Here's an exciting exhibition to visit at the Lansdown Gallery in Stroud where Quinary are showing  their new work 

Work in The Lansdown Gallery

 At last I'm finding the time to sit down at my computer and post photos of some of my work in  Inhabit, our exhibition in Stoud. 

All the work I am showing this time stems from my liking of modern architectural forms, and especially of high rise office blocks with mirror glass walls that catch and send reflections back and forth to one another. 

There is also reference in each piece to the destruction of ancient ways of life when modern development proceeds with limited control. A circle stitched or printed into the work suggests this darker social history. 

Three Towers - a small installation on glass 
Printed and cut card hand stitched together with thread 

Three Strips 

Pieced from painted and printed fabric and hand stitched

High Rise Artist's Book 

Digital print on card - soaring shapes of steel, modern living in a box

This work has stemmed from play in Photoshop with a single photo of a building taken in Darling Harbour in Sydney, Australia. I generated an enormous number of digital images by repeated cycles of manipulating, fading and intensifying, enlarging, cropping and changing colours. Only a small number of the resulting images found their way into my work for this exhibition ...

... but it was a good way to spend lockdown!

Margaret Robbie

Inhabit in Stroud

 Our Inhabit exhibition is now open for viewing in the Lansdown Gallery in Stroud. 

Visitors numbers so far have been encouraging and there have been some sales. We look forward to seeing you if you are close enough to visit. 

Dates and opening hours can be found in the poster in the side bar of this blog.  

Further Thoughts

Machining into the night to be ready for our exhibition from 8th September at Lansdown Gallery, Stroud, Gloucestershire. 

For details of the exhibition, see the poster in the side bar of this blog. 

Carla Mines

Doorways

Linda has been working further on her Moroccan doorways series for our Inhabit exhibition in September. 

Included here is a small selection of stitched examples from her archive of designs. 

Further details are given here and in the poster on the side bar of this blog. 

Linda Babb

Thinking Cap No 2

Here, Carla is showing work in progress for a second thinking cap. This time featuring the words of GretaThunberg, the work is again being constructed using machine stitch on disolvable Fabric. 

It is intended that it will be exhibited in Inhabit, our exhibition in The Lansdown Gallery in Stroud, Glocestershire in September. Further details can be found in the side bar of this blog and in the previous post. 

Carla Mines

Inhabit

Brunel Broderers will be exhibiting at The Lansdown Hall and Gallery, Stroud, Gloscestershire, from Wednesday 8th to Sunday 19th September under the title Inhabit. Each member will be showing a new body of work.

Members have each adopted their own approach. For some, the word inhabit may suggest the living in or physical occupation of place. For others, it may evoke ideas around reflection or memory relating to place. 

Linda Babb has been attracted for many years to the architecture and art of the Middle East and Morocco in particular. Work for this exhibition continues this fascination through the exploration of pattern, design and symmetry in buildings. 

Liz Harding's work has for some years been focussed on Down Ampney, the Gloucestershire village where she lives. Through walks and sketchbooks, she has amassed a large collection of mental images of place. Throughout lockdown and while waiting for surgery which made moving about difficult, she has continued her walks in her head and made a stitch archive of what she has seen. 

Carla Mines has made a thinging cap because thinking allows humans to make sense of the world we inhabit. Her work focuses especially on the effects of our habitation through the plastic waste we throw away in our environment. 

Margaret Robbie's textile work has often developed out of overseas travel. For this exhibition, the physical form of modern architecture with its high-rise buildings has provided rich scope for the development of abstract digital imagery. Her work considers the damage and disruption that can occur when modern development in large cities proceeds unchecked.  

Carolyn Sibald's work is based on an old farmer's smock and a box of documents from the Somerset farm inhabited by her family for many generations. The worn surface of the smock is loaded with meaning and the stories of life lived and she is adding to it by hand stitching her history into the surface. 

We will be stewarding every day throughout this varied exhibition and we hope to welcome those who are close enough to come. 

Corinne Renow-Clarke

 Corinne has now left the group and we wish her well for the future.

The latest from Linda

 Last Friday we saw Linda's latest work and admired the subtle colour scheme

Stitching the smock

Stitching onto the smock ... 

I’m finding the back of the stitching as interesting as the front.

Carolyn Sibbald

The Lingering Brain

As shown by neurological research, the capacity to create images in our minds is essential for human learning and wellbeing.

I am showing our brain lingering at the threshold, through which text and image are inextricably linked.

Carla Mines

Small Weavings

I've been dyeing yarns and then weaving on a variety of small looms recently. 

First of all is a landscape triptych completed on a tapestry frame ...

Then here is a strip of little woven landscapes created on a tiny fixed heddle loom. The warp is only 2" wide and the whole loom measures only 3"x 5.5". Apart from the bottom piece, the rest all use hand dyed threads done over the past 2-3 months. Now it might be time for some more dyeing sessions to see if I can get a wider range of colours. 

This time, I'rying out some new cotton yarns on the tiny fixed heddle loom to see how they might go together. Next I may try a more balanced weave to see how that goes. 

Last of all, these black & grey two heddle weaving patterns were done on a slightly larger heddle loom I bought recently. I'm trying out weaving patterns from an old Dryad booklet from 1971. This was quite fun to do but the cheap yarn used for the samples was a beast to warp up.

Corinne Renow-Clarke