My practice focuses on creating work from paper; by bonding, waxing, trapping and stitching I produce unusual paper 'fabrics', which are used to explore the 'remaking'; of household objects. The papers are treated as if cloth, with the main technique employed being stitch; a contemporary twist on traditional textiles. The papers themselves serve as both the inspiration and the media for my work, with the narrative of the books and papers suggesting the forms. I tend to find items then investigate a way in which they can be reused and transformed; giving new life to things that would otherwise go unloved or be thrown away.
Print Garage is the dark and dusty underground lair of Iain Perry: self-styled, swashbuckling squeegee warrior.
"I create vibrant screen prints investigating the minutiae of my surroundings. I draw inspiration from old technology, tools and toys, cinema, record sleeves and the world of science. Originally trained in painting I have since discovered that screen printing is a million, billion, trillion (all the 'illions')times more fun - I have found there can be a real joy in repetition."
My work captures the essence of an image through the use of a delicate continuous line. I enjoy the feeling of spontaneity this give me with my work. I hope this shines through in my designs. The line is offset against blocks of colour and collage. My aim is to give a focus to the work which is reminiscent of the techniques, colours and element of pattern that is within 1950’s design. My work is produced onto both canvas and paper, including limited edition screen prints and original line drawings.
Rachel Butlin seeks to challenge the concepts of contemporary interactive and wearable jewellery, producing a range of high end mixed material wearable objects. Carefully considering material combination and placement, work often explores bespoke materials, evoking curiosity, creating a connection between the piece and wearer. Intrigued by Japanese culture and tradition , the art of placement and cultural colour palettes remain central in designs.
My ‘designer-maker’ practice is constantly evolving; a perpetual interrogation concerning objects; issues of materiality; preciousness; validity. I produce conceptual art pieces, with a wearable element, through employing making practices to the designed readymade. They all respond to a personal narrative influenced by my memories and interactions with found objects.
My pieces are culminations of my object curiosity; a combination of everyday observations of the overlooked and reflections upon the designed object, both found and manufactured. My current series of work, ‘Bristle’, are in response to a collection of found objects, in particular the tar stained tips of a coal brush and the lid of an icing sugar sifter. Emphasising the inherent overlooked qualities within them, through altering, removing their utility function, their new use appears ambiguous and open to interpretation. I aim to alter our perceived value, producing pieces which, aesthetically and conceptually, surprisingly appear quite sentimental.
Naomi is a printmaker and textile artist, making handprinted, contemporary textile items. The design process begins with drawings and illustrations, focussing on line and contrasts. Naomi then uses a combination of screen printing and block printing to create bold and colourful patterned fabrics. "It's important to me that I use my printed fabric in a functional way. I stitch products which have an everyday purpose"
“Ostranenie: encouraging people to see common things as strange, wild or unfamiliar; de-familiarizing what is known in order to know it more differently or more deeply”
As a magpie of treasures that others would deem mundane, imperfect and invaluable ‘ostranenie’ fascinates me. I am attracted to those discarded for their tarnish or agedness, as it is this very patina that comes with a life and a story.
I may perceive the world around me differently- finding beauty in surfaces and familiar objects that are blemished, irregular and not conventionally pretty resonates within my whole practice; there is a freedom in recognising how intriguing imperfection can be. I am drawn to ideas of imperfection, fragility and change; and the balance of destruction and creation.
Responding to my own photographs of surface pattern and texture, I experiment with processes of transformation: decay, deterioration, rust and growth in order to manipulate and build up layers. Using this process in conjunction with vintage photographs, garments, objects and ephemera, I create collections belonging to a 'character', often defined by a name written on the back of a photograph, or scribbled in a child's book. I want to evolve and challenge the viewers perception of the familiar or previously overlooked, by giving a glimpse into each characters treasures, a life condensed into each personal hoard; re-contextualised everyday objects with a renewed life and an evolved story.
Hannah is a knitted textile artist and designer maker, who creates beautiful knitted textiles for art installations, having completed a BA (Hons) Textile Design at Birmingham City University in 2014.
Hannah often finds inspiration in her surroundings, particularly in architecture and nature. She enjoys exploring the contrast of the man-made and natural elements of the spaces she encounters in her daily life. The exploration of different yarns and fibres and how they react to each other is an important element of Hannah’s textile art pieces, often working with wire and contrasting yarns with a delicate lightness which can give an edgy and refined quality which defines a lot of her recent works.
“I am driven to make bold construction and design choices through experimentation with yarns and technique, in order to create intriguing and dramatic textile art and designs.”