I am an artist living and working in Bradford, West Yorkshire. I have drawn and painted most of my life and have worked in textiles ever since my children started refusing to wear the appliqué clothes I made them. Now in my sixties I am devoting organised time and effort to building my art practice. I welcome commissions. email@example.com
Buy my work online
Very excitingly my work is now for sale on a brilliant new website called Sable & Ox:
Very soon after the sisters show I took part in an AVA group exhibition in the Saltaire festival. There was very little time so I developed a 'two for the work of one idea'. I stretched very fine organdie over paper coated in wipe-clean emulsion. I then painted with watercolour; the paint goes through the fabric and slides all over the coated paper in an unexpected and lovely way. I then embroider into the fabric for one picture and maybe just overlay the paper with transparent fabric for the other picture. I was quite pleased with the result but its interesting that the only picture I sold was one where I had put the fabric back onto the paper; so maybe not. The last picture is a watercolour of the picture that I sold.
The sisters show was enormously enjoyable. Our work was of course both different and similar. I admired the straightness of Phillida's straight lines and she liked my more haphazard stitching. We both sold and, even more delightful, sold similar amounts. We plan to repeat the experience in Canada in June 2016
This is the flyer Ellen, my daughter, designed for the exhibition my sister Phillida and I are having in August in Bradford. I have only ever seen photos of Phillida's work and we have never shown together. We are both intrigued by how similar our work seems to be and it will be interesting to see how easy it is to tell us apart on the gallery walls. Please come and have a look if you are in the area.
This is my third unit 9 exhibition in South Square Thornton and writing this statement for the exhibiton felt like a continuing conversation I am having with myself, always in the hope that other people will butt in.
I am still interested in the relationship between content and technique. When I am painting in waterco -lour - flowers or life drawing - I am always trying for a likeness, an accurate or at least approximate representation,
but as soon as I move into fabric I start to concentrate on the surface -the opacity or transparency of the fabric- the shine of the stitching and cease to worry about representation; for example I don't really mind whether the camelia branch looks like a camelia branch because I have really enjoyed old fashioned stitching with a shiny surface that shifts with the light.
I have added one more cloud picture - the show was entitled 'Clouds, Flowers and one Face'. This one is called 'Above Grassington'