When people ask me what technique I use to create my artworks, the simple answer is ‘Freehand (or free motion) Machine Embroidery’. This wonderful technique is basically a way of drawing with your sewing machine. In theory it is a really simple process but it is so versatile and also somewhat addictive.
Here is a video where I explain what Freehand machine Embroidery is.
Photo credit: Steve Gonsalves Photographics
Click this post to read about my journey as an artist with this wonderful exhibition.
‘Open House - the Third Tamworth Textile Triennial’.
Biophilia: an innate and genetically determined affinity of human beings with the natural world. (E.O. Wilson - biologist,)
In this exhibition, Meredith explores the small and often overlooked veining systems found in leaves and coral. Some pieces in the collection take the form of large-scale studies of the systems within individual leaf or coral specimens, others are collections of hundreds of stitched leaves arranged in rhythmic forms. All of the works invite the viewer to look closer at nature and appreciate its delicate and robust beauty.
Click the post to read more and to watch the exhibition walk through video.
The embroidered art of Meredith Woolnough, a film by Flore Vallery-Radot
In early 2017 I completed an artist residency at the Glasshouse in Port Maquarie. This was the resulting exhibition.
Thanks to the Catalan television program 'Ja T'ho Faras' my work has spread to the other side of the world. A little one and a half minute segment about my work was aired as a part of the program on 24/06/2017. It is wonderful to think that my work was seen by a whole new audience.
Last week I completed an artist residency at the Glasshouse in Port Maquarie
What is an artist residency you ask? Hopefully this post can answer that question and also give some insight into what I did during my residency.
here are a few of my tips about framing textile art.
Textile artworks are often presented unframed in gallery exhibitions. There is a wonderful tactility about a piece of textile art that isn't imprisoned behind glass, however in my experience framing can be a good way to present delicate textile work and remove possible buyer barriers. If done correctly, good quality framing gives an artwork a neat professional finish, protects and preserves the artwork and makes it easier to hang (and possibly sell).
Recently I was gifted a particularly beautiful shell by a friend who knew that I liked to collect such things. The shell was paper thin, translucent, and covered in rows upon rows of little bumps. I was in love.
This curious specimen sparked a research rampage on my part until I tracked down the original owner of the shell and it’s story.
My solo exhibition at Timeless Textiles finished up a week or so ago. It was lovely to show with this wonderful gallery again. I have exhibited with the gallery every few years since I moved to Newcastle and they have been a great support of me and my art practice. This time around the exhibition was in their new space next to the Lock up on Hunter St.
Here are a few shots of the show for those who missed it.... or those who want to relive it gain.
It's no secret that I like leaves.
In fact I like leaves more than that I like flowers, which probably makes me a bit weird because I am sure it is the other way around for most people. Leaves have inspired my work for the last few years and I can't look at a leaf without zooming straight into its vein structure and tracking this delicate system.
This new piece is inspired by an ocean creature that has always fascinated and delighted me on dives. The fan worm, Sabella spallanzanii. This little annelid is otherwise known as the 'European Fan worm', 'pencil worm' or 'feather duster worm'. Sabella spallanzanii is found in the shallow, sub-tidal areas of countries such as; Spain, Portugal, France, Turkey and South America. It has been also been found in several regions around Australia over the last few decades. The fan worm has the potential to be a pest in our marine waters and their numbers are being monitored as a result.
Last year I created a range of tiny embroideries inspired by various structures found in nature. You have probably some of these works before on my Facebook page (if you follow me there), but I thought I would share them here as well.
Some of the sources of inspiration for these 'stitched specimens' should be pretty obvious, others are a little more subtle.
Very excited that my work made the cover of the Summer 2015 edition of Fiber Art Now magazine!
I was tickled pink to be featured in this great magazine and the article was written by no other than Mr X Stitch himself (Jamie Chalmers). Mr X Stitch features my work on his blog last year (you can see the post here) and it was quite an honour to have him write about my work for Fiber Art Now.
I have always been deeply fascinated by scientific specimen collections.
Wether they are pressed plants in a herbarium, lines of insects pinned to a board or creepy things in jars of formaldehyde, I find great beauty and fascination in preserved specimens and I have been known to spend hours perusing these collections in museums whenever I can. In my humble opinion, the power of a specimen collection is in the repetition. By having several examples of the same thing displayed in a clear simple manner, the similarities and differences can be clearly seen and a much deeper understanding can be developed than what you could glean from a single specimen alone.
I have always had a deep fascination with Ammonites. This fascinating group of extinct marine invertebrates have a beautiful spiralled shaped shell that resembles the curved spiral of a rams horn. Most fossil collectors would have a specimen or two of one of these horn shaped stones, I know I do.
My studio is a very special place for me.
It is my place of creation and solitude, where I can escape everything and just focus on myself and my work. It is really important to me that my studio is a comfortable place, like a second home. So I have filled the space with things that I love. Plants grace the windowsill and hang from the roof, collections of natural curiosities and family heirlooms crowd the shelves, often arranged under glass domes. Everything has it's place and purpose.
