Since its inception in 1973 Textile Study Group owes its place as one of the leading textile art group in the United Kingdom to the prodigious talents of its members. Therefore although a member may decide not to continue as a full member the group has always felt that their contribution over time should still be recognised.
JAN EVANS
Mist in the Orchard by Jan Evans Acrylic paint as a light wash onto calico with trees loosely painted. Torn papers added to tree and foreground. Machine embroidered to add texture and detail.
My work reflects the passion I have for the woods, hills and valleys of my local landscape on the edge of the Forest of Dean in Gloucestershire. The year’s seasonal cycle and the unpredictable British weather provide me with ever changing inspiration. The light on the land which creates shadow and reveals form and texture is especially noticeable during the winter months, my favourite time of year.
CHRIS BERRY
Current research is C16th & C17th English historical embroidered textiles, investigation and passing on my knowledge to students to better understand these fascinating embroideries. Tudor caps and coifs: Wrought with blakke silke: Unravelling Tudor stitches: Curious needleworkes: Stitch by Stitch are some of the courses I teach in USA, Canada, Australia and UK.
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Website: www.tudorstitches.co.uk
ELIZABETH ASHURST
Detail of panel inspired by summer border at West Dean.
I am a freelance artist and lecturer using paint, print, dyed silk and thread to create stitched wall hangings, panels, paintings and scarves. Light and colour are the key factors in my practice which draws its inspiration from landscape, gardens and my travels to eastern and central Europe.
Website: www.lizashurst.co.uk
Affiliated group website: www.newembroiderygroup.com
ROSEMARY CAMPBELL
Out of Tune (detail)
I constantly draw, paint, photograph and collage in order to collect enough reference material to create a body of work. Paperwork is my starting point for my textile pieces. I love to use traditional techniques in a contemporary way, to stitch on painted paper alongside reverse appliqué or embellished fabric. Throughout my career as a lecturer these techniques have developed more into mixed media while maintaining stitch as an important element.
ALISON KING
Landscape near Loch Kinnord
Trained as a painter, I now increasingly combine textiles with paint and collage feeling this form of mixed media is ideal for interpreting different themes. Much inspiration has come from the Scottish landscape and the marks and scars left on the land by generations of landowners and crofters.
JULIE ERICA SAUNDERS
The collecting and layering of cloth, incorporation of meaningful text and assembling simply stitched pieces has been the consistent approach in my work. The work is underpinned by family history and new works explore ‘Presence in Absence’ where my pieces extend beyond the personal and connect with others via this universal theme.
JENNY BULLEN
Walking through Time by Jenny Bullen Pleated, creased, organza, hand stitch.
The chalk down lands and coast where I live continue to be the main inspiration for my work although I usually work in response to an idea rather than a particular image. One source of constant interest is observing where the sea and land meet as I walk around the shore; the colour of the sea constantly changes, one day greys and ochres, sometimes vivid blues and silver. Marks in the landscape intrigue me, weathered by time. Ice, mud and frost, hard shadows and bare hedges, hazy summer sunlight, birds flying overhead all have important roles in my work.
ANN WHEELER
Passage of Time
My work is very process lead. The act of drawing and recording ideas in sketchbooks together with historical research, leads to sampling and development. My other great love is lacemaking and trying to get the historical technique acknowledged in a modern context. The use of a larger scale and a variety of thicker and challenging threads can be exciting to explore and needs a willingness to compromise.