in_touch at Farfield Mill 2014

 in_touch, our exhibition first seen at The Knitting and Stitching Show in London and Harrogate in 2012 was shown again at Farfield Mill, Garsdale Lane, Sedburgh, Cumbria, LA10 5LW, from 28 June - 24 August 2014.


We used many different materials: paper yarn, newspaper, metal, teabags, recycled flour bags and tree bark to create work of a tactile nature and there was range of samples provided for visitors to handle.
















Knitting and Stitching Show, London and Harrogate



In autumn 2012 we showed new work at our in_touch exhibition at the Knitting and Stitching show in London and Harrogate.


Photos from Alexandra Palace





We share an interest in creating work of a tactile and repetitive nature, often working in three dimensions.  This exhibition, in_touch, continues our shared themes of tactility and repetition.


Pippa's work in this exhibition is influenced by both organic and architectural forms. She spends a lot of time in London where office blocks, with their walls of glass, held by structural ribs, create multitudinous grid patterns.  This cityscape led her to make grids using bead-weaving techniques. She also use these same techniques, variations of right angle weave, to represent organic structures, reminiscent of shells, coral, pods or flowers.

in this exhibition Pippa's work is made from recycled newspaper - the London Evening Standard - so it refers to the London influence on her work and uses waste material. It also has a personal connection, harking back to her very first job as a reporter on a local newspaper. 

She relishes the repetitive, meditative process of making, and enjoys observing the surprising beauty of the chalky colours of the printing ink as they are revealed randomly or in deliberate patterns. 


Barbara's interests on many levels combine in wasted stream, a body of work she has been exploring for six years. Recycling, tactile quality, pattern and even engineering, coupled with an inability to throw things away and a fascination for the repeating image characterise her work. The mechanical production of individual pieces has a repetitive attraction and frustration in equal measure when difference in scale creates unexpected results. Physical interaction with materials and the way in which they behave often defines the way a piece develops. Finally photographing the results brings additional pleasure in revealing contrasts, shadows and the quality wrought from rubbish materials.


Jane's body of work continues an ongoing theme of links between textiles and skin, touch and tactility. More recent investigation has led to an interest in the different ways in which human beings communicate ideas of continuity and the important events in people's lives, through marks and patterns on a variety of surfaces ranging from bark to skin. Further research into the development of the written word, from the earliest forms of writing along with our attempts to decipher ancient texts and symbols, has created a fascination in the many languages and scripts which remain a mystery to us. The progression from passing on ideas and beliefs orally to setting them down in written form is a relatively recent one in our history, and the current trend away from handwritten to electronic communication is yet another development. We are left to wonder how this proliferation in communication might change or devalue our appreciation of the written word.


Interconnections of constructed textiles - the hand of the maker, the methods and materials used to create fabrics and the role they play in the lives of those who make them, form the basis of Debbie's work. Bags are essential to daily life giving the phrase 'bag for life' many more meanings than that intended by supermarkets. The original canvas shoulder 'bag for life' was introduced by Traidcraft in 1971 to help Third World communities in their attempts to be economically self-sustaining. In many indigenous peoples the string bag represents other forms of sustenance and nurture, linking them to the land they inhabit as well as illustrating a value system in personal relationships. The bags can act as markers denoting tribal affiliation, ritual status, social identity and passage through a life cycle. The overhand knot and various paper yarns are used to explore different knotting patterns for Debbie's constructed forms.


2 in_form

Our exhibition at Gallery@49 Contemporary Art Space, 49 Broadway, Bracknell, Berks ran from 18 Oct until 5 Nov 2011. It included a selection of pieces from the previous in_form together with other work. 



Our  second exhibition, at the lovely mezzanine gallery at High Wycombe Library, Eden Place, High Wycombe, Bucks ran from Feb 22 until 3 April 2011.




 Launch Exhibition

Our launch exhibition took place at Norden Farm Centre for the Arts,  Maidenhead, , from 10 December 2009 to 3 January 2010. This  airy double height, well lit space was a stimulating venue for displaying our work.


                                                                                                ©Lesley Taylor



                                                                  ©jane neal


                                                                                ©Lesley Taylor  



                                                          ©Debbie White






                                                            ©Lesley Taylor




                                         ©Barbara Cotterell 






                                                                       ©Lesley Taylor



                                                       ©Pippa Andrews



                                                                                      ©Lesley Taylor

Norden Farm Centre for the Arts

                           Altwood Road, Maidenhead,

SL6 4PF.




Solo Exhibitions 

Structure and Space

Pippa Andrews had a solo exhibition of work at the Sunbury Embroidery Gallery, The Walled Garden, Thames Street, Sunbury-on-Thames TW16 6AB from 6 - 25 May 2014. www.sunburyembroidery.org.uk.