within felt making, the process is flipped and the colours come first, and the texture second. “It adds value, gives more of an insight into my paint work. It is a about finding a path to come together in a developed way.”
“Layering is not new; it just has become more obvious.” She explains her traditional paintings and her creative process—as she paints words with meaning onto the blank canvas, the process is ultimately obscured by the finished work. In this exhibition, in among the paintings, layers were apparent in the textile pieces, much like one colourful felted art collage containing plastic netting, silk sediments and crafts yarn.
“For a real collage I chop up bits and I rearrange them. I didn’t want to make a garden but it was the essence of garden. I arrange them and have a much more free sense of pictorial.” In this felted and embellished piece, “More Growth in the Garden, Tan the Gardener Grows”, the end
product captures more meaning than the intent of just one piece. In this exhibition, Of Word and Stitch, sheep fleece, fabric and stitch are an expression of the contemporary practices in making, craft and creative expression.
“Tere is a great relationship between Irish national heritage, crafts and felting. In a look back to the traditions, and those that my grandmother and my mother have given me in regards to stitching, fabric and thread making. Te element of fabric, stitch and wool acknowledges the traditional role these materials had in Irish families and our society in farming and industry. Making family clothes circa 1940 – 1990 were significant parts of the role and skill of mothers, in particular, my mother and maternal grandmother, who were very active makers. I recognise their influence on my work. In particular, my mother’s ability to teach and share the skills she had learned within different communities.”