Using solid color fabrics in bright and saturated hues, Kingswell quilt-like textile art might remind of stained glass, her patchwork very precisely sewn with no embellishments. Starting with a harmonious color-scheme, sometimes inspired by a poem or a special number, she then imposes a mathematical sequence, cut, rearrange according to the sequence.

“I get pleasure from creating things,” she writes, “things that are so much more than the sum of their parts – finding new patterns by exploring the beauty of color, number, sequence, and proportion through the medium of fabric.” Depending on the work, Kingswell might stretch the finished design over a canvas stretcher or leave it flexible.

“I want my work to lift spirits and make people smile!” says Kingswell, “And also intrigue them a little.” The finished result is indeed a recipe for smiles. Something you might want to add to your Instagram feed.

The post Alexandra Kingswell’s Quilts Will Lift Your Spirits appeared first on TettyBetty.

In a more recent portrait series, titled The Value of Making, she zooms in on various making disciplines, which are displayed through hand-stitched portraits in a collage of silk organza. According to Jo Gibbs, these portraits are an homage for the creative community at large, celebrating the skill, dexterity, and creative problem solving of the people who make things.

“I’m very excited to be working on a series of small portraits and feel this idea will translate well to other communities,” she relayed in an interview with Textile Artist. “I’m very interested in finding new audiences and telling different stories perhaps by working with distinctive groups or museum collections. I’ve found the stories I tell, although extremely personal are also universal.”

Indeed, her hand-stitched narratives seem to resonate with her audience, both online and offline. Her work can also be found in several permanent museum collections including the V&A, London and The Museum of Fine Art, Houston.

But when it comes to her creative process, it’s rather isolated and withdrawn. “I work from home, I like to sit at the kitchen table in front of French windows because the light is so good,” says Jo Gibbs. “I have a metalwork bench in the garage but I do far less metal work at the moment, my flat work has taken over.”

The post The Hand-Stitched Narratives of Emily Jo Gibbs appeared first on TettyBetty.

Commissioned by Alexander McQueen, Marc Jacobs, The King of Qatar, and even the Pope himself—Nicol has clearly made a name for herself. Based in London, her career has spun for more than twenty-five years, with her techniques including Irish, Cornelly, Multihead, beading, and hand embroidery.

For her work in fashion, she collaborates with fashion designers and creates samples of embroidery designs, often inspired by a given theme. “I work in a completely ‘what if’ scenario, trying out things that may look new and fresh,” she described the process in an interview with Upcyclist. “We then develop these samples to work on garments and I do the first pieces for the shows.”

She explains that in interiors, it’s quite similar but with different scales and practicalities. But with her art pieces, the process is more leisurely. It begins with sketching (her favorite theme being animals) and then enlarging the sketch to the correct size. “I then sample and experiment and start to embroider the piece,” explains Nicol. “Each one is so different. So, in all cases whatever I do it’s a process of rough drawing, sampling and developing in general.”

As you might have guessed, the finished results are quite remarkable.

The post From the Pope to the Runway: Karen Nicol is the Textile Master appeared first on TettyBetty.

“With my weavings I try to seek the pleasure between the relationship of a tactile versus a visual synesthesia, touching colors, listening to textures, tasting shapes, perceiving colors represented by certain shapes, and vice versa,” she explained in an interview with Sarah K. Benning. “But especially, my purpose is to share this experience with everyone else and give them some colorful goosebumps.”

Born and raised in Barcelona, Spain, and currently based in Asheville, North Carolina, Just knows a thing or two about “colorful goosebumps,” having grown up surrounded by textiles. Her love of textile was inherited from her mother, herself a prolific weaver. Having studied later fashion design, sculpture, and textile art, Just mastered the craft of weaving and embroidery.

“As I’m weaving, I usually go crazy jumping on many diverse ideas at the same time like a distracted butterfly,” she describes her somewhat spontaneous process. “I try to make fast sketches and secure some of the color combinations that suddenly pop on my mind, as fast as possible.”

Follow her Instagram page for a pop of color.

The post Judit Just’s Tapestries Give Us Colorful Goosebumps appeared first on TettyBetty.

Her approach to textile is very much experimental, allowing the threads to guide her through her work. “Very rarely do I use a sketchbook, although I often wish it was part of my routine,” she shared in an interview with Textile Artist.

“For prep work, I’ll often start with a simple image in my mind or a photograph which then leads me to a palette. I’ll also do some random shape collages if I’m feeling very stuck for inspiration, basically just shuffling roughly cut scraps of colored paper around on a black background until I come up with a sequence that ‘works’. I also collect different textures, rug and fabric samples, photographs of bark and moss, different yarns… all which inspire and inform a piece.”

Having studied within the Interdisciplinary Program of the Nova Scotia College of Art and Design University and the New York Studio Program, she focused on several disciplines: weaving, art history, printmaking, and installation art – all of which can be found in her work today.

“I’m always inspired by my surrounding landscapes,” she said. “I feel very fortunate to have lived all across this huge country, literally from coast to coast and in between, and I still draw inspiration from my memories of these places.”

Follow her progress on Instagram.

The post Lucy Poskitt’s Textile Art is Inspired by Memories and Landscapes appeared first on TettyBetty.

“I‘ve always been attracted to the medium of textiles,” she told Textile Artist, talking about her artistic upbringing. “I think primarily because of the sense of nostalgia they hold for me.”

“I did a lot of craft projects as a kid and it seems like there was always some kind of textile-based project, from sewing Halloween costumes to doing cross-stitch samplers,” she recalled. “The tactility of the material really makes me feel connected to those memories of my first discoveries of making things and I think this is part of what makes the material so evocative for me.”

Based in San Francisco, DiCioccio studied painting first before exploring other avenues. With no prior experience with sewing outside of her childish explorations of costume-making, her work is the result of much trial and error. It’s a result worth taking note of nonetheless.

The post Stuffing and Textile: Lauren DiCioccio’s Sculptures Take After Their Materials appeared first on TettyBetty.

“I employ traditional methods of sewing construction in a contemporary way probing the tension between old and new and art and craft,” Comeau explains on her website. Her methods of alteration include rusting and composting. She then embellishes the altered material with block printing, thermo-fax, embroidery, and paint.

“Textiles are an essential element of our daily lives: we are swaddled when born, we sleep in linens, we clothe our bodies each day, and we mark life’s passages with special garments and fabrics,” said Comeau in an interview with Textile Artist. “Each piece carries stories of countless human beings: who created, wore, gifted, graced their table with, or found comfort in it.”

Take a look at some of her installations, murals, and altered garments:

The post Merill Comeau Reconstructs Discarded Textiles appeared first on TettyBetty.

Born in a textile factory in Québec, Canada to parents who were garment manufacturers, Desloges’ artwork revolves around textiles; her artistic methods including embroidery, stitch, and mixed media. “Experimenting with thread and making knotted bracelets has always been my favorite thing to do,” she recalled. “It has followed me until today. Whether it is by working with thread or by representing its knots in my embroidered pieces, its lines are always present.”

Trained originally as a sculptor, Desloges uses different materials at hand – supporting her embroidery pieces, for instance, with plastic and metal – as a way of reconsidering the definition of two and three-dimensional compositions. The end result – a hybrid of textile and sculpture – presents symbolic allegories and literary allusions.

And when it comes to the process itself, she lets the materials lead the way. “The original idea succumbs to the act of materialization, yet prior to the end, the idea is investigated, deepened and deconstructed throughout the evolving phases,” she says.

The post Anouk Desloges Usus Embroidery and Stitch In An Untraditional Way appeared first on TettyBetty.

“Fashion and textiles are interconnected, and this has led to my interest in textile art,” said Gilbertson in an interview with Textile Artist. “I don’t consider myself a textile artist, although I am often defined as such. I’d prefer to be regarded as a contemporary artist who uses textile materials to create art.”

However she wants to define it, the result is equally striking, with her artwork combining wool, spraypaint, and tapestry canvas to create an alternative interpretation of a traditional pastime. “My work has evolved in many directions,” says Gilbertson. “I’ve experimented with color, voids of stitching, ways of framing, methods of stitching and design processes.”

Aside from her artwork, Gilbertson also works as a performance sportswear designer and fashion lecturer. Based in Cambridge, UK, she admits to connecting her work with memories. “All my work contains fond memories, usually of moments in time with family and friends that are captured within the canvas,” she says. “I can usually remember what was going on in my life at the time of stitching a particular work.”

Take a look at some of her embroidered pieces in the gallery below:

The post Artist Reinterprets the Traditional Pastime of Embroidery appeared first on TettyBetty.

“My inspiration begins with the selection of an embroidery stitch or technique, which I then explore to reveal its shape and form,” writes Currie in her website. “This analysis generates ideas for the theme and structure of the finished work.”

Since graduating in 1990 from Manchester Polytechnic with an embroidery degree, Currie has been hard at work. But her fascination with textiles began even earlier than that when she was a small child. “I have been a stitcher all my life, having been taught to sew by my mother at the age of three; and have always loved to handle threads and fabrics,” she writes.

Some of her works also incorporate sheer fabrics. “I use transparent and translucent supporting materials to allow the journey of the stitched threads to be viewed from different angles, revealing the three-dimensional shape of the stitches, and creating continually changing perspectives,” she explains.

The finished result is nothing short of amazing. Take a look for yourself:

The post These Embroideries Remind of Prisms appeared first on TettyBetty.

Using solid color fabrics in bright and saturated hues, Kingswell quilt-like textile art might remind of stained glass, her patchwork very precisely sewn with no embellishments. Starting with a harmonious color-scheme, sometimes inspired by a poem or a special number, she then imposes a mathematical sequence, cut, rearrange according to the sequence.

“I get pleasure from creating things,” she writes, “things that are so much more than the sum of their parts – finding new patterns by exploring the beauty of color, number, sequence, and proportion through the medium of fabric.” Depending on the work, Kingswell might stretch the finished design over a canvas stretcher or leave it flexible.

“I want my work to lift spirits and make people smile!” says Kingswell, “And also intrigue them a little.” The finished result is indeed a recipe for smiles. Something you might want to add to your Instagram feed.

The post Alexandra Kingswell’s Quilts Will Lift Your Spirits appeared first on TettyBetty.

In a more recent portrait series, titled The Value of Making, she zooms in on various making disciplines, which are displayed through hand-stitched portraits in a collage of silk organza. According to Jo Gibbs, these portraits are an homage for the creative community at large, celebrating the skill, dexterity, and creative problem solving of the people who make things.

“I’m very excited to be working on a series of small portraits and feel this idea will translate well to other communities,” she relayed in an interview with Textile Artist. “I’m very interested in finding new audiences and telling different stories perhaps by working with distinctive groups or museum collections. I’ve found the stories I tell, although extremely personal are also universal.”

Indeed, her hand-stitched narratives seem to resonate with her audience, both online and offline. Her work can also be found in several permanent museum collections including the V&A, London and The Museum of Fine Art, Houston.

But when it comes to her creative process, it’s rather isolated and withdrawn. “I work from home, I like to sit at the kitchen table in front of French windows because the light is so good,” says Jo Gibbs. “I have a metalwork bench in the garage but I do far less metal work at the moment, my flat work has taken over.”

The post The Hand-Stitched Narratives of Emily Jo Gibbs appeared first on TettyBetty.

Commissioned by Alexander McQueen, Marc Jacobs, The King of Qatar, and even the Pope himself—Nicol has clearly made a name for herself. Based in London, her career has spun for more than twenty-five years, with her techniques including Irish, Cornelly, Multihead, beading, and hand embroidery.

For her work in fashion, she collaborates with fashion designers and creates samples of embroidery designs, often inspired by a given theme. “I work in a completely ‘what if’ scenario, trying out things that may look new and fresh,” she described the process in an interview with Upcyclist. “We then develop these samples to work on garments and I do the first pieces for the shows.”

She explains that in interiors, it’s quite similar but with different scales and practicalities. But with her art pieces, the process is more leisurely. It begins with sketching (her favorite theme being animals) and then enlarging the sketch to the correct size. “I then sample and experiment and start to embroider the piece,” explains Nicol. “Each one is so different. So, in all cases whatever I do it’s a process of rough drawing, sampling and developing in general.”

As you might have guessed, the finished results are quite remarkable.

The post From the Pope to the Runway: Karen Nicol is the Textile Master appeared first on TettyBetty.

“With my weavings I try to seek the pleasure between the relationship of a tactile versus a visual synesthesia, touching colors, listening to textures, tasting shapes, perceiving colors represented by certain shapes, and vice versa,” she explained in an interview with Sarah K. Benning. “But especially, my purpose is to share this experience with everyone else and give them some colorful goosebumps.”

Born and raised in Barcelona, Spain, and currently based in Asheville, North Carolina, Just knows a thing or two about “colorful goosebumps,” having grown up surrounded by textiles. Her love of textile was inherited from her mother, herself a prolific weaver. Having studied later fashion design, sculpture, and textile art, Just mastered the craft of weaving and embroidery.

“As I’m weaving, I usually go crazy jumping on many diverse ideas at the same time like a distracted butterfly,” she describes her somewhat spontaneous process. “I try to make fast sketches and secure some of the color combinations that suddenly pop on my mind, as fast as possible.”

Follow her Instagram page for a pop of color.

The post Judit Just’s Tapestries Give Us Colorful Goosebumps appeared first on TettyBetty.

Her approach to textile is very much experimental, allowing the threads to guide her through her work. “Very rarely do I use a sketchbook, although I often wish it was part of my routine,” she shared in an interview with Textile Artist.

“For prep work, I’ll often start with a simple image in my mind or a photograph which then leads me to a palette. I’ll also do some random shape collages if I’m feeling very stuck for inspiration, basically just shuffling roughly cut scraps of colored paper around on a black background until I come up with a sequence that ‘works’. I also collect different textures, rug and fabric samples, photographs of bark and moss, different yarns… all which inspire and inform a piece.”

Having studied within the Interdisciplinary Program of the Nova Scotia College of Art and Design University and the New York Studio Program, she focused on several disciplines: weaving, art history, printmaking, and installation art – all of which can be found in her work today.

“I’m always inspired by my surrounding landscapes,” she said. “I feel very fortunate to have lived all across this huge country, literally from coast to coast and in between, and I still draw inspiration from my memories of these places.”

Follow her progress on Instagram.

The post Lucy Poskitt’s Textile Art is Inspired by Memories and Landscapes appeared first on TettyBetty.

“I‘ve always been attracted to the medium of textiles,” she told Textile Artist, talking about her artistic upbringing. “I think primarily because of the sense of nostalgia they hold for me.”

“I did a lot of craft projects as a kid and it seems like there was always some kind of textile-based project, from sewing Halloween costumes to doing cross-stitch samplers,” she recalled. “The tactility of the material really makes me feel connected to those memories of my first discoveries of making things and I think this is part of what makes the material so evocative for me.”

Based in San Francisco, DiCioccio studied painting first before exploring other avenues. With no prior experience with sewing outside of her childish explorations of costume-making, her work is the result of much trial and error. It’s a result worth taking note of nonetheless.

The post Stuffing and Textile: Lauren DiCioccio’s Sculptures Take After Their Materials appeared first on TettyBetty.

“I employ traditional methods of sewing construction in a contemporary way probing the tension between old and new and art and craft,” Comeau explains on her website. Her methods of alteration include rusting and composting. She then embellishes the altered material with block printing, thermo-fax, embroidery, and paint.

“Textiles are an essential element of our daily lives: we are swaddled when born, we sleep in linens, we clothe our bodies each day, and we mark life’s passages with special garments and fabrics,” said Comeau in an interview with Textile Artist. “Each piece carries stories of countless human beings: who created, wore, gifted, graced their table with, or found comfort in it.”

Take a look at some of her installations, murals, and altered garments:

The post Merill Comeau Reconstructs Discarded Textiles appeared first on TettyBetty.

Born in a textile factory in Québec, Canada to parents who were garment manufacturers, Desloges’ artwork revolves around textiles; her artistic methods including embroidery, stitch, and mixed media. “Experimenting with thread and making knotted bracelets has always been my favorite thing to do,” she recalled. “It has followed me until today. Whether it is by working with thread or by representing its knots in my embroidered pieces, its lines are always present.”

Trained originally as a sculptor, Desloges uses different materials at hand – supporting her embroidery pieces, for instance, with plastic and metal – as a way of reconsidering the definition of two and three-dimensional compositions. The end result – a hybrid of textile and sculpture – presents symbolic allegories and literary allusions.

And when it comes to the process itself, she lets the materials lead the way. “The original idea succumbs to the act of materialization, yet prior to the end, the idea is investigated, deepened and deconstructed throughout the evolving phases,” she says.

The post Anouk Desloges Usus Embroidery and Stitch In An Untraditional Way appeared first on TettyBetty.

“Fashion and textiles are interconnected, and this has led to my interest in textile art,” said Gilbertson in an interview with Textile Artist. “I don’t consider myself a textile artist, although I am often defined as such. I’d prefer to be regarded as a contemporary artist who uses textile materials to create art.”

However she wants to define it, the result is equally striking, with her artwork combining wool, spraypaint, and tapestry canvas to create an alternative interpretation of a traditional pastime. “My work has evolved in many directions,” says Gilbertson. “I’ve experimented with color, voids of stitching, ways of framing, methods of stitching and design processes.”

Aside from her artwork, Gilbertson also works as a performance sportswear designer and fashion lecturer. Based in Cambridge, UK, she admits to connecting her work with memories. “All my work contains fond memories, usually of moments in time with family and friends that are captured within the canvas,” she says. “I can usually remember what was going on in my life at the time of stitching a particular work.”

Take a look at some of her embroidered pieces in the gallery below:

The post Artist Reinterprets the Traditional Pastime of Embroidery appeared first on TettyBetty.

“My inspiration begins with the selection of an embroidery stitch or technique, which I then explore to reveal its shape and form,” writes Currie in her website. “This analysis generates ideas for the theme and structure of the finished work.”

Since graduating in 1990 from Manchester Polytechnic with an embroidery degree, Currie has been hard at work. But her fascination with textiles began even earlier than that when she was a small child. “I have been a stitcher all my life, having been taught to sew by my mother at the age of three; and have always loved to handle threads and fabrics,” she writes.

Some of her works also incorporate sheer fabrics. “I use transparent and translucent supporting materials to allow the journey of the stitched threads to be viewed from different angles, revealing the three-dimensional shape of the stitches, and creating continually changing perspectives,” she explains.

The finished result is nothing short of amazing. Take a look for yourself:

The post These Embroideries Remind of Prisms appeared first on TettyBetty.