It is the process of weaving which is my main love: that physical interplay of warp and weft in the simultaneous creation of the design and actual fabric of the piece.
As the design process is digital each tapestry, or print weave, begins with a digital photograph. Back in the studio I find the manipulation process totally absorbing, and am amazed by how an image can be so completely transformed.
Having moved away from pixellated abstract designs, I am currently working on a series of representational pieces based on my garden. Seurat’s pointillist paintings form a constant connection with my work, where the pixellated squares and rectangles are a kind of homage to his dots of pure colour. It’s the way his paintings disintegrate as you walk towards them that is so fascinating, and what I am aiming to achieve in my work. In the smaller flora inspired tapestries I am exploring ways of combining pixellated areas within the image.
The tapestries are woven on frames or an upright loom, using mainly natural fibres.
The paper print weaves combine a colour printout with a negative, or monochrome, partner print. These are then cut and woven together, resulting in works where vibrant colours prevail. I am interested in buildings, especially old fashioned shops and eating places.