Summer School Tutors
Julia Triston & Gwen Hedley.We are thrilled that Julia Triston and Gwen Hedley, have both agreed to tutor workshops in our next Summer School event.
Julia and Gwen are members of the Textile Study Group and both are popular and well known textile artists in their own right and experienced in leading fantastic workshops.
You might be familiar with their inspiring books.
See their profiles below.
Julia Triston is a professional artist, maker, educator and author in stitched textiles, and contemporary art and design techniques.
She is fascinated with the journey textiles take and intrigued by the wear and tear of her raw materials, and the memories they hold.
Her raw materials include vintage lace, reclaimed household linen, discarded embroideries, secondhand clothing and previously worn underwear.
She is interested in detail, and combines fastenings and straps with raw edges and seams to become features in her pieces.
Julia teaches and exhibits internationally and is an active member of the Textile Study Group.
She also runs STITCHBUSINESS, an independent, international stitch school.
Julia is the co-author of two popular Batsford titles: ‘How to be Creative in Textile Art’ and ‘Contemporary Appliqué’.
Gwen's work usually stems from artefacts and surfaces bearing marks of age and unknown histories.
They recorded through photography, and observational drawing, followed by workbook developments.
Mixed Messages 1 uses old unwanted books, as a creative resource, capitalising on old fonts and yellowed pages, blending them with modern papers and drawn lettering. Slicing, then stitching through a book, once unthinkable, becomes a artistic reference to changing attitudes regarding print and the growth of e-books.
Restoring is a hand built darned fabric and paper braid. It celebrates the fact that ‘mending’ the worn and ragged – once seen as merely functional and utilitarian, is now being considered in an artistic and expressive context.
Current workbook. I am working with old used cloth as a basis for direct drawing – the drawings always reference time-worn subjects – in this case, a deeply pitted wall.