our craftmakers . applique . embroidery . lace
Martha Catano . treadle machine embroidery
The feeling I have when I'm working is like I'm painting. The density of the embroidery and fill is built up after the essential structure is stitched. I love vibrant colour and use it freely.
I use an old treadle machine, stitching only straight stitch using a fabric hoop. My works is a mixture of the naive and the naturalistic.
My early works were quite primitive with inaccurate proportions and perspective. While these were appealing, I now attempt a little more realism with perspective and shadow. Some of my last work is moving into more subtle greys, browns, black and white.
Isabel Correa . paraguayan wave . nanduti (spider web) lace
I was born in Uruguay which is a neighbour country of Paraguay in South American where the Nanduti originated. My mother was my first teacher and she started to teach me at a very young age.
By five I was able to make embroidery and a little bit of knitting with my first knitting needles that my father made for me from a branch of a willow tree.
There are many versions about the Nanduti history. One is that this art was introduced in Paraguay in the 16th Century by the Spanish and the Guarani people learned and developed the art, copying nature for their own designs. It is sometimes combined with other crafts, for example, Teneriffe lace. Nanduti is a very delicate, beautiful, durable, intricate and colourful craft and can last for generations. I always use a 100% cotton and a special knot and when I finished a work I wash, starch and iron it. Many times I create my own designs. I put a lot of time, passion and dedication into my work - I love it very much.
Chris Molesworth . cross stitch embroidery
I was introduced to cross-stitch in the late 1970's with a visit to the Danish Handcraft Guild in Sydney. The effect of the wonderfully detailed and realistic pictures has always fascinated me.
Over the years, the introduction of different types of threads, including metallic and blended cottons, as well as beadwork, the addition of buttons and charms and the inclusion of various enhancing embroidery stitches has made cross-stitching more enjoyable as well as more of a challenge. The satisfaction for me is to finish a piece of work and to create a piece of art on linen.
I enjoy stitching a wide variety of ideas, items and designs, large and small, including Australian themes; wildflowers, birds and animals work well in cross-stitch. I use Danish Flower thread and DMC stranded cotton on 12 count linen. I am always looking for new ideas that result in a piece that is quite detailed, to suit my fine work
Lois Parish-Evans . machine embroidery, thread painting
My artwork is inspired by elements of design that I 'see' in nature. The colours, shapes, textures, movement and pattern that I see are translated into a drawing, which then becomes the basis for a thread painting.
Central to my image making is the sewing machine and my ability to 'draw' or 'paint' using thread and fabric. My images are often stylized and influenced by the Art Nouveau movement.
My earliest influences and training began as a child under my mother's tuition while she taught sewing to the local women in Papua New Guinea. My favourite subjects at school - Art and Textiles/Design - merged together at Art School with a major in Fibre. Thus began a journey over many years of exploring many creative textile techniques, either in workshops or personal