In 1989 after several different career moves like managing hotels, inns and restaurants running a village general store and Post Office, Jennie saw her first piece of patchwork and made her first quilt. Having never sewn other than family mending and household repairs, it was a steep learning curve over the next few years, Jennie explored and experimented and by 1994, she was firmly hooked on all forms of patchwork and quilting. In this period she completed a teaching diploma and became involved with the City & Guilds. She taught the Creative Studies course in Patchwork, Quilting and Appliqué to several groups in the South of England. Within the syllabus one of the required subjects was texture. As there was very little information available on this topic, Jennie created her own designs and techniques thus sewing the seeds for a new career
She is known as a totally obsessed woman with twiddling, fiddling, nipping, tucking, fabric manipulation and surface texture. Unique in her field, she's now internationally acknowledged for her quick, simple, innovative and original techniques with manipulated material. Her ingeniously original ideas are the product of her fertile imagination and skill full fingers. Although, much of her work is created in simple calico her elegant ideas and natty notions may be adapted for any type of fabric and used to make quilts, wall hangings, boxes, baskets, cushions, table linen and of course fashion garments and accessories..She is called the Calico Queen but in the US calico is called muslin so she became the Muslin Mistress over there
Jennie Raymond is the author of many books and patterns about surface texture and fabric manipulation .She is an internationally acclaimed tutor, lecturer and author. She is described as a fully qualified teacher who instructs in a clear, concise yet amusing manner
Resource: http://www.jennierayment.com 11.06.2012
|picture 3 black and whit|
Michael Brennand - Wood visual artist, curator, lecturer, arts consultant. Is internationally regarded as one of the most innovative and inspiring artists working in textiles. He has occupied a central position in the research, origination and advocacy of Contemporary International Art Textiles. A defining characteristic of his work has been a sustained commitment to the conceptual synthesis of contemporary and historical sources, in particular the exploration of three-dimensional line, structure and pattern.He describes himself as ‘an artist with a sustained interest in textiles’. During his 40 years as a practicing artist he’s held numerous exhibitions and has also worked as a lecturer (at Goldsmiths College, London), curator and arts consultant. He makes elaborate, eye-catching wall-hung pieces that are part sculpture, part textile. Covered in an intriguing variety of materials ranging from conventional textiles to flags, CDs and badges, the pieces have elaborate visual patterns which mask more profound meanings.Under the influence of his two grandparents he very early began to work with the materials wood and textile.
He studied textile art and embroidery as it was far the most open-ended area of textiles and the area closest to fine art as he saw stitching as drawing in thread. He has persistently worked within contested areas of textile practice, embroidery, pattern, lace and recently floral imagery. Sites, which offer unbroken traditions, cross cultural interventions and a freedom to work outside the mainstream. He believes that the most innovative contemporary textiles emanate from an assured understanding of both textile technique and history. Michael has explored and developed his own techniques inventing many new and imaginative ways of integrating textiles with other media.
Recent work inspired by traditions of floral imagery have utilised computerised machine embroidery, acrylic paint, wood, glass and collage. Exploring the illusionary space between two and three dimensions, these works are colourful, dramatic, rhythmic and holographic in feel with intense detail that merges at a distance into strongly optical configurations.
picture 4' Died Pretty- A Flag of Convenience
picture 5 Slow turning
picture 6 'Stars Underfoot-Radiate
Jan Beaney and Jean Littlejohn
The two British textile artists Jan Beaney and Jean Littlejohn had shown me new ways of embroidery. It was uncharted territory for me to break with the accuracy of many traditional embroidery techniques. I was fascinated by the combination of various yarns of different thickness and to manipulate divers materials, in order to create new embroidery background. The use of notebooks at every opportunity to remember impressions of nature, moods simultaneously with ink and pen for the subsequent textile implementation were my first tentative design steps .
Beaney Jan and Littlejohn Jean(2005) Stitch Magic.BT Batsford ChrysalisBooks Group London W106SP
Jan Beaney has been involved in the world of embroidery for over 30 years sa a designer, tutor and author. She nearly teaches all over the world with concentration on UK,USA,New Zealand ,Canada and Australia.She is a member of the 62 group.Landscape in all it forms has fascinated Jan for several decades. Fleeting changes of light and subtle nuances continually intrigue and challenge her to create work where elements have been simplified or exaggerated whilst still retaining it entity. For the last few years, local fields have stimulated a series of work called Five Minutes from Home. These pieces reflect the changes of time of day, weather and seasons. Australia, especially the Red Centre and Lake Mungo, has fuelled her passion for colour. Contrasting features of brilliant hues, heat and space alongside dark rich colours, as well as intimate and mysterious aspects have been totally absorbing. Over a period of time, various Greek islands have inspired work. The colour palette and textural surfaces are exciting and presenting these particular qualities continue to test Jan. Her aim is to create a simple image which capture the essence of the place along with accumulated memories and emotions experienced at a particular time. Most of her recent work has been created using hand and machine stitching on soluble film to create a new cloth. In some instances this is further developed with more stitching, beading or the use of an embellishing machine to integrate certain aspects of the piece.
picture 7 From Just One Drop
Jean Littlejohn has worked an extensive theme based on pavements and carpets exploiting the lace like qualities of worn surfaces and the history of the people who might have used them.
The embellishing machine has given her the opportunity to create fused mixed media surfaces that can make subtle references to history.
Jeans works reflect a continuing fascination with pathways and journeys, routines and rhythms and traditional patterns of worn carpets. Her surfaces describe echoes from the past, layers of life and experience and aspects of decay. Some pieces look close to home for their inspiration and celebrate the beauty in humble things, an everyday journey to the shops, a walk across the park or a pathway to the station. Each day there will be small differences that hint at the lives of the people who use them. The worn surfaces of a zebra crossing have inspired a series of open lace-like pieces. The fragility of the works hint at the impermanence of human presence. The most recent pieces refer to a part of the Dorset coast that is slowly and surely eroding into the sea. As it does it reveals fossil forms that acknowledge ancient times. This has lead to the exploration of notions concerning revealing and concealing. The techniques and materials vary depending on the inspiration for the work but they always involve stitch by hand and or machine and often the use of the needle punch machine to combine and integrate surfaces
Jean Littlejohn and Jan Beaney and have been friends and professional colleagues for many years.
They continue to collaborate on their Double Trouble Books that allow them to explore new technical and visual ideas that they use in their own work and share with others
picture 8 details of “Tree”