Excert from article I am writing for British Embroidery Magasine:
In The 18th Tamworth Fibre Textile Biennial 2008, Christine Atkins presents a sculptural embroidery of dense colour and beauty. The tree form with vibrant red leaves grows from roots reaching deep into an earthen heart. It is entirely stitched in free-flowing lines that evoke the dedication to hours working at a sewing machine, consumed in stitch and thread, time and the movement of cloth, internal emotions and projections. “From the Heart 1” conveys life, warmth and connection, suggesting multiple meanings, symbolism and personal narratives.
Demelza Sherwood studied printmaking and drawing but since graduating from the Australian National University she has explored the stitch as a highly personal and direct form of mark-making on recycled linens. Her subjects come from everyday life in snapshots of children playing with toys, fleeting moments acutely observed. They are captured on salvaged napkins which show visible signs of wear, staining and mending. The history of the fabric suggests the traditions and continuity of family while the freshness of the naïve embroidery highlights the experience of intimate moments.
An intriguing work in the exhibition, “An Architecture of Thread and Gesture” embroiders monofilament through Tivek and air. The artist, Ainslie Murray, is also an architect and academic who is interested in processes of assembly and repetition. She experiments with air as the primary substance of space and maps or embroiders bodily movement and gesture.
Wreaths of hand stitched cotton on polyester organza waft gently out from the wall, casting soft shadows of their abstracted botanicals. Robyn Glade-Wright commemorates extinct plant species of her home state, Tasmania, through a play of white on white, like the fragile beauty of delicate embroidered cottons of the past. The exquisiteness draws the viewer in to consider further the issues of loss of species and contemplate on the environmental impact.