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PVC Banner Bags for Gallagher & Turner, 2023Gallagher & Turner invited me to make a set of bags out of their Mark Chagall & Wilhelmina Barns-Graham exhibition banners, to save them from landfill.
Each bag's design has been carefully thought through to make best use of the banners and the imagery they hold. The bags are made with very little waste remaining from the banners. The larger bags also feature a calico pocket. Each bag is completely one-of-a-kind, limited run of 5 bags. They are for sale at Gallagher & Turner, Newcastle, both in-store and online. |
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Meet & Mend -
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Hand-sewn abstract patchwork example piece for workshops with Explore Lifelong Learning, 2022Fabric scraps, cotton thread
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Exhibition banner into bag-for-Life, 2021
PVC exhibition banner, polyester thread, twill tape.
I was commissioned to repurpose a PVC exhibition banner from a local gallery into a bag-for-life. |
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Balance, 2020Gouache on paper, 14 x 13cm
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Feeling Space (Revisited), 2019
Pictured in Four Pack exhibition, System Gallery, Newcastle-upon-Tyne
Found fabric offcuts, fabric-covered button, pop studs, hook and eye fastenings, fabric covered foam cushion, aggregate. Photos by Eve Cromwell:
https://evelyncromwell.weebly.com/ |
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In-between, 2018Plywood offcuts; fabric remnants cut to the same dimensions. Photos by Euan Lynn (www.euanlynn.com)
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Tenuous Link, 2018
Found tiles on plywood, skirt off-cut, safety fencing, carabiner clips, safety pins, screw hooks. Photos by Euan Lynn (www.euanlynn.com)
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Proposal Model, 2018
Gillian Dickinson North East Young Sculptor of the Year 2018 - Shortlist Proposal show, Cheeseburn Sculpture, Northumberland |
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Novyi Lef Stage Hangings, 2018
Various fabrics, hi-vis material, velcro
Custom-made hangings for band Novyi Lef's stage performances, designed in collaboration with Euan Lynn. Constructed from various fabrics and reflective hi-vis material which glows in stage lighting and flash photos.
The hangings were made to fit the band's table and keyboard stand, with velcro fixings for ease of set-up and pack-away. They roll up for transport and storage between gigs. |
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Feeling Space, 2018
Pictured in Close To You exhibition, Testt Space, Durham
Found fabric offcuts, fabric-covered button, pop studs, hook and eye fastenings, fabric covered foam cushion, aggregate. Photos by Euan Lynn: www.euanlynn.com
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off-cut-off, 2017
Needlecord and carpet tape on plywood. Wall paintings by Kate Liston.
Image credit (images 3-5): Ash Howland Davenport |
off-cut-off is made from a piece of needlecord fabric, bought secondhand with pieces for a child's garment already cut out of it. The fabric was first used in a previous work - Formula for a Space - for which it was cut down to a simple rectangular shape with one part of the child's garment cut out. During the making of that previous work, an offcut had been used to test a thick interfacing material which added structure to the fabric. Finding this tested-on offcut a few months later, I became interested in the beauty of its abstract shape, born out of the dressmaking process, the negative space leftover from the intentional cutout. I was captured by the way part of it had this rigid structure from the interfacing, while the rest had drape. I traced the shape of the rigid section and cut a piece of plywood (also an offcut) to its exact shape, mounting the fabric on the wood backing. This emphasises its rigidity in contrast to the drapey section, which hangs from a nail to show more of the fabrics form - making the original garment cut-out subtly visible, alluding to its history.
The title is purposely disjointed, thinking about the slight differences in the definitions of the different groupings of the three words and their connotations - offcut, cut off, off and cut; and all the different meanings these words incapsulate, literal or metaphorical.
The title is purposely disjointed, thinking about the slight differences in the definitions of the different groupings of the three words and their connotations - offcut, cut off, off and cut; and all the different meanings these words incapsulate, literal or metaphorical.
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Formula for a Space, 2017Needlecord fabric with found cut-out shape, backed with cotton fabric on curved metal rail; aluminium venetian blind; pebbledashed spar aggregate on plasterboard backed with varnished plywood, gloss enamel paint; frosted shower curtain on curtain rail; hand knitted yarn; gloss enamel painted garden trellis; glass mosaic tiles on MDF board backed with aluminium sheet.
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Formula for a Space consists of seven hanging panels/elements made from a range of different materials, dividing the space for the viewer to navigate. Some panels are different on each side, each material holding its colour in a different way to the next.
As the viewer moves through the piece, different perspectives come into view, providing new combinations of materials and colours. In this sense, the piece is activated by the viewer as they move through the space.
Each material and colour used brings with it the baggage of its own connotations, and in some cases its own history, which will be different for each viewer. Many of the materials, panels and forms used were chosen for their relationship to looking - particularly the act of looking through - or to being seen. The panels have no obvious front or back, hanging in mid-air - they do not reach the ceiling, floor or walls, yet they block the path of movement enough to affect the viewer's journey through the space.
The piece both invites the viewer to see the colours and materials removed from their usual context - abstracted and modular, simply a combination of surfaces, forms and colours; but also to look closer at the familiar materials and think through their materiality, uses, histories and associations. In a wider sense, though, Formula for a Space hopes to be a metaphorical piece.
As the viewer moves through the piece, different perspectives come into view, providing new combinations of materials and colours. In this sense, the piece is activated by the viewer as they move through the space.
Each material and colour used brings with it the baggage of its own connotations, and in some cases its own history, which will be different for each viewer. Many of the materials, panels and forms used were chosen for their relationship to looking - particularly the act of looking through - or to being seen. The panels have no obvious front or back, hanging in mid-air - they do not reach the ceiling, floor or walls, yet they block the path of movement enough to affect the viewer's journey through the space.
The piece both invites the viewer to see the colours and materials removed from their usual context - abstracted and modular, simply a combination of surfaces, forms and colours; but also to look closer at the familiar materials and think through their materiality, uses, histories and associations. In a wider sense, though, Formula for a Space hopes to be a metaphorical piece.
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Untitled, 2017Glass mosaic tiles and caulk on MDF, stretched machine-knitted yarn on MDF backed with aluminium sheet, shop-bought blind altered with electrical tape , wooden shelves, knit offcut, mosaic tile necklace, performer.
This piece was activated with a series of movements by the artist whilst wearing a knitted off-cut scarf and mosaic tile necklace (pictured). As the different elements of the work were moved and changed, the colour combinations and the views of and through the piece were altered. |
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Three Spaces, 2017Glass mosaic tiles, aluminium sheet and stretched knitted yarn on MDF board.
Three Spaces consists of two hanging panels, each made to be viewed from both sides with no clear front or back, but a different material, surface and colour on each side. The panels, although not reaching the extremities of the larger space they inhabit, manage to divide the space into three distinct sections for the viewer. |
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Combine, 2016Glass tile, plywood, hand-knitted yarn, screw eyes.
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Tile Piece: On/In, 2016
Ceramic and glass tiles on plywood.
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The title of this piece refers to the way the two types of tile - glass and ceramic - hold their colour. Utilising readily available tiles sold for domestic kitchens and bathrooms, the piece intends to abstract these objects, focussing on their material qualities. While tiles usually become the new surface of a wall once applied, here they sit away from it, their thick plywood backing giving the effect of a cross section, cut out like a lone jigsaw piece. This work was a small attempt to remove a material from its typical context, as if ripped out of the world it belongs in.