Wall-hangings Archives

Anita Carnell

Anita Carnell was born in the North of England. She has had a long career in textiles, receiving her initial training at the Royal School of Needlework and then her masters of MA Designer Maker at Camberwell College of Art.

Working with British historical materials, gilded wires and gold, Anita uses traditional hand embroidery techniques on lamb hide. Her method is an unconscious abstract process, unplanned and unrehearsed. Her inspirations are influenced by the Japanese term Yohaku-no-bi, which translate to ‘blankness.’

Anita Carnell seeks to evoke contemplation as evident in her piece, ‘Cycle of Time’. The circle becomes the spiral, shadows reflecting repetitive mark making in red. Anita intends her work to recognise the beauty of gold, not just for its monetary value but the tonal and light refracting qualities it conveys. Gold creates shadows – ‘without shadows there is no beauty’.

Her work is a doorway to interrelationships between materials, viewer and space.

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ARTIST BIOGRAPHY

Selected Exhibitions:

Celebration of Craftsmanship & Design
Peter Millard & Partners
Collect 2018
Design Days – Dubai
Clerkenwell Design Week
Hothouse – Craft Council

Selected Editorial:

Selvedge Magazine – Gold and The Gods June 2017
The Gift of Time – Giada Giachion 2017

ARTIST SUMMARY

Categories:

Textiles
Other

Textile Type:

Wall Hangings – Leather
Wall panels – Leather
Fine Leather Wall Art

Mediums:

Leather
Gilded Wires
Gold Leaf

Subject Matter:

Historical
Conceptual

Anita Carnell - Gilded Wires - Revealing Something New - detail

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My method is an unconscious abstract process, unplanned and unrehearsed. I am inspired are influenced by the Japanese term Yohaku-no-bi, which translate to 'blankness.'

Anita Carnell

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Michelle House

Michelle House is an abstract artist with over 20 year’s experience creating unique textile artworks and digital art prints. Her inspiration comes from the patterns and geometry within architecture. As well as the physical mixing and layering of colours, the texture of cloth and the print process.

Michelle House moved from painting and collage on paper to applying the same approach with textiles. Taking photographs and making drawings, she then edits and designs on a computer, before transferring her photographic images to silkscreens.

Michelle uses screens in conjunction with hand-cut stencils as a palette from which to select and build up her final composition. Using imagery and colour in an abstract way to create focal points, balance and space.

The dye’s and pigments, in combinations of transparent and opaque layers, are screen-printed and painted on to differently textured fabrics, which are then meticulously sewn together to make a single piece, or series of related works.

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