| Project Title: | ‘Dream-Time’ |
| Location: | The Yard Gallery, Stroud, Glos, UK |
| Date | 17-19 July 2025 |
Artist Statement
I am a mixed media artist. More specifically, I am a lacemaker, it defines me and my work. The subtle twisting of threads to form intricate patterns soothes me.
My work ranges between traditional and experimental lace depending on what I am trying to express. Subject, material and scale are all being explored resulting in an eclectic mix of two dimensional and three dimensional works. Often positioned with a contextual background my lace is based on representational images, but look deeper into their structure and form.
Using precise repetitive stitches requires concentration and allows me to become at one with my work. From initial concept to completion takes many months. The use of other media allows me to capture and develop ideas prior to committing to a piece of lace.
Contextual Statement
Lacemaking is my passion, one that I have been exploring for 40 years. It is classed as endangered by the Heritage Craft Association.
This prompted my research question for my final major project:
How can lacemaking be positioned so that it is relevant for the 21st century? Attracting the attention of young people in particular and inspiring them to investigate and learn this skill so that it is not lost.
The relationship between good mental health and creative activities, especially those with a repetitive element has been recognised. So preservation of these skills is not only cultural, but also about own well being.
My own work is influenced by my background in mathematics, an interest in biology leading to connections with climate change, and the environment. Which in turn links to other interests in folk lore and culture.
There is an element of beauty in each of these subjects. Stunning macro images cross the boundary between art and science. These sources inspire my ideas, initially as paintings, some of which progress to lace works. Creativity begets creativity, and without the paintings the ideas for lace do not flow.
Being a textile, lace is mostly used to enhance garments or other textiles. My vision is to change this perception whilst retaining the fundamental delicacy of lace. Ideas on how to display the work start at the design stage and are developed as the work progresses. By using armatures and three dimensions, the works are immediately bolder and allow the light to pass through them creating shadows and additional interest.
My Final Major Project took the form of an exhibition, ‘Dream-Time’ an installation of sculptural lace around the narratives of myth, knowledge, the nightmare of climate change and on to hope for the future.
Overview of Dream-Time
Below: ‘Spirit of the Wood’, my representation of the Green Man from English folk lore who is depicted in Medieval churches
Below: ‘The Demise of Yggdrassil’. The Tree of Life from Norse mythology, keeper of knowledge
Below: ‘Bract’. The magic of mushrooms isn’t their narcotic properties, but their ability to rejuvenate the soil.
Below: ‘The DNA That Binds Us’ with ‘The Demise of Yggdrasil in the background.
Below: Details of ‘The DNA That Binds Us’. Double helix made with silk covered stainless steel wire supported on aluminium rods.
Below: ‘The Butterfly of Hope’. Inspired by chaos theory and the Lorenz Attractor, mounted on acrylic and resting on a mirror created many interesting reflections
BelowL ‘Nature Finds A way’. Using recycled materials and worked in situ, this experimental piece focusses on the damage our waste causes.
Below: Work in Progress, ‘The Spirit of the Wood’. The width of the lace is 30 cm and there are approximately 160 pairs of bobbins at this point.
https://www.funnelweblace.co.uk