy, working with artists and traditional weaving through photography: Inga Walton. Emma Kerslake, Kaye Lorraine highly structured fabric forms White, Buffie Corunna, Sheryl Hicks, using cotton webbing and cotton The hand-painted Hibiscus Helena Geiger and Lena Andrews), yarn embellished with feathers. sunrise (2018) honours Lee’s Liandra Swim (creative director/ A descendant of the Meriam Mir Grandmother who had not designer Liandra Gaykamangu), people of the Eastern Islands of returned to her ancestral home MAARA Collective (creative director the Torres Strait, Lee’s mentor for fifty-seven years. This native Julie Shaw), Native Swimwear the artist Uncle Ken Thaiday from flower motif, common in the (co-founded by Natalie and Eli Erub (Darnley) Island introduced Torres Strait and often printed Cunningham), and Ngali (founder/ her to the ‘grasshopper’ weaving across traditional Ugumali (island designer Denni Francisco) all technique that traditionally uses dresses), is presented here to making their AFW début. palm fronds. Lee also employs the express the cultural lineage within ‘prawn-weaving’ practice common Lee’s family. The founder and In 2019, Bendigo Art Gallery in the Torres Strait, and used in the director of First Nations Fashion + established a fund to support a new making of decorative ornaments Design (FNFD), Lee is an industry contemporary Australian Fashion and children’s play objects. leader who seeks to encourage Collection, with a particular focus important conversations around on acquiring works by First Nations diversity and inclusion within the practitioners. As Shonae Hobson broader fashion space. She was remarked at the launch of Piinpi, ‘I also invited to curate the fashion hope that the exhibition will activate component within the exhibition meaningful conversations around Eucalyptusdom at the Powerhouse Indigenous fashion and design Museum (until 28 August, 2022). in Australia and be the starting point of many exhibitions and During the period that the Piinpi collaborations across the country’. exhibition toured to the National Many would argue it is long overdue. Museum of Australia, Canberra (18 February-8 August, 2021), Inga Walton another milestone was reached in Sydney at Afterpay Australian Piinpi: Contemporary Indigenous Fashion Fashion Week (31 May-4 June, toured to: 2021) held at Carriageworks. Twenty-five years in the making, Bendigo Art Gallery, Bendigo, Victoria Indigenous designers were (12 November, 2020-17 January, 2021) included on the official schedule www.bendigoartgallery.com.au for the first time in the event’s history. Coinciding with National National Museum of Australia, Canberra, Reconciliation Week, the FNFD ACT (20 February-8 August 2021). collective showed on 2 June, www.nma.gov.au Australian Embassy, Paris, France (31 January-19 April, 2022). Subscribers get a free newsletter every issue, filled with exhibitions and calls for entries 37

EXHIBITIONS CURATING AIN’T THE ARCHIES AT TIMELESS TEXTILES GALLERY Jo Hamilton, Xenobia Bailey, 2021, 82 x 76 cm, mixed crocheted yarn.

AUTHOR: Anne Kempton Over a decade ago, I opened Timeless Textiles Gallery, the with mark making. The artists have only commercial gallery in Australia to raise the profile of applied many different techniques the collectability and wonder of fibre art. One of the ways of to create the faces. Marie Bergstedt increasing the audience is to curate exhibitions to attract both (USA) used buttons and embroidery national and international new audiences. Ain’t the Archies is to create a portrait of Jim Arendt. In one of the curated exhibitions which are now a feature of the return Jim (also from USA) applied Timeless Textiles Gallery program. his unique technique of cut denim representing Marie: Trying Times. Melissa Campbell, Janice (Janice Lessman-Moss), 2021, 50 x 50 cm, cotton yarns, painted with ink and dye, Melissa Campbell created a portrait woven using a double weave structure. Photo by the artist. of Janice Lessman-Moss using cotton yarns with she had painted and dyed. Some years ago, crochet artist Jo of various ages and backgrounds, These were then double woven, Hamilton was visiting me from and hailing from different parts creating a vivid vision of Janice. Jo Portland, USA. Jo showed me of Australia and the world, have Hamilton, whom I mentioned earlier, a book, ‘Unravelled: Contemporary created new works for this exhibition, crocheted a large portrait of Xenobia Knit’ by Charlotte Vannier, which applying a range of textile art Bailey, an African American fellow featured many world-renowned fibre techniques to create unique and crocheter, who creates wonderful artists using wool as their medium. inspired artworks. This included brightly-coloured mandalas. It was this chat with Jo that sparked embroidery, print, art quilts, string the idea of curating an exhibition art, to name a few. During the Canadian fibre artist, Mary Pal of portraits of fibre artists by fibre COVID-19 closure I chatted with also participated, applying her artists (either self-portraits or of the artists and these interviews are cheesecloth art approach to Nysha, another, admired artist). available on www.timelesstextiles. who is a great friend of Mary’s and com.au website. a talented longarm quilter. Alysn As 2021 was the centenary of Midgelow-Marsden (NZ) created The Archibald Prize, the famous Ain’t the Archies exhibition has a semi-abstract expressionism, and often controversial Australian provided a lens to view the various using a varied mix of materials, portraiture prize, I thought it was cultural influences impacting on each especially metal, as a textile to stitch the perfect time to curate Ain’t the of the participating artists, as well as into. Her portrait of El Anatsui is a Archies exhibition. I invited twenty the wide range of interpretations of perfect subject for this experimental artists from around the world to be faces. Faces can be a fascination to approach. Brett Alexander (Australia) part of this group show. These artists use, especially when abstracting them also experimented with string art and needle punch techniques creating two portraits of himself. (You can see these in Brett’s artist profile in TFF #141, March 2021). The fine synthetic thread he used created very effectively a layered tonal three-dimensional image. Another local Newcastle-based artist, Chris Clifton, applied a mix of printing (etching and aquatinting) collage and embroidery as a nod to the techniques used by his subject, Dutch fibre artist, Hinke Schreuders. Dionne Swift (UK) is well known for her skill in drawing with thread. For Ain’t the Archies, she hand stitched herself on wool. Her mark making was created using short and long threads in various weights, achieving tone and balance within her face. Staying in the UK, two other fibre artists were included. Emily Tull loves working with faces; her fascination shines out as you view her portrait of UK textile artist, Sue Stone. Emily titled this work Woman with a Fish. Emily was minimal in her approach, thread painting hand stitch (line drawing) on hessian and adding fragments of other fabrics. Sue Stone has stitched most of her life. Subscribers get a free newsletter every issue, filled with exhibitions and calls for entries 39

EXHIBITIONS Dionne Swift, Fragility (Dionne Swift), 2021, 40 x 30 cm, hand stitch on wool with Sue Stone, Portrait of Mrs P (Constance Howard), 2021, 38.5 x 30.5 cm, recycled various weight threads. Photo by the artist. cotton, linen and silk fabrics, cotton embroidery threads and wool yarn, stretched on wooden stretcher bars. Emily Tull, Woman with a Fish, 2021, 30.48 x 30.48 cm, thread painting, hand Anne Kelly, Stay at Home (Anne Kelly), 2021, 100 x 100 cm, mixed media stitched on hessian, muslin, cotton twill and furnishing fabric. embroidered textile collage, mounted and backed on vintage fabric. Photo by the artist. _____ AS 2021 WAS THE CENTENARY OF THE ARCHIBALD PRIZE, THE FAMOUS AND OFTEN CONTROVERSIAL AUSTRALIAN PORTRAITURE PRIZE, I THOUGHT IT WAS THE PERFECT TIME TO CURATE AIN’T THE ARCHIES EXHIBITION. _____ 40 ISSUE NO.146 Textile Fibre Forum www.artwearpublications.com.au

AUTHOR: Anne Kempton Mary Pal, Nysha, 2021, 89 x 123 cm, hand-painted cotton canvas, hand-dyed cheesecloth, sculpted with PVA adhesive, acrylic paint, machine-stitching with monofilament thread, soft-mounted on felt. Sharon Peoples, The Seaweed Collector (Julie Ryder), 2020, 92 x 62 cm, machine embroidery; nylon, Sylvia Watt, Embosom, (Margy Alexander), 2021, rayon polyester thread, cotton. Photo by the artist. 130 x 90 cm, eco dyed, hand dyed linen and wool with sashiko stitch. Since attending Goldsmiths College Wilma Simmons is also a in the UK, Sue gained extensive Newcastle-based fibre artist who Seales, a well-loved WA fibre artist. contemporary embroidery skills captured her friend and fellow fibre I wanted to give a nod to Nalda’s from Constance Howard (Mrs P), artist, Margaret Adams. Wilma unique contribution to fibre art. She who was the subject of her portrait. skilfully collaged and stitched applies many techniques in her work Anne Kelly applied her well-loved fragments of repurposed fabrics and and her use of natural and found embroidery techniques to create threads, capturing Margaret’s quiet objects creates many organic forms. Stay at Home depicting her life in the ways. Sharon Peoples’ representation Brisbane-based artist Sylvia Watt first COVID lockdown. This piece is of fellow fibre artist and friend Julie used linen and wool which had been full of memories, both present and Ryder showcases her unique style hand dyed by her subject, Margy past, acknowledging Canadian Anna of machine embroidery and Ryder’s Alexander. Titled Embosom, Sylvia Torma’s influence on Anne. Judy own interest in marine life. The many reflected Margy’s ability to constantly Hooworth, a local fibre artist, created twisted layers build on the imagery explore, looking and pushing through an art quilt of herself, depicting the of oceans as gardens, and being the barriers. Anne Leon chose me various moods she experienced fragile. As an exhibitor myself, I have as her subject. She hand-coloured throughout COVID. She used her — to my amazement — personally screen prints and stitched into own fabrics and designs, and chose discovered a joy of drawing and organza, using a backing of plant- colours that she loves, repeating her abstracting faces. I decided to create dyed silk organza. I am featured image nine times. a tower of the many faces of Nalda with a lovely headpiece of fruit and flowers. Never miss an issue! www.artwearpublications.com.au 41

EXHIBITIONS AUTHOR: Anne Kempton Katharina Krenkel, The Lady of the Polka Dots (Yayoi Kusama), 2020, 4.5 x 22 cm, cotton yarn, stuffed with recycled fibres, wooden frame and back wall. THESE ARTISTS OF Kerstin Bennier, VARIOUS AGES AND Safe Room, 2020, BACKGROUNDS, AND digital media. HAILING FROM DIFFERENT PARTS OF AUSTRALIA www.artwearpublications.com.au AND THE WORLD, HAVE CREATED NEW WORKS FOR THIS EXHIBITION, APPLYING A RANGE OF TEXTILE ART TECHNIQUES TO CREATE UNIQUE AND INSPIRED ARTWORKS. _____ I was also honoured to include Katharina Krenkel from Germany who loves the world of dots that Yayoi Kusama creates for us all. Katharina created hundreds of crochet elements in sausage-like structures with Yayoi leaping out of it … and yes, in black and yellow dots. In Safe Room, Austrian artist Kerstin Bennier created a digital image reflecting our abilities to cope with COVID-19. In her work, she imagines herself in a small toilet cubical surrounded with felt toilet rolls and attempting to free herself from the cloth bonds. Ain’t the Archies has brought together these twenty fibre artists for the first time in Australia, and has been very well received. I have felt privileged to curate this exhibition, creating a community of portrait- loving fibre artists who previously didn’t know each other as a group. Anne Kempton www.timelesstextiles.com.au 42 ISSUE NO.146 Textile Fibre Forum

AUTHOR: Svenja SITUATION SVENJA Australia SITUATION SVENJA Algalrhythms opening on King Island With border restrictions still a possibility, there was much trepidation as to whether 43 I would follow my crate of work down to the Cultural Centre on King Island for the opening of my exhibition Algalrhythms - Life Movements in October 2021; so it all felt very surreal when I finally landed there. Crayfish, 2021, 60 x 42cm, Dyed silk background, watercolour painted satin, free-motion embroidery. Applique satin, painted and heat-distorted Tyvek, gummy silk cocoon strippings, acrylic paint, hand embroidery, free-motion embroidery.

AUTHOR: Svenja SITUATION SVENJA A lmost two years since I had popular with the men tasked to bring it one of my felted works over, and my spent five weeks experiencing into the gallery – we’ve guesstimated three-piece leather sculpture covered and recording the island, I its weight to be at least 100kg. one wall. It was the first time I had had returned, and instantly noticed However, the box was duly welcomed seen it hung, and I liked the way the constant sound of the crashing into the gallery, also becoming a it moved across the wall, leading sea – it never stops. Leaving the showpiece for the duration. visitors into the next rooms. A diptych airport, I saw the green fields leading of sculptural leather panels hung towards the rocky shore, and quietly There were many rooms to either side of the doorway at the back anticipated my first visit to it. This trip choose from for hanging my work, of the foyer – although I had only was only for two weeks, and the time but I ended up picking those with seen them close together previously, flew by as I organised the exhibition, the most natural light, as well as I liked the way they worked almost as enjoyed the opening, a birthday the foyer – I felt it was important book ends. celebration, hosting a workshop, to claim the space! In the end this catching up with friends, and almost proved to be my favourite part of the Along one side of the hallway hung daily drives along the kelp tracks. exhibition – possibly because it was two works related by theme and so immersive, as well as hosting the technique — skeletal birds created I wasn’t there for the arrival, but most sculptural works. There was a with hand embroidery — and on apparently the Big Pink Box was not beautiful piece of driftwood to drape the other side, a complete variety Bluebottle Remains, 2020, 90 x 30 cm, each of three pieces, dyed silk, free-motion embroidery, painted organza. 44 ISSUE NO.146 Textile Fibre Forum www.artwearpublications.com.au

Bird III, 42 x 60 cm, 2020, botanically dyed silk, cricula silk cocoons and free-motion embroidery background. Hand embroidery with dyed weavers waste yarn, satin, free-motion embroidery on organza and removed with heat gun. _____ ALMOST TWO YEARS SINCE I HAD SPENT FIVE WEEKS EXPERIENCING AND RECORDING THE ISLAND, I HAD RETURNED, AND INSTANTLY NOTICED THE CONSTANT SOUND OF THE CRASHING SEA — IT NEVER STOPS. _____ Seaweed Pod Wreath, 202, 60 x 42 cm, acid dyed silk, acrylic paint, stitched and padded background. Needle-and wet-felted merino wool pods. Green Seaweed, 2020, 60 x 42 cm, dyed silk, free-motion embroidery, needle and wet-felted merino. Green Seaweed, 2020, 60 x 42 cm, dyed and painted satin background. Moulded leather, acrylic paint, 3D pen printing. Orange Lichen, 2020, 60 x 42 cm, dyed satin, acrylic paint, heat distorted organza and free-motion embroidered background. featuring leatherwork, 3D-pen to the exhibition work were included then simply changed the colourway, printing, and free-motion embroidery. on a table in the other. Ultimately, before getting it digitally printed onto everything seemed to find its natural lycra. It was great fun pointing out to The larger works dictated the place with ease. people what the image actually was! placements within the two other rooms, as did the two triptychs. For the opening night I wore a In the following week I gave an One room included two sculptural dress made from a print that I had artist talk, showing a PowerPoint collars created in response to created - I used a photo I had taken presentation of images of the works the Toowoomba Contemporary of kelp hanging up on the hooks at in progress, and freely talked about Wearables Competition and my King Island Kelp, imported it into my designing and making process, workshop sample; my previous Photoshop where I duplicated it and along with a little of my wearable art- Textile Fibre Forum articles relating stitched the two images together, making history. This was held within Subscribers get a free newsletter every issue, filled with exhibitions and calls for entries 45

SITUATION SVENJA Kelp Cluster II, 2021, 55 x 38cm, digital sublimation print on polyester satin, free motion embroidery, hand embroidery, sequins. Detail of Kelp Cluster III, 2021. Detail of Kelp Cluster II. Kelp Cluster III, 2021, 55 x 38cm, digital sublimation print on polyester satin, free motion embroidery, hand embroidery, metallic foil, sequins, beads. Detail of Kelp Cluster IV. Kelp Cluster IV, 2021, digital sublimation print on polyester satin, free motion embroidery, hand embroidery, heat-distorted organza, sequins.

AUTHOR: Svenja Svenja in foyer at opening of Algalrhythms 2021. Barnacles, 60 x 42cm, 2021, dyed satin and free-motion embroidered background. 3D pen printing, Photo by June Kempster. free-motion embroidery onto organza and removed with heat gun. Detail below. the gallery, and it was wonderful to be able to refer to the work on the walls as I was talking about it. I also hosted a workshop with participants enthusiastic to make a kelp-inspired neck frill. The workshop covered basic felt-making techniques as well as more challenging ones, such as stretching the edges – this was faced with some trepidation! It was extremely gratifying to have this exhibition open in the very place where it was conceived, and it was an excellent forty-fifth birthday present! My thanks go to Helen Thomas of King Island Council for making it happen, RANTarts for providing the funding, Karryn Lesley for hanging it, plus everything else and all the laughs, and to June and Peter Kempster for housing me for the duration. As I write this, the crate is on its way home where it will once again be modified to include even more work for the showing at Warwick Regional Art Gallery and beyond. This includes the many lino-block prints I have been working on at Studio West End under the tutelage of Adele Outteridge. These range from un-inked embossings, and standard prints, to hand-coloured ghost prints and embossings. Svenja All photos by the artist unless otherwise stated. Never miss an issue! www.artwearpublications.com.au 47

Evocative Arts Workshops 2022 Adelaide Hills, South Australia www.evocativearts.com.au Alysn Midgelow-Marsden (NZ) 9—12 July 2022 FLAMING HOT FIBRE ARTS: Heat, flame and stitch for colour, texture and shape.