Professional Documents
Culture Documents
l
l
l
Jo Barker
Noela Bewry
Kate Blee
Sara Brennan
Henny Burnett
Janet Hinchliffe McCutcheon
Annie Hutchinson
Deirdre Nelson
Jo Newman l
l
Caroline Sharp l
Norma Starszakowna l
1
p2 introduction
p6 essay
p10 artists
p46 information
Introduction
Dr Jessica Hemmings
Associate Director of the Centre for Visual and Cultural
Studies, Edinburgh College of Art
a vivid vocabulary
2010
quite enamoured with the written word. We’ve been attributes, the more readily our brains can translate text
working at it for a while now. We were quick to dismiss into an imagined world.
the rich flexible narratives of oral traditions and replace
them with static written language. We were even more The artists exhibiting at the Stroud Textile Festival this
pleased with ourselves when we harnessed the printing year all enjoy their own vividness of vocabulary. Many
press to tell us the same stories ad infinitum. Our newest have connections to Scotland, but this is where their
romance is with the World Wide Web, a system that similarities end. Each has built a career on the refinement
speeds and shares astounding amounts of certain types of their particular visual language. Like Scarry, each, in
of information. Yet the Internet that has not come to terms their own way, understands what is needed to create a
with several of the textile’s most articulate modes of convincing experience for the viewer.
communication. Colour is as arbitrary as the settings on
our individual computer monitors. Texture is all but Jo Barker6 uses the time intensive tradition of tapestry to
nonexistent. Touch, for now, remains impossible. weave surfaces full of speed and light. Somehow,
Barker’s tapestries betray none of the labour their
In Dreaming by the Book the American literary critic Elaine construction demands. Instead she records flourishes of
Scarry tries to understand why “monotonous small black drawn lines, watery edges of painted colour and mottled
marks on a white page” can conjure such vivid images in shadows of photographed light. Fibre brings its own
our mind’s eye4. She notes that “the verbal arts ... unlike unique sensibilities to these observations. Varying
painting, music, sculpture, theatre, and film – are almost tensions of thread cut deep channels across tightly
wholly devoid of any actual sensory content”5. Her packed surfaces; loose fibres create halos around spots
observations share one thing in common. Scarry, to my of rich colour.
eye, determines that it is qualities we commonly associate
with the textile that are instinctively used by authors to The intangible associations we have of the landscape are l
make fiction vivid. Descriptions of stretching, folding and the subject of Sara Brennan’s7 tapestries. A sobering l
tilting, for example, are needed for our imaginations to sense of vastness is apparent in her modestly sized work. l
function. The more things are described with textile Light and cloud mutate. The concrete remains just l
beyond our focus. Instead there is a sense of the a selvedge edge demand quiet observation on the part of
insignificance our daily concerns can begin to have when the viewer.
placed in a broader perspective.
Henny Burnett responds to personal connections she
In Snow Country the Japanese author Yasunari Kawabata makes with history’s objects. Here the fragility of materials
writes: “The thread was spun in the snow, and the cloth she gathers and illuminates are from sources that relate to
was woven in the snow, washed in the snow and Stroud’s wool industry. Both Burnett and Glasgow-based
bleached in the snow. Everything, from the first spinning artist Deirdre Nelson11 are sifters and sorters, making
of the thread to the last finishing touches, was done in the sense of huge amounts of material and bringing to the
snow”8. Brennan’s palette has its own softer hues than surface poetic responses to local settings. Nelson, who is
the frozen landscape Kawabata describes, but the same currently Artist in Residence at Stroud’s Museum in the
sensibilities are evident. It is as though the threads she Park, often adopts narratives for her work. Folklore, oral
selects for her tapestries are shaped and coloured by the traditions and humour all play a part in a practice that has
landscapes they record. come to be known for its accessibility and democracy.
Like Burnett, Nelson finds details in the gems of wisdom
Norma Starszakowna’s9 printed and embellished panels she is expert at teasing from objects and communities
are covered with complex textures that overlay fragments alike, reviving history and inviting participation.
of text with surfaces that could be crumbling plaster
walls, letters or graffiti. Her techniques are her own Each of these voices is as divergent as they are assured.
invention rather than a particular tradition of making. All make use of the enormous vocabulary contemporary
Because of this, technical concerns are impossible to textile practice enjoys.
compare and the unfamiliarity of her surfaces enjoys
l priority. In stark contrast to this is Kate Blee’s10 I think the textiles should be allowed to say the rest.
l vocabulary of confident blocks of colour that speak
l through their simplicity. There is a bravery needed to work Dr Jessica Hemmings Associate Director of the Centre
l with such bold shapes and here details such as texture or for Visual & Cultural Studies, Edinburgh College of Art
a vivid vocabulary
2010
1 I say this with the knowing apprehension I might be writing myself
out of a job!
2 Clarifying the rules of textile art, as Lynne Truss does for grammar
Essay
Some Thoughts on Tapestry in Edinburgh
Maureen Hodge
tapestry in edinburgh
2010
every student’s individual abilities. They were taught giving direct contact with the woven surface.
gobelin, felt, papermaking, structures, electronic media The freshness of this attitude was reinforced by an
and drawing, as well as accumulating a personal research openness to what tapestry could be, rather than teaching
archive, referred to as contemporary archaeology. how it was and ought to be. For art, of any kind, to be
The realisation of the importance of drawing was a major relevant it must relate to its own time and although the
factor in their subsequent progress. Drawing is as students were expected to be aware of the traditions –
important to the visual artist as scales are to the musician and in tapestry there were many – more importantly, they
and from this rigorous practice came the confidence were expected to work within their own cultural context,
which enabled the rapid development of ideas and because otherwise the concepts and media would
allowed the risk-taking necessary when venturing into atrophy and die.
their personal unknown. Harold Cohen, who designed a
series of great tapestries said, an artist has to possess Thus tapestry, in Edinburgh, embodied a range of
some significant theory of operation about the making of techniques, and above all the need to ask what if?
art and the place of art in the world – something every
student had to address. He also pointed out that a chair is So, what is tapestry, then? Meanings of words are based
meant for sitting on and that the working drawing of a largely on usage and so within the College, the
chair is meant to tell you how you make it. cognoscenti knew what ‘tapestry’ was; but so did other
people and what they meant was often not the same.
Open-mindedness and self-motivation were allied to Grannies knew that it was needlework, just as the Custom
enthusiasm and self-discipline and, as far as possible, and Excise was equally adamant that it was something
assumptions were to be questioned. Make do and mend that covered upholstery and was subject to VAT. This was
was the order of the day bringing a creative approach to not just a bit of local difficulty, in the wider world, purists
everyday problems with often brilliant, utilitarian solutions believed such definitions really mattered. Tapestry was l
– scaffolding looms, fishing line warp and abandoning turned down in craft shows as Art, and in art shows as l
weaving from the back of the tapestry, watching the Craft. No doubt in this Festival there will be people who l
progress in a mirror, in favour of weaving from the front, call themselves tapestry weavers, tapestry artists, artist l
weavers; some may call themselves simply artists, others In 1973, it was decided that the Department should
craftspeople, designers, makers, even sculptors. Naming pursue a Fine Art approach using the criterion for fibre art/
is merely a convenience, a help if you get what you expected, tapestry as laid down by the Lausanne Tapestry Biennale.
nothing more, so what the work is called is a matter of Some students have chosen traditional gobelin, while
personal choice and really does not matter too much. others have launched off in completely different
directions. As is so often the case there are many correct
But whatever ‘it’ is, the work should be able to hold its answers. Surely, “Does it work?” is a lot more relevant
own in the Fine Art world, on equal terms with sculpture than “Does this conform to the rules of tapestry
and painting and without any special pleading. methodology?” whatever that may be.
Stephen Hunter wrote in Tapestry in Edinburgh: When tapestries left the wall and began to fill the space
“There are dangers in choosing to retain categories. those walls contained, then all the old restraints died. It
Mediocre work can be overrated because it is ‘typical’, was not Lurcat who revolutionised tapestry, but
and shows perfectly the defining features of a particular Abakanowicz, the Jacobis and Jagoda Buic who filled
area. On the other hand traditional authority can be space with fibre and made site specific and installation
invoked to stifle experimentation or to exclude work from work, which led directly into the art mainstream. So what
exhibitions because it does not measure up to the is tapestry? For us, in Edinburgh, tapestry was a woven
criterion of the medium. We must be careful not to be structure or a fibre process which contained the
dogmatic or to try to forge an identity from our tradition embodiment of an idea. It could be as diverse as a
which prevents it from being open-ended enough to gobelin hanging or a woven shed, as different as woven
accommodate future development but which is not so fibre optics and hundreds of pigment-stuffed cloth bags.
vague as to be meaningless. The definitions should flow It could even be the work of the student, desperate to
l from the work and not from an external historical come to Tapestry, but equally determined not to be a
l authority. Thus we oppose the authority of tradition traditional weaver, who produced a 20-minute
l with a functional authority which itself has risen out of performance where the audience watched “ideas being
l the tradition”. woven” and then was asked to sign a statement to that
8
tapestry in edinburgh
2010
effect. And so you can see how Jo Barker, Sara Brennan
and Henrietta Burnett, in all their glorious differences, can
all come under the heading of Tapestry in Edinburgh.
She has exhibited all over the world and her work is
included in many public and private collections here
and abroad.
l
l
l
l
9
jo barker
Jo Barker
Jo Barker’s completed tapestries are always abstract tapestry can take up to three months to complete I don’t
and evolve from drawn, painted, printed and think I would describe myself in such a way. There is a
photographed marks, which are manipulated on the kind of nagging curiosity to keep going and going based
computer creating consciously ambiguous images. on ones desire to see just how the finished piece ‘turns
She aims to create a sense of something rather than an out’. Dogged maybe…patient…I’m not so sure.
identifiable object or picture. A love of working with my hands, of making things, and
a very long-term interest in colour are essentially at the
To create a sense of movement,of being drawn in or spun heart of what I do.
around. Of being wrapped in colour. Starting points come
from patterns and marks in nature, plants and qualities of I benefited greatly from a rigorous grounding in
dappled light. drawing whilst studying in the Tapestry Department at
Edinburgh College of Art, always being encouraged to
Her designs come alive when translated with yarns and really look closely at the world around you.”
threads using the Gobelin tapestry weaving technique.
The slow, reflective method of making imbues the finished Jo has exhibited widely nationally and internationally and
work with a quiet power. has work in several collections including the V&A
Museum, London. She has completed numerous
“People often say ‘you must be a very patient person to commissions including tapestries for the Royal Victoria
weave tapestries’. Strangely, considering that a large Infirmary, Newcastle and the House of Lords, London.
blue note acrylic on paper 38 x 38cm spring chant acrylic on paper 38 x 38cm
Noela Bewry
Printed textiles are often about colour, rhythm and layering considerations to my practice as a painter without
rather than subject matter. Working with them influenced having to think about figurative representation.
Noela Bewry’s abstract work and has been important in Once I have a painting underway, it has a life of its
freeing her approach to painting. own. The image on the paper becomes the sole point of
reference. I develop and respond to what I’ve put down
Her other starting point is contemporary jazz: and there are many stages of reconsidering and rework
“The beginning of a piece is like the under layer, then until it is resolved.”
solo instruments take over, new rhythms emerge, and
an increasingly complex picture builds. Musicians talk Bewry’s vibrant and energetic placing of colour
about texture, colour and tone, understanding them in a onto canvas is inspiring and a close stepping stone to
musical context has enabled me to apply these interpreting into dye or stitch.
17
noela bewry
kate blee
kate blee
kate blee
Kate Blee
22
broken band with gold tapestry
23
sara brennan
ekta kaul
sara brennan
Sara Brennan
24
bands tapestry
25
sara brennan
henny burnett
26
stroud work in progress mixed media
29
henny burnett
lina peterson
henny burnett
Henny Burnett
Henny Burnett’s work has a continuing preoccupation and techniques that Henny has confronted previously,
with museums, collecting, fragility and transience. in particular while making The Shoemaker’s Shrine, which
Inspired by family history, personal memorabilia often was commissioned for Northamptonshire’s JGallery.
become incorporated into the forms and structures she Here she used light boxes while working with both
creates. Gloves are cast in plaster and printed with photographic-derived imagery and cast objects.
fragmented texts from different eras, resembling fragile
relics. Old recipes are printed and sewn into thinly cast The process of collecting, arranging and transforming
paper and muslin bowls. Sound and light are increasingly from a range of sources is important to her working
important in the presentation of her work by incorporating process. The three light boxes of Stroud Scarlet, display
light boxes, recorded histories and sound pieces. images of sewn, collaged, drawn, cast and layered
fragments relating to the Stroud Valleys wool industry.
Past work such as The Grandmother’s Cupboard (2004) The sources include women menders, Stroudwater
has drawn on personal histories, and family connections scarlet, broadcloths, tenter hooks, shearers, clothier’s
with the county and its industry, her developing work has marks, redcoat soldiers, teasel thistles, Dunkirk Mill,
a more general historical impact. cochineal beetles and madder plants.
The process of working with a museum and its archives Details of threads, weave and other textures – the very
has resulted in work that explores impermanence and unravelling of fine threads – have been captured and
memory; it is rooted in the fabric of the home, yet given prominence by photographic enlargement. The
presented in an historical context. Victorian art of decoupage and the cabinets of curiosities
so popular in that era have also been influential in the
The new work created for Stroud International Textile approach to this new work.
Festival offered the opportunity further to develop ideas
28
dorothy reglar
31
henny burnett
janet hinchliffe mccutcheon
30 earrings folded silver, gold leaf, red cord photo: joel degen
janet hinchliffe mccutcheon
ianet
annie hutchinson Annie Hutchinson
32
he loves me ... he loves me not mixed media
33
annie hutchinson
deirdre nelson Deirdre Nelson
Since graduating from Glasgow School of Art in 1992 objects within the museum allowed me to take a closer
Deirdre Nelson has pursued a parallel career in creating look at the collection and to begin to make links with
work for exhibition and commission and in working as a the objects displayed and Stroud red cloth. A privileged
tutor to various groups. Her art practice has evolved visit to Milliken’s at Lodgemore Mill allowed an insight
through experimenting with materials and hand work and into current cloth production of tennis ball cloth in
craftsmanship provide both direction and context. Hand Stroud. Words associated with the production of Stroud
skills are used though the work in a humorous commentary cloth were of great interest which led to a collaboration
on social and textile history within the contemporary with Tawona Sithole, a Zimbabwean performance
gallery. Her textile work employs a variety of techniques poet, who has had experience of working with a variety
and materials fusing traditional textile skills and of communities.
contemporary reinterpretation through photography
and digital manipulation. As my primary interest is in finding ways to combine
both the historical and contemporary in my work, it was
Deirdre has been artist in residence in a variety of important to tell the story of Stroud cloth past and
locations from Ireland, Sutherland, Outer Hebrides to present. My aim was to create a textile work which
Western Australia creating work for exhibition and with would have a ‘use’ beyond the festival so ideas developed
local communities, and in 2008 she was selected for which could become useful in education and interpretation.
Jerwood Contemporary Makers being one of seven
applied artists receiving the Jerwood Makers award. A trail of red tennis balls through the collection act as
‘full stops’ in order to stop the viewer and allow them to
“As artist in resident in Stroud I was particularly view objects in a new light. A ‘forest of swingballs’
interested in the history of textile production in Stroud allow participants to be active in batting history around
and on my initial visit to the museum, was drawn to in the form of embroidered tennis balls.
Stroud red cloth and related artefacts. The red stripes
on the Wallbridge painting which hangs on the museum It has been a fascinating experience as artist in
wall fascinated me as did many of the artefacts residence at Stroud Museum in the Park and I hope the
throughout the museum. resulting works will provide a lively and playful insight
into Stroud Cloth both past and present.”
Exploring the theme of red and photographing the red
34
deirdre nelson photo: shannon toft
35
deirdre nelson
jo newman
Jo Newman
36
fiona wright
montana 2 print & stitch
jo newman
io
38
caroline sharp
Caroline Sharp has an established career as both a from wild mustard stems; some new work using chalk
landscape architect and artist and has shown work and clay block prints; wall based work with bent and
throughout the UK including the recent exhibition Urban stitched willow.
Field at Contemporary Applied Arts in London and 3 solo
shows in 2009. The work shown in the Stroud Textile festival is a
continuation of Caroline’s fascination with natural form.
Caroline has completed many commissions for public Three Vessels stand within the Courtyard space
spaces in both rural and urban settings using a variety of reflecting the surrounding parkland and acting as
media. Recent commissions have included installations juxtaposition to the hard, crisp stone paving and building.
along the Wessex Ridgeway and another for the North The vessels are made using colourful and textural stems
Hykeham Theatre in Lincoln. of willow and birch and explore concepts around
containment and movement.
Recent work is woven, printed, assembled, or
constructed and uses natural materials including stems of A main motivation for Caroline is a continuing need to
willow, dogwood, birch, poplar; leaves, wool, chalk, clay connect to the earth and the natural world. Issues of
and “anything that moves and inspires with form and sustainability; the fragility of permanence to
context being paramount”. Her solo exhibitions held impermanence and our own mortality are increasingly
during 2009 showed giant Floating Seeds constructed important influences in her work.
40
three vessels willow
41
norma starszakowna
42
broken wall, gaza (detail) embellished textiles photo: andy taylor
thursday 22
exposed wall, trieste embellished textiles photo: andy taylor
norma starszakowna
43
norma starszakowna
Norma Starszakowna
Norma Starszakowna’s textiles are informed by several separation or the control of the ‘other’ all strongly
factors, including the desire to mediate the flatness impact on my recent work.”
normally associated with the printing process.
Starszakowna’s work combines translucent digital-print An Arts Council Research Award in 1977 and subsequent
with opaque, embossed screen printed heat-reactive research led to the experimental print processes and
media and applied patinations and glazes, to explore and media that were used in the oxidized, embossed, bonded
reflect a diverse range of cultural issues. Her textiles are and crush-print fabrics she produced for Issey Miyake in
richly textured and strongly embued with meaning, 1990/02, and which effectively created a paradigm shift
referencing changing urban and socio-political in Japanese textile culture.
landscapes, as reflected in the use of walls as a means
of expression for the human voice and cultural identity A selection of these initial experimental textiles were also
through graffiti, text or through billboards. exhibited in the British Craft Council’s survey Exhibition,
‘Colour into Cloth 1900 – 1994’ and the Jerwood Prize in
“The encroachment of time and cultural shift; the Applied Art Exhibition 1997, while recent work is held in
archaeology of once-intimate interiors that have been the collections of the Scottish Parliament, the V&A
exposed by socio-economic change to the public gaze, Museum and the Whitworth Gallery.
and the role of walls as a means of protection and
norma starszakowna
45
thursday 22
Jo Barker 2002 The Scottish Gallery at SOFA Chicago collections including the V&A Museum,
2001 Brown Grotta Arts, Connecticut, USA: London. She has completed numerous
Born 1963 Cumbria, UK
From Across the Pond commissions including tapestries for the
Lives & Works Edinburgh Royal Victoria Infirmary, Newcastle and
Selected Commissions the House of Lords, London
W.A.S.P.S. Studios, Patriothall, Hamilton Place,
Edinburgh EH3 5AX The House of Lords, Westminster, London
Education/Qualifications
BUPA, London
Noela Bewry
Royal Victoria Infirmary, Newcastle
1985-86 Edinburgh College of Art: Post Born 1951 Vienna
Scottish Executive, Edinburgh
Graduate Diploma – Commended
Education Kingston upon Thames Art College
City University, London
1982-85 Edinburgh College of Art: BA (Hons)
Design in Tapestry with Printmaking – 1st Class Bank of China, London Exhibitions
1981-82 Cumbria College of Art & Design: Guinness Plc (United Distillers), Edinburgh 2009 Mixed landscape at Brewery Arts Theatre,
Foundation Course City Art Centre & Edinburgh District Council Cirencester
2009 Wonderwall Gallery, Cirencester
Selected Exhibitions Selected Collections
2008 Abstract paintings Hadfield Fine Art –
2010 Contemporary Applied Arts, London: V&A Museum, London, Spring and summer exhibitions
Featured Maker
The House of Lords, London 2006 Contemporary Drawing Show Ruskin Mill
2010 ArtPalmBeach 2010
National Museum of Scotland 2003 Cirencester Workshops Gallery
2009 Brown Grotta Gallery, Connecticut, USA
City Art Centre, Edinburgh 1997 Woodcuts Fiery Beacon Gallery Painswick
2009 Ruthin Craft Centre, Wales: Follow A
Aberdeen City Art Gallery & Museums Noela Bewry annually opens her studio as part
Thread (UK tour)
Grampian Hospitals Art Trust of the Stroud Open Studios in June
2009 Saatchi Gallery, London: Collect
2009 The Scottish Gallery, Edinburgh: Selected Awards Collections
Jo Barker – Tapestry (solo show) 2008 The Theo Moorman Trust for Weavers Stroud District Council collection
2007 V&A, Museum, London: Collect 2008 Inches Carr Trust Numerous private collections
2006 Flinn Gallery, Connecticut, USA: Beyond 2006 The Theo Moorman Trust for Weavers
Professional
Weaving - International Art Textiles 2006 Scottish Arts Council
1980 – 2000 Teaching part-time at Stroud
2005 Nordjyllands Kunstmuseum, Aalborg, Creative Development
College in Gloucestershire
Denmark: Artapestry (Germany, France tour) 2005 Scottish Arts Council
She co-curates the Drawing Show which is part
2001-9 Browngrotta at SOFA New York Professional Development
of the SVA site Festival every June, Stroud
and Chicago
Employment
2003 Westport Art Center, Connecticut, USA:
The Common Thread 1995 – 2001 Goldsmiths College, London;
Edinburgh College of Art; Duncan of
l 2002 City Art Centre, Edinburgh: Weaving
Jordanstone College of Art, Dundee –
l Stories (UK tour)
Visiting Lecturer
2002 Brown Grotta Gallery, Connecticut, USA:
l 15th Anniversary Exhibition
Jo has exhibited widely nationally and
internationally and has work in several
l
46
curricula vitae edits
2010
Kate Blee Architects,. London Sara Brennan
Education Financial Services Authority – Painted and Born 1963 Edinburgh
Suspended Glass Screen, Canary Wharf
1979-84 Edinburgh College of Art, Scotland –
1999 Edward Square, London Exterior Wall Education & Awards
BA 1st class Hons and Post Grad Dip.
painting: J & L Gibbons, Landscape Architects 2008 Jerwood Contemporary Makers Award
1986 Established Studio
2005 Scottish Arts Council, Artistic
Public Collections
Recent Exhibitions Development Award
V&A Museum, London
2010 Roche Court, New Art Centre, group show 2001 UK representative, EU initiative, Tapestry
Crafts Council Collection, London exhibition, Tunisia
2008 re:weave 20 years Rossi & Rossi, London
Westminster Parliament, Portcullis House, London 2001 Polish Artists Union Prize, 10th
2007 Solo show the Scottish gallery, Edinburgh
The Contemporary Arts Society, London International Tapestry Triennial, Lodz
2006 Solo show Cutting Chris Farr Gallery, LA.
Girton College Cambridge University, Cambridge 1993 Hope-Scott Trust Award for Works for
2005 The Spirit of Liberty – London
94 Exhibition
Financial Services Authority, London
2004 Solo show CAA Gallery, London
1996 Scottish Arts Council, Artistic
NHS Trust Southmead Hospital, Bristol
2003 C.D.A Show. Sotheby’s, London Development Award
Wellcome Trust, London
2002 Solo show. Egg Gallery. London 1982-86 Edinburgh College of Art,
2002 LOSA (South Africa Project) Sotheby’s Private Clients include BA (Hons) Tapestry
Group show, London Issey Miyake, Donna Karan, Annie Lennox, 1981-82 National Arts School, Papua New Guinea
2001 The Unexpected – Sotheby’s, New York Sir Michael Hopkins, Georgio Armani,
Selected Commissions
2001 Solo show Tapestries – Christopher Dustin Hoffman, Emma Thompson, Jon Snow,
Janice Blackburn First Minister’s Suite, Scottish Executive,
Farr Gallery
New St. Andrews House, Edinburgh
2001 Flood show Pucci International Professional
Private Commissions UK & USA
New York, USA
Kate is visiting tutor in Mixed Media –
2000 Pitti Imagine Casa – group experimental Royal College of Art, London Selected Collections
textiles show
Colour/Art Consultant – Rivington Street Studio Scottish Parliament Building Edinburgh
1999 Solo show – Egg Gallery, London Architects, J & L Gibbons Landscape Architect Shipley Art Gallery Gateshead
Public Commissions HBOS Headquarters, Edinburgh
2007-10 Southmead Hospital NHS Trust Bristol Aberdeen Art Gallery
– Lead Artist Private Collections UK, USA & Australia
2005 City and Islington College – Ceramic wall
- Wilkinson Eyre architects Selected Exhibitions
2004 Cambridgeshire District Council Offices - 2009 Vive la tapisserie! Institut Francais
8m tapestry, architects – Aukett d’Ecosse, Edinburgh.
2000 Parliament buildings, Portcullis House, 2009 Contemporary Applied Arts, Collect, l
Westminster, London Sattchi Gallery London
2009 Follow a Thread, Ruthin Crafts Centre,
l
1999 Financial Services Authority, London
North Wales, touring Dovecote, Edinburgh, l
Series of Tapestries – Michael Hopkins
Harley Gallery, Notts l
47
2008 This is Now, from drawing to contexture, Henny Burnett 2000-01 Commissioned artist, A Sense of
Edinburgh Arts Festival, WASPS, Edinburgh Occasion, Craftspace Touring, Birmingham
Education
2008 Jerwood Contemporary Makers, Jerwood 2000 Two-person show, Colle Verde residency,
1991-92 Institute of Education, University of
Space, London, and Dovecot, Edinburgh. Beatrice Royal Gallery, Southampton
London, PGCE in Art & Design
2007 Beyond Weaving – International Textiles, 1999-2000 Commissioned artist, Subverted
1985-86 Edinburgh College of Art, Post
Finn Gallery, Connecticut, USA Suburbia, Gracefields Arts Centre, Dumfries
Graduate Diploma, Sculpture/Printmaking
2007 Edinburgh College of Art, Centenary 1998 Selected artist, In Dent, Stroud House
1982-85 Edinburgh College of Art, BA Hons
Celebration Exhibition, 2007, Scottish Gallery Gallery, Stroud
(1st), Design
2006 Solo Exhibition, Scottish Gallery, Edinburgh 1997 Selected artist, Art in Boxes,
2005 Artapestry, European Tapestry Forum, Solo Exhibitions Southampton City Art Gallery
touring Denmark, Germany, & France 2009 The Shoemaker’s Shrine Northampton 1996 Selected artist, Sitting Pretty Kirkcaldy
2005 Interface, Contemporary Textiles, Museum and Art Gallery Museum & Art Gallery
Scottish Gallery, Edinburgh, & Ruthin Crafts 2008 The Shoemaker’s Shrine JGallery, 1994 Invited exhibitor, Paperworks City
Centre, Wales Moulton, Northampton Museum & Gallery, Plymouth
2004-07 Scottish Gallery at Collect, V&A, London 2004 Installation, Gallery II, University of Bradford
Awards, Residencies, Commissions
2002-06 Brown Grotta at SOFA, NY, USA 2002 I Went to see the King Beatrice Royal
2009 Awarded grants for the arts (individuals),
2002-04 Scottish Gallery at SOFA, Chicago, USA Gallery, Southampton
Arts Council England
2002 Darkness into the Light, C.A.A. London, 2001 The Language of Ghosts Southside Arts,
2004 Awarded grant for the arts (individuals),
touring UK Southampton
Arts Council England
2002 Anniversary Exhibition, Brown Grotta, USA 2001 Uncle Eric’s Box, The Otter Gallery,
2003 Awarded project funding, Juliet
2001 Across the Pond, Brown Grotta Gallery, Chichester
Gomperts Trust
Connecticut, USA
Group Exhibitions 2000 Awarded development funding
2001 Invited Artist, International Tapestry (investment in individuals) - Southern Arts
Triennial, Lodz, Poland 2009 The Open West, Summerfield Gallery and
Cheltenham Art Gallery & Museum, Cheltenham 2000 Commission, Birthwake, Craftspace
2001 Sara Brennan, Scottish Gallery at the Touring Exhibition
Hub, Edinburgh 2007 Arts Unwrapped, Space Morning Lane,
London 2000 Awarded residency, Colle Verde, Italy,
2001 A Celebration of Contemporary Applied Southern Arts
Art, Ruthin Craft Centre, Wales, and Scottish 2005 Highly Commended, Journals, Ale &
Gallery, Edinburgh Porter Open, Bradford-on-Avon
2001 Less is More, Glynn Vivien Art Centre, 2004 Commissioned artist, Open Desk, Ragged
Swansea School Museum, London
2001 Thirteen Hands Exhibition Caol 2003 Commissioned artist, The Home Ideal
community, Fort-William touring Scotland Show Hotbath Gallery, Bath
2001 European Tapestry, Maison d’Arts, 2002 Metamorphosis Chapel Gallery, Ormskirk
l Tunis, Tunisia 2001-02 Sightlines 2002, Basingstoke Arts
l Festival
l Invited artist, Handbag, City Gallery, Leicester,
and touring UK
l
48
curricula vitae edits
2010
Deirdre Nelson Arts Centre, St Andrews Commissions
Born 1965 N. Ireland 2005 Collins Gallery Glasgow, The Hub, 2008-9 Edinburgh Royal Infirmary, Edinburgh
Sleaford, Lincolnshire 2007 Leeds Cancer Hospital, Leeds
Education 2004 A hairdresser, a soldier a thimblemaker 2006 Shetland Museum and Archives
1995-96 M. Philosophy. Art and Design in and a duke, Bankfield Museum, Halifax
2004 Brodsworth Hall, Doncaster, Creative
Organisational Context. Glasgow School of Art 2003 Lush Betty, Isle of Arran distillers, Arran Partnerships and Art House
1989-92 B.A. Hons Design: Textiles. Glasgow 2003 F2T Atrium Gallery, Glasgow 2003 Gibside estate. In collaboration with
School of Art
2003 Apron (n) bartender, An Taigh Northumbria University and Shippley Art Gallery
1984-85 Foundation Course in Art and Design. Chearsabagh, N. Uist 2002 Langside Parish Church, Glasgow
Manchester Polytechnic
2002 My Dear John, Museum of Edinburgh
Recent Residencies
Awards 2001 Material matters, The Scottish Gallery and
The Hub, Edinburgh 2010 Stroud International Textiles residency at
2008 Jerwood Contemporary Makers
Museum in the Park, Stroud, Gloucestershire
2007 Scottish Arts Council Professional 2001 A thimbleful. Café Cosmo, Glasgow Film
Theatre, Glasgow 2008 IASKA international artists residency,
Development Award
Kellerberrin, Western Australia
2005 Scottish Arts Council Award for Individual Group Exhibitions 2008 Taigh Chearsabagh Museum and Art
Development.
2008 Jerwood Contemporary Makers, Jerwood Centre, N. Uist
2005 Inches Carr Trust Bursary Space, London 2007 Curtin University, Perth, Western Australia
2003 Scottish Arts Council Professional Collect, V&A London 2006 Handa Island, Durness Development
Development Award
2007 Scissors paper Stone,. Edinburgh City Art Group, Sutherland, Scotland
2002 Hope Scott Trust award Centre 2005-6 London Printworks Trust, Brixton, London
2002 Scottish Arts Council Award for Individual 2006 Changing Face of Craft, National Portrait 2002 Museum of Edinburgh self initiated residency
Development Gallery, Edinburgh
2001 Short listed for a Winston Churchill 2006 Making Connections, Timespan,
Memorial Award Sutherland, Scotland
2007 Currency lads and lasses, Museum of 2004 m-e-s-h, Seven Seven Gallery, Broadway
Western Australia, Perth Market, London
2006 Birdies of Weavers Bay, Scourie Village 2003 Tell tale, Shippley Art Gallery, Gateshead
Hall, Sutherland, Scotland 2002 Digital print @ Pentagon Centre, Glasgow
l
2006 Ironers & Shakers, London Printworks Trust 2002 Hemmed In, Devon Guild of Craftsmen,
2005 Waking and watching Culross Palace, Devon l
Culross, Fife Archive Artifice Artefact, FISE.Gallery l
2005 Dangers of Sewing and Knitting, Crawford Budapest, Hungary l
49
Caroline Sharp 2008 Jan – Feb: Open Selected Exhibition, Professor Norma
Black Swan Arts, Somerset
B.Sc. (Hons) DipLA (Dist.) MLI. CertUD (Dist.)
Starszakowna DA, FRSA, FCSD
2007 June – Aug: Summer Exhibition, Bowlish
Born 1958, London. Studio Dundee
Gallery, Somerset
Childhood in the Middle East
2007 April – June: Urban Field, Contemporary Education
Education Applied Arts, London
2005-08 Director Research, Faculty Art,
2000-01 Dip UD. Urban Design. Oxford 2007 Feb – Mar: Pushing the Boundaries, Architecture & Design, University of Lincoln
Brookes University Gracefield Arts Centre, Dumfries
2005 Director Research Development,
1984-87 Dip LA. Landscape Architecture. 2006 May – July: Pushing the Boundaries, University of the Arts London
Birmingham Polytechnic Inverness Museum and Art Gallery, Scotland
2003-05 Visiting Professor & Consultant,
1977-80 BSc. Geography. University College 2006 May – June: 20/20, Walford Mill, Universities of Heriot-Watt and Lincoln
London Wimborne, Dorset
1995-99 Chair of Design, Duncan of
2006 Mar – April: Earthbound, Bridport Arts Jordanstone, University of Dundee
Solo Exhibitions
Centre, Dorset
1990-95 Deputy Head of School of Design,
2009 Aug – Sept: Members Showcase, Devon
2006 Jan – Feb: Elemental Insight, Duncan of Jordanstone
Guild, Bovey Tracy, Devon
Falkirk, Scotland
1984-95 Head of Textiles and Fashion, Course
2009 June – July: Enjoy the Earth Gently, Black
Director Printed Textiles, DJCA
Swan Arts, Frome, Somerset Residencies
1985 Full-time lecturer, BA Printed Textiles,
2009 April – June: Vessel and Seed, Walford 2003 Art in the Garden Residency, Hilliers
DJCA
Mill, Wimborne, Dorset Garden, Romsey, Hants. 25/26/27 July – Sept
2002 Shoot/Wave Installation at Dorset County Recent Selected Exhibitions & Commissions
Selected Group Exhibitions
Hospital, Dorchester, Dorset, Jan – June
2009 Art Cloth: Engaging New Visions, Fairfield
2009 September: Artwey Open Studios, Dorset
City Museum & Gallery, Sydney (touring
2009 May – June: Cup, Devon Guild, Bovey Commissions
Australia & USA 2009-11)
Tracey, Devon 2008 Arts NK, Installation at North Hykeham
2009 Age of Experience solo exhibition,
2009 June – July: Fresh Air 2009, School/Community Centre, Lincoln.
Dovecot Galleries, Edinburgh
Quenington, Gloucestershire 2006/2007 Creative Footsteps, Wessex
2008 Writings on the Wall solo exhibition, The
2008 Dec-Jan – Christmas Show, Alpha Gallery, Ridgeway Project, Dorset Artsreach. EU funded
Scottish Gallery, Edinburgh
Sherborne, Dorset 2003/2004 Willow installation/frontage to
2006-8 Collect International Gallery Exhibition,
2008 Oct-Dec – Christmas Show, Whitestones Crafts Study Centre, Surrey Institute of Art,
V&A Museum, London
Gallery, Portland, Dorset. Farnham, Surrey
2006-7 Suave 2, Centro de Artesania e Deseno,
2008 June – Sept Ecology meets Craft, Walford 2003/2004 Art of Craft, Artsreach Leader EU
Lugo; National Museum of Costume, Madrid
Mill, Wimborne, Dorset funded project. Dorset
and National Textiles Museum, Barcelona
2008 June – August: Summer Exhibition, Alpha 2002 Presence-Private Garden, Dorset (Invited Artist)
Gallery, Sherborne, Dorset 2005 Vision in Textiles, Izmir State Museum of
l 2008 May: Open Selected Exhibition, Art, Turkey
l Dorchester Arts Centre, Dorset 2004 Transmutations, solo exhibition, The
l 2008 May: Trig Point Exhibition, Study Gallery Dutch TextielMuseum, Tilburg, Netherlands
of Modern Art, Poole, Dorset
l 2004 Hinterland, permanent installation
50
curricula vitae edits
2010
commissioned by Scottish Parliament & Art
in Partnership, installed Scottish Parliament,
Edinburgh
2003 Artists at Work, international juried
exhibition, Museo del Tessuto, Prato, Italy
2003 Textiles,Invited Artist, Lodz University/
St. Katherines Gallery, Gdansk, Poland
2003 Design collection commissioned by
Shirin Guild S/S, retailed UK & abroad
2002 Cheongju International Biennale,
Cheongju, Korea
Selected Awards
2008 The Art Fund Collect Purchase Prize,
V&A Museum, London
2004 International Commission Award, the
Scottish Parliament
2002 Commended, Cheungei International
Biennale, Korea
Collections
Public and private collections include: Issey
Miyake, Tokyo, Reiko Sudo (Nuno Corporation),
Tokyo; Shirin Guild Ltd.; Scottish Arts Council;
Scottish Crafts Collection; The Scottish
Parliament; Bank of Scotland HQ; IBM
Collection; South West Arts; Aberdeen,
Kirkaldy and Leeds City Art Galleries; various
Education Authorities; Sembikiya Gallery,
Tokyo; The Deutsche TextilMuseum, Krefeld,
Germany; Whitworth Gallery, Manchester;
V&A Museum, London
l
l
l
l
l
l
l
l
l
l
52
jo barker: resonance (in progress) tapestry photo: roger hyam
2010
design: chris j bailey ©2010 printed with vegetable based inks on paper derived from sustainable sources © stroud international textiles 2010
Acknowledgements
Festival Patron
Mary La Trobe-Bateman OBE
SIT
w: www.stroudinternationaltextiles.org.uk l
c h o s e n p y x
2010
textile festival
l
celebrating textiles
& contemporary cross art forms
1– 23 May 2010
free day by day diary
l
l
e: enquiries@stroudinternationaltextiles.org.uk
l
t: +44 (0) 1453 808076 m: 07767763607
w: www.stroudinternationaltextiles.org.uk
l l
l l
l l
l l
w w w. s t ro u d i n t e r n a t i o n a l t e x t i l e s . o r g . u k
Stroud Five Valleys, Gloucestershire, England
SIT