ART WALKERS GROUP
Separate Lives Connected Stories
7 - 30 May 2015
Separate Lives Connected Stories
7 - 30 May 2015
Janice APPLETON
Using a collection of hand-embroidered tea towels I have continued the embroidery to cover the tea towels with messages found in women's magazines during the 1950's and 1960's about "being the perfect housewife". I then used red paint to spell out the underlying message behind the advertisements and advice.
Using a collection of hand-embroidered tea towels I have continued the embroidery to cover the tea towels with messages found in women's magazines during the 1950's and 1960's about "being the perfect housewife". I then used red paint to spell out the underlying message behind the advertisements and advice.
Patsy BUSH
My aim is to take a personal view and interpret it in a more universal and symbolic way. The images in these books represent animal and human forms. Thread provides extra texture, lines and a link with dressmaking paper, a carrier for many of my prints. Collage and paint create a sense of depth and help unify my compositions. Text provides layering, meaning, pattern and repetition to the artwork.
My aim is to take a personal view and interpret it in a more universal and symbolic way. The images in these books represent animal and human forms. Thread provides extra texture, lines and a link with dressmaking paper, a carrier for many of my prints. Collage and paint create a sense of depth and help unify my compositions. Text provides layering, meaning, pattern and repetition to the artwork.
Cass DUFF
Joss FARMAR-BOWERS
I have used three collections to represent three generations of women.
My paternal grandmother, Gertrude May Cooper, had a collection of postcards, some of them related to Tenterden, Kent, where her father grew hops, and to Chalden, Surrey, where she spent her married life.
My mother, Winifred Joan Howard, left a manila folder filled with letters she wanted to keep. The letters in the drawing were sent from Kenya, Zimbabwe, Egypt, Sudan and England. Sometimes she added comments to the letters.
I have a collection of patterned papers.
The inset coloured threads relate to the colours of the papers and the writing or printing used on them.
I have used three collections to represent three generations of women.
My paternal grandmother, Gertrude May Cooper, had a collection of postcards, some of them related to Tenterden, Kent, where her father grew hops, and to Chalden, Surrey, where she spent her married life.
My mother, Winifred Joan Howard, left a manila folder filled with letters she wanted to keep. The letters in the drawing were sent from Kenya, Zimbabwe, Egypt, Sudan and England. Sometimes she added comments to the letters.
I have a collection of patterned papers.
The inset coloured threads relate to the colours of the papers and the writing or printing used on them.
Marita HANIGAN
My first work stems from research around the size for good, cohesive and functional human groups. Social scientists suggests that the perfect size for a social circle is one hundred and fifty individuals – about the the size of a village. This is my social circle – each bundle represents a human in my life who is important to it. Inside each is written the reason why they are important and then they are bound so each human is effectively locked inside.
There are no enemies in this group – or are there?
In the other two works, the term “Mondegreen” is a mishearing or misinterpretation of a phrase as a result of near-homophony, in a way that gives it a new meaning. Mondegreens are most often created by a person listening to a poem or a song; the listener, being unable to clearly hear a lyric, substitutes words that sound similar, and make some kind of sense. American writer Sylvia Wright coined the term in her essay "The Death of Lady Mondegreen", published in Harper's Magazine in November 1954. The term was inspired by "...and Lady Mondegreen," a misinterpretation of the line "...and laid him on the green," from the Scottish ballad "The Bonnie Earl o Moray." Purely for fun, these Great Speech Mondegreens endeavour to give new meaning to the words of two famous speeches by two renowned world leaders.
My first work stems from research around the size for good, cohesive and functional human groups. Social scientists suggests that the perfect size for a social circle is one hundred and fifty individuals – about the the size of a village. This is my social circle – each bundle represents a human in my life who is important to it. Inside each is written the reason why they are important and then they are bound so each human is effectively locked inside.
There are no enemies in this group – or are there?
In the other two works, the term “Mondegreen” is a mishearing or misinterpretation of a phrase as a result of near-homophony, in a way that gives it a new meaning. Mondegreens are most often created by a person listening to a poem or a song; the listener, being unable to clearly hear a lyric, substitutes words that sound similar, and make some kind of sense. American writer Sylvia Wright coined the term in her essay "The Death of Lady Mondegreen", published in Harper's Magazine in November 1954. The term was inspired by "...and Lady Mondegreen," a misinterpretation of the line "...and laid him on the green," from the Scottish ballad "The Bonnie Earl o Moray." Purely for fun, these Great Speech Mondegreens endeavour to give new meaning to the words of two famous speeches by two renowned world leaders.
Melanie HILL
I love to recycle and try buying second hand whenever possible.
I also feel the vintage and preloved items have a lot of history which is not possible when buying new.
Vintage items create more unusual results.
I love to recycle and try buying second hand whenever possible.
I also feel the vintage and preloved items have a lot of history which is not possible when buying new.
Vintage items create more unusual results.
Glenys MANN
Found man-made objects on morning walks on the beach of Flores, Indonesia, during my stay there in 2014. Restricted within a certain size and no formula for assemblage. Keep sakes from a gentle shore line.
Found man-made objects on morning walks on the beach of Flores, Indonesia, during my stay there in 2014. Restricted within a certain size and no formula for assemblage. Keep sakes from a gentle shore line.
Deborah McARDLE
Nonie SUTCLIFFE
My works feature mono printing, symbolic imagery, and are often enriched with subtle text. I aspire to break the traditional boundaries usually associated with printing and collage, and try to show a depth of vision and freedom. Mono prints and digital printing put side by side create the balance between handmade marks and technology.
My works feature mono printing, symbolic imagery, and are often enriched with subtle text. I aspire to break the traditional boundaries usually associated with printing and collage, and try to show a depth of vision and freedom. Mono prints and digital printing put side by side create the balance between handmade marks and technology.
Lucy WORSLEY
Lucy’s inspiration comes through an intrigue of finding hidden, unnoticed and forgotten treasures in the most diverse places and bringing them back to life through stitched story telling. Fragments of hand-sourced materials are layered, drawn, painted, stitched and intricately embroidered and embellished to create a range of tactile patterned scenes and surface designs. Lucy uses a range of techniques including free embroidery, hand stitch, screen printing and painting. The artist relishes in sharing her enthusiasm for both fibre and textile manipulation with others, through the medium of ‘creative storytelling’.
Lucy’s inspiration comes through an intrigue of finding hidden, unnoticed and forgotten treasures in the most diverse places and bringing them back to life through stitched story telling. Fragments of hand-sourced materials are layered, drawn, painted, stitched and intricately embroidered and embellished to create a range of tactile patterned scenes and surface designs. Lucy uses a range of techniques including free embroidery, hand stitch, screen printing and painting. The artist relishes in sharing her enthusiasm for both fibre and textile manipulation with others, through the medium of ‘creative storytelling’.
