The members of the element15 Textile Art Collective and the Board of McAuley Place, Naas, invite all to the opening of the exhibition, Threads of Memory – The Heirloom Project.
This community art project explores the idea of heirloom and its varied meanings for each of us.
When: The opening is on Tuesday, the 5th of May, at 7 PM.
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Inishbofin Island is hosting an arts festival this weekend. Amongst the several textile-related activities is an exhibition that includes the work of Feltmakers Ireland guild member Audrey Murray.
Feltmakers Ireland aims to share information about awards, education, events, exhibitions, and opportunities that you will find interesting. Our sharing is neither paid for by nor an endorsement of these individuals or organisations.
Contact Us: If you have any concerns about content, please email us at feltmakersie@gmail.com.
Questions: For questions about the content, please follow the link to the organisation hosting the event.
Feltmakers Ireland aims to share information about awards, education, events, exhibitions, and opportunities that you will find interesting. Our sharing is neither paid for by nor an endorsement of these individuals or organisations.
Contact Us: If you have any concerns about content, please email us at feltmakersie@gmail.com.
Questions: For questions about content, please follow the link to the organisation involved in hosting the event.
Today is the last day to apply to Feltmakers Ireland’s upcoming group exhibition, ‘Water and Flow’.
It might be a slightly cloudy or rainy day in Ireland – no surprise, there! However, if you have been waiting for ‘The Best Day’ to photograph your piece, do not worry: We do not need perfect photographs. Instead, we need your submissions. So, please, please apply.
If, in the event, the online form gives you trouble uploading your images (as it may get ‘overstuffed’), please email photos to committeefeltmakersireland@gmail.com
The deadline is Friday, the 20th of March, at midnight – today!
Naturally, we thank all of the members who have already applied! It’s going to be a fantastic show!
Our opening is Saturday, the 4th of April at 3 PM.Hope to see you there.
Disclaimer for Feltmakers Ireland Blog
Feltmakers Ireland aims to share information about awards, education, events, exhibitions, and opportunities that you will find interesting. Our sharing is neither paid for by nor an endorsement of these individuals or organisations.
Contact Us: If you have any concerns about content, please email us at feltmakersie@gmail.com.
Questions: For content-related questions, please follow the link to the organisation hosting the event.
The show explains the origins of the Dum Emer & Cuala Industries in Dundrum and Churchtown, the engagement between the Yeatses, but specifically Susan ‘Lily’, and the pioneering figure of Evelyn Gleeson. Additionally, it includes contemporary embroidery from the Irish Guild of Embroiderers.
The exhibition elaborates through a series of visuals from original prints, the work of the many women artists who contributed to the Cuala portfolio, and presents original works by the members of the Irish Guild of Embroiderers, who, in marking the centenary publication of ‘The Cat and the Moon’ (Cuala, 1924) have found inspiration within the themes of this piece of WB Yeats’ writing, while also reflecting the colour palette and skilful selection of stitches created by Susan ‘Lily’ Yeats in completing her textiles.
Cat and The Moon, and Certain Poems
When: The show runs until the 30th of August, 2024.
Location: Exhibition: DLR Lexicon Library, Dun Laoghaire, Co Dublin, A96 H283.
Feltmakers Ireland aims to share information about awards, education, events, exhibitions, and opportunities that you will find interesting. Our sharing is neither paid for by nor an endorsement of these individuals or organisations.
Contact Us: If you have any concerns about content, please email us at feltmakersie@gmail.com.
Questions: For questions about content, please follow the link to the organisation involved in hosting the event.
Crafting felted artworks presents a stimulating challenge. However, the intricacies of preparing art for display can pose an even more significant challenge. How do you figure out how to hang or present your creations? This article by guild member Lorna Cady will help explain some issues to keep in mind.
By Lorna Cady
Notes on Exhibiting for Optimal Effect
Hanging
Most pieces in Feltmakers Ireland’s annual exhibition will be hung. The Phoenix Park Visitor Centre walls are made from attractive natural-coloured stone. Near the top of the gallery’s walls, there are wire devices with hooks suspended from a curtain rail. Exhibits can be attached at suitable intervals from this.
Please ensure your piece has some form of secure hanging loop or other device that will hold the weight of the piece throughout the exhibition.
a] Size To ensure we can hang as many pieces as possible (the typical display method), please keep the width of your artwork, including the frame, within 60cm. This will allow more work to be shown rather than a few large pieces. There is no reasonable limit on height, although any pieces more than the room’s height (about 3 metres) could be logistically challenging to install! Of course, the shape of your piece need not be square or rectangular.
b] ‘Flatness’ of exhibit – or not Often, felted creations are flat, like paintings made from wool; however, they may be three-dimensional – with bumps and protrusions. Both types of work can be hung successfully.
Presenting without a frame
An example of a piece that is unframed. It is created by member Eithe O’Dea.
The use of board and battens on the back of this piece.
Use of bamboo and twine. Note how the artist included her label and the title of the piece. Created by guild member Astrid Tomrop-Hofmann.
The back of this piece has chanvas sewn on and battens glued to the fabric. There are hanging hooks screwed into the wood. This wall piece is by member Fiona Leech.
This example is round – your piece need not be square! It has a metal ring stiched into the fabric backing. This piece is by member Aisling Hassett.
Many artworks are not framed—some are kept in shape with battens 1″ x 1″, e.g., in a square behind the felted item. The battens may be nailed in place with small panel pins. A hook can be attached to the top batten for hanging. Alternatively, firm calico fabric, just a tiny bit smaller than the piece, can be hand-stitched to the piece. Then, the battens can be glued to the calico – e.g. with strong spray glue. Another option is to use iron-on, double-sided, adhesive Bondaweb to connect your project to a backing fabric. Again, a hook should be attached. {Please do not use spray glue directly on your felted textile as it may damage it.}
Framing
The front of Claire Merry’s piece which is boxed framed.
This example is an example of box framing done by Blue Ribbon Framing in Dublin. The piece is by member Claire Merry.
This framed piece has no glass and one can more easily see the textures. Piece by member Maria McGarry.
This back of this piece has a wire connecting to two metal brackets. It is also signed and dated. The artist is member Maria McGarry.
This piece has decorative ribbon covering staples and two metal loops and a wire. It is created by member Hélène Dooley
Back of frame showing two D-rings and cord.
The back of this piece by Karena Ryan includes interesting additional information, along with a certificate for the customer.
a] Choice of frame In general, frames should be a bit larger than the piece to allow for a bit of a border and not have the actual edge of the felted piece squashed under the ‘rebate’ of the frame. Some people may have equipment at home, e.g., a mitre saw, to make a frame or order a suitable one from a professional framer. There are many ready-made frames in different sizes on the market or online. [One word of warning – in previous years of our exhibition, members have submitted pieces in IKEA frames, some of which sadly fell apart when hung up. It is perhaps best to avoid this brand].
If you want to frame your piece with glass [see below] – and the work is not entirely flat – a ‘box frame’ can be used. These are constructed with a box effect where the side panels are about 2-3cm deep – the glass is held at the front by various means, and the piece can be attached to the backing panel. It allows for a limited depth 3D effect, e.g. a flower, to be positioned without being squashed by the glass. You will see what they are if you Google the phrase ‘box frames’. They can be purchased from various places – including IKEA, but again, there may be issues with the stability of the frames from there]!!
You can enhance the frame by painting/staining/varnishing it in a matching or contrasting colour to your piece. Similarly, if you have a slightly larger frame with a backing card to which your piece is fixed, you can choose a colour to complement both the piece and the frame.
b] Glass – or not The advantage of glass is that it protects your piece. The disadvantage is that when photographed, light may be reflected onto it—by flash, sunlight from the windows, or even overhead lights. Glass can spoil the appearance in photos, both when you initially submit your piece and if visitors to the exhibition want to photograph it.
One solution to problems with ordinary reflective glass is photographing your piece without glass.
The other possibility is to get non-reflective glass, which is available from most glaziers who do picture frame glass. If you take your frame along, they could cut it to size for you. It can be more expensive than standard glass and varies in price from place to place.
Some ready-made frames come with ‘plexiglass’, which is used because it won’t break if the frame falls. If you have a frame made of this material, you might find it is less reflective than ordinary glass.
If using glass of any type, always ensure the piece is COMPLETELY dry if it has been wet felted. It is best to not even to breathe heavily on the felt – residual moisture could be trapped under the glass and cause the felted piece to GO MOULDY!
c] Internal illumination of the exhibit The amount of natural light in the Phoenix Park Visitors’ Centre is good. Plus, there are ceiling lights.
It may be that an artist would like to illuminate their work from behind, e.g., in a box frame, if the finished effect was lacy in appearance and would benefit from this. In the last couple of years, no one has submitted a piece like this, but here are some points to consider: It is best to use a box frame so that the lighting device can be hidden behind the felt piece. An LED device should be used [rather than a ‘normal’ bulb] as this would not heat up – much safer! Also, an LED with mini batteries would not need to be plugged into a power socket – there may not be one conveniently located within reach, and there would be no problems with trailing wires. The LED unit should be totally out of sight behind the felted piece. The ‘lit’ exhibit could be hung or placed on a plinth. {Editor’s note: There are few electrical outlets in the gallery}.
Artwork which will not be hung on walls
An example of a sculpture. This piece was created by member Deirdre Crofts.
Example of dressmaker’s dummy to display art. Nunofelted shawl by member Mel Bradley.
Another dressmaker’s mannequin. This one has branches at the base, which gives a sculptural effect. The felted wrap was created by Caoimhe Tuthill.
Display hats on a hat stand. Hat by member Juliane Gorman
An example of a suspended sculpture. Artwork by guild member Annika Berglund.
Some pieces must be displayed using methods other than wall mounting to showcase their qualities. Sculptures and wearables are examples of these types of work.
a] 3D items not suitable to hang, e.g., Sculptures. Several plinths will be available in the gallery, upon which three-dimensional items can be placed.
b] Wraps, jackets or coats are usually best displayed on a dressmaker’s dummy. If you do not have one, ask the committee, as it may be possible to borrow one.
c] Hats are best displayed on a stand – either set on a table, plinth or on a free-standing armature. Again, it may be possible to borrow one from the committee or other guild members.
d] Lastly, two or 3D felt installations can be hung from the ceiling – allowing space.
Lorna Cady March 2024
Feltmakers Ireland has an annual exhibition at the Phoenix Park Visitors’ Centre. This year, our show will run from Saturday, the 4th of May, to Sunday, the 26th of May, 2024. This year’s theme is ‘Opposites Attract’. All members are welcome to apply to the show. Applications can be found here – https://feltmakersireland.com/annual-guild-exhibition-submission/
The deadline for submitting your application is the 19th of April.
Editor’s Note: The photographs shared above come from the Guild’s two past exhibitions, ‘Bountiful’ from 2023 and ‘Building Bridges’ from 2022.
Disclaimer for Feltmakers Ireland Blog
Feltmakers Ireland aims to share information about awards, education, events, exhibitions, and opportunities that you will find interesting. Our sharing is neither paid for by nor an endorsement of these individuals or organisations.
Contact Us: If you have any concerns about content, please email us at feltmakersie@gmail.com.
Questions: For questions about content, please follow the link to the organisation involved in hosting the event.
This illustrated online talk with design historian Amber Butchart will discuss the themes, ideas, and development behind the exhibition, ‘The Fabric of Democracy,’ now showing at the Fashion and Textile Museum in London.
Feltmakers Ireland aims to share information about awards, education, events, exhibitions, and opportunities that you will find interesting. Our sharing is neither paid for by nor an endorsement of these individuals or organisations.
Contact Us: If you have any concerns about content, please email us at feltmakersie@gmail.com.
Questions: For questions about content, please follow the link to the organisation involved in hosting the event.
We asked artist Deirdre Crofts the same 3 questions that we asked all the “Endangered” applicants…
The title of the exhibition is “Endangered” how does your submission relate to that concept?
My piece was inspired by the wonderful Irish Bee. 30% of the Irish Bee species are threatened with extinction, this is because of intensive farming practices, monocropping and excessive use of agricultural chemicals. I wanted to show the bees disorientated over the Irish countryside. I used a wet felted resist background. The bees I needle felted with galvanised wire support with free motion embroidery voile wings. I enjoyed making this piece.
How did you first come upon felting?
I was first introduced to felt work by the genius Sharon Wells and then I met the very welcoming feltmakers Ireland group. They were so friendly and helpful, the magic of being able to take colourful raw wool and with warm water and soap you could make such wonderful things.
The coronovirus lockdown, did it help or hinder your craft?
The covid pandemic, tho terrible it was, gave me time to breathe and spend time with my family, we walked and worked in the garden. We had time to enjoy what we had.
I am lucky I live on three quarters of an acre on the foothills of the Dublin mountains where I have a studio. I love sculpture and I had some ceramic exhibitions that I had to prepare pieces for. They took place in August and September.
Ceramics Ireland, Dublin Castle, Montenotte Cork and Birr Castle Co Offaly.
The Exhibition title- Endangered?- how does your piece respond to the title? your inspiration and methods etc
The hat I have entered for the exhibition was my first idea for this theme. It is titled “Still here?” It is modelled from a photo I took on a trip to Costa Rica last year with my 12 year old daughter. The sheer exuberance of life in that tropical country amazed us, but we were constantly aware that this fantastic eco system is fragile and needs to be protected.
My second piece, “In Danger, Who?” is very much inspired by the pandemic. In the middle of March my daughter had had a cough and a high fever so we stayed totally isolated for a couple of weeks. That surreal sense of isolation together with the constant array of images of the virus, spherical, spiky and ominous, seemed to demand an artistic response. It was slow going, making all those spikes for the three viruses, but it seemed to lessen my sense of anxiety and help me to summon up the patience to follow the guidelines and carry on.
Crafting through the current crisis, with the pandemic have you found more or less time to craft, has it inspired you or have you found it more difficult?
I thought I would have all the time in the world to do stuff being confined to the house for months during Covid-19. My house is not at all as clean and tidy as I had envisioned, but I have found time for a lot of making. Just before the pandemic, I was gifted a few sacks of raw wool, and just had time to do a spinning course before the lock down. The cleaning and drying of wool, learning the rudiments of using plants to dye it and then carding and spinning gave me a sense of connection to the past. It also gave me a sense of self-reliance. even if I did not really expect that the pandemic would make a home spun economy necessary. Still, I also planted potatoes 😊.
My usual materials for making are ceramics, glass and bronze. However, I found the indoor pursuits of felting, spinning and other textile pursuits worked better for me during the lockdown as I could spend more time in the house together with my daughter.
Felt- how you discovered it, what it means to you…
As I mentioned, I usually work with glass, bronze and ceramics. These are materials I really enjoy working with but they are probably the most energy hungry art forms imaginable. The problem this posed for me came to a head for me when I participated in an exhibition about global warming 2 years ago. I was very happy with the visual aspect of my pieces that were made using all three materials, but could not stop feeling a bit hypocritical thinking of the energy cost of making them.
In November last year I attended a number of workshops at the knitting and stitching show. I really enjoyed the felting workshop I attended and joined Feltmakers Ireland as soon as I could. Since then I have been focusing on wool, recycled textiles and stitching. Working with wool somehow gives me a feeling of stronger and more direct connection to human history and traditions.
When faced with the question endangered, my thoughts immediately turned to the sea and the life that exists within it. It’s a place that can easily be forgotten, as life under the surface may not be immediately visible unless one seeks it out.
It was a by now famous image made by photographer Justin Hofman for National Geographic, in which a seahorse swam holding on to a discarded cotton bud, that highlighted to the world the issues of pollution in our oceans. This image has stuck in my mind ever since and it became the inspiration for this piece. I wanted to convey the beauty of the sea whilst still showing that there was an issue. I went through various ideas of trying to represent the pollution but in the end decided to keep the beauty visible and show that life in the sea is hanging precariously in the balance by using the cotton buds to hang and connect the pieces together.
I wet felted the pieces using the cracked mud technique and folded the upper sections under to represent ocean shelves. I then stitched in various forms of sea life from plants to fish to populate the piece. After consideration I left the edges of the three sections of the piece feathery so as to seem watery and with less of a defined edge.
I enjoyed the challenge in making the piece even though I’m quite new to felting and have a lot to learn. The current crisis has allowed me more time to pursue some of my passions at home so in one way it has been a blessing. It has allowed me to slow down and consider more what I would like to do with my craft in all its various forms and I’ve enjoyed being able to take the time to do so. I’ve always loved working with wool and felting is another aspect of it that I am looking forward to exploring in greater detail over the coming years. Ramona Farrelly joined feltmakers Ireland only last year. Thank you for being brave enough to enter your work in the exhibition. On the day we hung the exhibit, committee member Maria McGivern photographed some pieces outside. This piece looked beautiful, swaying in the breeze.
