Relying upon his 30-year career in fashion design, Adrian twists and contorts fabrics and trims to represent landscapes, sea goddesses, deadly sins and more. Tricky materials, such as silks, organza and polyesters, rise and fall in remarkable fashion. And his ‘fauxthers’? They’re the icing on the cake.

The fact Adrian largely uses recycled materials makes his portfolio even more special. Each piece is created from enormous amounts of fabrics and trims found at thrift stores and charity shops. 

Enjoy this look into Adrian’s world, where manipulation is truly an artistic virtue. 

Seductive transformation

Adrian Smith: I’d describe my work as ‘seduction’. Not in a sexual way, but more sensually. My work links my fashion experience with textile art in a way that directly appeals to people’s visual and tactile senses. 

I have an instinctual connection to textiles and their technical challenges. And I’m drawn to fiddly, time-consuming techniques, possibly because my previous design work focused on factory repetition of garments in a series. I felt a need to distance my art’s ‘intellectual’ inspiration from my fashion design work. 

Like many textile artists, I’m drawn to landscapes. I’m currently working on an ongoing series based on growing up in Orkney and experiencing its terrain, culture and folklore.

But past inspirations have been varied. For example, my first series, SALIGIA – The Seven Deadly Sins, explored the seductive nature of the sins and how almost all were sins of ego and individuality.

A series of stories

My Death Becomes Her series was inspired by a visit to the Roman catacombs along with the Jewelled Saints of Germany. The series was an interesting meeting of human vanity and the fear of death.

I choose to work in series to pinpoint a mood or message and focus my creativity in terms of direction and coherence. For me, the best source of direction comes from personal passions, interests and familiar obsessions. A personal story or fascination with a subject gives me a strong framework from which to work. 

Working in series also allows me to present evolutionary stories and further explore unique facets along the way. It can be quite an illuminating process of self-discovery, but it also requires discipline to know which elements are relevant and which are just momentary curiosities.

Fashion design foundations

I’ve always been fascinated by the way people dress and present themselves, so I suppose fashion was an inevitable destination for me. After graduating with a BA Hons in fashion and theatre from Edinburgh College of Art, I later studied for an MA in design from the Royal College of Art in London. Following this, I moved to Italy to start a 30-year career in the fashion industry. I designed for several high-level luxury brands, including Gucci and Prada. And I worked with contemporary classic brands like Les Copains (knitwear) and Ck Calvin Klein (tailoring and urban sportswear).

Most of my fabric manipulation techniques come from my fashion experience. I particularly remember seeing a vintage haute couture gown that I thought was made of tiny pleats. But after looking more closely, I discovered the pleats were actually tiny tubes of fabric couched onto a base. That was one of my first techniques and it’s one I still use a lot. 

I love gradient colour effects, so my layered transparency spaghetti-strap technique grew from that. And my fringe-plush technique came about from trying to recreate a fur effect for a piece inspired by the golden fleece. I had used fringe strips before, but I discovered that gathering them tightly created a rich, furry texture.

I also modified the fringe technique to create what I call ‘fauxthers’. I’d been asked to create some millinery with feathers for a fashion show in New York. I couldn’t bring real feathers through US customs, so I developed my faux feathers. I’ve been using them ever since. 

Cutting, sewing and turning the trims can be tedious, repetitive and irritating work. Beyond that, gathering and application of the trims to a base can be quite fiddly and frustrating. Patience is necessary, but I believe working slowly gives the final piece a special quality that makes the challenge worthwhile. 

“My techniques are deceptively simple and the trims I create don’t take any great skill, but they do take a lot of patience.”

Adrian Smith, Textile artist

Fabrics unleashed

I’m a great believer in re-purposing. As a designer, I’m very aware of how rare it is to find something that can have multiple purposes. But that’s a challenge I enjoy. Repurposing fabrics allows me to give them a new life, versus being discarded in a landfill or incinerated.

Thrift stores and charity shops are a huge resource. Many textile artists believe the answer to sustainability is using natural fibres, but my experience has taught me many of the processes of industrial production of linen, cotton and wool all have an environmental impact of some kind.

I tend to embrace most fabric types, including synthetics where they work. Each fabric brings a particular texture or lustre to a piece, and I especially enjoy the contrasts. 

I use a lot of silk effects in my work, but they’re usually polyester faux silk blends. Silk is my favourite material for texture, lustre and colour, but I rarely use virgin silk as it feels like a crime to cut it into strips.

Courageous colours

I love energetic colours. Fabric manipulation is all about transformation, and in my world, that extends to colour.

Vulgarity isn’t my intention, but I like the fact that some colours have a potential for that. Part of my attraction for intense colours is the way they function as an antidote to the all-pervasive ‘natural’ palette that runs through a lot of textile art.

Don’t get me wrong. I love natural tones and concepts, and I admire many textile artists who focus on them. But sometimes it’s just liberating to just take things (and myself) less seriously for a moment. To take a deep breath, and then jump!

Uplifting beauty

We’re currently going through a terrible moment in history. Appalling injustice, war and neo-barbarism are clear signals we’re slipping back on hard-won progress and evolution. I see everyone around me under a perpetually despondent cloud.

It’s important to be aware, but I feel artists and creatives can also help by presenting positive messages and reminders of our capacity for uplifting beauty. If an artist can’t do that, then nobody can. 

My Wilful Optimism series is created as a refusal to be changed or cowed by evil influence. It serves as hope and defiance in the face of sometimes overwhelming horror.

This work uses a lot of fabric. Over the years, I’ve gathered colours that somehow ‘sang’ to me, and I found a home for them in this project. Fabrics include silk, viscose and polyester that unapologetically show off their joyful colour and lustre.

I covered a circular stretcher canvas in the base colour, then I used foam supports and repurposed elements to create alternate receding and burgeoning levels. 

The high-relief base was covered with fringe techniques, and the halo around the outside features my fauxthers to suggest freedom and joy. Everything was then reinforced with floristry wire, cut to shape and attached to a base panel. 

Swirling waves & quilling

I grew up on a small rural island in Orkney where much of the folklore is focused on the sea. My artwork Mither o’ the Sea references the great spirit that controls the sea in summer. She’s in eternal conflict with Nuckelavee who rules the sea in winter.

The piece is mostly created in organza on a taffeta base. I used double-layer tube trims, and the wide range of gradient colours was created by layering transparent fabrics. Those were couched down on the taffeta base with a stab stitch following curved lines. 

Although it looks like folds and pleats, it’s more like a fabric version of quilling. That gives me complete control in making the trims double back on themselves to create interesting collisions between curved forms.

The centre of the piece is suggestive of a face but made from a swirling wave effect over a three-dimensional support.

Testing my patience

Totem sorely tested my patience with the need for endless preparation and application of miles and miles of fabric and gathered trims. It took almost two years to complete. 

It was created in response to an EDGE Textile Artists Scotland brief to interpret an element of one of Scotland’s long distance walking routes, the West Highland Way. For some time, I’d been wanting to create a free-standing sculptural piece, and this was my opportunity.

I’d found a steel wire lampshade with an ugly covering that had an interesting form. I removed the covering and began applying fringe-plush and frill trims in colours that reflected elements of the landscape stretching from the central belt to the Highlands.

Creating the piece became absurdly time-consuming, and I missed the EDGE deadline. But I decided to keep at it and expand it to represent Orkney’s landscape, seascape and skyscape.

I added three more sections and two conical end pieces to create a large spindle shape. The spindle references my textile past and present. And the title Totem suggests an iconic representation of identity and belonging. 

After completing the spindle, I realised I was missing a water element. So, I added a separate spinning whirlpool form below the spindle. The shape references the Great Swelkie whirlpool near Stroma in the Pentland Firth.

Totem incorporates pretty much all my fabric manipulation techniques. The fabrics include silk, viscose, cotton, wool, nylon and polyester. The organza in the upper extremity suggests clouds, while bias-cut spaghetti-strap applications at the bottom give the impression of dense rock strata.

Scotland has many wildflowers in magentas and purples, so that was also an important element. I found an Indian silk sari top in a perfect magenta. I took it apart and used every scrap I could. Nonetheless, the entire amount only covered about an inch and a half of the spindle, and that was only because it was mixed with green!

Sharing my techniques

I’m excited to introduce Stitch Club members to my fabric transformation techniques, perhaps bringing a new element into their vocabulary. And I’m curious to see how they might use the techniques to add extra dimension to their work. 

They’ll learn how to take a fabric surface from low- to high-relief, perhaps even into a sculptural dimension. The process takes time, and I encourage members to persist. The techniques need patience and can be frustrating, but I can guarantee the results are immensely satisfying. 

“I think that the re-evaluation of textile art’s credibility for artistic expression comes as a result of the many artists who have harnessed social media for self-promotion and communication.” 

Adrian Smith

Thoughts on social media

I understand people’s valid frustrations with social media. But as a creative today, I think it presents a very rare opportunity to directly engage with an audience and no (overt) gatekeepers. 

I also think that the re-evaluation of textile art’s credibility for artistic expression comes as a result of the many artists who have harnessed social media for self-promotion and communication. 

We’re no longer solely dependent on convincing a gallery owner or curator to publicise our work.

My focus is on Instagram, and I’ve learned some key lessons along the way. First, because it can take a long time to create a textile work, I’ve discovered that sharing different stages of my work process appeals to viewers. People love road movies. If you just show them the destination, they miss out on the adventure.

I also try to not take criticism too personally unless it strikes a chord with something I’ve already asked myself. 

Lastly, I try to be patient and focus on those who generally appreciate my work. There is absolutely nothing wrong with having just a few likes for a post. You can’t please everyone. 

The magic is found in her use of ‘sequins,’ which Jessica stresses aren’t limited to shiny little plastic circles. They can be created from anything and in any shape, including sweets wrappers, straws, wire, metal washers, junk mail, cereal boxes and, of course, fabric.

While Jessica’s whimsical bits and bobs are a joy to behold, they also have a serious purpose in raising awareness about zero waste and recycling. Jessica seeks to literally turn rubbish into works of art, and she delights in viewers’ astonishment upon closer viewing of her work. ‘Look! That’s a bottle cap!’

Jessica’s vibrant selection of unloved objects, combined with traditional embroidery work, is something we’re sure you haven’t seen before. And she is kindly offering us a look into both her process and artistic philosophy.

Tell us a bit about your art practice…

Jessica Grady: My work is entirely stitched by hand using embroidery techniques and intricate detailing. Each stitch provides an added element of texture and colour to the work as a whole.

With a lot of sculptural embroidery pieces, I often stitch into and embellish my embellishments before adding them to the fabric, to increase the level of small details.

I also like to work in layers to help build up my pattern. I begin with the largest shapes first, and then the detail gets smaller as I layer up, leaving my embroidery stitches as my final flourish.

I am a fan of basic stitches, such as straight stitch, couching, french knots and chain stitch. I think the most simple stitches have the most versatility in the way they can be manipulated and used within a piece of work.

When I stitch embellishments onto fabric, I try to use my securing stitch as an added pattern or design. It’s like doodling with a pen on paper, but I use my needle and thread.

I also cut and create the vast majority of my sequins and beads through many mixed media processes, including dyeing, painting, fusing and foiling.

Colour is another important aspect of my work. I use many strong and highly contrasting colours, creating a very vivid and saturated colour palette. My artworks are a textural and visual feast, saturating the senses with colour and pattern.

From trash to treasure

Tell us about your design process…

I am a firm ‘anti-planner’ and avoid planning out designs in advance. I instead create mini samplers that demonstrate a technique or motif idea that I have swirling around in my head. I can then see if the idea works and then develop it further.

I prepare my materials in batches, so one day I might be dyeing recycled plastics and on another I am painting metal washers. I want to have colourful and exciting things ready, that make me want to create something with them.

I work with recycled and unconventional materials, so actually creating my sequins, beads and embellishments is my favourite part of the process.

Every work is inspired by my materials – the colour, shape or texture of something is always the catalyst to what will be created.

Jessica Grady, Textile artist

For me, it’s all about transforming waste materials. For example, I’ll take something mundane like a ground coffee packet and then dye, paint, scrunch and overstitch the fabric to create something totally unique. And nobody would be able to guess it’s made from something many people would throw in the bin!

I’m passionate about utilising mixed media and recycled materials such as painted metal washers, hand-dyed plastic waste, dyed sponges and stripped electric cables. The juxtaposition of unusual media with traditional techniques invites the viewer in for a closer look.

My continued experimentation also means I don’t think I will ever run out of new ideas for unusual materials I can stitch onto my fabrics!

Collections transformed

What initially attracted you to textiles as a medium?

I was fascinated with textiles from a young age. My great aunt gave me pieces of fabric with printed flowers and showed me how to embroider with coloured threads. I attempted to finish them off with neat flowers, but my attraction was more to the colours and textures of the stitches.

I also vividly remember destroying my poor mum’s ironing board cover, after a first attempt at devoré printing (a burn technique largely used with velvet) as a teenager.

I love the tactility of textiles, and I enjoy the challenge of creating a highly-detailed, three dimensional surface using embroidery and embellishment.

What were your early influences?

I grew up in a small town on the Yorkshire coast. I have always loved being near the sea and hunting for treasure, be it fragments of sea tumbled glass or broken shells and pottery.

I became a collector of ‘stuff’ at an early age, and it’s only now that I am going back to those collections and finding ways to incorporate those small pieces into my embroideries.

I was very shy and anxious as a child and threw all my energy into my studies and art projects. In a way, I feel it gave me a voice when I didn’t feel confident enough at the time to express myself through talking.

My family has always encouraged my art practice, and my mum was always coming along with me to look at new exhibitions or to shop for craft supplies.

Ironically, my college career advisor told me a textiles degree would give me limited career options, and therefore, wasn’t a good choice. Safe to say, I didn’t listen to her!

What was your route to becoming an artist?

I studied art and design at Norwich University of the Arts. After looking through my sketchbook, one of my teachers encouraged me to look at textiles as a degree option. Every page of my sketchbook had influences of texture, and I would try any new textile practice I could get my hands on.

So I completed a textile design degree, learning to weave, knit, print and stitch. My course had a flexible approach that allowed me to dabble with practices that interested me, rather than having to cement myself to one single discipline.

University helped hugely with my confidence and development of my artistic voice. I also interned at several commercial textile companies, including Hand and Lock, and Zandra Rhodes.

After graduation, I worked for several London companies as a freelance embroidery and print designer in the fashion industry. But I still created my own work and was always applying for exhibitions and shows alongside my commercial practice.

After a while, I found working in fashion began to dilute my sense of who I was as an artist, so I decided to do more of my own work. I applied for a new artist award in 2017 called ‘RAW Talent’ offered by an organisation called art&, and to my surprise, I got into the programme. It was an amazing experience in which I received both one-on-one and group mentoring. It made me realise that yes, I could do this. I just needed to be stubborn and not give up!

I am a big believer that you must keep plugging away and shout about your practice, including using social media or writing to magazines and shows.

What currently inspires you?

Colour, shape and pattern are my biggest inspirations. I also like a good challenge in taking something particularly bizarre and adding it into a textile context. If something has a hole in it, I will stitch it onto fabric. And if it doesn’t have a hole, I’ll drill one in!

My work is deliberately ambiguous in its theme. I enjoy hearing what people think the pieces look like, and for me, the main goal is to encourage curiosity and evoke a sense of playfulness and joy. I always say I create happy work only, with the colour really shouting out to you when you look at a piece of work.

I am also inspired by my recycling ideas and trying to give materials a new purpose by turning them into something beautiful.

Zero-waste art

Tell us about an artwork that holds fond memories…

Fragments is a large-scale three dimensional framed artwork created entirely using recycled straws, wires and dyed medical tubing. This piece really pushed me out of my comfort zone and started my love of more sculptural embroidery work. It took several months to stitch.

At the time, I was at a pivot point in my artistic journey. I was making work because I wanted to sell the work and not because I wanted to make the work. I hadn’t yet realised that creating something I put my all into would be stronger than something made for commercial purposes.

I sent photographs of the piece to various magazines and shows, and it landed me a feature in several international textile magazines. And it is still a piece I enjoy taking to shows, including the International Quilt Festival in Tokyo, Japan (2020) and the Art Textiles Made in Britain exhibition (2021).

How has your work developed and evolved?

My work has evolved and grown up along with myself! I started my journey being quite hesitant and unsure. But my frustration at the lack of interesting sequins and beads led to me becoming more aware of zero waste practices. I now make a conscious effort to recycle and use up unloved materials in my embroidery work.

My sense of colour has also changed and grown stronger.

An exciting personal development has been the idea of creating highly sculptural 3-D embroidery pieces that break out of the format of framed artwork. I enjoy the challenge of stitching vertically, and that, combined with large-scale work, gives me lots of future installation ideas.

And in 2023, I achieved my goal of writing a book about my processes and ideas, when Stitched Mixed Media was published by Crowood Press.

Now an award-winning mixed media artist based in London, Woo Jin’s soft sculptures and embroideries delve into the significance of traditional folk stories in today’s culture – with more than a playful twist.

In her hands, an Ikea bag conceals a wild tiger; an odd sock becomes a Korean Dokkaebi or goblin.

Just as importantly as the stories she conjures, her work evokes a sense of enchantment and magic in ordinary things. Found objects and random textiles, she says, are vital sources of inspiration for unleashing her imagination.

If you’ve ever wondered how your past can become part of your art, then read on.

Woo Jin Joo: My practice explores East Asian mythology and folk culture and how these ancient belief systems and storytelling manifest in contemporary culture.

I use mythical creatures, spirits, ghosts, animals and demi-gods to explore our connection with objects and non-humans. I am searching for stories about objects with spirits. I conjure tales of multispecies entanglement and collaboration where human beings are not centre stage. 

My work is magical, playful and colourful. It touches on big themes like multispecies, spirits, environment and heritage, yet it’s joyous and accessible through its character and colour. 

Take my artwork People Who Deny the Existence of Dragons Are Often Eaten by Dragons From Within. It’s one of a series inspired by the book Arts of Living on a Damaged Planted: Ghosts and Monsters of the Anthropocene. Here I’m exploring ideas of ghosts, monsters and other mythological creatures as agents of the damage we cause to our planet.

Sometimes, my artwork may seem like it’s caught between the physical and the imaginary world – awkward yet appealing, enchanting yet funny.  

“I am trying to evoke and explore a sense of enchantment and magic in ordinary things.”

Woo Jin Joo, Mixed media artist

Korean folklore

I am fascinated by the mythology and folk culture of Korea and how these ancient stories effortlessly weave human and non-human elements in magical ways.

Korean folk paintings inspire me in more ways than one. The concepts and stories from traditional folklore and mythology inform my sculptural pieces. 

For example, Dokkaebis (도깨비) are creatures from Korean mythology and folklore. Also known as ‘Korean goblins’, these creatures are formed from a spiritual possession of an inanimate object. This series of works is an exploration of ways of re-enchanting the way we perceive and value inanimate objects.  

My two-dimensional pieces are more visually inspired by Korean folk paintings, particularly in terms of motifs and colours. And the way colours are arranged or selected, or the depiction of natural elements like clouds, water, waves and mountains are great sources of inspiration even when I am imagining my own mythical hybrid three-dimensional beings. 

Although the techniques and materials I use differ from traditional Korean embroidery, these visual inspirations and my interpretation are another way of celebrating and embracing my cultural heritage.

Making sense

I’m looking for the relevance and significance of traditional folk stories in today’s culture. Creating my own stories is a way of making sense of the world, connecting the tales heard and internalised through my cultural upbringing with the physicality of objects and space around me in day-to-day life. 

In the series titled 水神 Water Deities, which includes A Saviour and And Can You Keep the Still Waters Deep and Clear? and The Urchin Man, unexpected species are raised to the status of deities, mutated with human body-like limbs and odd forms. 

Increasingly, we are finding scientific evidence that reveals the roles of overlooked species, microorganisms and microecology in maintaining the balance of the earth’s environment. Situating these sea creatures on a mythological pedestal as deities, the series suggests a new story that deems the significance of these critters in an enchanting and engaging way.

Bridging the textile gap

One of the questions I’m exploring is our relationship with textiles. With the advent of mass production, textiles have been transformed from a valued and repairable object to 300,000 tonnes of used clothing going to landfill every year (in the UK alone). 

Textiles are integral to everyday life yet we’ve become disconnected from their value, importance and capabilities. How can we bridge this chasm that’s arisen? What does this relationship reveal about us as a species? These are questions I am exploring. 

虎死留皮，人死留名。(When a Tiger Dies, It Leaves Behind Its Skin. When a Man Dies, He Leaves Behind His Name), embroidered on an old IKEA bag, is from this series.

“I want to create ways of bridging the gap between us and objects, by creating playful sculptures out of discarded or old textiles.”

Woo Jin Joo, Mixed media artist

Finding stories

I love working with old and found objects. These might be hats or gloves I’ve found on walks or clothes donated by people close to me or during workshops. I like to view these items through the lens of mythology and folk culture, imagining new stories about them.

Every object brings its own history. They add another layer of narrative to the work. Also, I find that the objects themselves are often an endearing entry point for the audience.

“Restricting myself to using found objects is creatively stimulating as the limitation provides a structure to work within.”

Woo Jin Joo, Mixed media artist

Nurturing the flame

My starting point for my sculptural pieces is found and old materials. It always starts with an initial spark of an idea. 

I then develop and work through it by drawing. Drawing is the foundation of my practice. It helps to bring my ideas to life. It’s less time-consuming to work up ideas through drawing than stitching.

“The idea usually comes from the object that I am working with – its shape, colours, feel and patterns.”

Woo Jin Joo, Mixed media artist

My imagination is quickly inspired just by looking, then I have to put in the work to bring the idea to life. 

I start with planning the internal structure, building it with wires and cane rattan. Then I cover the structure in wadding or old scrap fabrics. Finally, I add embroidered textures, which I create on dissolvable embroidery backing fabric. 

Freestanding embroidery

For my two-dimensional pieces, I’m painting with thread using freehand machine embroidery. It’s a much quicker process than creating a sculpture. 

“I prefer to use Madeira’s viscose thread due to the vibrant colours and also its strength – essential when I’m stitching thick layers.”

Woo Jin Joo, Mixed media artist

I select colours instinctively. I like to work on dissolvable embroidery fabric as this creates an ‘embroidered tapestry’, with the stitches supporting themselves as a standalone piece. 

Initially, I began working on dissolvable embroidery backing fabric for my sculptural pieces as a way of creating sculptural forms and textural details, and I’ve continued to use it in my two-dimensional work… 

It’s mainly an artistic choice. I like the way I can create curved and unusual outlines with the edges of the embroidery. Also, I’m drawn to the fact that the threads support themselves, creating standalone embroidered works, free from a fabric’s surface. 

To create freestanding embroidery in this way, it’s best to work with thicker dissolvable embroidery backings such as the non-woven variety rather than the film type. Layering the dissolvable embroidery backing, to make two or three layers, helps to stabilise the piece and enable it to support the dense, heavy stitching.

Working smarter

My biggest challenge is often time management and my expectations. 

It’s difficult balancing deadlines and exhibition schedules with the amount of time and energy that I want to pour into a piece to get it to a place where I’m satisfied. Many of the works – especially the big ones – always take a lot longer than my initial estimate.

Sometimes it feels like no matter how much extra time I factor in, I’m still working right up to the deadline. I think it has to do with not making firm decisions as I go along, particularly regarding the details. 

“I am practising making decisions quicker – and sticking to them.”

Woo Jin Joo, Mixed media artist

Inspiring folk

I loved selecting the different Korean folk paintings that form the basis of my Stitch Club workshop. It was exciting to go through all the resources I’ve collected, to choose a few for the members to take inspiration from. 

It’s been fun imagining how people might respond and find joy in certain images – and what these precious images might offer them. Especially knowing that this might be the first time some members will have seen Korean traditional folk paintings.

Cultural roots

I was raised by my grandmother as both of my parents were working full time. She has been the biggest influence on my life, not just in my work but the way I perceive things. This informs the heart of my work. 

My grandmother is a natural storyteller. I loved hearing the vivid stories of her childhood, the food she ate, her early school years, and even stories of her childhood during the war. My love of listening and finding stories came from her raising me. 

I initially studied printed textile design as an undergraduate. However, towards the end of my degree, I began to shift from creating prints to creating objects with found beach plastics.

Wanting to explore this object-making further I decided to continue my postgraduate studies at the Royal College of Art in London. 

It was during this time that I developed my current practice; my love of freehand machine embroidery and working with embroidery in sculptural ways. 

Making as learning

I am grateful for the space the 62 Group and its members provide in stretching my comfort zone. This year’s exhibition was ‘Making as Learning’, inspired by and dedicated to the late artist and 62 Group member, Audrey Walker. 

I loved responding to this theme. It encouraged me to let go of producing a perfectly executed exhibiting piece and instead, allowing the work to guide me and then celebrating where it led. 

“Being part of the 62 Group has helped me to expand and challenge my making and experimentation.”

Woo Jin Joo, Mixed media artist

Nurture & support

My studio is based at Cockpit Arts, Deptford, London. I joined Cockpit Arts as the inaugural recipient of the Bagri Craft Award, funded by the Bagri Foundation. The Bagri Craft Award is for a maker with Asian heritage, or from the Asian diasporas. 

The generous funding I’ve received from the award has been significant in developing my practice. The three-year award period means that I’m able to settle into the funded studio, providing the time and space to focus on my practice. 

The business mentoring, open studio events and the nurturing community of Cockpit also provide invaluable support for an emerging artist like me. The award has come at a timely moment, allowing me to grow artistically and also to establish a sustainable financial foundation.

Tina is a visual and textile artist who thinks about the entanglements of materiality, ecological structures and the memories of places and things.

She creates three-dimensional, tactile sculptures using a wide range of textiles, thread and stitch. And she loves to incorporate found objects from thrift stores and markets to add extra texture and intrigue to her assemblages.

Tina’s work is about capturing the passage of time through texture – a blend of metamorphosis and sensuality, resulting in new forms inspired by the living, mineral and alchemical realms.

Take a look and see what you discover in the twists, folds and contortions of her cloth.

Tactile relationships

What is your artistic approach? Can you summarise what inspires you?

Tina Marais: The central focus of my practice is creating visual and textile art that emphasises the tactile relationship between materials. My work intertwines memories and experiences, capturing the passage of time through texture.

I gather and transform fabrics, objects and natural elements to delve into themes of history, life and transformation. My practice blends physical craftsmanship with sensuality, resulting in new forms inspired by the living, mineral and alchemical realms.

I’m particularly intrigued by folds – whether in philosophy, time, skin, or material – and how they can both conceal and reveal, protect and illuminate. Recently, I’ve been exploring innovative material approaches that investigate the entanglements between organic and inorganic elements, as well as human and non-human systems.

Through my art, I critique patterns of consumption and explore themes such as isolation and metamorphosis, while also highlighting the connections between people and ecosystems.

Material reflections

What made you decide to work with sculptural textiles?

My early experience as a costume designer deeply influenced my preference for dimensional structures in my work. From a young age, I was captivated by contemporary sculpture, particularly large-scale pieces.

This dimensionality resonates with the natural world, which is inherently layered and complex. The earth itself is built of layers, and everything around us consists of dimensional cellular structures. Even human nature and abstract systems are complex structures.

These reflections have transformed my approach to creating, making physicality and dimensionality central to my process.

“I find that work truly comes alive – charged with emotion and content – when it occupies space in three dimensions.“

Tina Marais, Textile artist

I always begin with a concept or message in my work, which guides my choice of materials. For instance, cotton is not only connected to water usage in its production but also to its journey from plant fibres to thread, fabric and beyond – often travelling across the globe multiple times.

Historically, cotton is also linked to the legacy of the slave trade. In contrast, I’ve recently worked extensively with linen, a material with a rich history dating back to ancient Egypt. Linen’s more eco-friendly production and natural antibacterial properties resonate with themes of healing for me.

Understanding the ‘voice’ of materials and their histories informs my choices and enhances my creative process.

Organic seedlings

Tell us a little about the artwork you created for your Stitch Club workshop…

Yes, I’m excited that I was invited to present a workshop to Stitch Club members. In my workshop, I guide participants through the process of creating dimensional soft sculptures using textiles, thread and basic embroidery stitches. The sculptures, entitled Organic Seedlings, are inspired by the intricate details of seeds, grains and flower stems.

I have a deep passion for crafting these structures using a diverse range of materials, from precious silks and leathers to wool threads, rope and embroidery floss. I always incorporate beadwork and found objects to enhance the dimensionality and detail of the sculptures.

Being a somewhat ruthless collector, I love going on archaeological ‘digs’ in thrift stores and markets, or in my own studio’s inventory, often including unlikely materials to complete my assemblages.

Additionally, I demonstrate a basic technique for drafting patterns in an organic manner, which will help participants understand the potential for creating dimensional textile structures.

Organic & interactive

Can you tell us a little about your making process and techniques?

I begin each project with a core concept – whether it’s an idea, a question, or a message – and then immerse myself in research and sketching, often producing numerous sketches. I use line drawings to explore and clarify my vision, particularly how I want the piece to interact with positive and negative space.

Once I have a clear direction, I gather materials, carefully considering their origins and how their unique histories will contribute to my concept.

“The making process itself is often akin to a physical dance.”

Tina Marais, Textile artist

Making involves a dialogue with the materials, responding to what they allow and coaxing them into alignment with my intentions. This process is highly organic and interactive.

When working on pieces with repetitive elements, I frequently find myself thinking about future projects, leading to overlapping ideas and themes in my studio.

I enjoy delving deeply into bodies of work, exploring a particular theme or research angle over several years before transitioning to new explorations.

Essential tools

What are your must-have tools or supplies when you’re creating and where do you source them?

I look for good scissors and good thread – and needles that don’t break under stress. When selecting scissors, I prioritise how they feel in my hand rather than the brand or model. I consider factors like the length of the blades and how smoothly they cut through fabric.

My all-time favourite was a pair of super sharp tailor scissors I purchased in Portugal. Unfortunately, they ended up in the trash at the airport security after teaching a course in Poland. At the moment I’m using Fiskars professional scissors.

For heavy-duty tasks, I rely on a robust sewing machine, the Singer heavy duty denim 6335M. I’ve had Bernina machines in the past and absolutely love them, but have ‘killed’ a few sewing machines over the years.

As I don’t do machine embroidery, I prefer sewing machines that can handle various thicknesses and that are mechanical instead of digitally controlled. The Singer gives me a good alternative to an industrial sewing machine and is heavy enough not to ‘bounce’ when I’m really getting into sewing.

For machine sewing I always use SCHMETZ needles: I prefer universal needles, but change depending on what I’m sewing. For hand stitching, I go for larger and longer needles, upholstery or doll needles, and I source my needles from Loops & Threads (from Michaels stores, USA and Canada).

When it comes to thread, I prefer Gütermann because its high quality significantly improves the results and saves time.

I’ve adapted to using thicker needles and threads due to some medical treatments that have affected my fingertips. Instead of fighting this, I’ve adjusted my tools to suit my needs.

My suppliers vary depending on my location, as I move around frequently. In Montreal, for example, there’s Ugarit La Maison de l’Artisanat – a fantastic hidden store for bulk beads. I visit haberdashery stores, art supply shops and hardware stores, always on the lookout for objects that can be reinvented or repurposed.

I also enjoy working with found objects and vintage fabrics, often sourcing materials from second-hand stores (known as ‘fripperies’ in France and Quebec), street markets and even during long walks where I collect seeds and pebbles.

Tempted by tactility

How did you develop your artistic skills?

My passion for the arts, fibres and materials began at a very young age. I was born in 1977 and raised around Cape Town, South Africa. The diverse landscapes and cultures there profoundly shaped my connection to the natural environment and my artistic vision.

I studied fine arts and visual communication at the Open Window Art Institute near Johannesburg in South Africa, focusing on painting, sculpture, drawing and printmaking.

During this time I also took courses in pattern making. Initially, I didn’t view my textile work as part of my fine arts practice, but I eventually transitioned into costume making and design for theatre and dance.

In 2008, I migrated to Canada. By 2011 I’d settled in the Montreal region of Quebec. This significant transition expanded my arts practice and artistic perspective, allowing me to create over 80 community-based, social outreach, cultural mediation and public art projects over a decade.

During this time I shifted my focus to textile and fibre arts, which greatly broadened my scope for conceptual exploration, scale and installation. The fluidity and tactile nature of textiles felt like a natural extension of my artistic ideas.

In 2022, this led me to pursue a master’s degree in Fibres and Material Practices at Concordia University in Montreal, where I focused on critical thinking and research creation in art making.

“I believe that developing artistic skills comes from persistent practice and a curiosity to make the impossible possible.”

Tina Marais, Textile artist

Collaborative enrichment

I’ve been fortunate to have an incredible network of friends and an artistic community to exchange ideas with. Having extraordinary women, friends and artists around helped to shape my journey.

While solitary studio time is essential, collaborating with others and engaging in community discussions greatly enriches my work.

My parents, in their own distinct ways, provided me with access to a wide range of cultural activities, including music and art, which were integral to my upbringing. My son, Garrett Struthers, has been a constant source of inspiration, support and valuable critique throughout my studio practice.

My partner, Marc Villarubias, offers unique challenges to my artistic ideas and critical approach, especially in aligning ecological issues with cultural understanding. His support has been invaluable in grounding abstract concepts into concrete research and creative thinking.

I previously had a large studio space in downtown Montreal but have since transitioned to a home studio. I prefer working unconventional hours, often late at night and find that the intimacy of a home studio better suits my creative process.

Being immersed in a more personal space allows me to fully engage with my work. When travelling, I usually have some hand sewing or simple preparation of multiple elements with me; it becomes a mutative process while in transit.

Water & cloth

Which piece of your textile art is your favourite, and why?

It’s very hard to just highlight one work. Often I am my own worst critic, and every artwork lays the foundation for the next piece. There’s a constant push and pull between connection and realisation, technique and material.

As an artist, I think we’re in a constant pursuit of excellence that’s unachievable, and this is the place where the magic happens.

The artwork Untamed, which I created for a solo exhibition in 2017, still really stands out for me. It’s a large-scale artwork created in recycled denim, the first work that went on to become the flux de l’or bleu series. It’s an artwork with layered denim, machine and hand stitched, and detailed with silk embroidery thread.

“The work Untamed reflects on the fragility of water and the impact of the cotton denim industry on water supplies.”

Tina Marais, Textile artist

I’m visualising water as a wounded body bearing the weight of consumerist culture, slowly suffocated, drained by pollution and chemically damaged by micro-fibres and plastics.

The character of water is not a single thing but has multiple manifestations. I’m fascinated by the physicality of water: its weight, the fluidity of water as a structure, the force of a wave as it’s propelled to the shore or broken against rocks.

I’m thinking of water as fluid bodies, holding stories in its depths. Water is a life force, containing millions of microorganisms, a breathing, living entity that’s in a constant state of change.

I’m curious about how to depict this entangled state of water with fibre and all its pathways.

I often reflect on the cloth of the garments that we wear, metaphorically unravelling it back to threads and fibres. I imagine the fragmented traces of the production process of textile, imprinted in its transformative story.

I’m reflecting on the relationship between water and the effects of cloth production on ecosystems and structural systems. I’m exploring how these relationships weave together in trajectories across bodies of water and the constant intercontinental flow of materials used to fabricate suitable second skins for our bodies.

Pistachios & tea bags

Another series of works that were particularly challenging in concept structure and material choices was the body of work created for my thesis exhibition at Concordia University titled Unfold, My Skin, in 2022. These works included Unfolding, Le Petit Mort, Picalaire II, Unfold Me, Undercurrents and Bounded Traces V and Bounded Traces VI.

They were created using a variety of carefully selected materials, combining ceramic, wood, reclaimed linen, embroidery and – even for some works – collected pistachio shells and tea bags. It spoke of new materialism, the body, and the pathways of material connection and accumulation.

I enjoyed the challenge of the combination of research, conception and installation. The individual pieces that made up this series were either sold to private collectors or have travelled for other exhibitions in Canada, France, China, Belgium, Lithuania and Australia. I was so thrilled that one work was included in the Fiber Art Now Excellence in Fibres exhibition.

Textures & objects

How has your work developed over time?

Over time, my work has evolved significantly, driven by my ongoing exploration and deeper understanding of textile art.

Initially, I focused on traditional textiles, but I soon began experimenting with vintage fabrics, found objects and unconventional materials. This experimentation has allowed me to develop unique textures and forms in my art.

One of the hallmarks of my practice has been the integration of found objects. By incorporating items like seeds, pebbles and other non-traditional materials, I add layers of meaning and texture to my pieces. This approach reflects my deepening engagement with the materiality and context of my work.

As my practice has matured, I’ve placed greater emphasis on the tactile and sensory aspects of textile art. My pieces now explore the physical and emotional responses elicited through touch and texture, which has led to a more nuanced understanding of how viewers interact with my work.

And what direction do you think your work will take in the future?

Looking ahead, I see several exciting directions for my art. I’m committed to exploring and incorporating more eco-friendly and ethically sourced materials, which could involve further innovation with recycled and upcycled textiles.

I’m interested in merging textile art with other mediums or art forms. Collaborations with digital artists, architects or designers could lead to new and exciting hybrid works that push the boundaries of textile art.

I may expand my work into larger-scale installations or public art projects, which would allow me to engage with broader audiences and explore new dimensions of my art.

Integrating technology with traditional textile practices is another area I’m excited about. Experimenting with digital embroidery, smart textiles or other innovative approaches could blend the tactile nature of textiles with technological advancements.

And finally, I plan to continue exploring storytelling through textiles, finding new ways to convey complex themes and personal histories through my art.

“My goal is to keep evolving and deepening my engagement with materials, techniques and concepts.”

Tina Marais, Textile artist

Experiment freely

What advice would you give to an aspiring textile artist – and in particular if they wanted to use your kind of materials and techniques?

If you’re interested in working with materials and techniques similar to mine, my advice would be to embrace experimentation and allow yourself the freedom to explore. The essence of textile art lies in its tactile nature, so don’t be afraid to play with textures, colours and forms.

One crucial piece of advice is to develop a deep understanding of the materials you work with.

Whether you’re using vintage fabrics, found objects or traditional textiles, get to know their properties and how they interact with different techniques. This will give you greater control and inspire innovative approaches. For instance, I often use materials in unconventional ways, which requires a thorough knowledge of their strengths and limitations.

Another important aspect is to build a diverse toolkit. Invest in quality tools that feel right in your hand and adapt them to suit your needs, just as I do with my selection of scissors, needles and threads. Your tools can significantly impact your creative process and final outcome, so find out what works best for you.

Networking and building relationships with other artists and suppliers can also be incredibly beneficial. I’ve found that engaging with a community of artists and visiting unique sources, like second-hand stores or street markets, has been invaluable in discovering new materials and inspirations.

Sharing experiences and resources, as well as collaborating with others, can provide new perspectives and opportunities.

Finally, be patient and persistent. Artistic growth comes from consistent practice and learning from both successes and failures. Celebrate your progress and stay curious about the world around you, as inspiration often comes from the most unexpected places.

These elements have greatly helped me move forward in my work, enabling me to refine my techniques and expand my creative boundaries. By staying engaged with your materials, your community and your own evolving process, you’ll be well on your way to creating meaningful and impactful textile art.

Winnie van der Rijn is driven by a wild curiosity, and her inquisitive and spirited energy has taken her through a number of careers. Today, she creates statement art intended to elevate the value of women in society.

Her work reflects on her experiences of growing up in a military family, her left-wing education and her feminist views, while satisfying an unending passion for art making.

With a vigour and determination that’s not for the faint-hearted, works like What Are You Looking at? and Anatomy of the Patriarchy make statements that are crystal clear – there must be gender equality. And the tactility and structure of cloth make textile art the perfect medium to show the way.

So, how does Winnie’s art reflect the importance of women’s value in the world? She exhibits masculine shirts adorned with female breasts, squishy spikes protruding from a man’s shirt, and boxer shorts overlaid with a metallic uterus reminiscent of a Wonder Woman emblem. All are purposefully stitched on her sewing machine conveying a strong feminist attitude.

Has Winnie achieved her aim? One thing is for sure, she won’t rest until her ideas run out. And that’s not likely to happen any time soon.

Mending history

Winnie van der Rijn: I’ve always been a maker. I’m a seventh generation Californian from a fairly conservative and traditional military family.

I studied sociology and mass communication at the University of California, Berkeley, and I have a keen interest in Marxist theory and propaganda. I am constantly trying to reconcile my military upbringing with my deeply feminist core and my leftist Berkeley education.

“I’m a textile artist sometimes – a feminist artist primarily – an experimental artist always.”

Winnie van der Rijn, Textile artist

Since moving to the Boston area, which is so steeped in history, in 2022, I’ve been leaning even more into ideas around re-enactment, propaganda, revolution, symbolism and patriotism.

For example, my project How to Mend History, of which my piece Frayed is a part, is an investigation of and engagement with the American flag as a symbol of freedom. I’m repairing, disassembling, rearranging, reimagining, reassembling, examining and questioning. I’m primarily working with wounded, stained and tattered flags.

Each time I rescue a flag I wonder if my job is to heal the wounds or preserve the artefact. What is my responsibility as an artist? As an archivist? As an American? As a military child? To the past? To the future? To the country? To the flag? To freedom? To my father?

The project covers community based interactions and performances through the 2024 election cycle and up to the USA’s 250th birthday in 2026, with the aim of pursuing parts of this project in each of the 13 original colonies.

Curiosity & learning

I keep my work current by constantly learning and adding techniques to my tool belt, through classes and books. Then I blend techniques and materials from different crafts to suit my purpose. I don’t like to limit myself to tradition or rules.

“I’m wildly curious about how things are made and my curiosity can lead to a deep dive into a particular medium.”

Winnie van der Rijn, Textile artist

I’m mostly curious about society and societal structures, about what’s valued and how we, as a society, assign value. I’m curious about what we consider disposable, what we create monuments to and what we memorialise. I’m curious about power and beauty, identity and gender, mending and other radical acts of care in a fractured world – to name but a few.

Re-use & repair

One day I woke up and decided to work exclusively with materials that I already had or could scavenge. I saw damage as an opportunity to repair or transform. I became a ‘repurposer’ – an artist of second chances. I was a nose-to-tail artist committed to using all of my own scrap material.

Sometimes I look for items, and sometimes it’s absolutely opportunistic. I literally pick up items off the street, and people who know me offer me old used weird stuff. If I’ve latched onto an idea, I might source used materials from the thrift store, antique markets or the internet.

I have one sewing machine – a very basic Janome HD3000. It’s a workhorse! I use machine stitch and I hand stitch quite a bit too, both for detail and structure depending on what I’m making. Hand stitching gives me much more control.

Using what’s accessible

The ideas and materials I have at hand lead to the output, whether that be textiles, sculpture or collage. When I have an idea, I survey my skills and materials and decide how to best express myself and pursue my curiosities.

“I use what’s accessible, I collect materials, acquire and experiment with techniques.”

Winnie van der Rijn, Textile artist

When I was making the Badass Bitch shirt, I made the spikes from excess shirt fabric and very very thin aluminium sheet metal. I created a triangular pyramid pattern and for the fabric spikes I applied an iron on interfacing to give the fabrics more body. I cut, folded, ironed and hand stitched each shape. They’re stuffed with leftover quilt batting.

For the aluminium spikes I used the same pattern, cut and folded the metal, pre-pierced the holes with a needle, and used thin wire to sew them closed. I glued all the spikes to the shirt to set them in place and then reinforced them with hand stitching around their bottom edges.

I created the breasts in What Are You Looking At? by hand stitching annealed steel and shipping straps onto the shirt material and weaving with a thinner steel wire. Then I hand formed the shape, accentuating each breast with underwires from an old bra. The nipples are made from eyelets and grommets, hammered into place.

Collaborating for creativity

Collaboration is my favourite thing. I’ve collaborated with art friends, family, fellow artists from a residency cohort, and long distance with artists I’ve met over social media.

It all starts with a conversation. I have this theory that if we talk with people about what we have in common, we can build the trust necessary to show vulnerability and talk about the things we don’t have in common – perhaps a chance to move towards civil discourse.

“I’m much more interested in what we can create together than what I can create in a vacuum.”

Winnie van der Rijn, Textile artist

My ongoing work Gossip Project/Lip Service/Spilling T is bringing me lots of joy because it’s collaborative and multifaceted.

For this project, I invite people to sit with me and talk. We wear matching lipstick and drink staining beverages (coffee, tea or red wine) with the goal of staining the vintage napkins I’ve collected. And we talk about anything and everything.

I choose a few sentences or phrases from each conversation and write them down. Then I take all of these excerpts and compile my text – out of context the phrases read like gossip. Next, I embellish the stains on the napkins with embroidery.

It’s performance, community participation and conversation, plus selective editing, plus embellished lipstick monoprints on vintage napkins.

Building a career

My first job out of college was writing technical manuals for a small computer company. With my first Christmas bonus of $100, I signed up for two classes at the local bead shop.

By the end of the second class, I’d started working at a jewellery store. I wrote their mail order catalogue and started their mail order business. I not only made and sold jewellery retail and wholesale, but I also taught jewellery making around the country. I loved empowering people with creativity. And I got married and had kids – still always making and selling jewellery.

Being wildly curious about how things are made, I took classes anywhere and everywhere I could: wire weaving, mixed media sculpture, alter making, metal smithing, printmaking, exploding picture boxes, woodcarving, sculpture, bookbinding, cold connections, precious metal clay, hat making and shoe making.

My kids’ school leaned heavily on parent participation and I was soon heralded as the ‘art mom’, volunteering in every classroom and making art with the students to sell at fundraising auctions.

We painted rugs, canvases and ceramics, and wrote and illustrated books that were translated into Spanish by a fellow parent and the Spanish class. I volunteered to teach older students creative reuse and jewellery making. I made costumes for dance recitals, Halloween and school musicals.

All the time I was constantly mending, sewing and making – and that still included making and selling jewellery.

I began working for a start-up that held in-home jewellery making parties. I designed jewellery and created kits. I taught people how to teach others how to make jewellery and I helped empower women to start their own businesses.

From jewellery to flags

When my youngest started school, I began to make work about motherhood. When my youngest started high school, and my husband asked me what I wanted to do in the next four years, I decided to set up an art studio outside of the house, at a museum. Once I was settled in there, my jewellery became bigger and more sculptural. Some became wall hangings.

Finally, I started showing and selling work that wasn’t jewellery. When the 2016 election happened, I started to make the alternative American flags out of used clothing.

Deep dive into textiles

When I reached the menopause, I suddenly felt as if I’d become invisible. I’d become ‘unwoman’, I was deemed innocuous (I’m anything but).

And so I decided it was time to take the system down.

I started to do work about beauty and gender. I embroidered make-up onto vintage images and drag queen make-up onto contemporary images of family friends. I applied to do a nine-month textile residency in Brooklyn. When my son went to college, my husband and I moved to New York City.

It was then that I reached my stage of ‘Why Not?’ and did a deep dive into textiles. I took classes in weaving, machine knitting, sashiko stitching, screen printing, dyeing techniques and feminist theory, and collaborated with others in my cohort.

The textile arts centre had a quote on the wall: ‘The job of the artist is to make the revolution irresistible’. I read that quote every day and, as I started to see myself as a revolutionary, I began my work about revolution and power.

I decided to work with materials and techniques that were ubiquitous and accessible to anyone because I wanted to make the revolution both irresistible and accessible.

Patriarchy versus domesticity

Now living in Boston, my mind turned to ideas of patriotism, revolution and re-enactment. The question in my mind wasn’t: ‘Who’s going to let me?’, it was: ‘Who’s going to stop me?’. From 2018 to 2022, I spent all my creative energy actively dismantling the patriarchy.

How to Dismantle the Patriarchy is an examination and deconstruction of the power in menswear. Motivated by the increase in false news, a daughter graduating from college, and my menopausal rage, I decided to conduct an artistic – but completely junk science – examination of the power in menswear.

I dismantled the patriarchy, one shirt at a time.

I pushed forward my narrative that the patriarchal power was in the clothes – then stripped the power away through an iterative intervention. To do this I leaned on my traditionally female, very domestic skills of sewing, weaving and embroidery.

Using subversive stitch as an act of rebellion I created an army of 100 shirts. The shirts were all used – some given to me, most purchased from thrift stores. I treated each shirt differently. I cut, shredded, disassembled, recreated, wove, embroidered, pierced and smocked. I used every idea and every technique I had in my arsenal.

I created a Museum of Natural Consequences to show this work. I considered my practice to be ‘artistic improv’ with a decidedly ‘Yes, and…’ approach.

“By approaching this project with some humour and a bit of absurdity, I hope to spark engagement in this deeply serious subject.”

Winnie van der Rijn, Textile artist

Patriarchy is a power structure that can and must be dismantled. As long as we ignore or passively accept the patriarchal structure there can be no real or lasting change, and no true equality. We must keep ideas of change in the conversation, or it simply won’t happen.

This body of work has shown in various locations including the Textile Arts Center (Brooklyn, New York), Dairy Arts (Boulder, Colorado), Museum of Sonoma County (Santa Rosa, California) and the self-invented Museum of Natural Consequences (New York, NY).

Challenge of time

Time has always been my biggest challenge. When my family was growing, I fitted in my art-making where I could, expressing my creativity in many different ways. Now that I’m an empty nester, I work on my art 30-40 hours a week. I’m just getting started.

But I also need to be quite adaptable and flexible because I’ve been caring for my husband who’s had cancer. So I do what I can when I can. And I use my art to help me process my emotions.

“Every time the world speeds up, I react by slowing down – working more and more with my hands in an attempt to balance the universe.”

Winnie van der Rijn, Textile artist

Know your why

I’d say to any budding textile artist: learn as much as you can, anywhere you can. Know why you’re creating the work. Trust yourself. Get involved in critiques. Talk about your work – and then talk about your work some more. It helps you hone your message.

The best advice I received from a mentor was: ‘If you aren’t failing 50% of the time, you aren’t reaching far enough.’

“I fail regularly and it pushes me forward.”

Winnie van der Rijn, Textile artist

Since then, she has evolved into an award-winning textile artist, moving beyond the glue stick to craft fabric forms, wearable art and captivating installations. Alice’s work emphasises the significance of the natural world. Her practice is centred around creating immersive experiences that encourage tactile exploration with the soothing embrace of nature.

At the heart of her practice is the desire to share these benefits with others. Not only does working with others enhance her own mental well being, but she also finds joy in imparting her skills to diverse communities.

Using recycled materials, her workshops focus on skill sharing, storytelling and co-creating, with a dose of nature and the power of connection mixed in. She intertwines art and nature to ignite the senses and nourish the soul, giving marginalised communities a voice and enhancing their overall well-being.

Ultimately, her goal is to harness the healing power of textiles and the natural world.

Alice Burnhope: My practice focuses on community engagement and skill sharing, to empower and amplify marginalised voices. I’m aiming to recreate the sense of awe and therapeutic qualities of nature through textiles.

Using traditional craft skills and waste materials, I create wearable art, tactile sculptural forms, and installations inspired by the aesthetics and textures of nature.

My artwork is designed to be activated through touch or interaction. I adore creating pieces where the individual shapes the artwork and vice versa. This reciprocal relationship fascinates me deeply, illustrating our interdependence with the natural world for sustenance and survival.

“My work promotes connectivity to the natural world, fostering environmental stewardship and enhancing well-being through participatory art.”

Alice Burnhope, Textile artist & artist educator

Empowering stitch

Community engagement is a cornerstone of my artistic practice. I work with a diverse array of groups including schools, community centres, charities and marginalised communities.

My approach is deeply collaborative, focusing on co-creating artworks that amplify the voices of participants and foster a sense of belonging and empowerment.

“Overall, my aim is to create art that not only beautifies spaces but also enriches lives and fosters community spirit through the power of textiles.”

Alice Burnhope, Textile artist & artist educator

In my community workshops, we play with traditional craft techniques such as embroidery, natural dyeing and patchwork, often utilising recycled or waste materials.

Participants contribute by sharing their stories and skills, which we then integrate into the final artwork. For example, in one project community members embroidered personal symbols and messages onto recycled fabric pieces that were later assembled into a large, wearable art piece and sculptural installation.

The benefits for participants are multifaceted. Engaging in these creative processes helps to boost their well-being, provides a platform for self-expression, and strengthens their connection to nature and each other.

Additionally, these projects offer a sense of accomplishment and visibility, as the artworks are often exhibited in public spaces such as galleries, allowing their voices and stories to reach a wider audience.

Healing plants

I am a Creative Practitioner for the Royal Horticultural Society’s ‘Gardens of Imagination’ programme (2024-2026). This national co-creation project explores modern-day herbalism through gardens, gardening, plants and their healing powers.

I work alongside individuals from multicultural backgrounds, some experiencing mental or physical ill-health, and volunteers from seven local Lewisham green space growing communities. We aim to connect people with nature and each other.

Together, we created a tactile sensory installation that reflected their collective visual identity and therapeutic experiences within nature. It was showcased at hARTSlane gallery in Lewisham, London, UK.

Transforming textiles

Despite being severely dyslexic, I found my passion in the arts. A foundation course introduced me to textiles and I was awarded a scholarship to study Textiles: Innovation & Design at degree level.

Textiles captivated me from the moment I realised their transformative potential. The ability to take a single piece of fabric and shape it into garments, sculptures or installations fascinated me deeply.

The unparalleled versatility and creative freedom of textiles allow me to explore endless possibilities in form and function. I was drawn to the profound emotional connection we have with textiles throughout our lives.

From the day we are born until our last breath textiles envelop us, providing comfort, warmth and a means of self-expression. They are integral to our daily existence, reflecting our identities and histories.

I am constantly exploring new ways to harness the tactile and expressive qualities of textiles to create meaningful, evocative artwork that resonates with others.

“This intimate relationship with textiles ignited my imagination and continues to inspire my artistic journey.”

Alice Burnhope, Textile artist & artist educator

Igniting creativity

Geology is a significant inspiration for me. The forms, textures and colours found in geological structures are visually captivating. Beyond their aesthetic appeal, the origins of these formations are incredibly grounding and humbling.

Understanding that they were created over hundreds of millions of years through the Earth’s movements and natural processes reminds me of our small place within the vast timeline of the Earth’s history.

This perspective fuels my creative process, illustrating the profound and intricate beauty of the natural world.

Becoming inspired

My creative process typically begins with immersive experiences in nature, where I absorb the tactile and visual qualities of my surroundings.

I start by sketching and documenting forms and textures that resonate with me. This initial research informs my exploration of textile techniques that will enable me to translate these experiences into tangible artworks.

Refining these techniques to achieve the desired effect is often a process of trial and error. Once satisfied, I methodically plan the steps required to bring the artwork to fruition.

“Hand stitching is pivotal for adding texture and nuance, while machine stitching plays a crucial role in the structural integrity of the work.”

Alice Burnhope, Textile artist & artist educator

Stitching ecologically

Sustainability and environmental awareness are fundamental principles in my artistic practice. I believe deeply in our interconnectedness with nature: our well being and survival depend on the health of the planet.

This conviction drives me to minimise my ecological footprint through conscientious choices in materials and processes. I prioritise using secondhand fabrics, deadstock and offcut cottons and linens.

These materials reduce waste and also offer unique textures and histories to my pieces. They also align with my commitment to sustainability. I enjoy sourcing these fabrics through charity shops or from friends, as this process adds a personal and community-driven element to my art.

By repurposing materials, I hope to inspire others to reconsider the value of discarded textiles and to embrace sustainable alternatives. Additionally, I advocate for the use of certified sustainable fabrics and encourage brands to adopt more environmentally responsible practices.

Ultimately, my goal is to create art that not only engages and inspires but also fosters a deeper respect for our natural world.

“I aim to contribute positively to environmental stewardship and promote a more sustainable future for textile artistry and beyond.”

Alice Burnhope, Textile artist & artist educator

Observational skills

In my Stitch Club workshop, my aim for members is to develop a keen eye for observing the intricate forms, textures, and colours of nature. By honing these observational skills, members will be inspired to create beautiful, tactile artworks that reflect the natural world around them.

My hope is that participants gain confidence in using these natural elements as a rich source of artistic inspiration, transforming their observations into unique and expressive textile pieces.

Dyeing naturally

Dyeing with natural dyes is a great way to begin reconnecting with nature through textiles. If you are new to this process, I recommend starting with an onion dye bath. Collect 50 per cent of the weight of your textile fibre in onion skins. For example, if you have 100g (3½ oz) of cotton, use 50g (1¾ oz) of onion skins.

Simmer the skins for 30 minutes to one hour. Sieve the liquid to remove the skins. Pre-wet your fibre and then pop it in the liquid and simmer or boil for another 30 minutes to one hour depending how strong you want the colour to be. You can also take it off the heat and leave it to steep overnight. Just go for it and enjoy!

‘Natural dyes have a mind of their own, so every outcome is a beautiful surprise.’

Alice Burnhope, Textile artist & artist educator

Ben had no prior quilting experience, but he did have a large stash of T-shirts representing his favourite heavy metal and punk bands. While they were a far cry from traditional calico cottons, he managed to piece them together. 

The results were sensational. His signature style was born, and he hasn’t looked back since.

Ben’s quilts and wearable art incorporate fabrics packed with memories, especially his commission work. Friends and strangers alike bring Ben their beloved vintage clothing, and he cuts, pieces and quilts fantastic designs bearing both beauty and personal stories.  

He says his work helps to bridge cultural fears between rock’s counterculture and more traditional society, and we wholeheartedly agree. In a world that is ever more divided, Ben creates an accessible way for anyone to step into his favourite music spaces.

We also appreciate Ben’s conscious pursuit of functional art, as the combination of form and function can challenge textile art’s place amid fine art settings. Just because Ben’s jackets can be worn or his quilts keep his family warm doesn’t mean they aren’t art. The impact of his jackets, totes and quilts when hung on gallery walls is proof positive.

You’re going to love this look into Ben’s edgy, colourful and rhythmic body of work. And his sense of humour? It’s the icing on the cake.

Heavy metal roots 

Ben Venom: My mom always hemmed my sister’s and my pants growing up. And my sister started making quilts around the same time I did in 2008.

My earliest memory of working with textiles was screen printing T-shirts of the bands I followed as a teenager. I grew up listening to a lot of punk rock and metal, and at the time, most of the bands were just starting out. With no record label, there wasn’t any merchandise to purchase. Everything was very DIY, so we printed shirts of our favourite bands.

From an early age, I wanted to do something art related. I was always drawing, painting, printmaking with paint and screen printing.

In 2008, I hit a point in my career where I had a bit of a crisis of conscience. I wanted to create something beyond just pretty pictures on the wall. I wanted art that could do a multitude of things.

When my good friend Kevin Earl Taylor invited me to participate in a group show he was curating at the Neurotitan Gallery in Berlin, I wanted to do something really big. So, I decided to make a quilt using all my heavy metal T-shirts – my work has been primarily textile-based since.

My artwork is heavily inspired by a Gee’s Bend quilt exhibition I saw at the De Young Museum in 2006. I was blown away by the attention to design, craft and handiwork the women from that very rural region in the American South infused into their quilts. 

They didn’t have a lot of materials at their disposal, so they used recycled denim jeans, blankets and other fabric scraps to construct some really amazing quilts. I liked the idea of upcycling and reusing. Nothing is thrown away.

Learning how to quilt

The first sewing machine I bought was a Brother XL-2610. I chose pink because it was the cheaper option, and then I covered it with stickers to make it look cooler!

I also bought a book called Quilting Basics 101 because I had no idea what I was doing. I made a lot of mistakes, and I asked a lot of questions from the employees at the fabric store. 

There are always different, better and quicker ways to do things, so that’s why I always ask questions.

Over time, I figured out which fabrics to use, which needles to buy, and more. I also learned to follow my dumb ideas! I never let anything hinder me from seeing my ideas through to the end. 

I’m still learning new tricks and techniques to this day. For example, I’ve become more obsessed over time with binding because I want my work to look professional and clean. 

For me, art is about research and continual learning. And mistakes are a large part of the process. I embrace them as part of the handmade nature of my work. 

‘I believe mistakes offer a visible direct link between the audience and the artist’s hand.’

Ben Venom, Quilt artist

Reducing fears

Using repurposed materials, I contrast the often menacing and aggressive counterculture components of gangs, punk/metal music and the occult with the comforts of domesticity. 

‘This collision of traditional quilting techniques with elements tied to the fringes of society re-envisions the materials’ stories through a softer lens.’

Ben Venom, Quilt artist

By presenting these unconventional ideas and themes in a form that is soft, light and tactile, my work can appeal to a wider audience. My art’s textile aspect isn’t heavy, loud or dangerous, which can foster an interest among people not typically familiar or comfortable with the ideas I present. 

Functional art

My passion is creating art that is both pleasing to the eye and fully functional. Textiles allow me to do that. 

I’m interested in sustainability to re-use and rework materials that still have value. I’ve become increasingly aware of the large waste within the clothing industry. As a family, we attempt to have a lower carbon footprint by walking, biking or taking public transportation when possible. This mentality directly affects my art making practice.

Clothing has a history. Maybe you had a pair of pants you wore during a pivotal point in your life. They’re now threadbare, but you don’t want to throw them away. Give them to me, and I’ll cut them up and give them a second life as art with function. 

‘By stitching together donated band shirts, jeans, jackets and leather into a unified piece, my quilts display a multitude of personal histories.’

Ben Venom, Quilt artist

Each person’s unexplained stains, tears or rips are displayed to visitors who often see themselves woven into that larger history. A collection of memories, dreams and past experiences are showcased in the form of a functional piece of art. 

Creative process

Everything I do begins with some amount of research into a particular topic of interest. I use my sketchbook to come up with a general idea using notes and quick drawings. 

I choose materials that will add to the overall design. Just like a puzzle, every little piece has a certain place that fits into the larger image.

Next, I import my sketch into Photoshop or Procreate to refine the design and scale it to the final size. 

Lastly, I print the design onto copy paper to make cutting templates. And then I cut the fabric pieces and sew them all together. Most of my work is appliquéd onto the top layer and then quilted with my sewing machine.

All my artwork is created in the back room of our apartment. It’s not a very big space, but it offers a flexible work schedule since I can just walk down the hallway to be in the studio.

For larger pieces, I move our kitchen table and work on the floor to piece fabrics together. Working from home allows all the comforts of home, but it can be challenging when the family is there. 

Punching the fabric

I use a Juki-HZL 600 Exceed for all my textile-based work. It’s my most important tool. It’s the second Juki I’ve owned, as I blew the motor on the first one. It does a straight and satin stitch, and it’s not very loud, so it doesn’t disturb the neighbours. 

I fold or roll fabrics in a specific way to fit through the sewing machine’s nine-inch throat. Sometimes I am literally punching the fabric through the opening!

All of my garments are backed with a stabiliser to strengthen the fabric, as well as to prevent bunching or fraying. I also try to use thicker reclaimed fabrics like denim or Carhartt workwear fabric. 

Much of my fabric is donated, but I also shop at local thrift stores, eBay or Goodwill to fill in the gaps. They’re all excellent sources for interesting reclaimed fabrics.

Collaborative designs

I started making custom clothing because I wanted to expand beyond quilts and learn more about how clothes are constructed. I also enjoy seeing people wearing my artwork in public. It’s free advertising, too!

I’ve made custom jackets for friends and others, as well as people I don’t know who have come across my artwork and want a custom piece. 

The design process is a constant back and forth, and there is typically a conversation about measurements, as well as fabric and design options. Sometimes I have free rein and other times the client has a general idea of what they want made.

I usually provide the client with at least three different sketches. Once a design is chosen, I refine the approved version and get the client’s confirmation. Then I cut the fabric and start sewing. 

I collaborate with Tul Jutargate in Los Angeles, USA to have the jackets constructed with collars, buttons and lining. He also adds a chain stitched label on the inside. 

Full Metal Jacket was commissioned by Brann Dailor, the drummer for the band Mastodon. It contains many of his old T-shirts along with all the special stains. The title is taken from the Stanley Kubrick film, as the materials all reference heavy metal music. The jacket is made from a letterman jacket pattern in collaboration with Tul Jutargate. 

War Pig was commissioned by a local floral designer Tyson Lee. I designed it with his input and used his vintage Carhartt jackets. Tom of Finland fabric was used as the quilt’s foundation. Tyson was particularly interested in incorporating his zodiac calendar animal (pig), eight flowers and chains

Thrasher love

My THRASHER quilt is currently my favourite. I grew up skateboarding and listening to punk rock/heavy metal music in the suburbs of Atlanta, Georgia, USA. THRASHER Magazine was a window into everything cool for me and my friends.

We also constantly watched skateboard videos on my videocassette recorder in slow motion to learn each new trick. 

The quilt was commissioned by Tony Vitello, the owner of THRASHER Magazine. It honours the influence skateboarding has had on me from then to now. My daughter has recently expressed interest in learning to skate, so the ride continues. 

It’s made from THRASHER T-shirts, and a Carhartt vest is used on the backside to honour skateboarder and THRASHER editor Jake Phelps. 

It features a Lacoste collaboration shirt by Alan Gonzalez and blue Vans fabric designed by Rachael ‘Steak’ Finley Wright (@instasteak) from one of professional skateboarder Lizzie Armanto’s uniforms, like the one she wore at the Tokyo Olympics.  

Trendy tote bags

My tote bags originally came about in response to San Francisco’s 2007 ban on plastic bags at grocery stores. I initially made a few tote bags for my wife to take to the grocery store, and it took off from there. 

The bag’s small size and ability to be customised with different design elements has kept me interested. I’ve started to add zippers and more pockets. Each bag is a one-of-a-kind design.

Craft Resurgence

I find the contemporary craft world very exciting right now. It’s inspiring to see so many artists focusing on the handmade and pushing the boundaries of traditional processes and techniques. I see my practice as part of that wave as I attempt to challenge the established imagery and style of quilting. 

I believe craft will become a respite from our technology driven society. While some aspects of our lives will be increasingly automated and devoid of human interaction, craft will continue to show an individual’s hand within a work. This handmade concept is very important to my practice.

‘Imperfections are an integral part of each piece. And every mistake and error an artist makes is ultimately what makes us who we are.’

Ben Venom, Quilt artist

Shervone is a first generation Afro-Caribbean American interdisciplinary artist based in New York. Her family is originally from the island of Grenada, and her practice draws inspiration from her Afro-Caribbean American identity and traditions.

Through textiles, assemblage, printmaking, sculpture, installation and public art, Shervone honours her ancestors and highlights their traditions. She retells and reconfigures stories of history, mythology and personal experience.

Shervone enjoys tracing the origin stories and afterlives of objects, using repurposed items, antiquities and family photos to reflect childhood memories and associations with Grenada.

It’s clear that Shervone’s work is borne from a deep respect and admiration for her colleagues, teachers, and ancestors, particularly the creativity, resourcefulness, and intuition of her female influences.

Reconnecting with history

Shervone Neckles: My multi-sensory experimentations with materials allow me to examine the process of restoring, remembering and reclaiming my family’s Grenadian history. I envision the art objects I create as contributions to expanding my family’s legacy and imagining its endless possibilities for its future.

The contributions of my ancestors are often lost and forgotten: they’re either intentionally omitted from the historical record or overshadowed by the need to survive, migrate, settle and integrate into a new society. My family did this in the 60s and 70s when they migrated from Grenada to the United States.

“Through my interdisciplinary approach to art making, I visually explore what it means to reconnect with ancestral wisdom and history.”

Shervone Neckles, Textile artist

Grenadian tastes & smells

My series Sense Memory Works, which includes Pepper Pot, gives an example of my interdisciplinary process, honouring my ancestors, celebrating our traditions and making visible their labour, ingenuity and contributions.

This handmade paper and textile series incorporates ingredients from family recipes. Similar to preparing a meal, I meticulously chop, measure and combine spices such as curry, ginger, hibiscus, nutmeg, pimento, saffron and root vegetables like breadfruit, cassava, potatoes and yams. These ingredients are then mixed or puréed and incorporated into the paper pulp.

For example, in Pepper Pot, I used scotch bonnet peppers, black eye peas, puréed coconut milk, callaloo, dasheen leaves, green plantain, breadfruit, channa peas, pumpkin, red and green peppers, onions, turmeric, saffron, yams and oil down seasoning.

These recipes passed down orally through generations of my maternal line, are akin to cherished heirlooms. Since my generation is not actively preparing and eating these foods like those previously, my concern is how to preserve recipes if they’re neither written down, prepared, nor verbally shared.

“The tastes and smells of these dishes are captured in the fibres of the paper, creating a tangible archive of my family’s history and culinary traditions.”

Shervone Neckles, Textile artist

I use mixed media elements of repurposed objects, family photos and textiles, along with assemblage, embroidery and printmaking techniques to reflect childhood memories and associations with Grenada.

Each piece has its own narrative, forming textural works that recall the multisensory experience of watching my mother, aunts and grandmothers preparing meals during my girlhood.

Female flare

The women in my family have profoundly shaped my life. From them, I inherited ways of knowing and being in the world that are deeply intuitive and expressive.

I come from a long lineage of self-taught, self-made entrepreneurs ranging from seamstresses, mechanics, healers, musicians, orators, culinarians and beauticians to educators. This ‘make do’ resourceful spirit found in my work is a tribute to their boldness, ingenuity and wit.

For years, I’ve watched their creative and intellectual knowledge nourish our home, run family businesses, and cultivate the communities they are part of. They each possess an innate aesthetic sense for embellishment – everything they do is done with a little extra style, shimmer, shine and flare.

I’ve always admired their foresight, resourcefulness and ability to prepare, improvise, experiment and take risks. I realise now what they modelled and passed on to me guides and informs who I am, and this is expressed through the artwork I create.

Overcoming uncertainty

I have so many interests and work in such a vast range of mediums, that I often feel like I’m walking my own path while I chart it. Charting the unknown makes me feel extremely vulnerable at times.

This uncertainty can lead me to question if the research I’m doing is worth the time and whether the work will ever be appreciated. However, my insatiable curiosity and passion for learning always overpower the voices of doubt and allow me to move forward with my research and realise my ideas, regardless of how they might be received.

There’s an urgency I feel to seek out these stories and share them through the range of mediums that I work in. This feels like part of my role and purpose as an artist, which simply can’t be denied.

To overcome this challenge, I introduce my work by starting with the inspirations, intentions and motivations behind it, followed by my thinking and making processes. This helps provide context and clarity for all those engaging with my work.

Research & intuition

An idea begins with a spark, ignited by something I’m reading, watching, learning about or something I’ve attended. This curiosity leads me to different phases of research into the subject.

The first phase involves online research, combing through visuals, and reviewing different types of scholarship such as written articles, lectures, panel discussions and podcasts.

The second phase includes visits to libraries, historical societies, special collections and research centres to collect more information.

When possible, I conduct site visits to spaces or places connected to the subject, photo-documenting, taking notes, connecting with individuals affiliated with the locations or subject, and asking questions and gathering their recommendations for additional resources.

Throughout this research process, I organise the imagery and text into a vocabulary that will inform the materials and mediums I will use. This helps me translate the narrative I want to tell and determine the type of presentation I want to make.

This stage involves experimenting with materials and techniques and creating drafts and sketches of the different components that will go into the individual works in the series or overall installation.

I may consult with trusted colleagues and other experts to get advice, especially if the project includes new or unfamiliar elements.

“Developing an idea this way takes time, sometimes even years, which is why I often have multiple projects at different stages happening simultaneously.”

Shervone Neckles, Textile artist

Always inquisitive

Having something always in development fulfils my need to continuously learn new things. When I’m researching one project, I often come across information relevant to another project, creating a symbiotic process.

When I reach the production stage in the studio, I surround myself with the images, notes and quotes from my research for continuous inspiration.

I work off initial hand-drawn sketches, computer generated drafts, or collages that combine the two. This helps me establish the composition. Then I let the materials and my intuition guide the rest of the process until the work is complete.

Velvet, embroidery & herbs

I like sourcing my inspirations and materials from the places that are part of daily life, such as my local Korean and West Indian vegetable, fruit and herb vendors in Jamaica, Queens, New York City.

These sources are most evident in my Terciopelo series, where I use collage, appliqué, embroidery, and beading techniques to create textile works and wearable sculptures that pay homage to the Grenadian masquerade ritual of Jab Jab.

Terciopelo is the Spanish word for velvet, it also refers to the venomous snake found in Caribbean sugar cane plantations.

The series draws its symbols and imagery from the J’ouvert (daybreak or early morning) carnival procession known as Jab Jab.

Masqueraders display their racial pride by covering their skin in the rich blacks of molasses, burnt cane and black grease. They carry chains, ropes and serpents to honour the survival of enslaved and oppressed ancestors. The ritual takes place at daybreak, a time when the living and ancestors exchange energy.

This public ritual conjures the energy needed to bring order and balance to society. This imagery is combined with plush, luxurious upholstery velvet materials and metallic embroidery threads to, as author Zora Neale Hurston once said, ‘decorate a decoration’.

Recalling the velvet tapestries and prints that once hung in my family’s homes, I used embellished sensorial materials to evoke childhood and ancestral memories.

“The colour palette of black, gold, red and blue symbolises Black pride, spirituality, royalty, power and freedom.”

Shervone Neckles, Textile artist

Sacred & scientific

My motivation for connecting the sacred and scientific can be seen in the You Are Your Best Thing textile work from my Provenance series.

Inspired by Caribbean mythology, You Are Your Best Thing uses mixed media techniques of appliqué, embroidery and beading to tell the story of three female figures whose heads blossom into neurons.

Beaded veins run through their bodies, connecting their consciousness to one another and to the earth, mimicking the complex root networks trees use to communicate and transfer nutrients and information for survival.

The neurons emerging from above and the roots from below the figures illustrate the ineffability of Black womanhood and the methods of resistance necessary for survival.

The electronic resistors symbolise the lineage of ancestral wisdom carried and passed on through root networks or generations of ancestors.

This work also draws from the Central American plant known as the Give and Take Palm (Chrysophila Argentea), which produces both a toxin and its own antidote.

“By reflecting the interconnectedness of life, wisdom and resilience, I am able to bridge the sacred and scientific.”

Shervone Neckles, Textile artist

Layers of meaning

My piece Domiciliation: Bless This House Repository #1 is an example of how I repurpose images, material, space and text in an artwork. It’s a mixed media sculpture that incorporates photo documentation and records from my family archive.

Repository #1 is part of the larger Domiciliation: Bless This House installation focused on reconstructing and safeguarding my family’s history using clear polyvinyl chloride (PVC).

“The concept of repurposing is essential to my work and practice.”

Shervone Neckles, Textile artist

I screen printed family records such as my grandmother’s journal entries, the land survey of my ancestral home in Grenada and photo documentation from my grandfather’s passport photo and imagery of my mother’s childhood home onto PVC material, a material originally designed for furniture and garment protection.

By encasing these memories and records with the same plastic materials our family used to cover and protect their furniture and cherished items, I draw a parallel to my grandmother’s upholstery work as a seamstress. Through these layers of repurposing, I function as a custodian of this history.

The elements are housed together in a gold-adorned vessel, compressing and capturing memory and history. The transparency of the PVC material allows the imagery and text to appear and recede from view, depending on the viewer’s proximity to the work.

By altering the intention or purpose of an image, text, object, material or space I can introduce layers of meaning that welcome various interpretations, and form a connection and dialogue with the viewer.

Life and learning

In addition to my formal training in both undergraduate and graduate studio art and art history, with a focus on sculpture and art education, I’ve always fuelled my artistic practice and curiosity by intentionally pursuing opportunities like apprenticeships and workspace residencies. These experiences have exposed me to new mediums, materials and artmaking techniques.

At the Fabric Workshop and Museum in Philadelphia, Pennsylvania I learned large scale silkscreen printmaking. At the Center for Book Arts, New York I honed my skills in bookmaking.

I explored the vastness of the printmaking medium through the Robert Blackburn Printmaking Workshop and the Manhattan Graphics Center workspace programmes in New York City. And I’ve experimented with handmade papermaking from Dieu Donné Paper Mill, Brooklyn.

Many lessons about life and the art industry have guided my artistic journey, lessons my formal art training didn’t prepare me for.

I learned lessons like charting a career path that aligns with who I am and maintaining the integrity of my voice, managing an active studio practice alongside family and employment commitments, building an inner circle of support, handling fluctuating relationships with money, and navigating the gallery, museum and art industry.

Enduring friendships, lasting relationships with trusted colleagues and mentors, and closely following the careers of respected art professionals have provided me with invaluable guidance over the years.

These artist peers have encouraged me to define my role, assert my voice and get clear on my purpose as an artist. Their unwavering conviction and sense of purpose have propelled them beyond their own fears and apprehensions, and their example has been instrumental in shaping my artistic journey.

Efficient workspaces

I currently operate my studio practice out of my home in Queens, New York. I can manage the daily demands and time constraints of being a parent with remote employment and a rigorous, full-time artistic practice.

I’ve become extremely efficient at optimising my time: early mornings, nights, weekends and vacations, and have come to really appreciate my current studio setup, which was initially born out of necessity.

My home studio is designated for all the dry processes such as 2D works on paper, textiles, embroidery and assemblages, while the wet and large-scale works are done off-site at workspace studios or in collaboration with fabricators.

The delineation between my office and administrative work from my studio space allows me to conduct research and prepare materials months in advance.

My time spent in the studio is dedicated to deep experimentation, materials investigations and collaborations that fulfil my curiosity and execute my artistic vision.

“My art is my raison d’etre and helps me to truly fulfil my function here.

It’s my way of paying respects to my ancestors.”

Shervone Neckles, Textile artist

When you look at Michael’s work, it’s easy to see where he’s coming from. From a distance, his quilts do look like painted canvases.

For someone who just started quilting in 2018, he’s gaining a lot of attention for his bold use of colour and shape to tell stories of modern living. There’s a definite city vibe to his work, and many of his quilts are packed with a whole lot going on. 

While he uses traditional quilting methods, Michael’s approach to quilting and the art world in general are far from the norm. He’s eager to challenge how quilts are presented in the fine art world, as well as speak out against its sense of exclusivity. 

Michael creates visual feasts that take time to explore, and it’s worth the effort. We think you’ll agree that this fresh take on the quilting tradition is very exciting.

An artistic journey

Can you tell us about one of the first textile art pieces you remember creating? Did any family members or friends influence your textile art journey?

Michael C. Thorpe: The first quilt I ever made was an aquarium scene in 2004. 

My mother, Susan Richards, taught me everything I know about quilting and crafts. When she bought a long-arm quilting machine in 2018, I started to quilt too. 

That was when I began to understand I could create any painting I’ve seen using fabric and thread. Now I’d say a general curiosity of the world informs my artistic journey. 

What was moving into the world of quilting like for you?

People were supportive and didn’t make me feel ostracised by being odd and creating ‘paintings’ out of quilting. 

I wasn’t following patterns or designs, which was very different from how they were creating quilts. But I still felt embraced by my family and the people I’ve met at quilt and fabric shops.

‘I was the only dude and the only Black person in those quilting spaces – but it wasn’t alienating.’

Michael C. Thorpe, Quilt artist

What inspires your approach to quilting?

I was initially inspired by the works of Romare Bearden and Jacob Lawrence. Their work served as the building blocks for my understanding of art. I appreciated how they turned acts of daily living into art.

Lately, I’ve been greatly influenced by the surrealist and conceptual art movements because of their emphasis on exploring the mind and irrational impulses instead of practical thoughts. 

‘I believe art doesn’t have to be a grand exclusive thing.
We can transform our everyday and mundane thoughts and things into works of art.’ 

Michael C. Thorpe, Quilt artist

Start a conversation

You tackle some challenging topics in your quilts, including race and politics. Can you share more about that?

That’s an interesting question for me now because when I came into making art, I truly believed I needed to address challenging issues and topics to be a relevant artist. But the deeper I’ve gotten into my practice, the less it matters to me to comment on contemporary life. 

I’ve become more invested in exploring imagination and creativity and how I can create systems to create artwork without great thought. I’ve learned that when I think about the meaning of a work, or what I want to say about such-and-such, I become paralysed and can’t make work.

Now I just create work and put it out in the world. I create things because I’m interested in a certain subject matter or process. It’s not that deep for me. But I do hope my work starts conversations. Where those conversations go is up to the audience. It will become whatever it was meant to be.

Quilts are often viewed as being domestic or possessing other tame characteristics; how do those stereotypes influence the messages you want to express?

Using quilting and textiles as my primary mode of expression is a deliberate act of rebellion. 

Understanding painting is considered the ultimate mode of expression, I have decided to never paint but I still call my quilts ‘paintings’.

‘I’ve always struggled with the hierarchy in the art world – it seems so silly to me.
Just create art, look at art, be curious and like what you like.’

Michael C. Thorpe, Quilt artist

How do you create your quilts?

First, I have an image or idea. I then draw that out and enlarge the drawing with a projector. Next, I cut out fabric pieces and then put them back together using a long-arm quilting machine. I use a Handi Quilter Fusion machine.

I work in a separate studio space. Since my art is how I make money, I treat it as a nine-to-five job. I mostly listen to podcasts while working, but I definitely sprinkle some music in there.

What are your must-have tools for creating your textile art?

Something to write with and my mind. That’s all I need to create art. A good pair of scissors also doesn’t hurt when it comes to textile work.

Go for it

How hard was it to learn machine quilting? 

My learning curve wasn’t steep because of my mommy. She shared all her secrets and helped solve problems that would have taken me out of the act of making art. Also, I don’t use any of the machine’s built-in digital programs. The results were too perfect and there wasn’t enough of me in the quilts. 

I prefer steering all the stitching myself so you can see my hand in the quilting. And there’s a level of spontaneity that’s beautiful.

My best advice for using free-motion stitching is to just go for it and remember that mistakes are the best part.

‘Sometimes the fabric will move, and it is what it is.
I’m not going to force it to do anything it’s not meant to do.’

Michael C. Thorpe, Quilt artist

Where do you source your fabrics and threads, and what do you enjoy working with most?

When I was starting out, most of the fabrics I used were given to me. Now I love the cheapest fabric I can get. 

Picking out my own colours and patterns is very important to me, but I also leave it up to chance. When I get low on fabric or I’ve just got paid, I go to a store and let my imagination run wild. I go with my gut instincts and grab whatever attracts me that day.

‘My entire artistic practice is deeply concerned with living in the moment and not overthinking things.’

Michael C. Thorpe, Quilt artist

Seeking inspiration

What’s the inspiration for the Dick 4 President quilt?

Dick Gregory is a very fascinating human being. I appreciate everything he has given this world.

Tell us about your Necrows quilt. I believe it connects to Disney’s Dumbo movie. Is that correct?

Yes. I loved Disney growing up and still do today. But I do find it interesting that the leader of the group of crows in the movie is named Jim Crow. Make of that what you will.

There’s so much going on in Last Night At Your Mom’s House. What’s the backstory to that quilt?

I wanted to create a party scene that I may or may not have been in before. The Milwaukee shirt is a nod to my wife who’s from Milwaukee. I love the Midwest.

Who is featured in your Family quilt?

The original idea for the quilt was a big ‘what if?’ in terms of my relationship with my father. I was thinking what it would be like to grow up in a two-parent household. But now that thought is kind of whack to me because it discredits everything my mother did for me. I wouldn’t change anything in my life because it put me here now talking to you guys. 

Your multimedia work Sisson incorporates wood and iron alongside textiles. How did that all come together?

It came from an interest in glueing quilts onto random surfaces just like a painter can use anything as a canvas. I think it stemmed from looking at Robert Rauschenberg’s work.

What is one of your favourite works and why?

The last work I create is always my favourite. I don’t dwell on the past. I’m always thinking about what’s next.

What challenges, if any, have you faced in your textile art journey?

My greatest challenge is getting people to accept my way of creating work and living life.

‘It’s quite funny when people’s expectations of me and my career don’t match up to my own expectations.’

Michael C. Thorpe, Quilt artist

What lies ahead with your textile art? Where to from here?

Only time will tell.

We already know you’re interested in the art of fabric and thread – why else would you be here? But perhaps you’re looking for a more tactile read, and the luxury of sitting down and reading a magazine cover to cover? If you’re interested in subscribing to a print (or digital) journal exploring textile art, there’s lots of gorgeous options to choose from. 

Here’s our list of the best textile art magazines. These publications are suitable for readers at all levels. High quality, beautifully illustrated, and aiming to inspire, engage and share, each title brings alive the latest developments and inspirations in textile art. 

Read on to discover these periodical gems: Embroidery, Selvedge, Fiber Art Now, Textile Fibre Forum, Quiltfolk, Quilting Arts and Surface Design Journal.

Embroidery

Embroidery is a beautifully presented long running magazine serving lovers of embroidery and contemporary textile art. It comes from the renowned Embroiderers’ Guild in the UK and was first published in 1932.

Over the decades, Embroidery has become the most well respected review of the art of embroidery and stitched textile art. This magazine inspires and impresses with its mix of textile art features, in-depth artist interviews and colourful artwork shots. There’s a listing of the best exhibitions and events around the UK and beyond, and all the latest news in the world of embroidery. 

Subscriptions are available for readers in the UK, Europe and worldwide. Published six times a year, it will bring you plenty of inspiration. Not to mention the option for incredible access to a vast, fully-searchable digital archive of back issues!

A digital downloadable version is available through Pocketmags, or a single issue pay-as-you-go option is available for those who don’t wish to commit to a long subscription.

Selvedge

Celebrate our communal love of cloth, culture and creativity in Selvedge, an attractive feast-for-the-eyes, square-format magazine. This internationally renowned magazine was launched in 2004 by textile obsessive Polly Leonard, and is published every two months in print and digital formats.

In a magazine as beautiful as the textiles represented within its pages, it features articles on textiles in fine art, craft, design, fashion and interiors, sharing the history and importance of cloth, and its place in the modern world. 

Print magazine subscribers receive complimentary access to the corresponding digital edition. Or subscribers can choose the digital-only version. Back issues are available to buy separately.

Great pride is taken in the printing process, using soy-based inks, paper and packaging produced in an environmentally friendly and socially responsible manner.

Textile Fibre Forum

Textile Fibre Forum is a long-running Australian textile art magazine, in print since the 1980s. Produced by ArtWear Publications since 2011, this quarterly magazine shares the work of textile artists, as well as promoting exhibitions and events, and exploring new techniques and innovations relating to textiles, fibres, and textile art. It has a strong focus on Australian artists and contemporary textiles, with articles from specialist contributors in each issue. 

The subscription price includes postage and handling within Australia. International purchasers pay postage at checkout. Alternatively, you can buy a digital subscription. Print format back issues are also available to purchase separately.

Fiber Art Now

This sumptuous magazine, published in the USA, has a broad remit – perfect for those who like a little bit of everything. It explores all types of textile art, including embroidery, crochet, weaving, felting, book arts, quilting, traditional techniques like shibori and sashiko, and more.

Covering installations, wearables, sculptures, vessels and basketry, wall and floor art, plus engaging artist profiles, there really is something for everyone. 

You’ll get four jam-packed magazines a year, as well as instant access to the archive of digital back issues. Shipping is free in the USA, and international subscribers can either pay for shipping or choose the great value digital-only subscription.

Quilting Arts

In Quilting Arts, you’ll learn more about textiles and techniques for contemporary art quilting and surface design. Published in the USA since 2001, this quarterly magazine is full of informative articles dedicated to promoting the art quilt movement, and is suitable for all levels, from novice to professional quilters and textile artists. 

It provides inspiration, technical information and mixed media insights; its aim being to elevate the visibility of art quilts through education, innovation and inspiration. 

Quilting Arts is available in print format, with a supplement to cover postage outside the USA. Back issues are available separately.

Quiltfolk

Travelling coast to coast from New Jersey to California, the quarterly magazine Quiltfolk visits a different state of the USA in each edition, exploring quilters and quilt stories unique to that region.

Beautifully designed and printed, this magazine is a tactile delight, with a soft cover and gorgeous images showcasing the art of quilting, and will appeal to all quilt makers and quilt lovers everywhere. 

This print-only magazine, first published in 2016, has 164 pages brimming with inspiration, and it is advert-free. Back issues are also available to purchase.

Surface Design Journal

If you’re looking to take your art to the next level, check out the Surface Design Journal from the Surface Design Association. This magazine will help to expand your knowledge on techniques and applications.

It covers textile art, design trends, exhibitions, as well as  interviews with artists, makers, curators and collectors. The journal is published in the USA, but has an international scope. 

This quarterly journal comes with membership of the Surface Design Association, which includes a range of other benefits.

Readers can choose print and digital, or digital-only subscriptions, at different price points depending on your location worldwide. Individual issues can be purchased at the SDA store.