This post has images I took at Hazelhurst Regional Gallery & Arts Centre of the Hands On: Craft in Contemporary Art show that I'm exhibiting in. They're just snapshots I took in the gallery, without tripod or lighting changes, so not great quality. They at least give an overview of the show. It's a great space, and the work has been well placed by curator Cash Brown. The show has a great variety of textile techniques and materials, and it all works really well together. The information about works is from the catalogue, so I may not have all the correct details. I also don't have images of all the artists' work.The work in the shot above is Say it with flowers by Linelle Stepto. What looks like a dried flower arrangement is made from cane toad skin and kangaroo fur. Below are 8 pieces from my The Devil's Cloth series:
Here's something I wrote about this series:
"The medieval eye found any surface in which a background could not be distinguished from a foreground disturbing. Thus, striped clothing was relegated to those on the margins or outside the social order -- jugglers and prostitutes, for example -- and in medieval paintings the devil himself is often depicted wearing stripes."
Publisher's blurb from The Devil's Cloth: A History of Stripes and Striped Fabric by Michel Pastoureau
I was intrigued by this book's investigation of striped fabrics from medieval times to the present. Pastoureau also writes about the striped uniforms that concentration camp inmates were forced to wear in the mid-twentieth century. The Holocaust has been a recurring theme in my work, and the use of human hair is a link to that event. The patterns I have used in this series are mainly taken from Japanese fabrics, so the meanings that may have applied in 13th century Europe obviously do not apply. I hope, however, that viewers can draw out and connect these many meanings when they think about the material, the pattern and the technique combining in this series of woven works.
In this photo, Newell Harry's Untitled is on the left, Braveheart, take 4 by Dani Marti in the middle, and Phone book fashion by Betty Bird in the foreground:
Silke Raetze's Mayflower series is on the left, Peace in the Universe by Jedda-Daisy Culley, not sure of the next work, but in the case in the foreground is, I think, Rockers in my back yard by Cecilia Fogelberg:
Another view of Cecilia Fogelberg's work, with, I think, Leah Emery's The Exhibition on the wall:
A series of applique and embroidery works on linen by Adrienne Doig is on the back wall, with Alan Jones' Todd on the right, and woven polyester mono filament sculptures by Minka Gillian in the foreground:
On the wall behind Alan Jones' work are some works by Narelle Jubelin and Barbara Campbell I think collectively called Refer to Source. On the facing wall is embroidery by Timothy Moore:
Catherine Hearse's figures are on the plinth on the left, Michelle Hamer's Only a little bit dead on the wall, the large sculpture is Auropod by Alice Lang, and Adrienne Kneebone's Town'n'Kantri is on the plinth in the background:
Bridie Connell's Hanky Panky Fiction is on the left, Symbiosis #17 by Annie Aitken is next, my work is in the background. Helen Pynor's sculptural hair work Untitled (heart lungs) is in a perspex box on the wall on the right. It's the exhibition invitation image:
Some works by Anton Veenstra on the left, the back view of Todd, Narelle Jubelin and Barbara Campbell's work again, and, I think, Ingrid Wimbury's Liminal Rituals #2:
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