This gem of a book, edited by Amanda Briggs-Goode and Deborah Dean, is packed with information. Like the lace event of the same name that took place in
Nottingham in 2012/13 this
book has something for everyone. For the historian, Sheila Mason has written
about the history of the Nottingham machine-made
lace industry and Deborah Tyler-Bennett has composed a hommage to machine lace
workers. Joy Buttress and Matt Gill have produced an evocative pictorial essay
about Nottingham lace. For the lace
researcher, the lace collections at
and the Nottingham Trent University (NTU) archive are described by Judith Edgar
and Amanda Briggs-Goode, respectively. Contemporary lace is also covered.
Deborah Dean discusses the exhibition ‘Lace works: contemporary art and
Nottingham lace’ which she curated at Nottingham Castle and Amanda Briggs-Goode
describes the ‘Journeys in lace’ project in which students and staff at NTU
used the archive as inspiration for contemporary work. The book ends with three
case studies discussing the work of Timorous Beasties, Cecilia Heffer and
Teresa Whitfield. As I said, something for everyone, a good read and lots of
illustrations too. Nottingham
Thursday, 23 January 2014
Shape shifting is the title of the exhibition by the Westhope Group currently showing at the Lace Guild Headquarters. The theme is interpreted in several ways from biological metamorphosis in the case of Anne Dyer to ghostly shape shifting in the work of Ann Wheeler. Gil Dye takes another approach and uses seven 17th century motifs from Richard Shorelyker’s ‘Schole-house for the needle’ published in London in 1632 to illustrate seven linear patterns. Both bobbin and needle lace are well represented, depending on the lacemaker’s expertise, and it’s also good to see contemporary tambour lace in Robina Melville’s work. My favourite piece is Ann Allison’s hanging of asymmetric circles, which also features on the poster, part of which can be seen in the picture above.
Thursday, 16 January 2014
I saw this sculpture by Ikuta Niyoko in
I like the way it refracts light and references emptiness but is in fact solid.
It is part of a series in which the artist cuts thin sheets of glass then
attaches them to each other with an adhesive that becomes transparent as it
hardens. It also reminded me of the work of Emma Rawson who captures images of
lace into layers of glass although her work speaks more of layered landscapes
than the wave shape evoked here. Bristol Museum
Monday, 13 January 2014
Tuesday, 7 January 2014
‘Follow me’ is an interactive sculpture by Jeppe Hein in the form of a mirrored labyrinth. It is made of polished steel and is quite confusing to walk through – the bench you can see is actually behind you not at the centre of the installation as it appears in the picture. ‘Follow me’ is in the Royal Fort Gardens at Bristol University and was commissioned for the University’s centenary in 2009. The gardens are lovely too, designed by Humphry Repton, they form a peaceful oasis in the centre of Bristol.