more images > View image Tania Spencer Would you like some cake?, 2011 mild steel##Lou Farina View image Belinda von Mengersen The Dusting Cloth, 2011##Lou Farina View image Lucy Irvine Continuous Interruptions, 2011 Irrigation piping, ##cable ties, steel, paint 115 h x 180 w x 130 d cm Lou Farina View image Gallery view Broken Hill Regional Art Gallery Oct 2012##
Group Exchange
Tamworth Textile Triennial

16 August - 18 October 2014

The 2nd Tamworth Textile Triennial will provide a forum to explore current issues and trends in textile practice in Australia. Tamworth Regional Gallery is committed to building the profile of the exhibition and engaging with a wider audience.

Artistic expression—works that reflect a diversity of cultural ideas

Collaboration— works that extend practice through an engagement with innovation and technology

Creative Process—works that question convention through process and technique

Communication—through playful enquiry, works that employ a rich visual language through narrative and image

Materiality—works that demonstrate sensitivity to the innate and unique qualities that textiles offer: tactility, structure, surface, colour, attention to detail, pattern, a rich history

Interrelated—works that move between disciplines, traditions and contemporary .
Download Sensorial Loop
1st Tamworth Textile Triennial
Works acquired from
Sensorial Loop
Tamworth Textile Triennial

Lucy Irvine
Continuous Interruptions

Woven in tiny increments, each movement, each
alignment, each cable tie stitch, accumulates the
ever-shifting form of Continuous Interruptions,
as it appears to defy the pattern and process of
its making.
Creating this sculpture allowed me to reflect
upon experiences of landscape. In the making,
the physical memory of landscape became
performative. Memory is not so much described
in the work, becoming more an element of my
capabilities as a weaver. As each stitch is performative
and expansive. This reconfigures the skilled
repetition through which pattern emerges as a
tessellation; always in motion, in response. The
process of making itself was not simply an articulation
of ideas; it became an integral realisation
and development of those ideas.
In this regard, the work addresses what we
perceive as disruption and interruption in the
way we live, think and create; seeking greater
insight into the perpetual flux in the meta-cycles
of our cultural and physical environments. I have
recently been attentive to the amnesia of the
extremes of flood and fire, upon which carving
out our place in the Australian landscape relies;
separated from the rhythm of our lives these
events threaten disorder and destruction.
Through this separation, elements that do not
fit within the framework by which we locate
our knowledge and ourselves are disregarded.
Continuous Interruptions interweaves ubiquitous
man-made materials that facilitate the order of our
contemporary lives into a form that celebrates the
seeming chaos and infinite contingencies of the
world beyond the boundaries of our knowing.
Image below
Lucy Irvine
Melbourne Victoria
Continuous Interruptions 2011
Materials: Irrigation piping, cable ties, steel, paint
Dimensions: 115 h x 180 w x 130 d cm. Tamworth Regional Gallery Fibre Textile Collection. Image Lou Farina
Works acquired from
Sensorial Loop
Tamworth Textile Triennial

Belinda von Mengersen
The Dusting Cloth

A dusting cloth is located in a landscape of memory between the past and the present. Cloth is particularly apt at being able to carry an entropic metaphor–to represent fragile remnants...
Cloth can be completely impregnated and ultimately transformed by the ephemeral and insidious qualities of dust, for dust is matter caught between states. Dust signifies the entropy of life and cloth, and the inevitable disintegration of both. The cloths of my childhood are embedded
with the matter and dust of clay, flour, soil, ash, lanolin and salt.

There is an innate, tacit and quite haptic tension between the processes of making, erasure, unmaking
and re-making.

Where methods of print, stitch, pleating, tacking,
camouflage, unpicking and re-stitching evolve and
are re-woven into a palimpsest of compressed
layers. Allowing a consideration of what is told
and untold; remembered and forgotten or entirely
re-written within the folds of the story.

These layers of paper and cloth are bound with
stitch as a visual representation of quilts made
for charity at the turn of the century when the
Dictionary of Needlework recommended the use
of shredded paper for the padding because it ‘is
very insusceptible to atmospheric influences’.
The stitches mimic language, as rows of text and a kind of sound-line; they are breaking down and imperfect acting, like a ‘fermata’ or extended pause within a musical score; leaving a trail of needle-holes in the paper. By opening up the grid
of the cloth you force it to
re-align it-self poetically

Image above
Esther Paleologos
Melbourne, Victoria
Framework, ( detail) 2011
Materials: enamelled copper wire, stainless steel wool yarn
and nylon
Dimensions: Three pieces, two 50 h x 40 w x 40 d cm, one 60h x 50 w x 40 d cm. Tamworth Regional Gallery Fibre Textile Collection. Image Lou Farina.

image below
Belinda von Mengersen
Summer Hill, Sydney, NSW
The Dusting Cloth, 2011
Materials: Silk voile, silk organza, cotton, rice paper, interfacing,
direct digital print, paper, camel hair, alpaca fleece, and silk,
cotton, and linen thread.
Dimensions: 100 h x 150 w x 0.5 d cm. Tamworth Regional Gallery Fibre Textile Collection. Image Lou Farina
Works acquired from
Sensorial Loop
Tamworth Textile Triennial

Tania Spencer
Would you like some cake?, 2011

My work is about people and their emotional and physical relationships to each other. I consider the knitted wire as metaphor for how we are linked together, each stitch depending on the other
for support. The interlinked lace areas and holes
reflect the degrees of closeness or distance that
we have in families (estranged or not) and friends (maybe long lost or current). It is a support network,but one that is fraught with complications.

Lace doilies are traditionally put on the table when
guests come to visit, a welcoming mat, a beautifying
agent, but perhaps a cover-up for when not all is right. When a doily is lifted, and only a fine lace pattern in dust is left, it will be too late to make amends.

Image Above
Cresside Collette
Twenty Four Evocations of the Wet/Dry Landscape,
2011, (section)
Materials: Woven tapestry
Dimensions: An installation of twenty four small woven
tapestries (measuring 20 h x 13 w x 5 d cm each) arranged
in a block that measures 90 h x 90 w x 5 d cm)
Image credit: Lou Farina
Image Below
Tania Spencer
Lake Grace, Western Australia
Would you like some cake?, 2011
Materials: mild steel
Dimensions: 100 h x 100 w x 30 d cm
Tamworth Regional Gallery Fibre Textile Collection. Image Lou Farina.

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