Ctrl/Shift Exhibition Scunthorpe

Control
Materials: Earthenware clay, rope
Techniques: Slip cast, glazed ceramic

Imogen is interested in the use of visual and written instructions which are all around us when learning craft skills in workshops. This work is inspired by the explicit Health & Safety instruction in the signage around machinery in workshop environments.

Lippy; Excess; Unruly
Materials: Hair, thread, hairspray, vintage lipstick, foundation powder mesh, lip brush

Techniques: Hand weave, plaited, straightened, washed, stitched, threaded

A series of sculptures exploring the taboo subject of female body/facial hair. Using those make-up cases and tools which have an association with the mouth, upper lip and chin area, Lucy Brown weaves human hair, some of it her own, to replace, envelop, entrap these female ritual objects. 

Fly Stitch Autumn Landscape
Materials: Acrylic box, stranded cotton thread, polyester organza, glass beads
Techniques: Hand Stitch

In her continuing exploration of stitching in three dimensions, Isobel is revisiting Fly stitch. This new work represents a significant design shift away from the parallel lines of stitch and geometrical order of her previous work.

Room for Improvement
Materials: Modern and vintage dollshouse beds, cotton, silk threads
Technique: Hand stitch

This artwork was inspired by a 2017 Ch4 documentary ‘Wasting Away’. Journalist Mark Austin states that “there are just 202 NHS beds in the whole of the UK for young people with eating disorders”, as against 1.2 million sufferers. 

The Sampling Project

Materials: Textiles (various fibres)
Techniques: Natural dye, hand and machine stitch

Inspired by archival research into katagami (Japanese dyeing stencils), Hannah devised a series of textile experiments that investigate different combinations of natural dyeing, printing and stitching using a wide variety of fabrics. The resulting samples not only demonstrate technical knowledge but also reflect cross-cultural influences and a deeper, intuitive visual ‘handwriting’ that is hard to define.

Nine days a week
Materials: Found handkerchiefs of various materials. Mixed hand threads and fabric pigments.
Techniques: Hand stitch and hand paining on found objects alongside fabric manipulation

Margaret is 82 and has dementia Henry died in 2005, but Peggy and Harry continue to explore the world together daily, searching for new flowers and inventing new colours. 

From Grimsby to Greenpoint & Beyond
Materials: Linen and recycled clothing fabrics,cotton threads, InkTense pencils,acrylic paint
Techniques: Hand and machine stitch.appliqué, piecing, drawing, painting

Inspired by a visit to Greenpoint, Brooklyn the emphasis in this piece shifts slightly away from people, and towards place and contains a multitude of references from a specific place, New York and a specific time period 21/12/16 to 3/01/17.

Imprint
Materials: Linen, porcelain, cotton thread
Techniques: Print, stitch and pleating

Fragile and transient, cloth encapsulates ideas concerned with the regenerative and degenerative processes of life. As clothing, it witnesses routines, rituals and intimacies. The clothing imprinted porcelain occurs as a deposit of memory.

Terra Incognita : dangerous, uncharted territory
Materials: Spun-bonded polyester,correx-type plastic, acrylic paint
Techniques: Painting, machine and hand stitching

Seeking a change from work where ‘the idea’ dictates the visual qualities of the art, Penny allowed form and colour to take precedence.  A folding structure evolved into abstracted mountain ranges. She is interested in the parallel between the compulsion of mountaineers to climb despite the risks and the artist’s compulsion to create something new – even when they do not know how to make it.

.

The Four Riders
Materials: Cotton, organza, cotton and silk threads, inks, dye
Techniques: Monoprint, discharge, painting with ink, resist with flower paste, embroidery

After working on the Creation, inspired by the Apocalypse, Flox’ attention shifted from the beginning to the end of history, when God decides to a big CRTL/Alt/Delete, taking control of his creation and deleting everything that has gone wrong.

Portrait of a Metal worker
Materials: Silk organza on linen
Techniques: Hand Stitching

The Value of making is a new body of work, created to celebrate the skill, dexterity and the creative problem solving of people who make things. Ane Christensen’s go to tool is a deep framed piercing saw, Gibbs was thrilled to observe the saws worn handle and the masking tape on the tightening screw, these details put you in the hands of the maker, but on the wall above Ane’s work bench is a magnetic file rack over which are looped her facemask and earplugs, this composition proved irresistible

Ground Cloth: Yellow Ochre
Materials: Linen, wire, hand-collected and hand-ground yellow ochre, linseed oil, beeswax,found threads
Techniques: Cloth has been sea washed and treated with a protective coating

Ground Cloths introduce new materials and processes to Debbie’s practice. For CTRL/Shift she has researched the traditional way of preserving and waterproofing sails and tarpaulins by ‘dressing’ them with linseed oil, wax and red ochre.

Unbuilding Blocks: Variation on a Theme
Materials: 100% cotton Somerset Velvet paper 300g, Thermochromic & etching ink
Techniques: Etching, Aquatint, embossing, screen printing, hand incision, hand and machine stitch 

This interactive work by Sumi is inspired by the book: UNBUILDING (by David Macauley) and a Lego set to build the UN Building. The entire installation is made by controlling and shifting four discarded recycled zinc sheets with thread-like drawings (warp/weft) that represent the fabric of the building. 

Fugitive Cloth
Materials: Hand made wool felt and porcelain slip
Techniques: Hand made felt and fired porcelain

This piece of work explores new materials. Felt ‘beakers’ have been soaked in porcelain slip and ‘fired’, concealing their original state. One remaining, unfired beaker lays camouflaged against its’ protective felt base, gently aware of the fossilised fragile pieces to the left.

Lights Out
Materials: Digitally printed cotton, cotton threads, wool/cashmere backing fabric
Techniques: Digital print, hand and machine embroidery

I have taken the Edward Thomas poem ‘Lights Out’, as the starting point for this piece. This shifted research from responding to historical archives and to depict a fictitious character from the First World War lost in the thoughts that overwhelm him in the moments before his death.

Tailor’s Tack
Materials: Digital print on silk satin and organza
Techniques: Machine tailor tacking, photography, digital printing

Tailor’s tacks mark the fabric in preparation for its transformation into a garment: as individual stitches they mark the points for the darts, the buttons, the sleeve. Brought together here in a multitude, the markers become marks across the surface of the fabric, the loops spring and twist out of control as they slip off the machine foot.

Triple Reaction: Assemblages

Materials: Recycled mixed media scraps, threads, wire

Techniques: Collecting, gestural painting, layering, wrapping

This is Ann Goddard’s initial response to Jae Maries’ original piece ‘Turbulent Seas’, in the collaborative project ‘Triple Reaction’. The small collaged constructions developed from investigating Jae’s process. Observation of the way in which Jae combines layers of fabric, scraps and stitch, obscuring them with paint and gestural paint marks, informed Ann’s decision to recycle mixed media scraps.

Triple Reaction:Turbulent Seas
Materials: Calico, oil paint, hand and machine threads, paper
Technique: Stitched and painted panels with applied printed and dyed fabrics

Jae’s Maries’ work ‘Turbulent Seas’ represents the recent history of an English fishing port. The stormy seas suggest the energy and danger of the fishing industry at its peak in the 1950s and then the port’s decline through the successive years.

Triple Reaction :Brushstrokes
Materials: Seed pods, grape stems, chair cane, waxed linen, wire
Technique: Fixed knot netting

“Brushstrokes” is Shuna Rendel’s  response to Jae Maries’ original work “Turbulent Seas”. Shuna has developed the quality of drawing in Jae’s piece and has used natural materials from field and garden to create an eight piece series made up of individual but linked responses.