Thinking Of You | Soft Pastel On Paper

Thinking Of You

SOFT PASTEL ON SANDED PAPER

On view in ‘Stillwater’ solo exhibition at Robert’s Gallery, Glasgow
Show runs from 9th July – 27th August

robert’s
1/2, 31 Windsor Terrace
Glasgow, G20 7QW

Stillwater explores the facets of the mirror. Still bodies of water are presented as the primordial mirror, allowing water as a mode of reflection to speculate on the fluidity of form through a hydrofeminist lensThe mirror’s significance as a magic object, a portal of apparent depths, raises questions of authenticity and illusion, an exploration of the dual nature of the interior and external self. The exhibition’s methods of display acknowledge the looking glass’s association with beauty and vanity, with glamour explored via glamour’s etymological origins as a cast enchantment. 
 
The central works for the show are two jacquard tapestry diptychs that depict anthropomorphic bodies of water. The moon is presented as night’s mirror, whose source of power is derived from the light of another body. The textile works are accompanied by a series of soft pastel works on paper and three wooden sculptural works created with a pyrographic etching process. The material manipulations in the show are linear, with satin-stich embroidery in silk and hatched lines created by burning into wood. Both mediums mirror each other as ritualistic processes that are alternately symbolic of reparation and destruction. 

Work details:
Thinking of you
Soft pastel on sanded paper
50cm x 65cm

 

Hayfever | Hand-embroidered Tapestry

Hayfever

HAND EMBROIDERED TAPESTRY DIPTYCH

On view at ‘The Drawing Year: Open Studios’ exhibition at Space Studios Mare Street, London Wednesday 6 April – Tuesday 19 April

Work Details:
Hayfever
2022
37cm x 35cm x 2.5cm per panel
Silk hand-embroidery and freshwater pearl on woven jacquard in yakisugi ash


Moon Over Limanakia | Soft Pastel On Paper

Moon Over Limanakia

SOFT PASTEL ON SANDED PAPER

On view at ‘The Drawing Year: Open Studios’ exhibition at Space Studios Mare Street, London Wednesday 6 April – Tuesday 19 April

Work Details:
Moon Over Limanakia
2022
25cm x 35cm 
Soft pastel on 350gsm sanded paper in found frame


Shiver | Soft Pastel On Suede

SHIVER

SOFT PASTEL ON SUEDE

On view at ‘Brave New World’ exhibition at 6 Roach Rd, E3 2PA from Friday 10th June – Saturday 30th June

Work Details:
Shiver
2022
30cm x 60cm
Soft pastel on suede in found oak frame with beeswax candle


It Pours | Soft Pastel on Paper

It Pours

SOFT PASTEL ON SANDED PAPER

Work Details:
It Pours
2022
50cm x 65cm 
Soft pastel on 350gm sanded paper


Like Afterthoughts | Soft Pastel On Paper

Like Afterthoughts

SOFT PASTEL ON SANDED PAPER

On view at ‘Best of The Drawing Year’ end of year exhibition at Christies, London Friday 25 March – Thursday 31 March

Work Details:
Like Afterthoughts
2022
50cm x 65cm 
Soft pastel on 350gm sanded paper

This series of soft pastel drawings explores the relationship between fabric and skin forged by the needle. Drawing inspiration from the sculptural shapes temporarily carved during the embroidery process, anthropomorphic forms reveal themselves from folds of cloth. Considering the parallels between material manipulation and the interior processes of transformation and repair. 


Piercing These Seams | Hand-embroidered Tapestry

Piercing These Seams

HAND EMBROIDERED TAPESTRY

On view at ‘Pyschic Anemone’ at Cob Gallery, November 18 2021 – January 22, 2022

Work Details:
Piercing These Seams
2021
58x68x4cm framed
Silk hand-embroidery on woven jacquard in walnut

The work draws upon the idea of the ‘bottle’ or container as hero, as detailed in The Carrier Bag Theory of Fiction by Ursula K Le Guin. In the essay, Le Guin presents a theory of human evolution drawn from Elizabeth Fisher’s cult feminist text Woman’s Creation: Sexual Evolution and the Shaping of Society that the first human tool was not a weapon but a receptacle, something that made it possible to collect more than could be held in the hands. Taking the form of a teardrop, the works foreground the experience of the body as vessel through collected fragments; hands, hair, the mouth, and the eye.

Cob Gallery is proud to present Psychic Anemone, a group exhibition of mixed-media work by Bea Bonafini, Charlotte Edey and Zoe Williams. These artists are brought to comparison for their multilayered artistic approaches to the transcendental image.  Through their powerfully individual languages of symbolism Bonafini, Edey and Williams address similar themes which include the body politic, ritual, magic, gender, mythology, spirituality, eroticism and sensuality.

The works in Psychic Anemone are anchored to a liquidity of form and as such, can be explored through an implication of ‘hydrofeminism’ – a mode of posthuman feminist phenomenology that understands our bodies as fundamentally a part of the natural world, not separate from it or bearing any privileged relation to it.

See more here.


To Needle, To Work | Soft Pastel on Sanded Paper

To Needle, To Work

SOFT PASTEL ON SANDED PAPER

On view at ‘Best of The Drawing Year’ end of year exhibition at Christies, London Friday 25 March – Thursday 31 March

Work Details:
To Needle, To Work
2022
70cm x 101cm 
Soft pastel on 350gm sanded paper

This series of soft pastel drawings explores the relationship between fabric and skin forged by the needle. Drawing inspiration from the sculptural shapes temporarily carved during the embroidery process, anthropomorphic forms reveal themselves from folds of cloth. Considering the parallels between material manipulation and the interior processes of transformation and repair. 


Velveteen Gasp | Hand-embroidered Tapestry

Velveteen Gasp

HAND EMBROIDERED TAPESTRY

On view at ‘Pyschic Anemone’ at Cob Gallery, November 18 2021 – January 22, 2022

Work Details:
Velveteen Gasp
2021
58x68x4cm framed
Silk hand-embroidery on woven jacquard in walnut

The work draws upon the idea of the ‘bottle’ or container as hero, as detailed in The Carrier Bag Theory of Fiction by Ursula K Le Guin. In the essay, Le Guin presents a theory of human evolution drawn from Elizabeth Fisher’s cult feminist text Woman’s Creation: Sexual Evolution and the Shaping of Society that the first human tool was not a weapon but a receptacle, something that made it possible to collect more than could be held in the hands. Taking the form of a teardrop, the works foreground the experience of the body as vessel through collected fragments; hands, hair, the mouth, and the eye.

Cob Gallery is proud to present Psychic Anemone, a group exhibition of mixed-media work by Bea Bonafini, Charlotte Edey and Zoe Williams. These artists are brought to comparison for their multilayered artistic approaches to the transcendental image.  Through their powerfully individual languages of symbolism Bonafini, Edey and Williams address similar themes which include the body politic, ritual, magic, gender, mythology, spirituality, eroticism and sensuality. 

The works in Psychic Anemone are anchored to a liquidity of form and as such, can be explored through an implication of ‘hydrofeminism’ – a mode of posthuman feminist phenomenology that understands our bodies as fundamentally a part of the natural world, not separate from it or bearing any privileged relation to it.

 

Spider Lashes | Hand-embroidered Tapestry

Spider Lashes

HAND EMBROIDERED TAPESTRY

On view at ‘Pyschic Anemone’ at Cob Gallery, November 18 2021 – January 22, 2022

Work Details:
Spider Lashes
2021
58x68x4cm framed
Silk hand-embroidery and freshwater pearl on woven jacquard in walnut

The work draws upon the idea of the ‘bottle’ or container as hero, as detailed in The Carrier Bag Theory of Fiction by Ursula K Le Guin. In the essay, Le Guin presents a theory of human evolution drawn from Elizabeth Fisher’s cult feminist text Woman’s Creation: Sexual Evolution and the Shaping of Society that the first human tool was not a weapon but a receptacle, something that made it possible to collect more than could be held in the hands. Taking the form of a teardrop, the works foreground the experience of the body as vessel through collected fragments; hands, hair, the mouth, and the eye. Drawn from a passage in book five of Ovid’s Metamorphoses, considering the relationship between fluidity and transformation. Between folds of satin, static curls becomes tender, dissolving into ribbons; ‘fading away, they vanished into slim streams’.

Cob Gallery is proud to present Psychic Anemone, a group exhibition of mixed-media work by Bea Bonafini, Charlotte Edey and Zoe Williams. These artists are brought to comparison for their multilayered artistic approaches to the transcendental image.  Through their powerfully individual languages of symbolism Bonafini, Edey and Williams address similar themes which include the body politic, ritual, magic, gender, mythology, spirituality, eroticism and sensuality.

The works in Psychic Anemone are anchored to a liquidity of form and as such, can be explored through an implication of ‘hydrofeminism’ – a mode of posthuman feminist phenomenology that understands our bodies as fundamentally a part of the natural world, not separate from it or bearing any privileged relation to it.

See more here.


In Cold Water, Her Curls Became Liquid | Hand-embroidered Tapestry

In Cold Water, Her Curls Became Liquid

HAND EMBROIDERED TAPESTRY

On view at ‘Pyschic Anemone’ at Cob Gallery, November 18 2021 – January 22, 2022

Work Details:
In Cold Water, Her Curls Became Liquid
2021
58x68x4cm framed
Silk hand-embroidery and freshwater pearl on woven jacquard in walnut

The work draws upon the idea of the ‘bottle’ or container as hero, as detailed in The Carrier Bag Theory of Fiction by Ursula K Le Guin. In the essay, Le Guin presents a theory of human evolution drawn from Elizabeth Fisher’s cult feminist text Woman’s Creation: Sexual Evolution and the Shaping of Society that the first human tool was not a weapon but a receptacle, something that made it possible to collect more than could be held in the hands. Taking the form of a teardrop, the works foreground the experience of the body as vessel through collected fragments; hands, hair, the mouth, and the eye. Drawn from a passage in book five of Ovid’s Metamorphoses, considering the relationship between fluidity and transformation. Between folds of satin, static curls becomes tender, dissolving into ribbons; ‘fading away, they vanished into slim streams’.

Cob Gallery is proud to present Psychic Anemone, a group exhibition of mixed-media work by Bea Bonafini, Charlotte Edey and Zoe Williams. These artists are brought to comparison for their multilayered artistic approaches to the transcendental image.  Through their powerfully individual languages of symbolism Bonafini, Edey and Williams address similar themes which include the body politic, ritual, magic, gender, mythology, spirituality, eroticism and sensuality.

The works in Psychic Anemone are anchored to a liquidity of form and as such, can be explored through an implication of ‘hydrofeminism’ – a mode of posthuman feminist phenomenology that understands our bodies as fundamentally a part of the natural world, not separate from it or bearing any privileged relation to it.

See more here.


Altar | Hand-embroidered Tapestry

Altar

Hand Embroidered Tapestry

Created at Palazzo Monti x The Great Women Artists residency

An exploration of form and balance. Install view from the Palazzo Monti x The Great Women Artists exhibition curated by Katy Hessel, featuring work by residents Sara Anstis, Somaya Critchlow, Charlotte Edey and Ella Walker. 

Work Details:
Altar
2019
24 x 47cm
Hand-embroidered silk and freshwater pearls on woven jacquard in walnut

Exhibited at at ‘From Cellar to Garret’ inaugural exhibition at South Parade Gallery, London 2021 


Almost | Hand-embroidered Tapestry

Almost

Hand Embroidered Tapestry

Created for ARTISTS SUPPORT: London Edition

Almost, 2021, is an exploration of the limitations of language, of what can be lost in the attempt to articulate or name something that is felt. The threshold between the said and the unsaid. Framed in walnut, Almost is the artist’s first circular tapestry and is embroidered with nine freshwater pearls. This work is donated to support St Mungo’s charity.

Work Details:
Almost
2021
33 x 33 x 3 cm
Hand-embroidered silk and freshwater pearls on woven jacquard in walnut

ARTISTS SUPPORT London is supported by Rebecca Ackroyd, Michael Craig-Martin, Charlotte Edey, Chantal Joffe, Anish Kapoor, Sola Olulode, Grayson Perry, Juergen Teller & Rose Wylie. ARTISTS SUPPORT is a non-profit initiative powered by artists. Each artist donates a work to a local charity of their choosing and ARTISTS SUPPORT find a buyer, ensuring 100% of the proceeds of its sale go directly to the charity the artist has selected.

Read more:
ARTISTS SUPPORT, Financial Times, St Mungo’s


Twice | Tapestry

TWICE

woven jacquard tapestry

Created at Palazzo Monti x The Great Women Artists residency

Twice is an exploration of alignment. Shaped by bodily lines, shallow curves form the landscape, disrupted only by curved tears. Install view from the Palazzo Monti x The Great Women Artists exhibition curated by Katy Hessel, featuring work by residents Sara Anstis, Somaya Critchlow, Charlotte Edey and Ella Walker. 

Work Details:
Twice
2019
127cm x 152cm
Woven jacquard tapestry


Nocturne | Soft Pastel On Paper

Nocturne

soft pastel on sanded paper

On view at ‘The Drawing Year’ end of year exhibition at The Royal Drawing School, April 2022

Work Details:
Nocturne
2022
50cm x 65cm 
Soft pastel on 350gm sanded paper

This series of soft pastel drawings explores the relationship between fabric and skin forged by the needle. Drawing inspiration from the sculptural shapes temporarily carved during the embroidery process, anthropomorphic forms reveal themselves from folds of cloth. Considering the parallels between material manipulation and the interior processes of transformation and repair. 


Fold Into | Soft Pastel On Paper

Fold Into

soft pastel on sanded paper

On view at ‘The Drawing Year’ end of year exhibition at The Royal Drawing School, April 2022

Work Details:
Fold Into
2022
50cm x 65cm 
Soft pastel on 350gm sanded paper

This series of soft pastel drawings explores the relationship between fabric and skin forged by the needle. Drawing inspiration from the sculptural shapes temporarily carved during the embroidery process, anthropomorphic forms reveal themselves from folds of cloth. Considering the parallels between material manipulation and the interior processes of transformation and repair. 


The New Yorker | The Unbearable Lightness of Being

The Unbearable Lightness of Being

THE NEW YORKER EDITORIAL ILLUSTRATION

Editorial illustration to accompany the republishing of an excerpt from The Unbearable Lightness of Being by Milan Kundera, originally printed in the magazine in March, 1984.

The soft pastel drawing explores the duality of themes in the text; self and other, body and soul, seeing and being seen. The mirror is suggestive of weight; ‘the body as a cage’, observing through the curtain. The half-seen silhouette is a reference to lightness, to the something ‘that looked, listened, feared, thought and marvelled; that something, that remainder after the body had been accounted for, was the soul’. 

Read the full article here.


Eavesdrop | Soft Pastel On Paper

Eavesdrop

soft pastel on sanded paper

On view at ‘The Drawing Year’ end of year exhibition at The Royal Drawing School, April 2022

Work Details:
Eavesdrop
2022
50cm x 65cm 
Soft pastel on 350gm sanded paper

This series of soft pastel drawings explores the relationship between fabric and skin forged by the needle. Drawing inspiration from the sculptural shapes temporarily carved during the embroidery process, anthropomorphic forms reveal themselves from folds of cloth. Considering the parallels between material manipulation and the interior processes of transformation and repair. 


Sublime Lapis & Philosophical Mercury | Abracadabra! at Alma Zevi London

Abracadabra! at Alma Zevi

Soft Pastel & Pencil on Paper drawings

The works explore the ‘Great Work’ of the alchemical process, through which two conflicting opposites are redeemed towards a state of perfect harmony.

Work Details:

Sublime Lapis
Soft pastel and pencil on 160gm pastel paper
100mmx100mm
2021

Philosophical Mercury
Soft pastel and pencil on 160gm pastel paper
100mmx100mm
2021

On display at Abracadabra! at Alma Zevi, London. Curated by Freddie Powell gathering works on paper by Rebecca Ackroyd, Juliana Cerqueira Leite, Adam Charlap Hyman, Charlotte Edey, Christopher P. Green, Esme Hodsoll, Andrew Huston, David Murphy, Jack Otway, Rade Petrasevic, Sofia Stevi, Katy Stubbs and Tom Worsfold.

As an incantation, Abracadabra is a word used to trigger a magical effect on a subject, the popularity of which has now been relegated to simple tricks in magic shows. It had previously been a word of healing and for invoking protection against affliction and disease. The exhibition presents a selection of works on paper through which to explore the potential and multitudes of magical thinking and beyond.


Call | Hand-Embroidered Tapestry

Call Tapestry

hand embroidered tapestry

Created for ‘Echolocation’ solo exhibition at PUBLIC Gallery, 2019

A call to the sublime. Shaped by anthropomorphic curves, saltwater waves and linear fabric studies speak to yearning and transcience. Augmented by metallic embroidery and chain appliqué, Call exists suspended between the current and the possible.

Work Details:
Call
2019
140 x 180cm
Hand embroidered silk and metallic thread, chain appliqué and hand beading on woven jacquard


The Decameron Project | New York Times Editorial Illustration

The Decameron Project 

NEW YORK TIMES MAGAZINE EDITORIAL ILLUSTRATION

The issue is inspired by The Decameron, a book of novellas set in 1353 Italy during the bubonic plague. This modern take on the concept commissioned 29 original short stories by contemporary fiction writers around the globe while we are all living in the time of Covid-19.

This piece visualises a short story by Dina Nayeri, about a couple who met and fell in love in wartime Tehran, who are now remembering how their love came about in a time of forced closeness while quarantined together on a sabbatical in France. 

Following the rough shape of an eye, our author peers back into the basement in Tehran, decorated with pillows, bright floor cloths, soft quilts, and fuzzy blankets. Set against the grapefruit sky of present-day Paris, the couple in the basement regard each other furtively, a nod to the fear and desire that shaped their sexual awakening and reawakening. The colour palette draws from the use of red – red siren, red alert, taste of cherry – danger and desire.

View the full issue and short story here.


Union | Hand-Embroidered Tapestry

Union

Embroidered Tapestry

Created for ‘No Time Like The Present’  at PUBLIC Gallery, London. 

In response to the new reality of this international crisis, Union explores the potency of transformation. The central form takes the shape of a spiral, the most widespread shape found in the natural world. It is ‘the path that energy takes when left alone, the path of unfettered yet balanced growth’; the organic growth immediately visible from a world of reduced human interference; progress by way of return. The spiral is framed by an intersection of crosses, a union of paths, crossroads confronting the necessity of change. In this ambiguity, the only certainty is the significance of transition.

Work Details:
Union
2020
280 x 370mm x 20mm
Silk and rayon hand-embroidery on jacquard tapestry with freshwater pearl and crystal beading in walnut frame


A Soft Refusal | Soft Pastel On Paper

A Soft Refusal

SOFT PASTEL DRAWING

On view at ‘Pyschic Anemone’ at Cob Gallery, November 18 2021 – January 22, 2022

Work Details:
A Soft Refusal
2021
50 x 65cm
Soft pastel on 350gsm sanded paper

Cob Gallery is proud to present Psychic Anemone, a group exhibition of mixed-media work by Bea Bonafini, Charlotte Edey and Zoe Williams. These artists are brought to comparison for their multilayered artistic approaches to the transcendental image.  Through their powerfully individual languages of symbolism Bonafini, Edey and Williams address similar themes which include the body politic, ritual, magic, gender, mythology, spirituality, eroticism and sensuality. 

The works in Psychic Anemone are anchored to a liquidity of form and as such, can be explored through an implication of ‘hydrofeminism’ – a mode of posthuman feminist phenomenology that understands our bodies as fundamentally a part of the natural world, not separate from it or bearing any privileged relation to it.

The soft pastel drawings consider the role of container as detailed in The Carrier Bag Theory of Fiction by Ursula K Le Guin. Without the contours of the container to define and hold the form, how does this essence exist without a preordained shape, what shape will it take or will it just run without direction? 


Still So Gently Mutable | Soft Pastel On Paper

Still So Gently Mutable

SOFT PASTEL DRAWING

On view at ‘Pyschic Anemone’ at Cob Gallery, November 18 2021 – January 22, 2022

Work Details:
Still So Gently Mutable
2021
50 x 65cm
Soft pastel on 350gsm sanded paper

Cob Gallery is proud to present Psychic Anemone, a group exhibition of mixed-media work by Bea Bonafini, Charlotte Edey and Zoe Williams. These artists are brought to comparison for their multilayered artistic approaches to the transcendental image.  Through their powerfully individual languages of symbolism Bonafini, Edey and Williams address similar themes which include the body politic, ritual, magic, gender, mythology, spirituality, eroticism and sensuality. 

The works in Psychic Anemone are anchored to a liquidity of form and as such, can be explored through an implication of ‘hydrofeminism’ – a mode of posthuman feminist phenomenology that understands our bodies as fundamentally a part of the natural world, not separate from it or bearing any privileged relation to it.

The soft pastel drawings consider the role of container as detailed in The Carrier Bag Theory of Fiction by Ursula K Le Guin. Without the contours of the container to define and hold the form, how does this essence exist without a preordained shape, what shape will it take or will it just run without direction? 

 


Tear | Pencil Drawing

TEAR

PENCIL DRAWING

Considering Persephone’s role in the cycle of birth and renewal, and the integrity of that rhythm. 

Work Details:
Tear
13.5 x 21cm
2020
Pencil on 120gsm Hahnemuhle cappucino paper

Exhibited at at ‘From Cellar to Garret’ inaugural exhibition at South Parade Gallery, London from December 2020 to May 2021 


Day of Forever Tapestry | Design Museum Installation

The Day of Forever

silk embroidery and pearl on woven jacquard tapestry

Created for ‘Supermarket’ installation at Design Museum, London 2021.

Drawing from the J.G. Ballard text of the same name, the dusk depicted serves as the gateway to dreaming in a world where time stands still. The window is realised as a woven tapestry portal, with dew-like freshwater pearls adorning the petals.

Work Details:
The Day of Forever
Woven jacquard tapestry with silk hand embroidery and freshwater pearl in handmade walnut window frame

86cm x 110cm
2021
 

Supermarket at the Design Museum is an installation to make creativity accessible for all. The supermarket is stocked with a collection of price-matched essential products, from bread to tea bags, each designed by artists. In partnership with Bombay Sapphire, all proceeds go to the Design Museum’s new emerging designer access fund which gives up and coming artists free access to the museum’s exhibitions, events and talks.

Read more:
The Guardian, Dezeen, Wallpaper, Museums Association, Design Week

Cannes Lions International Festival of Creativity awards:
SILVER – Design, Brand Environment & Experience Design
SILVER – Industry Craft, Art Direction
SILVER – Brand Experience, Customer Retail
BRONZE – Industry Craft, Illustration
BRONZE – Brand Experience, Food & Drink


‘Supermarket’ | Design Museum London Installation

Supermarket | The Design Museum

group installation april 21 – april 25 2021

Supermarket at the Design Museum is an installation to make creativity accessible to all and question what is deemed essential in this period of restriction.

Designed by Camille Walala, the supermarket is stocked with a collection of price-matched essential products, from bread to tea bags, each designed by artists. In partnership with Bombay Sapphire, all proceeds go to the Design Museum’s new emerging designer access fund which gives up and coming artists free access to the museum’s exhibitions, events and talks. 

The bread bag packaging responds to the circumstance they were created in. Drawing from the J.G. Ballard text ‘The Day of Forever’, the dusk depicted serves as the gateway to dreaming in a world where time stands still. Moonlit petals float through the window, disrupting the inner landscape of the interior.

Limited edition prints are available via Design Museum Shop here.

Read more:
The Guardian, Dezeen, Wallpaper, Museums Association, Design Week

Cannes Lions International Festival of Creativity awards:
SILVER – Design, Brand Environment & Experience Design
SILVER – Industry Craft, Art Direction
SILVER – Brand Experience, Customer Retail
BRONZE – Industry Craft, Illustration
BRONZE – Brand Experience, Food & Drink


Three Tears | Hand-embroidered Tapestry

Three Tears

Hand-Embroidered Tapestry

Created at Palazzo Monti x The Great Women Artists residency

Three Tears is an expression of desire for unity. The hand-embroidered fragmented tapestry features a suspended profile above and below tears in silk and freshwater pearl. Install view from the Palazzo Monti x The Great Women Artists exhibition curated by Katy Hessel, featuring work by residents Sara Anstis, Somaya Critchlow, Charlotte Edey and Ella Walker. 

Work Details:
Three Tears
2019
24 x 46 x 2cm
Hand-embroidered silk and freshwater pearls on woven jacquard in walnut


Eos | Hand-Embroidered Tapestry Diptych

Eos

Hand EMBROIDERED TAPESTRY DIPTYCH

Created for ‘Ancient Deities’ at Arusha Gallery, Edinburgh 2020

Preceded by the Morning Star, Eos’ tears form the morning dew adorning the grass and early mist. There is a struggle to unfurl the pink ribbon of dawn from her rosy fingers as she opens the gates of heaven for the Sun to rise. Weaving various semblances of light and awakening, dawn speaks to the significance of transition.

Work Details:
Eos
2020
270 x 440 x 25 mm per panel 
Hand-embroidered silk and freshwater pearls on woven jacquard in walnut


Watching Venus

WATCHING VENUS

PENCIL, RECYCLED CARD & DIGITAL COLLAGE DRAWING

Watching Venus cross paths with Pleiades in a time of disintegration. Drawn from the shankh shell, contemplating universal reset, situational perspective and stillness in the face of chaos.

Work Details:
Watching Venus
2020
42x52cm
Hand-signed and numbered museum-quality giclée print on Hahnemuhle Museum Etching 350gsm card
Limited edition of 20

Prints available here.


Echo | Hand-embroidered Tapestry

Echo

hand embroidered Tapestry

Created at Palazzo Monti x The Great Women Artists residency 2019

An exploration of absence and arrival. A suspended scroll in silk is circled by freshwater pearl tears. Install view from the Palazzo Monti x The Great Women Artists exhibition curated by Katy Hessel, featuring work by residents Sara Anstis, Somaya Critchlow, Charlotte Edey and Ella Walker.

Work Details:
Echo
2019
28 x 33cm
Hand-embroidered silk and freshwater pearls on woven jacquard in walnut


Elsewhere | Pencil Drawing

ELSEWHERE

GRAPHITE PENCIL DRAWING

Considering bodily boundaries and integrity. Hair curls are woven as ribbons, becoming ceremonial.

Work Details:
Elsewhere
2020
20 x 31cm
Pencil on 200gm heavyweight cartridge paper


Fragment | Hand-embroidered Tapestry

Fragment

Embroidered Tapestry

Created for ‘This Tragedy’ organised by Ginny on Frederick at Fonda, Leipzig 2020.

On Water and Dreams: ‘a being dedicated to water is a being in flux… something of his substance is constantly falling away’. The hand disturbs the surface draped in chains, evoking linking as both intimacy and weight.

Work Details:
Fragment
2020
250 x 270 x 20mm
Hand-embroidered silk and metallic chain on woven jacquard in walnut


Triune | Hand-Embroidered Tapestry

Triune

Hand Embroidered Tapestry

Private Commission

Triune explores a desire for balance. The symbology of the compass denotes the active construction of harmony. The recurring use of threes across the compass, shadow, orbs and pearls creates a series of intersections, each drawing back to the divine centre.

Work Details:
Triune
2020
305 x 375mm
Hand-embroidered silk and freshwater pearls on woven jacquard in walnut


Years That Answer | Pencil Drawing

YEARS THAT ANSWER

GRAPHITE PENCIL DRAWING IN QUARANTINE


“There are years that ask questions and years that answer.” Exploring the spiral as an evocation of growth and transformation, the only certainty not of progress but of change. Passage from Their Eyes Were Watching God by Zora Neale Hurston.
 

Original graphite pencil drawing on handmade long fibred cotton rag paper. 140 x 180mm


Bloodchild | Pencil Drawing

BLOODCHILD

GRAPHITE PENCIL DRAWING

Considering bodily boundaries and integrity.

19.5 x 26cm
Pencil on 200gm heavyweight cartridge paper


Freshwater | Hand-embroidered Tapestry

Freshwater

Hand Embroidered Tapestry

Created for ‘Subversive Stitch’ exhibition at TJ Boulting

Freshwater is a mirage of touch, exploring reflection through patterns of increased self awareness.

Subversive Stitch examines the legacy of embroidery with works from Amanda Ross-Ho, Bea Bonafini, Celia Pym, Gal Leshem, HelenA Pritchard, Judith Scott, James Merry, Lilah Fowler, Yemi Awosile, Yelena Popova, Marianne Thoermer and Hrafnhildur Arnardottir.

 

Work Details:
Freshwater
2019
16cm x 21cm x 2cm 
Hand embroidered cotton on woven jacquard in walnut


Quiet | Tapestry

Quiet | Tapestry

woven jacquard tapestry

Quiet explores sanctuary. Contemplating the idea of constructed peace in the tradition of contemporary private chapels, the tapestry can be rotated to reveal four fragmented scenes of solace.

Work Details:
Quiet
2018
140cm x 177cm
Woven jacquard tapestry
Limited edition of 20

Exhibited at In The Company Of at TJ Boulting, London. Curated by Katy Hessel, the exhibition explores the legacy of Barbara Hepworth, Lee Miller and Alice Neel on contemporary female artists. Featuring work from Juno Calypso, Juliana Cerqueira Leite, Maisie Cousins, Charlotte Edey, Barbara Hepworth, Jessie Makinson, Lee Miller, Alice Neel, HelenA Pritchard, Stephanie Quayle, Anne Ryan, Boo Saville, Hrafnhildur Arnardottir aka Shoplifter, Antonia Showering, and Caroline Walker.

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Silk | Hand-Embroidered Tapestry

Silk Tapestry

woven jacquard tapestry

Concerning bodily boundaries. The mirror reflects the twin panic of both the current vulnerability and potential threat of the body. Cotton hand-embroidery creates the ribbons of the hair, a ceremonial adornment mirroring the curls reaching up from below. A reminder of persistent growth despite the pause.

Work Details:
Silk
2020
127 x 152cm
Hand-embroidered cotton on woven jacquard tapestry


The New Yorker | Nathalie Leger’s Hall of Mirrors Illustration

Nathalie Leger’s Hall of Mirrors

The New Yorker Editorial Illustration

Editorial illustration to accompany the New Yorker review of Nathalie Leger’s trilogy of books; Exposition, Suite for Barbara Loden, and The White Dress.

Leger is projected, refracted, and distorted through a multitude of lenses and angles, creating a deeply fragmented and layered self-portrait. Her three subjects – the Countess da Castiglione, Barbara Loden and Pippa Bacca – appear as reflections, posing the question of what a woman recognises when she sees herself in another woman. It is a profound exploration of performance, moving from a woman who commissions photos of herself, to a woman who acts in and directs a role she has written herself, to a woman who stages her own performance and films it herself.

Read the full review here.


Sage & Cinnamon | Pencil Drawings

SAGE

PENCIL DRAWING

Created for Small Is Beautiful XXXVIII at Flowers Gallery

Exploring the Victorian dialogue of scented flora to deliver messages left unsaid, in the language of perfumed words. Balancing ceremonial alchemy and the symbolism of fragrance.

Work Details:
Sage
2020
Graphite pencil on 120gsm Hahnemuhle cappucino paper
19cm x 24cm framed in walnut box frame with museum glass

CINNAMON

PENCIL DRAWING

Created for Small Is Beautiful XXXVIII at Flowers Gallery.
Exploring the Victorian dialogue of scented flora to deliver messages left unsaid, in the language of perfumed words. Balancing ceremonial alchemy and the symbolism of fragrance.

Work Details:
Cinnamon
2020
Graphite pencil on 120gsm Hahnemuhle cappucino paper
19cm x 24cm framed in walnut box frame with museum glass


July | Pencil Drawing

JULY

GRAPHITE PENCIL DRAWING

Considering bodily boundaries and integrity.

21 x 26cm
Pencil on 200gm heavyweight cartridge paper


GQ Editorial Illustration | September Issue

GQ September Issue

EDITORIAL ILLUSTRATION

To accompany an essay by best-selling author Damon Young on the limitations of the term ‘people of colour’.

The illustration depicts ribbon-shaped, racially-ambiguous arms that demonstrate ‘people of colour’ as a shorthand that erases cultural distinction. The multiple figures silhouetted along the inside of the ribbon communicate the idea of being enveloped by said term. The Black figure below turns away.

Link to story here


Shore | Pencil Drawing

SHORE

GRAPHITE PENCIL DRAWING IN QUARANTINE

Grief and renewal in the middle of a transformation. Drawn from some rediscovered scallop shells from Paracas desert from another lifetime.

Original graphite pencil drawing on handmade long fibred cotton rag paper. 200 x 230mm


Shell | A2 Print

Shell | A2 Print

Pencil, fineliner, recycled card and digital collage drawing

Interrogating the idea of shedding skin and the separation of self. The temporary dissociation that accompanies the seasons of the female body.

Work Details:
Shell
2018
420 x 594mm (A2)
Hand-signed and numbered museum-quality giclée print on Hahnemuhle Museum Etching 350gsm card
Limited edition of 30

International postage available. Custom framing in white or black wood available upon request (UK only): [email protected]

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Wisp | Hand-Embroidered Tapestry

Wisp

HAND EMBROIDERED TAPESTRY

Created for ‘Les Danses Nocturnes’, Entrevaux 14th July 2021 – 31st October 2021

Curated by eastcontemporary Milan. Drawing from the myth of the Rusalki, the exhibition presents a series of works by international emerging artists who take mythology and the spiritual force of nature as a core of their artistic explorations, from painting and sculpture to installation and sound art.

Work Details:
Wisp
2021
Silk embroidery on woven jacquard tapestry framed in yakisugi ash 
18 x 21.5 x 2cm

Participating artists: Julia Adelgren, Ludovica Anversa, AuchKatzstudio, Kinga Bartis, Sarah Bechter, Victor Bengtsson, Bea Bonafini, Ambra Castagnetti, Barbara de Vivi, Charlotte Edey, Alice Faloretti, Nicola Ghirardelli, Natalia Gonzalez Martin, Robyn Graham, Cecilia Granara, Beatrice Hasell-McCosh, Mary Herbert, Yulia Iosilzon, Katia Kesic, Eliška Konečná, Šárka Koudelová, Konstantina Krikzoni, Mevlana Lipp, Aleksandra Liput, Sophia Loeb, Pavla Malinova, Giulio Malinverni, Paweł Matyszewski, Shailee Mehta, Øleg & Kaśka, James Owens, Francesco Pacelli, Aimee Parrott, Hanne Peeraer, Gal Schindler, Aleksandra Sidor, Paulina Stasik, Holly Stevenson, Danilo Stojanovic, Lise Stoufflet, Maddalena Tesser, George Wilson, Salome Wu, Francesco Zanatta.

The exhibition was organized in collaboration with the SPREAD Museum Entrevaux, Visual Arts Agency France and the Municipality of Entrevaux.


Moonrise | Pencil Drawing

MOONRISE

GRAPHITE PENCIL DRAWING

Study of the moonrise in Brescia. Install view from the Palazzo Monti x The Great Women Artists exhibition curated by Katy Hessel, featuring work by residents Sara Anstis, Somaya Critchlow, Charlotte Edey and Ella Walker.

Work Details:
Moonrise
2019
Graphite pencil drawing on handmade long fibred cotton rag paper
155 x 185mm


Pink Moon | Hand-embroidered tapestry

Pink Moon

Original Tapestry

Biomorphic curls extend from a fleshy landscape, swaying under the pink moon. A look at growth and renewal.

Work Details:
Pink Moon
2020
255 X 300 mm
Couched rayon chainette embroidery on woven jacquard in walnut


Mine III | Pencil Drawing

MINE III

GRAPHITE PENCIL DRAWING


Continuing the ‘Mine’ series exploring the Tenome fable and the expression of feeling and tension through the language of hands as revelatory of one’s true character.

Original graphite pencil drawing on handmade long fibred cotton rag paper.


Window | Tapestry

Window Tapestry

Woven jacquard tapestry 

A self-contained oval universe within the window of an eye. Employing the symbolic power of the midpoint, the luminous egg speaks to regenerative possibility.

Work Details:
Window
2020
127 x 152cm
Hand embroidered cotton on woven jacquard


Mine I & II | Pencil Drawings

MINE SERIES

GRAPHITE PENCIL DRAWINGS

 ‘Mine’ series exploring the Tenome fable and the expression of feeling and tension through the language of hands as revelatory of one’s true character. Sketchbook pages from The Great Women Artists x Palazzo Monti residency programme 2019. 

From top:

Mine I

Original graphite pencil drawing on handmade long fibred cotton rag paper. Framed in stained ash wood box frame with museum glass and blush floating mount

Mine II

Original graphite pencil drawing on handmade long fibred cotton rag paper. Framed in stained ash wood box frame with museum glass and blush floating mount

Oyster 

Original graphite pencil drawing on handmade long fibred cotton rag paper. Unframed.

For more information: [email protected]