Jane Walkley's sculptural woven tapestries

Jane’s gallery at the Harrogate Knit & Stitch show was titled ‘Material Traces of Our Industrial North’ and it was totally fascinating; both the items, the history and the textures of the pieces, which is something that always seems to draw me in.

The pieces on show in Harrogate ‘reflects the regeneration of textile mills in the North of England - sites that hold layers of memory, loss and transformation.’ The blurb goes on to say that Jane ‘questions whether site-specific interactions can help bridge the gap between memory, attachment and place in the absence of the workplace activities that once took place in these repurposed buildings.’

Work is centred in Sunny Bank Mills in West Yorkshire which ceased textile production in 2008 and the industrial pumps, looms, hardware and tools were left in place. Jane takes clay impressions from the mill artefacts creating moulds to cast an eco-resin to replicate the intricate details, which she then weaves to produce these sculptural pieces and highlight the emotional and physical connections that bind communities to their past.

There’s so much more on this subject and the best place to explore this further is on Jane’s own website. The pieces I’m sharing here, had me fascinated - their link to the past, their tactile-ness (though I promise I didn’t touch), and the process of how they’re made and came about.

JANE WALKLEY

JANE WALKLEY

Each piece has I’m sure it’s own story, and I was torn between those with colour and those which were monochrome. I loved the free flowing pieces, but this framed piece showed how easily these artworks could be included in a more conventional framing.

JANE WALKLEY

JANE WALKLEY

I loved the bobbins and the cogs, and they had an almost jewellery-like feel to them. This blue piece caught my eye across the gallery, and these were the pieces I most wanted to touch (but resisted).

JANE WALKLEY

JANE WALKLEY

But it was the one above that had I to choose one, I’d choose. It’s simply just gorgeous, isn’t it?

Shelley Rhodes, Behind the Stitches

Today I’m sharing more from the Knit & Stitch Show from Harrogate last year, and now I’ve shared all of the graduate showcase exhibits I’m going to move on and share some of the equally exquisite work on display in the gallery sections, starting with Shelley Rhodes.

I’d not seen any of Shelley’s work before but I was completely mesmerised by it - both when they were hung together, and individually. Shelley’s a mixed media artist who is drawn to the concept of fragmentation on repair, each the elements for her pieces are either weathered, worn or broken.

Her website says she is ‘drawn to the effects of time, the transience of nature, the things that go un-noticed and the ever-changing fragility of things around her.’

And together her pieces are quite a statement.

BEHIND THE STITCHES, SHELLEY RHODES

But I think are equally good alone.

She uses stitches to join pieces, and takes inspiration from Kantha making and combines layers of distressed, pre-used cloth piecing, matching and mending as she goes - and the results are stunning.

A SEGMENT OF BEHIND THE STITCHES, SHELLEY RHODES

I loved the detail on each of these elements, and it was great to be able to get so close to do that. I’m always amazed at how cohesive mixed media art is whilst using scraps - but then I guess if I were to colour code my scraps I’d be in with more of a chance of not creating a rainbow! Though obviously these are a level above anything I would create, but I’m sure there is still the satisfaction of putting something together well, whatever your skill level.

A SEGMENT OF BEHIND THE STITCHES, SHELLEY RHODES

I think though of all of the different type and shaped pieces, it is these oblongs that are my favourite, perhaps it’s the colours, perhaps the addition of nails/tacks - or maybe both.

A SEGMENT OF BEHIND THE STITCHES, SHELLEY RHODES

I’m glad to have seen them, and to share them here - and to wonder at their inception and beauty, and now you can too.

Transition and Decay, the rusty interpretation

While there may not be as many photos here as in my colourful interpretation post these rusty interpretations really did make me stop and think about the craft and work that has gone into both of these pieces.

The book by Gilly Meeks held items in various stages of rusting along with stitching and shows the effect that has on the material

THE RUSTING BOOK, GILLY MEEKS

Gilly says it comines her love of the making process, stitch and found rusty objects. Recycled fabrics in the book include cotton, linen, silk and tea bag fabric and all rect in different ways to the rusting process. Gilly also says she’s very drawn to the ghostly marks which result from the process.

The larger Rust quilt by Fiona Burrows takes a different and larger approach - her piece shows the aesthetic and symbolic qualities of decay and decomposition in the style of Piet Mondrian.

RUST, FIONA BURROWS

And just look at the detailed quilting.

RUST, FIONA BURROWS

I love both of these pieces as much as I love the colourful interpretations, but to me these pieces really needed their own post to shine (or rust!).

Which of the interpretations I’ve shown is your favourite?