After six years of university education, armed with an arts degree in textiles, in Farham, Surrey UK, I spent ten years searching for my own voice and expression, particularly combining together the skills I acquired in both painting and in textiles. The idea of marrying embroidery with painting came from my mother’s collection of post cards: I just loved the three dimensional effect of the embroidery compared to the painted background. Stitching on paper was unusual and as far as I knew, not known until I researched that it was practiced in the 18th century. The challenge of presenting this combo into a contemporary practise was not easy. I gave up many times but with experimenting with different papers and threads. I was aiming for something original and beautiful with a luxurious feel to the final art pieces. I moved to Paris with my husband, which in turn brought many opportunities to exhibit my work and twenty five years later, I have received so many accolades in the form of trophies, diplomas, and awards, from international Art Organizations. From 2018, I became a quoted artist, with Drouot and artprice. I appear in the Larousse directory of International Artists every year. https://www.dictionnairedesartistscotes.com
Over the three decades of artistic development, I found my approach changed as I became more proficient and at ease with the principal basic techniques of both embroidery and mixed media. The water colours washes are applied very spontaneously, my palette stronger in contrast and value and the embroidery more refined and complex. The result of travelling and exhibiting internationally opened my eyes to further progress in my presentation and skill in achieving a polished finish. Expertise and practice helped with developing a personal style and overcoming the technical problems encountered. The variety of new threads on the market also brought new effects to experiment with.
I particularly love wild and abandoned landscapes, secretive pockets of nature where one has to look closely and observe nature’s miracles. To capture these areas in painting, I take part in art residencies or seek out in nature the elements which stir curiosity and wonder. It may be the play of light on moving water, the texture of weather beaten rock, a grouping of flowers that have a remarkable shape or form or array of striking colour. Nature’s grandeur is forever changing, a fleeting moment, and an ephemeral vision.
The most part of my art entails using machine embroidery because it has the capacity to express direction and flow of line, building up of exciting texture and adding the final detail which need more definition. I occasionally employ hand embroidery when the thread is especially delicate such as hologram thread, or the thread is too thick and a stronger line is asked for.
I usually work in themes or series working directly from paintings created in situ or from my sketch journal. This manner helps me to concentrate on the aspects I wish to enhance or communicate a story, transcribing, my thoughts, feeling and mood at the time. I commence with painting washes of colour with minimum detail, very much in the oriental style. The painted surface (mostly water based) is very important as it empowers the emotive force and offers to communicate the aesthetic harmony or contrasts. Some subjects have challenged me to include mixed media such as, gold leaf, fibres, foils, liquid inks, interference mediums, even glue. The parts that are the focal point, the foreground, the inclusion of texture with free embroidery is applied last of all for fine detailing. The embroidery brings three dimensions, added texture and depth, intricate details, luscious luminosity and defined movement. You can see select portfolios on my website.
As a former teacher, my artistic practice has been honed by studying and working with students, particularly history of art and artists. I have a romantic spirit and a penchant for beauty, therefore I seek for elements in nature which capture immediate emotive feelings such as play of light or sensory textural surfaces that stir the imagination and of course these senses are attributed to the impressionists, Monet being my mentor, William Turner the master of light and Van Gogh’s powerful marks and brushstrokes. I also appreciate Odile Redon’s dreamy flower compositions, those ethereal wisps of colour to great effect allowing one’s mind to wander around the canvas. I would encourage young artists to experiment and to learn the basics so that the rules can be broken later. Seeking original ways of artistic expression comes through from being inquisitive and searching for unique voice that comes from within.
I love to connect with likewise creative artists who have similar missions and ethos as mine, perhaps to collaborate together, to bring access to more exhibition opportunities and to encourage and communicate new ideas.
