Title: Transition
Format: 171 x 235 cm – 5ft 7in x 7ft 9in
Weight: 2.025 g – 4 lb 7 oz
Date: 2011 – 2013
No. 172.2013.4
Technique: machine-assembled textiles, hand-layered textiles which are then hand-quilted with silk yarn on a canvas base with a silk core
Description: Modernism meets Japan in this triptych: two monochrome works inspire lines of force, producing an experience of elements in motion. From air to metal, a single wave, a single thrust sweeps through each element and indeed the entire triptych
Starting with a set of cambrics collected over several decades, the triptych is underpinned by a geometric base as painted by Theo Van Doesburg in “Ragtime”. The sense of motion produced by thin strips of Fifties silk was borrowed from Hokusai’s illustrated book on loyalty, 22.5 x 15.5 cm
Title: 1,2,3 soleil
Sunshine Triptych
Format: 102 x 192 cm – 3ft 4in x 6ft 4in
Weight: 0.935 g – 2 lb 3 oz
Date: 2015 – 2017
No. 195.2017.4
Technique: silk squares applied by hand after moulding on card on machine-assembled canvas on the wrong side, hand-stitched together using a zigzagging back stitch. Quilted as three layers including one silk core.
723 pieces
Description: three compositions of identical proportions form a triptych in which silhouettes and underwater filaments pass through water-filtered light.
Close to each curve, the basic rectangle shatters into six squares for the drawing to unfold. The overlapping silk squares are twice as small again.
The colour range and background dimensions, with the quilted spokes radiating out from a centre outside the scope of the work enhances the dynamic effect.
Title: X²
Format: 211 x 191 cm – 6ft 11in x 6ft 3in
Weight: 2.250 g – 4 lb 15 oz
Date: 2009
No. 126.2009.1
Technique: textiles assembled by machine then hand-quilted
Description: squares sitting within a geometric grid of strips that join them up.
Starting from a palette of stained glass blocks used by Josef Albers on a smaller scale, this study of light draws inspiration from glass-staining techniques.
Selected over five years, the textiles each have their own texture, sheen and vibrations to match.
The harmony of colours lets a lot of light through, with the onlooker first seeing transparency then being drawn to opacity, their gaze guided by the network of uncompromising lines.
To join the three layers and add relief, the quilting criss-crosses each square to form nine smaller ones, with the straight black strips cutting through it.
Series:
Thaw
Magma
Semagram
Moments
Running Water
Skin of the world
Five squares
Time and Space
Circles
Alhambra
Other works 2009 – 2013
Collaborative projects
