changing threads catalog

CHANGING THREADSCONTEMPORARY FIBRE ART AWARDS

Arts Council Nelson acknowledge and thank the following sponsors, whose support over the years has enabled the

establishment of this greatly valued event

ARTS COUNCIL NELSONassisting arts in te tau ihu O te Waka-a-Maui

Cover image: Detail of Surface Disturbance, Jenny Bain. 2013 Finalist.

From the moment of our birth we have a lifelong connection with fibre and textiles. All cultures interact with them on a daily basis.

For centuries artists and artisans have used and manipulated fibres and textiles for such things as shelter, clothing and bedding, and as a means of self expression.

Many of the uses demonstrate the high technical skill level of the craftsperson, but do not necessarily bridge to the ‘art’ side of the medium.

The purpose of the Changing Threads exhibition is to challenge the public perception of fibre and textile art by showcasing works which stretch the imagination.

Fibre and textiles, both natural and those created by humans, are the medium used, rather than the end product.

These artists have created works which encourage us to visually explore and consider the artists intention, and to delight in the unexpected.

Ronnie Martin. Changing Threads Creative Director.

Details of 2014 Award Recipients and of previous years may be found at: www.acn.org.nz

Arts Council Nelson acknowledge and thank the following sponsors, whose support over the years has enabled the

establishment of this greatly valued event

Cover image: Detail of Surface Disturbance, Jenny Bain. 2013 Finalist.

From the moment of our birth we have a lifelong connection with fibre and textiles. All cultures interact with them on a daily basis.

For centuries artists and artisans have used and manipulated fibres and textiles for such things as shelter, clothing and bedding, and as a means of self expression.

Many of the uses demonstrate the high technical skill level of the craftsperson, but do not necessarily bridge to the ‘art’ side of the medium.

The purpose of the Changing Threads exhibition is to challenge the public perception of fibre and textile art by showcasing works which stretch the imagination.

Fibre and textiles, both natural and those created by humans, are the medium used, rather than the end product.

These artists have created works which encourage us to visually explore and consider the artists intention, and to delight in the unexpected.

Ronnie Martin. Changing Threads Creative Director.

Details of 2014 Award Recipients and of previous years may be found at: www.acn.org.nz

KATE SELLARAuckland

Rhizome 1Digitally printed silk, copper nylon, metallic thread on water soluble fabric

As a textile artist, my practice is concerned with exploring materials through the examination of non-traditional elements that extends toward a synthesis of artisan and contemporary digital techniques. These ‘rhizomatic’ structures have taken influence from the New Zealand landscape and through materiality become a conduit of exchange; a conductor of energy and personal mythologies. The rhizome forms spread out like a vascular system of unfolding narratives, holding the fragile essence of memory and place.

KATE SELLARAuckland

Detail

KATE SELLARAuckland

As a textile artist, my practice is concerned with exploring materials through the examination of non-traditional elements that extends toward a synthesis of artisan and contemporary digital techniques. These ‘rhizomatic’ structures have taken influence from the New Zealand landscape and through materiality become a conduit of exchange; a conductor of energy and personal mythologies. The rhizome forms spread out like a vascular system of unfolding narratives, holding the fragile essence of memory and place.

KATE SELLARAuckland

Detail

VICKI SMITHNelson

Under Her Skin Fish vellum, sailcloth, recycled paper, prints, drawings, charts, Muka paper (flax fibre), and thread

Brief: ~ under her skin ~Using thoughts and images collected over years of working on and journeying in coastal and pacific waters this book is a series of slants on the ways we interact with the sea through voyaging.

The connecting construction of the book is fish vellum made from a mahimahi skin cured during a passage from Fij to Aotearoa NZ.The fish vellum is stitched with an awl into a concertina, with each fold containing a ‘sewn signature’ holding drawings, writings, prints, recycled charts and materials that investigate some of the experiences of the artist through her exploration over many years of being at sea.Lights & signals * knots, ropes, and nets * clouds, wind & sea states * charting passage * navigation.

CAROL TELFER Upper Hutt

The JourneyNatural and synthetic threads, Indian ink, rice paper. Size: 510mm h x 1660mm w

This work is a visual metaphor for the concept of change within a continuum and refers to the idea of life as being made up of a continuous flow of unpredictable events.I wanted to create a method of working which allowed me to be responsive to change and to have the possibility of including chance elements as they occurred.I decided to sew onto rice paper instead of fabric in order to introduce an element of unpredictability and used a running stitch to make continuous lines. I stitched with each length of thread until it was completely finished, even if the stitches did not form neat, finished rows. The work is a combination of chance elements and imposed order and design. There was a need to embrace the unpredictable and incorporate it as opposed to having an inflexible and predetermined outcome.

Detail

VICKI SMITHNelson

Under Her Skin Fish vellum, sailcloth, recycled paper, prints, drawings, charts, Muka paper (flax fibre), and thread

Brief: ~ under her skin ~Using thoughts and images collected over years of working on and journeying in coastal and pacific waters this book is a series of slants on the ways we interact with the sea through voyaging.

The connecting construction of the book is fish vellum made from a mahimahi skin cured during a passage from Fij to Aotearoa NZ.The fish vellum is stitched with an awl into a concertina, with each fold containing a ‘sewn signature’ holding drawings, writings, prints, recycled charts and materials that investigate some of the experiences of the artist through her exploration over many years of being at sea.Lights & signals * knots, ropes, and nets * clouds, wind & sea states * charting passage * navigation.

CAROL TELFER Upper Hutt

The JourneyNatural and synthetic threads, Indian ink, rice paper. Size: 510mm h x 1660mm w

This work is a visual metaphor for the concept of change within a continuum and refers to the idea of life as being made up of a continuous flow of unpredictable events.I wanted to create a method of working which allowed me to be responsive to change and to have the possibility of including chance elements as they occurred.I decided to sew onto rice paper instead of fabric in order to introduce an element of unpredictability and used a running stitch to make continuous lines. I stitched with each length of thread until it was completely finished, even if the stitches did not form neat, finished rows. The work is a combination of chance elements and imposed order and design. There was a need to embrace the unpredictable and incorporate it as opposed to having an inflexible and predetermined outcome.

Detail

JANET PERRIORRichmond Quilt for Earl GreyUsed and new tea bags, machine stitched

Earl grey tea is named after the 2nd Earl Grey, British Prime Minister in the 1830’s who reputedly received a gift of tea from China flavoured with bergamot oil from the bergamot orange a fragrant citrus fruit.

The colour of the used tea bags is evocative of a fragile antique textile and the contrast between the new and used tea bags is symbolic of the different worlds of the plantation workers who picked the tea and the aristocracy like Earl Grey who drank it out of silver tea services.

I like the idea of Earl Grey sleeping under a quilt made from tea bags rather than the sumptuous bedcover he was probably accustomed to.

SHERRIL JENNINGSNapier

Reading between the LinesFabric collage, stitching, crochet, sewing

I blur the boundaries of traditional female roles and merge the stereotypical ideas of female and male work still showing a feminine aspect to my work.

I explore materials by using them in a different way, slashing and burning and giving old parts a new life. I wanted to re-use, recycle, retell and remake the threads of our ancestors using cannibalized parts. These unwanted fragments have been pieced together, giving new life to items from the past.

The reinforcing steel frames, contain and support the textiles while the collage pieces represent layers and layers, story and story and a reading between the lines. The raw edges, Seams and enameled rust give a narrative of the other side. In using crafted and manufactured objects, I highlight the similarities between men and women, rather than their differences.

JANET PERRIORRichmond Quilt for Earl GreyUsed and new tea bags, machine stitched

Earl grey tea is named after the 2nd Earl Grey, British Prime Minister in the 1830’s who reputedly received a gift of tea from China flavoured with bergamot oil from the bergamot orange a fragrant citrus fruit.

The colour of the used tea bags is evocative of a fragile antique textile and the contrast between the new and used tea bags is symbolic of the different worlds of the plantation workers who picked the tea and the aristocracy like Earl Grey who drank it out of silver tea services.

I like the idea of Earl Grey sleeping under a quilt made from tea bags rather than the sumptuous bedcover he was probably accustomed to.

SHERRIL JENNINGSNapier

Reading between the LinesFabric collage, stitching, crochet, sewing

I blur the boundaries of traditional female roles and merge the stereotypical ideas of female and male work still showing a feminine aspect to my work.

I explore materials by using them in a different way, slashing and burning and giving old parts a new life. I wanted to re-use, recycle, retell and remake the threads of our ancestors using cannibalized parts. These unwanted fragments have been pieced together, giving new life to items from the past.

The reinforcing steel frames, contain and support the textiles while the collage pieces represent layers and layers, story and story and a reading between the lines. The raw edges, Seams and enameled rust give a narrative of the other side. In using crafted and manufactured objects, I highlight the similarities between men and women, rather than their differences.

ANGELENE THOMPSON Nelson

Elements 1 Harakeke, linen cord, muka, dyes, plywood and shellac

Quals: Foundation Craft Design, Diploma Craft Design, Graduate Diploma Secondary Teaching, also studies in Cultural Heritage in Aotearoa and Museum Studies.

After many years in the Education sector I now run a small Art and Jewellery gallery in Nelson.

I have been creating and exhibiting my weaving since 1994. My work has developed over the years from more traditional kete whakairo to pieces that reference the past but use a combination of traditional and non-traditional materials.

The natural environment and the elements are my muse. I am in awe of the beauty that surrounds us in Aotearoa, it constantly inspires me.

Sacred Elements Harakeke, linen cord, muka, dyes, 50% cotton paper, litho printing

Elements 1 Harakeke, linen cord, muka, dyes, plywood and shellac

Quals: Foundation Craft Design, Diploma Craft Design, Graduate Diploma Secondary Teaching, also studies in Cultural Heritage in Aotearoa and Museum Studies.

After many years in the Education sector I now run a small Art and Jewellery gallery in Nelson.

I have been creating and exhibiting my weaving since 1994. My work has developed over the years from more traditional kete whakairo to pieces that reference the past but use a combination of traditional and non-traditional materials.

The natural environment and the elements are my muse. I am in awe of the beauty that surrounds us in Aotearoa, it constantly inspires me.

Sacred Elements Harakeke, linen cord, muka, dyes, 50% cotton paper, litho printing

MARAGARET JOHNSTONNelson

Untitled 59.Telecommunication wires

Judy Millar spoke of: “...the ultra connectivity of the virtual world”. This sentiment illustrates how technological advancements in the sphere of communication have made the world a smaller place. With this growth, the problem of disposal of obsolete telecommunication devices has escalated exponentially. This piece, created out of obsolete telecommunication wires encourages the viewers to consider why these wires are available, and what would normally happen to them – destined for landfill sites around the world. What are we doing to our environment and to our planet?

MARAGARET JOHNSTONNelson

Materials...Global Communications.Knitted telecommunication wire & knitting needles

Capitalising on the inherent properties of obsolete telecommunication wires, a tension is created between the aesthetic nature of the work and the underbelly of tension held within the wires of this work’s construction. This tension is a manifestation of the problem that we face in this era of dramatic growth in the field of telecommunication, whereby these devices are virtually obsolete by the time that they hit the domestic market. What happens to our environment when they have been superseded by new products? Can we make changes in order to stop the polluting of our planet in this time of exponential consumerism? Look up to the skies and stars for an answer?

DEBRA DELORENZOWellington

Strata VMachine quilted with rayon and metallic threads. Cotton batting and cotton backing.

In her the 5th work in the series Strata Debra DeLorenzo looks at the finite limits of natural resources on earth. Technology may enable humanity to access previously unobtainable areas, but ultimately there is a limit.

Techniques & Materials: Freehand cutting and machine pieced strips of commercial fabric and home dyed and printed fabrics.

Detail

Core SampleFreehand cutting and machine pieced strips of commercially dyed fabrics.Machine quilted with rayon and metallic threads. Cotton batting and cotton backing.

Core Sample shows the layers of oil, gold, and resources under the ground waiting to be harvested. Much has been done to try and protect the plants and animals living on the earth today. Beneath the surface of the earth is where the next environmental battle will be.

Strata VMachine quilted with rayon and metallic threads. Cotton batting and cotton backing.

In her the 5th work in the series Strata Debra DeLorenzo looks at the finite limits of natural resources on earth. Technology may enable humanity to access previously unobtainable areas, but ultimately there is a limit.

Techniques & Materials: Freehand cutting and machine pieced strips of commercial fabric and home dyed and printed fabrics.

Detail

Core SampleFreehand cutting and machine pieced strips of commercially dyed fabrics.Machine quilted with rayon and metallic threads. Cotton batting and cotton backing.

Core Sample shows the layers of oil, gold, and resources under the ground waiting to be harvested. Much has been done to try and protect the plants and animals living on the earth today. Beneath the surface of the earth is where the next environmental battle will be.

BRIDGET SANDERSNelson

Healing SongAcrylic and Aquarelle on cloth with stitching(framed behind glass)

The Kokako has become, for me, a symbol of a depleted world – its diminishing numbers in the forest, its beautiful haunting song, and its ghost-like intangible presence: all these evoke a sense of loss or parting.

The potential exhaustion of the New Zealand Forest is an unendurable tragedy against which it is very hard to fight. My humble offering is to join with the birds in prayer and song.

My art work is a constant attempt to acknowledge the intense nobility of Nature. I work with Textiles because they are a literal translation of our everyday lives and something easy to connect with. I have given myself the challenge to explore ways of bringing textiles and drawing together, and use these experiments to enlighten my obsession for our exquisite Native Birds.

BA Combined Arts, Leeds UK 1982BA Visual Art, MNIT, NZ, 2006

GILLIAN DICKSONNelson

Painting by NumbersFreeform machine embroidery on old faded tapa cloth.

I was inspired by an old childhood painting by numbers picture and used embroidery and bright Pacific colours to follow the faded marks on the cloth to give it new life.

Detail

GILLIAN DICKSONNelson

Painting by NumbersFreeform machine embroidery on old faded tapa cloth.

I was inspired by an old childhood painting by numbers picture and used embroidery and bright Pacific colours to follow the faded marks on the cloth to give it new life.

TISH NORTH Nelson

Yes MadamFabric image transfer, silver spoons

My nostalgic work pays tribute to a privileged childhood growing up with five siblings in Africa. Fading images and silver spoons allude to this. Five maids cut from a different cloth and blanket stitched on to the finer fabric add significant meaning. These cherished memories are portrayed on an apron that is worn close to the heart and as a protective layer. The apron also being a reference to hard work and an item of clothing worn by those who took care of us as their own children. Images have been transferred to a fine cloth overlaying a canvas apron. Red thread links the 5 spoons with a cross stitch above each.

Detail

ALYSN MIDGELOW-MARSDENAuckland

Vision and ActionStainless Steel fabric, lutradur, machine and hand stich

‘Vision without action is dreaming,action without vision is just passing time,but with vision and action you can change the world.’(Nelson Mandela)

I primarily create work which is imbued with personal references and are rarely representational, but whatever their form I am looking for a positive and emotive response from the viewer. I constantly search for new dimensions of textiles in my works and I find that using textile techniques in unusual materials such as metal and mixing the textiles with other media gives me the scope to investigate my interest in the different surface qualities which are achievable. See more at: alysnsburntofferings.blospot.com

TISH NORTH Nelson

Yes MadamFabric image transfer, silver spoons

My nostalgic work pays tribute to a privileged childhood growing up with five siblings in Africa. Fading images and silver spoons allude to this. Five maids cut from a different cloth and blanket stitched on to the finer fabric add significant meaning. These cherished memories are portrayed on an apron that is worn close to the heart and as a protective layer. The apron also being a reference to hard work and an item of clothing worn by those who took care of us as their own children. Images have been transferred to a fine cloth overlaying a canvas apron. Red thread links the 5 spoons with a cross stitch above each.

Detail

Vision and ActionStainless Steel fabric, lutradur, machine and hand stich

‘Vision without action is dreaming,action without vision is just passing time,but with vision and action you can change the world.’(Nelson Mandela)

The Continuous ThreadCoppers shim, bronze fabric, machine stitch

‘The events in our lives happen in a sequence in time, but in their significance to ourselves they find their own order … the continuous thread of revelation.’ (Eudora Welty)

MARY CULVERUpper Hutt

Korowai

This piece is based on the concept of a traditional shoulder korowai and is constructed using machine embroidery, and machine embroidered copper.

Traditional korowai represent covering and warmth. The delicate construction of this korowai allows light through so that being covered is still in part visible exposing what lies beneath - giving a sense of beauty and vulnerability.

The Continuous ThreadCoppers shim, bronze fabric, machine stitch

‘The events in our lives happen in a sequence in time, but in their significance to ourselves they find their own order … the continuous thread of revelation.’ (Eudora Welty)

MARY CULVERUpper Hutt

Korowai

This piece is based on the concept of a traditional shoulder korowai and is constructed using machine embroidery, and machine embroidered copper.

Traditional korowai represent covering and warmth. The delicate construction of this korowai allows light through so that being covered is still in part visible exposing what lies beneath - giving a sense of beauty and vulnerability.

MICHELLE DE SILVA Christchurch

‘Fort’Thread on canvas

Michelle de Silva is an artist who works with memory; the memories of childhood and the games played there. Her work hovers somewhere between reality and imagination, choosing not to touch down in either and this slightly wistful creation narrows the gap of what we know, what we remember and the enchanting places our imaginations take us. Her thread drawings combine the intangible of the imagined with the pragmatic act of stitching. By creating a link between what we imagine and a prosaic act de Silva closes the gap between here and there and reminds us of things we used believe.

‘Plane’ Thread on canvas

‘Fort’Thread on canvas

‘Plane’ Thread on canvas

JOYCE STALKERHamilton

Spirit Poles, Series I: From the darkness to the light18 handcrafted needlework pieces found in second hand shops, cut into rectangles, 140 steel safety pins, 3 pvc drain pipes, fabric stiffener, pva glue

These spirit poles recount both the dark and light narratives embedded in women’s lives in New Zealand Aotearoa. They echo the storytelling roles of pou in New Zealand Aotearoa, totem poles in Canada and Papua New Guinea, mortuary poles in Australia, jangseung poles in Korea, and lobong poles in Thailand.

ROWENA LUKOMSKA Upper Moutere, Tasman.

EmotionCotton and LinenGranny knotted cross stitch made by hand

An investigation into the term ‘Cross Stitch’. Cross - An emotion showing anger, annoyance, temper and displeasure depicted as dark shadows, against that of calmness, light and order.Cross Stitch - Often thought of as a past time for grannies, a form of embroidery worked in small X stitches to form a picture or pattern. ‘Emotion’I have worked with positive and negative thoughts, light and dark, anger against peace and calm. The humble cross stitch has been used as practised by women over the ages. Each cross stitch has been cut then tied using a granny knot, a time consuming process allowing for time to reflect on the lives of women who stitched to produce exquisite embroideries.

JOYCE STALKERHamilton

Spirit Poles, Series I: From the darkness to the light18 handcrafted needlework pieces found in second hand shops, cut into rectangles, 140 steel safety pins, 3 pvc drain pipes, fabric stiffener, pva glue

These spirit poles recount both the dark and light narratives embedded in women’s lives in New Zealand Aotearoa. They echo the storytelling roles of pou in New Zealand Aotearoa, totem poles in Canada and Papua New Guinea, mortuary poles in Australia, jangseung poles in Korea, and lobong poles in Thailand.

EmotionCotton and LinenGranny knotted cross stitch made by hand

An investigation into the term ‘Cross Stitch’. Cross - An emotion showing anger, annoyance, temper and displeasure depicted as dark shadows, against that of calmness, light and order.Cross Stitch - Often thought of as a past time for grannies, a form of embroidery worked in small X stitches to form a picture or pattern. ‘Emotion’I have worked with positive and negative thoughts, light and dark, anger against peace and calm. The humble cross stitch has been used as practised by women over the ages. Each cross stitch has been cut then tied using a granny knot, a time consuming process allowing for time to reflect on the lives of women who stitched to produce exquisite embroideries.

The Red Cross 1914 -2014Torn clothing, no. 8 wire

An investigation into the term ‘Cross Stitch’To commemorate the outbreak of the First World War, I have used the humanitarian symbol of The Red Cross.

‘The Red Cross’Torn clothing symbolises blood and bandages, knotted represent barbed wire surrounding trenches, battle lines are drawn within the woven strips, four crosses depict the four corners of the globe. The red crosses represent propellers they are shown in flight formation as a testimony to the bravery of the pioneering pilots.

PATRICIA TOOK-STEVENSRangiora

Threads of Ink and Threads of LinenFelted, stitched, printing, bookbinding, hardware

Ink threads give us words. Linen threads bind books to house these words. What a glorious combination.

My work talks of a time when ink pots were displayed as an art form. Books were hand sewn and cherished.

I have reinvented an old abandoned ink stand and taken the book ‘Lives of the Poets’ by William Rossetti in 1878. I salvaged it’s damaged pages which became my new ink pots. The 100 pages in each book fan out to create a perfect circle.

The blotter is felted onto which I created ink threads of partly printed and stitched into script.Some dying loose threads complete surface. All the script is reversed. A mirror is needed to decipher.

The Red Cross 1914 -2014Torn clothing, no. 8 wire

An investigation into the term ‘Cross Stitch’To commemorate the outbreak of the First World War, I have used the humanitarian symbol of The Red Cross.

‘The Red Cross’Torn clothing symbolises blood and bandages, knotted represent barbed wire surrounding trenches, battle lines are drawn within the woven strips, four crosses depict the four corners of the globe. The red crosses represent propellers they are shown in flight formation as a testimony to the bravery of the pioneering pilots.

PATRICIA TOOK-STEVENSRangiora

Threads of Ink and Threads of LinenFelted, stitched, printing, bookbinding, hardware

Ink threads give us words. Linen threads bind books to house these words. What a glorious combination.

My work talks of a time when ink pots were displayed as an art form. Books were hand sewn and cherished.

I have reinvented an old abandoned ink stand and taken the book ‘Lives of the Poets’ by William Rossetti in 1878. I salvaged it’s damaged pages which became my new ink pots. The 100 pages in each book fan out to create a perfect circle.

The blotter is felted onto which I created ink threads of partly printed and stitched into script.Some dying loose threads complete surface. All the script is reversed. A mirror is needed to decipher.

JENNY BAINDunedin

CoastMixed media on canvasPrint, stitch, applied fabrics.

Remote dramatic vastness with landscapes of untouched beauty.‘Precious’

Jenny Bain gained a B.F.A in 1998 and was a senior lecturer in Textiles at the Otago Polytechnic School of Art until 2005 and was also a part time lecturer in textiles at the School of Fashion.She has exhibited widely over a number of years with many awards and continues to develop experimental work within the field of textiles.

LYNN PRICEMapua, Nelson

One Side of the Story?Wire, thread, paper, mesh, graphite, encaustic wax

Glass is my primary medium but I also enjoy working in mixed media. A love of the raw material always informs my work and I like to explore themes about ‘home, migration and the things that bind people to places’.

My aim with this piece is to create a feeling of ambiguity. You’re not sure if you are standing on the inside or the outside of the scene, if your view point is of an interior or exterior. The buildings and rooms have no firm identity; perhaps a home, holidays, or a place you might dream of?

The elements are present and slightly disturbing – is that a fire? a tornado? a flood? But there is a ladder, a means to escape.

The empty and distorted wire structures only seem to add to the ambiguity, metaphorically suggesting, perhaps, that we are only getting to see ‘one side of the story’?

JENNY BAINDunedin

CoastMixed media on canvasPrint, stitch, applied fabrics.

Remote dramatic vastness with landscapes of untouched beauty.‘Precious’

Jenny Bain gained a B.F.A in 1998 and was a senior lecturer in Textiles at the Otago Polytechnic School of Art until 2005 and was also a part time lecturer in textiles at the School of Fashion.She has exhibited widely over a number of years with many awards and continues to develop experimental work within the field of textiles.

One Side of the Story?Wire, thread, paper, mesh, graphite, encaustic wax

Glass is my primary medium but I also enjoy working in mixed media. A love of the raw material always informs my work and I like to explore themes about ‘home, migration and the things that bind people to places’.

My aim with this piece is to create a feeling of ambiguity. You’re not sure if you are standing on the inside or the outside of the scene, if your view point is of an interior or exterior. The buildings and rooms have no firm identity; perhaps a home, holidays, or a place you might dream of?

The elements are present and slightly disturbing – is that a fire? a tornado? a flood? But there is a ladder, a means to escape.

The empty and distorted wire structures only seem to add to the ambiguity, metaphorically suggesting, perhaps, that we are only getting to see ‘one side of the story’?

Inner Peace200mm x 1400mmRecycled screen mesh, wire

My love of the raw material always informs my work and this piece is all about materiality.

I enjoy the cast shadows, which reveal an unexpected form, appearing more voluminous, softer and more delicate than the wire the piece is actually made from.

At a symbolic level the circles allude to infinity and completeness etc. Yet they are not perfectly round and are open at the centres, perhaps more reminiscent of a flower, or emotion, about to unfold. But like a flower or emotion they could easily fold back in again. On an emotive level, they may suggest forgiveness, trust or sharing. They perhaps represent a mental state of inner peace, despite the darkness and uncertainty surrounding us all.

EMMA CHURCHILLWaiku

BoleroFrench knitted sculpture

Emma Churchill is a sustainable fashion designer aiming to influence the way that we produce and over-consume fashion. She steps away from traditional production techniques and puts aesthetics aside allowing her unique methods to determine the outcome of each garment.Educating the world to encourage ethical consumption.www.emroce.com

Inner Peace200mm x 1400mmRecycled screen mesh, wire

My love of the raw material always informs my work and this piece is all about materiality.

I enjoy the cast shadows, which reveal an unexpected form, appearing more voluminous, softer and more delicate than the wire the piece is actually made from.

At a symbolic level the circles allude to infinity and completeness etc. Yet they are not perfectly round and are open at the centres, perhaps more reminiscent of a flower, or emotion, about to unfold. But like a flower or emotion they could easily fold back in again. On an emotive level, they may suggest forgiveness, trust or sharing. They perhaps represent a mental state of inner peace, despite the darkness and uncertainty surrounding us all.

EMMA CHURCHILLWaiku

BoleroFrench knitted sculpture

Emma Churchill is a sustainable fashion designer aiming to influence the way that we produce and over-consume fashion. She steps away from traditional production techniques and puts aesthetics aside allowing her unique methods to determine the outcome of each garment.Educating the world to encourage ethical consumption.www.emroce.com

AILIE SNOWAuckland

Lament Hand dyed silks, organza, beads, hand stitched.

Detail

KELLY PRETTYNelson

Drawing 52: The Deepness of PuddlesFilament and graphite on cotton

"The art establishment downplays emotional or psychological readings of pictures- even though these are the principal ways in which people actually engage with art. But I think that you have to start with the emotional bond between the viewer and the object. If you say that a painting is important because it was owned by so-and-so, or because it shows that fascism is bad, or whatever - these are not reasons to love a painting." Alain De Botton

AILIE SNOWAuckland

Lament Hand dyed silks, organza, beads, hand stitched.

Detail

KELLY PRETTYNelson

Drawing 52: The Deepness of PuddlesFilament and graphite on cotton

"The art establishment downplays emotional or psychological readings of pictures- even though these are the principal ways in which people actually engage with art. But I think that you have to start with the emotional bond between the viewer and the object. If you say that a painting is important because it was owned by so-and-so, or because it shows that fascism is bad, or whatever - these are not reasons to love a painting." Alain De Botton

LESLIE FALLSHastings

All in a Day’s Work…Embroidery cotton on single size vintage wool blanket

My work addresses the concept of labor. The content, be it imagery or text, always deals with aspects of labor: physical effort, work relationships, job specifics. At the same time the process I employ to share this content is, in itself, labor focused. The beauty of both content and process is the enjoyment of the labor, the effort required to tell the story and the subsequent stitching of it enables me to share that pleasure.

The text in this particular work is from an email sent by my son describing his work conditions and workmates while in Australia last year.

SARAH PUMPHREY

Toi tu te whenuaMixed media and photography

Many animals and plants were introduced to New Zealand with European contact having a huge impact on the native flora, fauna and people of Aoteoroa. In my work the body becomes the metaphor for the land and the representation of the power balance within the European/Maori relationship.

Papatuanuku is the landThe birthplace of all thingsI arrive where an unknown earth is under my feetI arrive where a new sky is above meI arrive at this landBlind to Papas symmetryCast foreign seeds over Papas breastAccept and acknowledgeTheir fate and ours entwinedToi tu te whenuaHoldfast to the land (Extracts from a 19th century poem, Charm and poem Rambling discourse by Olivia Giles)

Details from installation

LESLIE FALLSHastings

All in a Day’s Work…Embroidery cotton on single size vintage wool blanket

My work addresses the concept of labor. The content, be it imagery or text, always deals with aspects of labor: physical effort, work relationships, job specifics. At the same time the process I employ to share this content is, in itself, labor focused. The beauty of both content and process is the enjoyment of the labor, the effort required to tell the story and the subsequent stitching of it enables me to share that pleasure.

The text in this particular work is from an email sent by my son describing his work conditions and workmates while in Australia last year.

SARAH PUMPHREY

Toi tu te whenuaMixed media and photography

Many animals and plants were introduced to New Zealand with European contact having a huge impact on the native flora, fauna and people of Aoteoroa. In my work the body becomes the metaphor for the land and the representation of the power balance within the European/Maori relationship.

Papatuanuku is the landThe birthplace of all thingsI arrive where an unknown earth is under my feetI arrive where a new sky is above meI arrive at this landBlind to Papas symmetryCast foreign seeds over Papas breastAccept and acknowledgeTheir fate and ours entwinedToi tu te whenuaHoldfast to the land (Extracts from a 19th century poem, Charm and poem Rambling discourse by Olivia Giles)

Details from installation

SARAH PUMPHREYTasman

Survival in the face of CivilisationAir-dried paper clay, beeswax, electrical components, thread and dye

This work is my response to the book The Fox Boy by Peter Walker. The book is described as being “A moving and unforgettable historical portrait of New Zealand told through the remarkable story of one Maori Boy.” Set in the late 1800s, Walker reveals narratives of the need for colonial ownership and the dispossession that occurred.A story of colonial kidnap ”… not of abandonment but of abduction, not of survival despite the forces of wilderness but survival despite the forces of “civilisation”. His story is that of the child taken as hostage of war, as trophy and potential slave - with the British-empire spin of improving it through exposure to an allegedly superior culture…”http://www.theguardian.com/books/2001/jul/28/historybooks.highereducation

The cobwebs of lies, bloodshed and pain of colonization that are revealed within the book are reflected in my work, however within the tragedy there were people concerned with truth, compassion, honesty and dignity. I pay homage to them. The lights represent these people and for me today, they represent knowledge and understanding that can be gained when truth is revealed.

YOKE HELWES MARTENSAuckland

My Light.Hand stitched silk organza

Light, air, breath. My ancestors float In these layers of mist and memory.Holding the latest newbornIn their ancient light. My Light

SARAH PUMPHREYTasman

Survival in the face of CivilisationAir-dried paper clay, beeswax, electrical components, thread and dye

This work is my response to the book The Fox Boy by Peter Walker. The book is described as being “A moving and unforgettable historical portrait of New Zealand told through the remarkable story of one Maori Boy.” Set in the late 1800s, Walker reveals narratives of the need for colonial ownership and the dispossession that occurred.A story of colonial kidnap ”… not of abandonment but of abduction, not of survival despite the forces of wilderness but survival despite the forces of “civilisation”. His story is that of the child taken as hostage of war, as trophy and potential slave - with the British-empire spin of improving it through exposure to an allegedly superior culture…”http://www.theguardian.com/books/2001/jul/28/historybooks.highereducation

The cobwebs of lies, bloodshed and pain of colonization that are revealed within the book are reflected in my work, however within the tragedy there were people concerned with truth, compassion, honesty and dignity. I pay homage to them. The lights represent these people and for me today, they represent knowledge and understanding that can be gained when truth is revealed.

YOKE HELWES MARTENSAuckland

My Light.Hand stitched silk organza

Light, air, breath. My ancestors float In these layers of mist and memory.Holding the latest newbornIn their ancient light. My Light

CHRISTINE MARKSBlenheim

Time for a cuppaMerino wool and threads, wet felted and stitched.

This installation consists of 7 teapots – one for each day of the week, and a watch so that you know when it is time for a cuppa.A cup of tea is so integral to our lives as New Zealanders, and so here we have 7 teapots, one for each day of the week But there is a dilemma- which one will we choose for Monday and which for Tuesday etc. The different colours might relate to particular days for different people.

JAN SPEEDENOtane

Salix Pannier Willow bark , driftwood, waxed thread

About 20 years ago I attended a Fibre Art course, run by John McQueen, a notable & very talented American artist. He introduced us to bark. It was love at first sight for me.I work mainly with Willow bark, which is readily available here & totally renewable. I love the whole process, cutting & peeling poles in the Summer, rolling them up to dry. When I want to use them, I soak them in warm water to make them soft & pliable again. The smell & textures are so familiar & delicious to me.Initially the pieces I made had all their knots & loose bits on the outside, but more recently I have been trying to construct work where only the minimal amount of stitching shows. I love the ambiguity of Willow bark, it looks like leather, like reptile skin, like an insect, like something it is not. I enjoy playing with that.

CHRISTINE MARKSBlenheim

Time for a cuppaMerino wool and threads, wet felted and stitched.

This installation consists of 7 teapots – one for each day of the week, and a watch so that you know when it is time for a cuppa.A cup of tea is so integral to our lives as New Zealanders, and so here we have 7 teapots, one for each day of the week But there is a dilemma- which one will we choose for Monday and which for Tuesday etc. The different colours might relate to particular days for different people.

JAN SPEEDENOtane

Salix Pannier Willow bark , driftwood, waxed thread

About 20 years ago I attended a Fibre Art course, run by John McQueen, a notable & very talented American artist. He introduced us to bark. It was love at first sight for me.I work mainly with Willow bark, which is readily available here & totally renewable. I love the whole process, cutting & peeling poles in the Summer, rolling them up to dry. When I want to use them, I soak them in warm water to make them soft & pliable again. The smell & textures are so familiar & delicious to me.Initially the pieces I made had all their knots & loose bits on the outside, but more recently I have been trying to construct work where only the minimal amount of stitching shows. I love the ambiguity of Willow bark, it looks like leather, like reptile skin, like an insect, like something it is not. I enjoy playing with that.

CLARE PLUG

Arctic Series: Code OrangeVarious non-woven polyester fibres, plastic, thread.

Arctic sea ice, with its reflective white surface, plays a vital part in the Earth’s temperature regulating mechanism by reflecting the sun’s heat back to space.But in recent years this ice has increasingly been thinning and breaking up, without fully recovering during winter.

CLARE HOLMES Christchurch

‘Fragmented’ November 2013Screen-printed cotton drill and organic cotton, free-motion machine embroidery, machine pieced.

I have recently completed my Bachelor of Design (Applied Visual Arts) at Christchurch Polytechnic Institute of Technology. I work in a variety of media; however, fibre art has been the focus of my final years work. It has been challenging but extremely satisfying designing and printing my own fabric.

Fragmented sleep is a term used to describe broken, light, un-refreshing sleep. A person who has disturbed sleep can be affected both physically and psychologically. I am interested in these tensions and have investigated ways in which people cope with this common problem. Maladaptive coping strategies have been of interest to me and this particular work addresses the use of alcohol. Alcohol abuse is both a cause and an effect of insomnia and an accessible and dangerous means of escape.

The cloak is a protective garment, as sleep is a protective function. The fabric however has been disturbed. I have screen-printed a design of broken glass shards, which connects us with fragility, pain and danger. The embroidery attempts to hold things together and weaves its way throughout the design. The cloak is asymmetric – unbalanced, much like the person who is persecuted by sleep deprivation. Pieces of glass have fallen away towards the bottom of the garment and the long collar wraps around and around to represent long restless nights.

CLARE PLUG

Arctic Series: Code OrangeVarious non-woven polyester fibres, plastic, thread.

Arctic sea ice, with its reflective white surface, plays a vital part in the Earth’s temperature regulating mechanism by reflecting the sun’s heat back to space.But in recent years this ice has increasingly been thinning and breaking up, without fully recovering during winter.

CLARE HOLMES Christchurch

‘Fragmented’ November 2013Screen-printed cotton drill and organic cotton, free-motion machine embroidery, machine pieced.

I have recently completed my Bachelor of Design (Applied Visual Arts) at Christchurch Polytechnic Institute of Technology. I work in a variety of media; however, fibre art has been the focus of my final years work. It has been challenging but extremely satisfying designing and printing my own fabric.

Fragmented sleep is a term used to describe broken, light, un-refreshing sleep. A person who has disturbed sleep can be affected both physically and psychologically. I am interested in these tensions and have investigated ways in which people cope with this common problem. Maladaptive coping strategies have been of interest to me and this particular work addresses the use of alcohol. Alcohol abuse is both a cause and an effect of insomnia and an accessible and dangerous means of escape.

The cloak is a protective garment, as sleep is a protective function. The fabric however has been disturbed. I have screen-printed a design of broken glass shards, which connects us with fragility, pain and danger. The embroidery attempts to hold things together and weaves its way throughout the design. The cloak is asymmetric – unbalanced, much like the person who is persecuted by sleep deprivation. Pieces of glass have fallen away towards the bottom of the garment and the long collar wraps around and around to represent long restless nights.

ROSIE WHITEWellington

Altar Cloth Series: No 3Bubble wrap; Bernina lace.

"In our consumerist society what do we worship? This Altar Cloth is for use in the temple of consumption."

Detail

ROSIE WHITEWellington

Altar Cloth Series: No 3Bubble wrap; Bernina lace.

"In our consumerist society what do we worship? This Altar Cloth is for use in the temple of consumption."

JOYCE FLEMING Cambridge

Cultures Interwoven 2: Changing PerspectivesBobbin Lace techniquesHarakeke ‘lace-leaves’ mounted on acrylic panel held in base of South Island schist

The ‘lace-leaves’ in this work bring together two areas of fibre-working from different cultural contexts. Māori methods of extracting muka (harakeke fibre) were adapted to obtain fibres which emerge from the still-attached leaf tips. By keeping part of the leaf whole the origin of the fibres becomes an obvious and dominant part of the work, acknowledging the cultural meanings held within harakeke. The fibres of each of the four lace-leaves are worked into different patterns using bobbin lace techniques from my European heritage.

While we may never fully comprehend the meanings and views held by those of other cultures, recognising the validity of those views enhances our understanding of our own culture and broadens our perspectives. This receptive attitude to the meeting of cultures is illustrated on a number of levels in this work. From various points of view the different lace designs interact to create deeper textures or separate to show their individual qualities while the dark areas contrast with the light-filled spaces to give a feeling of balance.

CAROLE SORRELLAuckland

Tiger Tiger Burning BrightRaw edge Machine applique, cotton fabric, pellon. lutrador, rayon thread. domestic machine quilted.

The title references William Blake's poem and the subject matter of the quilt. An interrogation into the markings of tigers. Based on photographs I took of the Sumatran tigers at Auckland Zoo. I have conducted close studies of the tail, thigh, back and flank areas. The vast variety of patterns produced by the stripes have created a living abstract artwork.

PATRICIA ARMOURWellington

Stairway to Eternity Wool and mercerised cotton on Swedish cotton warp

When I visited the UK in 2012, I visited Highgate Cemetery in London. Although overgrown, I was mesmerised by the beauty of the monuments and the tranquillity of the setting. The first time I visited, the snow had fallen the previous day and I found the images serene and quite breathtaking. I decided then that I would weave a series of tapestries based on these beautiful monuments. My inspiration for “Stairway to Eternity” came from both the monuments of Highgate and also the beautifully designed Pre-Raphaelite tapestries woven at Merton Abbey Tapestry Works in the early 1900s.

CAROLE SORRELLAuckland

Tiger Tiger Burning BrightRaw edge Machine applique, cotton fabric, pellon. lutrador, rayon thread. domestic machine quilted.

The title references William Blake's poem and the subject matter of the quilt. An interrogation into the markings of tigers. Based on photographs I took of the Sumatran tigers at Auckland Zoo. I have conducted close studies of the tail, thigh, back and flank areas. The vast variety of patterns produced by the stripes have created a living abstract artwork.

Stairway to Eternity Wool and mercerised cotton on Swedish cotton warp

When I visited the UK in 2012, I visited Highgate Cemetery in London. Although overgrown, I was mesmerised by the beauty of the monuments and the tranquillity of the setting. The first time I visited, the snow had fallen the previous day and I found the images serene and quite breathtaking. I decided then that I would weave a series of tapestries based on these beautiful monuments. My inspiration for “Stairway to Eternity” came from both the monuments of Highgate and also the beautifully designed Pre-Raphaelite tapestries woven at Merton Abbey Tapestry Works in the early 1900s.

Urban Scrawl Wool on Swedish cotton warp

Cityscapes are made up of a variety of colours, shapes, images. Advertising billboards are covered with a myriad of notices and information, one overlapping another; graffiti covers a large area of urban space – people observe these day to day. “Urban Scrawl” reflects the abundance of ‘stuff ’ which covers our city environment with a young lad feeling at home in his surroundings.

ANNE GROUFSKYWhangarei

Re Pair 2 Hand stitched recycled cotton fabric

Old fabrics with their subtle stains, faded edges, holes and loose threads have a story to tell of a past history.

The integrity of the fabric and old stitches remain as a connection with the past.

With the addition of Japanese sashiko style quilting and simple running stitch I am creating a new work from old.

These pieces of Japanese fabric that may have once been overlooked are given a fresh look and renewed appreciation.

Urban Scrawl Wool on Swedish cotton warp

Cityscapes are made up of a variety of colours, shapes, images. Advertising billboards are covered with a myriad of notices and information, one overlapping another; graffiti covers a large area of urban space – people observe these day to day. “Urban Scrawl” reflects the abundance of ‘stuff ’ which covers our city environment with a young lad feeling at home in his surroundings.

ANNE GROUFSKYWhangarei

Re Pair 2 Hand stitched recycled cotton fabric

Old fabrics with their subtle stains, faded edges, holes and loose threads have a story to tell of a past history.

The integrity of the fabric and old stitches remain as a connection with the past.

With the addition of Japanese sashiko style quilting and simple running stitch I am creating a new work from old.

These pieces of Japanese fabric that may have once been overlooked are given a fresh look and renewed appreciation.

CHERRIE MITCHELLBlenheim

Water BorneWet felted – merino wool and Tussah Silk using a flat resist with hand and some machine stitching.

Inspired by the delicacy of the “Nautilus” born at sea, drifting at the mercy of tide and wind, tow ash against our shores intact – for our beach-combing pleasure.

I have used fine beautiful merino wool which began life in our mountains also at the mercy of the elements, to create this 3D Strombus like structure.It is reminiscent of its beginnings and in contrast to the transparency of the Nautilus.The resulting orbital shape and texture demonstrate one of the possibilities the felting process and stitch have in this medium.

COLLEEN PLANKNelson

Get A GripCotton Gauze, Thread. Hand Embroidered, Free Machine Embroidery, Digital Machine Embroidery, Eco Dyed, Moulded

This work represents my response to the haste at which every task is now measured, and believed to be superior if less physical time is taken to completion.Are we losing the essence of celebrating the moment by realising the act too soon?

CHERRIE MITCHELLBlenheim

Water BorneWet felted – merino wool and Tussah Silk using a flat resist with hand and some machine stitching.

Inspired by the delicacy of the “Nautilus” born at sea, drifting at the mercy of tide and wind, tow ash against our shores intact – for our beach-combing pleasure.

I have used fine beautiful merino wool which began life in our mountains also at the mercy of the elements, to create this 3D Strombus like structure.It is reminiscent of its beginnings and in contrast to the transparency of the Nautilus.The resulting orbital shape and texture demonstrate one of the possibilities the felting process and stitch have in this medium.

COLLEEN PLANKNelson

Get A GripCotton Gauze, Thread. Hand Embroidered, Free Machine Embroidery, Digital Machine Embroidery, Eco Dyed, Moulded

This work represents my response to the haste at which every task is now measured, and believed to be superior if less physical time is taken to completion.Are we losing the essence of celebrating the moment by realising the act too soon?

CAROLINE DELLA PORTAPicton Mary Goes BushEmbroidery/appliqué on padded panel (mixed media) Deep in the bush-setting of the Marlborough Sounds, we stumble upon a pastoral idyll.A small piece of England has been created for our 19th Century genteelwoman.She may be the educated daughter of the newly-arrived Pastor, or the young wife of a military officer just landed in New Zealand. Well-versed in the works of Lord Byron, William Wordsworth and the Bronte sisters, she hums a tune (Mary has a little lamb?) and reclines gracefully on the edge of a grassy meadow with her pet. There’s nothing else to do to while away the time - except ward off sandflies.In the tradition of storytelling through decorative needlework, this panel uses classical imagery with a contemporary twist.

ANN JOLLY Extensions Various textiles on cord grid A knotted grid attached to soluble plastic was dissolved in hot water after the patches were attached. The patches were samples of various manipulation and textural techniques which I have taught over many years.

In addition to our wonderful sponsors, the Arts Council Nelson Executive Committee wish to acknowledge and thank the following for their valued contribution toward this showcase; Selectors: Jo Kinross, Lloyd Harwood and Ronnie Martin

Judges: Janet Bathgate, Lloyd Harwood and Ronnie Martin

Friends and supporters of Arts Council Nelson who form the hard working team of volunteers who help to ensure the smooth running and success of the event.

Last but not least our heartfelt appreciation goes to our amazing artists from around the country whose efforts and commitment enable us to provide such a wonderful showcase of contemporary New Zealand fibre and textile practice.

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