Stitching on a Roof Tile!

November 23, 2019December 1, 2019 | janethaigh

The Curzon Cinema in Clevedon, North Somerset, https://www.curzon.org.uk is my favourite (actually our only) local cinema; it looks and feels like the picture houses of my childhood in the 1950’s. (photograph above courtesy of Go Bath Bristol) Saved by the community from total dereliction some years ago, it now has a major problem, the roof is leaking and needs major money for repairs. So there was a call – out for local artists to help – decorate an old roof-tile in any way whatsoever ………and they are being auctioned on line next month from 1st December 2019.

the roof tile when it appeared was a bit of a shock, very curvaceous, I applied a layer of organza and turned it on it’s side….a felt a sea scape emerging.

the headland of the Kilkenny Bay seen from our house and garden, on late sunny evenings…utterly magical.

The central curve reminded me of the the headland at the end of the bay where I live, Battery Point, on the Severn estuary, fanciful I know but I have many drawings of this view and have made many different types of work from the studies.

I tried many variations of colour scapes from my earlier drawings. I liked the glistening nylon shot fabric for the water, trouble is that the water of this estuary is never a deep true blue, air-force blue is as good as it gets. For some reason I started with the lump on the left…so the view was of the other end of the bay where the sun sets and all the colour emerges from…but it wasn’t working for me – then one morning I just changed it around so it looked like the Battery Point headland…I was suddenly on home ground..or should I say water?

I added the salt marsh fabric, a piece of green and orange shot cotton is the perfect colour of the marsh when the late afternoon sun lights it up in the autumn – the rest of the sky and sea seem purple in comparison.

The task now was to organise the layout of the fabrics so that they would lie in straight lines when they were eventually placed onto the undulating tile …this took some calculations as the tile is wedge shaped but the sea level and the salt- marsh horizons are straight….

I start to running stitch the sky …..but I have decided against the brilliant blue sea I hid it under a translucent layer of silk!

I used the simple running stitches of Kantha technique for this appliqué, I have to get the fabrics to stay together in a soft and malleable form so that I can easily manipulate the fabric over the lumpy tile.

I continue to stitch down the length of the tile – it takes several days but as always fascinating to handle the colour changes. The stitching is quite large and almost crude using a heavy gauge silk thread but very satisfying to do; usually when working this technique I use one single thread of silk and it takes ages and ages to cover the ground

As I continued to stitch the colours became muted and now the once brilliant orange sky was being challenged by the bright green of the salt- marsh; reluctantly I changed the fabric after several different variations of shot cottons had been tried, but there is enough going on in this small space as it is – hey ho!

eventually the finished piece is ready to be mounted onto the tile covered in wadding.

I then covered the tile in a layer of very thin wadding, sticking it down with thins lines of fabric glue so that I could continue to embroider the silk piece to it. I have evolved this technique for covering 3D shaped objects over many years of trial and error but this was a real challenge.

Having aligned the top of the stitching to the top of the tile I tacked it into position, then pinned it all along the undulations…it’s really tricky work trying to keep the horizon lines straight…all those years of pattern cutting came into play! The top and bottom were secured by over stitching onto the back of the tile wadding, pulling and stretching as I proceeded eventually it was securely stitched and bedded into position.

the back and front of the tile side by side – now photographed the tile just looks flat and with wobbly sides…but it feels lovely to hold.

I am really liking the feel of the tile now it is so softly padded and am thinking of possibly making some more stitched covers for other objects – one day. Meanwhile my husband Stephen Jacobson, has painted another view of the estuary using the imprint of the tile manufacturer as a flag with a view of the band stand at Clevedon. And artist Alfred Stockham has painted eyes to create a curious face and called it ” The Man in the IronMask “

All the 40 odd tiles are for auction on the curzon.org.uk/art-on-the-tiles.

nexus – meetings at the edge: exhibition

April 5, 2018February 10, 2020 | janethaigh

The night before the private view I had a dream that a giant version of the work featured on the poster ( see above) was writhing around the gallery walls and flashing strobe lights, while all the other pieces of work in the exhibition were equally massive and glowing while moving to – for want of a better word – ‘disco’ music: I thought – oh no! my poor flat patchwork!

cover ex — reassuringly static ‘ Entangle Tiles ‘ by Lynne Maclachlan

The featured work by Lynne Machlachan was on display with her other wonderful constructions in blends of strong colours they undulated around the walls and in the air. A panel of photographs showed them being worn, I hesitate to call them jewelry…

On reflection I feel that this work set an atmosphere for the exhibition; clear, strong, flat colour, immaculate attention to surface detail, and a definite sense of playfulness were qualities I enjoyed throughout the rooms. The only strobe effects were caused by overlapping patterns on a smaller scale in many exhibits.

strobe effect in metal in tiny scale by Andrew Lamb

Whether by intention of the makers or sympathetic lighting on the part of the curators, the play of light and shadow were fascinating. I constantly returned to view the works of 2 makers who collaborated to show small woven metal constructions, Jonathan Cleaver and David Poston,

weave1 — views of the woven metal works from different angles with metal jewelry work by

Even when I viewed larger scale works that had became almost installations in the way they were exhibited, the same themes of flat brilliant colour and clean elegant construction were apparent – and the use of this singing yellow and metal together.

Rajesh Gogna metal appliances with attitude

colour and pattern throughout the exhibition links very disparate materials and ideas

nexus ex2 — machine embroidered coat by Jacky Puzey echoes the metal sculpture beyond

The machine embroideries of Jacky Puzey echo both colour and form when seen against the metal sculptures. Her large dramatic panel of birds is a real master class in placing together disparate materials and media so that they flow easily one into the another.

machine embroidered parrots in thread and feathers. Jacky Puzey

joining — detail of embroidery and fusion with feathers – harder than it looks here!

The degree of skill on view within the exhibition is made apparent in different ways, certainly to change or add new materials to your original practice makes you concentrate on the “joins” and here nearly every piece of work combined either 2 or more materials or the makers had transferred the techniques of one discipline to another…or they made juxtapositions of natural with man made found objects – never easy.

Ancient bronze thimbles carry coral and sea urchin spines, like tiny offerings to the goddess of stitch! And there were boxes made from a metal shield mount, still with tracings of old patterning mounted with diamonds.

One of the major themes of the exhibition is the transformation of one material to describe another and there were many examples including my own.

One of the advantages of Private Views is to meet up with other exhibitors, I often find that talking to people work who work totally differently to me are always stimulating. I was introduced to Valeria Nascimento and we spent some time together discussing our very different work. as we walked we both stopped and gazed at the work of Anna LorenzIt is intriguing; you just can’t guess the material ( well I am a maker and stimulated by materials) It looks like unglazed porcelain or paper porcelain, or unfired porcelain, or paper or felt or…. or….but it is news print; and it is perforated, but how? Valeria and I were looking behind it, inside its layers and I took this image of the gradated shadow it threw – so much a part of its complete and compelling mystery.

Arriving at Valeria’s work I realised that I had photographed it as soon as I walked into the gallery, drawn to the far wall of what looked like bleached shells and sea creatures.

valeria sea — porcelain ruffs and spirals

Her table of porcelain jewelry in stark blacks and whites really intrigued me, the fluffy neck pendants and the massive rings and brooches are not to my personal taste but their presence and implication of natural forms through simple and sympathetic use of her media, just made me want to hold them – and that’s why we go to exhibitions isn’t it – to extend our imaginations and ideas.

Sea creatures emerged as inspiration in the beaded work of Wanshu Li, translucent and iridescent tentacles of colour made up large rings and bracelets.

sea photo — photographs of jewellery by Wanshu Li

and accompanying her work were high contrast photographs underlining the quality of deep sea beings… looking at this work made me see a fish in an adjacent vitrine.

Every once in a while you see work that just makes you jealous and wishing that you could have made it – the work of Zoe Hillyard really stopped me in my tracks. First it was beautifully thought-through and formed, second it reminded of work that I had made previously, and third – I wished that I could have used it for an exhibition I co-curated some years ago – Mending at the Museum.

joining1 — broken ans mended jar using fine fabric.

I had actually tried a similar exercise when I was working on ‘mending’ ceramics – but it did not look like this; here are elegant breaks, refined textiles wrapped and stitched to perfection and the soft colouring entirely at one with the materials – it is patch-worked!

I really appreciated this work, especially her dense stitching on the inside of the pieces, used to draw the fabric tight against the curves, she managed to make this as decorative as it was functional. Just so desirable and a perfect transference of materials and ideas – and she made the jars then smashed them herself!!

I cold go on and on about the ideas, images, thoughts and provocations elicited by this exhibition – but now show that finally, after months of work, the Patchwork Enamel was successfully transported and hung and here it is complete with shadows…

Patchwork Enamel

March 21, 2018February 10, 2020 | janethaigh

first sample — First fired vitreous enamel sample

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Mending = Art = Exhibition

March 4, 2012February 10, 2020 | janethaigh

Darned Heart Sampler – vintage linen, vellum,vitreous enamel, silk mirror

This is a first for me and I want to share it with you – I am, from today, exhibiting in America. I have 2 pieces of work in an exhibition called Mending = Art showing at the Gershman Gallery in Philadelphia and this evening I should be at the private view, but instead I have just returned from Heart Space Studios having run a birthday party, making beaded brooches with ten 9 years olds – and very enjoyable it was too. But how I would love to be seeing my work in an international exhibition at such an amazing event as the Philadelphia biennial textile art festival FiberPhiladelphia 2012.

the inspirational wood cut from the Berlin Museum- Frau Minne’s way with Mens’ hearts

The call out came early last year, from American textile artist( she of the wonderful brilliant red website) Diane Savona, for textiles made around the theme of Mending…this must have been the universe answering my call. I had several things on offer, as looking at the ‘ Ongoing Work” section of this blog will show you. But unusually she also asked me to send her an image of the inspirational early woodcut that has inspired at least 10 years of textile and enamel work, and mending was the subject of my first post in this blog.

counterpane/counter-pain – vintage cotton and cotton thread

and above is the other work that Diane chose to represent my mending embroideries, a real heart-felt cry now that I look back on it, I can remember every stab that contributed to this image but then yoga certainly reaches the parts the needle can’t.

So this is the shorted post I have ever written, but now I am off to celebrate with a glass of something chilled and pink and fizzy……

OK so it’s the day after the night before day and here are the pictures from the exhibition sent today from Diane Savona.

from left: Amy Orr (organizer of FiberPhiladelphia) Miriam Shapiro (curator at the Gershman) Dorothy Caldwell and Libbie Soffer, as Amy says a few words in front of the Japanese boro from the Liao Collection.

and very glad to see a video work from one of my colleagues Amy Houghton,

then there is my work hung together with Frau Minne keeping count in the middle of it all….

something tells me that that red and white is the new black, white and grey of studio art textiles…..

and again….

and yet again…..well mending seems to = blood red for a whole lot of women.

Erin Endicott in front of her work……ooooh!!!!!!

Lost In Lace

January 28, 2012February 10, 2020 | janethaigh

“Lost in Lace – transparent boundaries” curated by Lesley Millar is the current exhibition at Birmingham City Museum, on till 4th March; I went to see it recently with colleagues, Hanne Rysgaard and Basil Kardasis, who are part of the Stitch and Think research group. Hanne and I had decided to make a large porcelain hanging based on lace for the group’s exhibition at the Bristol City Museum and Art Gallery which takes place later this year, thankfully a lot later. Basil came along for the pleasure of a day spent looking and talking.

The first thing that really got me excited was the scale of the work on view. The Gas Hall where the work is housed and much of it is designed to fit, is massive and the lace exhibits certainly inhabited the space and made a monumental but ethereal impression. My own impression after my first walk around, was of a silent shadowy cathedral; but it wasn’t silent and it wasn’t gloomy, but it was majestic.

I became fascinated by the light within the space and also how the unusual materials used to construct the pieces still acted as lace, you can see it but you can also see through it. trying to assimilate the whole exhibition on my second journey around I sought out this now you see me now you don’t aspect, as seen above.But I had come to try to take away some aspect that I could develop in the work that Hanne and I are about to embark on. We actually didn’t look or speak together for about 3/4 hour, then she said “light” and I said “shadow”.

I became obsessed by the shadows cast (or not) by the ‘lace’ so this is post is now about the shadow experience. I now wanted to see and capture shadows, but this wasn’t as easy as I had hoped, which gave rise to a long conversation on the train home to Bristol, about how will we achieve large-scale combined with strong shadow….Annie Bascoul talks about shadow in her pages in the excellent catalogue, she mentions the “eroticism of the thrown shadow” I like what she wrote but I couldn’t find a good shadow to photograph ( but this may be due to my ineptitude with the camera)

A not very erotic shadow – sorry

Some of the most fascinating shadows were from the smaller pieces,below is a detail from 2 edges of Diana Harrison’s ‘Time Line’ a broken,small in scale but very long length of polyester thread. cotton cloth and dog hair. I really wanted to stay and draw the with crisp complicated meshed shadows formed by the fabric and it’s fine black pins that anchor it in position.

The best shadows obviously were mad when the wall or floor was close to the surface casting it …and the refreshingly bright blood-red piece by Micheal Brennand-Wood gave crisp grey snowflake patterns as an extra bonus.

Lace the Final Frontier, painted and stained aluminium :Micheal Brennand-Wood

and in the children’s activity area beyond the main hall there were lovely paper snowflake patterns hung on a washing line.

And it made the most ethereal and unusual shadows

But my favourite shadow was the strange almost mottled fish skin appearance cast by the unbelievable hand – cut paper lace panels, by Piper Shepard, that made a sort of triumphal arch between two tall and elegant pillars in the museum.

and here is the panel that made this shadow…

And if you feel that I have just not done justice to this exhibition, because I haven’t talked about the philosophy of either the artists’ or the curator’s decisions to make and show the work and I have missed the whole point – good. Go and see for yourself or if not, buy and read the catalogue :-Lost in Lace, written by Lesley Millar, published by Birmingham Museums and Art Gallery, ISBN 978-0-9570494-0-6 and let me know what you think.

Inspirational Indigo

May 28, 2011February 10, 2020 | janethaigh

Heart Space staff went on a jolly last week, to Glastonbury for an antique textile sale. It was held in a beautiful refurbished medieval barn which although toweringly beautiful was ffffffreezing…….

After rootling around, trying on hats, sighing over Edwardian wedding dresses and ball gowns, we eventually ended up buying all kinds of small affordable things. I always try to find either useful fabrics I can work on, got lucky and bought 12 matching linen handkerchiefs for my Make it Through the Night project, or totally Inspirational Objects – which can mean anything at all that just gets me itching to work. We all eventually gravitated to one particular stall, Slow Loris – an oriental textiles and vegetable dyed clothing stall selling wonderful embroideries and traditional ethnic indigo fabrics.

Martin Conian is a fascinating and knowledgeable dealer in wonderful things. I have scant knowledge of these textiles except that they come from a group of ethnic Chinese peoples living on the borders of Thailand, Burma, Laos and Vietnam in south East Asia, known as the golden Triangle so I am just showing you what I liked and eventually what I bought for inspiration

Martin has spent many years visiting, collecting, trading and working with the people who still make these costumes, books, fabrics, jewellry and boots…I got particularly interested in the boots.

embroidered silk boots and shoes

as did Sophie, our volunteer organiser who loves everything vintage, especially textiles.

sophie1 — embroidered silk boots and shoes

as did Sophie, our volunteer organiser who loves everything vintage, especially textiles.

We were both fascinated by the embroidered boots

But the real delight was when we turned them over and discovered……

Embroidered Soles!

But what I really really wanted to buy – and if I could have found one to fit me I would have gone onto debt for – is a pleated burnished indigo skirt.

What I did eventually feel able to afford on the grounds of Inspirational Object was a metre of beaten indigo cloth; apparently the indigo is mixed with many other active natural additives to get particular effects and colours. I can only recall Martin listing egg white, persimmon, urea, amongst the different lists of ingredients he quoted to make up each different dye.

And why did I buy this simple cloth with all the wealth of other desirable things? Well suddenly I saw a connection with some other things I am wanting to work with – when I get some time- to try to make some type of collaged/appliqued/stitched/ enamelled/ threaded leathers, metals and fabrics that will be combined on such a way that I can develop an entirely new set of work.

Below is a selection of the fabrics and objects that I will now start to think about again – watch this space – but don’t hold your breath!

Open Studios

April 30, 2011 | janethaigh

I have not been posting blogs for some weeks and above is the reason. I decided to do this open studio for North Somerset Arts Week early last year when life was less hectic i.e. before I opened Heart Space Studios. So for 2 weeks I have been playing catch up. In fact I am still so busy that I am writing this between meeting and greeting visitors on the second day of open studios event.

small section of enamelled sculptures in my spring garden for Arts Week

I have an enamelled garden in situ all year round but it needs bit of repositioning for the open days – so the first thing I had to attend to, well not me exactly – my niece Julie Dunn (who runs Trug, a garden design company) was happy to come and help me – she spent the whole of Easter tidying and replanting my winter ravaged garden into shape.

Julie hard at work in the ravaged garden

The other more major concern was that I had no new work to show for the Severn Sea Artists group – I had intended to make a series of enamelled panels of the coloured skies of the estuary – but time was running out – but I just had to get these made somehow. So I set to work, first I made some simple striped embroideries to get me thinking about the colours again and from these flowed the enamels skies.

I started work using the samples I had done but informed by the 8 or so silk embroideries I have made to date. Back in the enamel studio I assembled some large strips of copper and drilled them so they could be strung by 2 wires not exactly stitched but much quicker to make…..

7sea e1 — strips of copper annealed ready to be enamelled with one I made earlier

7enamel — working out the colour striations against an embroidery on the floor of the studio!

I decided to liven up the stitched areas with beads, this has made me rethink how I may make some larger pieces in future.

7sea enamel2 — beading the wires to connect the panels

The finished pieces are small and irregular as I made them out of random off – cuts of copper I had left over from other projects. I had intended to show these in the garden but I decided to show all the other work with them including the early research drawings.

enamel show — the finished enamel panels in the exhibition in my cleaned up enamel studio

meanwhile back in the garden the larger enamel panels are displayed, I would really like someone to commission me to make a sky on this scale…….

gaeden1 — larger patchwork enamel panel and flowers

But the main part of my exhibition is inside my tiny conservatory

cons 2 — inside the enamelling studio/conservatory

view through my husbands exhibition into the enamel room

I am sharing the open week with my husband Stephen Jacobson who is showing his paintings of the estuary and we are members of a group of 7 artists who use the estuary as inspiration, called The Severn Sea Artists we have made a trail from one venue to another and I made textile banners to advertise us, I am hoping that they withstand the gales that are blowing down the estuary this week.

I have actually managed to sell an embroidered sky between the times I have been writing this post this morning – way to go!

Snow Lace

December 18, 2010February 10, 2020 | janethaigh

Although the whole of the British Isles is suffering from snow this winter, here in Portishead on the Bristol Channel, it is a rare and entirely delightful presence. I have lived here for over 20 years and this is only the 3rd fall of snow which has stayed for more than 1 day. When I looked out of the bedroom window this morning this is the view I saw.

So at just past 8 o’clock we went out to see the woods – I walk in the ancient local East Wood almost every day, this time Steve came with me – no hope of getting the car up the hill and off to work in Bristol just yet. The dogs behaved like mad things, running, eating, dancing around in the snow.

Looking above me I could see the different patterns that branches made against the sky, laden with snow they look like lace – heavy crude needle made lace (my favourite lace). I had noticed this last winter, on the second time it had snowed here. Walking in these woods the rhythm of the branches are starkly shown; swooping ash trees against nubbly oaks, spiky thorns and elegant maples with still some leaves left on the branches. I couldn’t help thinking of the different qualities of lace patterns, the flowing loopy patterns of Ash trees remind me of early Brussels lace

whilst the stubby oak trees with their short branches

remind me of 17th century needle lace with picots and wonky patterns – maybe I will find an animal shape in the trees if I look hard enough.

the snow laden trees overlapping as we looked down on them are rich and varied in their patterns

I am being very fanciful but I did think of the wonderful old Venetian needle-lace with their heavily encrusted stitched worms and wiggles.

Turning the corner of the woods we headed back home, down hill all the way and getting slippy underfoot – by now the sun was out and the sky bright blue, the snow was thawing. One last look across the Severn estuary to Denny Island, a tiny outcrop in the middle of the channel, home for a big boys’ breakfast.

Heart Felt Forum

November 7, 2010November 24, 2010 | janethaigh

I have just made this broken and mended vitreous enamel heart for an exhibition, Heartfelt Bristol, which is being held between Friday 19th and Wednesday 24th November at the Centrespace Gallery, Leonard Lane, Bristol. The Heartfelt exhibition has been co-ordinated by Bristol textile maker Jan Connett and she has been working on this project for the last 9 months. Each exhibitor has been asked to make a heart to commemorate their own heartfelt moment and complete it with a label that tells the story that inspired it – so far Jan has over 500 hearts complete with their messages.

I have made this in the nick of time in response to a notice given at the last meeting of the steering committee of Textile Forum South West, which I chair. Jan is a member of TFSW and her work can be seen with many other members on the website. A group of us set up the Forum several years ago when some of the delegates and speakers at the Brunel Broderers‘ conference “No Man’s Land” sat down and talked together over lunch. We enjoyed meeting and speaking to fellow enthusiasts so much that we decided to continue to discuss and meet together in the future and try to include as many other textile practitioners, historians, lecturers and students as possible in the region. Sonja Andrew was the major driving force behind this move; she has since left the area to return to her native Yorkshire, but continues to keep in touch with us.

At the quarterly meeting recently held at rooms at Bath Spa University, Corsham Court, I looked round the room where 8 of the regular steering committee members were discussing our next conference “Mapping the Future – Where are you now?” to be held in March next year. I thought how totally different we all are in our own practice, but we all pull together because we just love textiles..not matter what our discipline we can’t talk enough about the “stuff”.

OLYMPUS DIGITAL CAMERA — hedgerow.buds.turning.pink. paint and thread on organdie Liz Harding

From the original group who formed TFSW there are 3 of us left and 2 of them were originally part of the Bunel Broderers group, Liz Harding who is currently studying for a PhD in at Bath Spa Uni and Brenda Miller who has recently completed an MA in Textiles at Goldsmiths University, London. Liz is at present the committee secretary and Brenda is heading up the exhibitions committee. The next exhibition later this month at the Centre for Contemporary Arts and the Natural World, and is called Material Actions which TFSW developed with Plymouth University Arts.

brenda — digitally knitted panel from video installation. Brenda Miller

Also at the meeting and studying at Bath Spa for their doctorates, were Kay Swancutt, our strict treasurer, and Alison Harper. Alison had her work selected for the Material Actions exhibitions and it is shown here, she made lengths of “yarn” from discarded crisp packets – those sheeny-shiny coloured ones, winding them into skeins all ready for working with and to quote her in an email to me – “I am currently researching the ways in which textile art and processes can contribute to an ethical dialogue between art, materials and social and cultural change ! so there”

alison 1 — "Pass Me Another Crips Packet" skeins of prepared crisp packets ready for knitting - Alison Harper.

I have featured Kay’s work before in an earlier blog, she is looking at the whole idea of re-working patchwork – it’s getting very organic – I share with her the fascination of the written pattern papers still held in old English mosaic patchworks.

Kay 1 — Patchwork in progress. Kay Swancutt

IMG_3001[1] — Jo Beal working in her studio.

We are constantly looking for ways to sustain the activities of the forum and recently had a grant from the South West branch of the Arts Council – ACESW – where we have been assessing the audience and/or members’ requirements to grow and develop the Forum. Jo Beal is the person in charge of the bidding for grants and she oversees all our applications, we were having to give an account of the money in a written report and this meeting dealt with it. However her own work is varied, she stitches but she also draws and has her own pages on Flickr.

This just leaves me with 2 other members of the committee at the meeting, Jan Truman who works in beaded metal wire, I think she would term herself a knitter – but not as we know it. The image below is ” just one of several projects on the go at the moment. This is part of my 2010 jewellery collection for the Barbican. I exhibit there, with the Designer Jewellers Group each year, so make a special pearl range for the show. Our exhibition this year runs from 11th Nov 2010 to 5th Jan 2011″.

And then last but not least – Liz Hewitt who does a whole lot of different things for the Forum. Her title is membership secretary but she also keeps us all up to date by sending out masses of news clippings and opportunities available between the bi- monthly newsletters posted by the Forum – a round up of everything going on in the textile world – it is worth being a member of the Forum just for these services alone. Also at present Liz is co-ordinating our next conference, as well as showing her dyed and stitched work in many exhibitions, throughout the country.

moving_out_from_within] — Hand dyed and stitched cotton cloth - Liz Hewitt.

And Liz and I are meeting together at my studio later this week to talk about the possibility of running workshops in stitching and drawing in the Bristol area, so watch this space….

But I am leaving you pictures of the sampling session in the lunch break, where we tried out an idea of Alison’s to make pom poms as an idea for a workshop at the Mapping conference – the Yarnpomming project. If you are interested in joining TFSW – out of area members welcome as well please go to the website and check in with us.

Janet Haigh : Her Work

Textiles: ideas, drawing, designing, stitching….

Stitched Enamel