I am delighted to be showing my work in ‘Making Space’ an exhibition by the 62 Group of Textile Artists. The exhibition at Macclesfield Silk Museum runs until 3 September 2016.
I am delighted to be showing my work in ‘Making Space’ an exhibition by the 62 Group of Textile Artists. The exhibition at Macclesfield Silk Museum runs until 3 September 2016.
63 is a self-portrait which, when complete, will be made up of 63 images, one for each year of my life so far. So why put myself through all this work, and, to be perfectly honest, the angst of self examination, a replaying of all the ups and downs of life?
Well, there were several reasons, but the main one was that I was asked by Alf Ludlam, the curator of Shifting Images an exhibition of self-portraits at the Muriel Barker Gallery at Grimsby’s Fishing Heritage Centre, to produce something other than a straight forward self-portrait and this was the idea I came up with. I also thought it would benefit me personally because I would be working to a deadline which, in itself, would force me to look at the way I work and help me find a simplification of my mark-making.
Although I work in mixed media I consider myself primarily an embroiderer, more specifically a hand embroiderer and because I find hand stitching a therapeutic process, I have a tendency to overstitch. I’m hoping that, in this piece, the viewer will find that my stitching have been given more breathing space and as a result more status. My stitch vocabulary is considered and limited. I don’t use many different types of stitches and but I try to get the most out of those stitches by using them in an original way. I was once given some advice by Constance Howard, when I was studying at Goldsmith’s College in London who said that “you don’t need to know a vast array of stitches but you need to know how use the ones you do know well” so that’s what I try to do.
I don’t really look at the work of other embroiderers in an inquisitorial way. This is deliberate, an attempt to keep my own work fresh. One of the ways I do this is by mixing different colours and different weights of threads in the needle leaving the eye to mix the colour. You can read about my favourite stitches here.
I have deliberately tried to be sparing with my stitching of the faces in this piece to produce a more illustrative style. Mood, quality, expression, character can all be changed by the position of each stitch and a lot of drawing and re-drawing, stitching, unpicking and restitching has been done before moving on.
I am a ‘glass half full’ sort of person but the process of making this piece has, so far, and I am only just over half way there, been an convergence of mixed emotion. The process has, at times, evoked difficult and even desperately unhappy emotions, the reliving of all that teenage angst, hurt, heartbreak, and loss, the business problems and burglaries, but alongside that the uplifting and happy memories of friends and family and an optimism for the future.
Overall it is proving to be a quite cathartic process.
63 will be shown as a ‘work in progress’ in Shifting Images from 8 September 2015 to 6 March 2016. – contemporary self portraiture
Working in partnership with Abbey Walk Gallery the Muriel Barker Gallery at the Grimsby Fishing Heritage Centre will host an Exhibition of of self – portraiture by Lincolnshire Artists past and present.

Portrait of a Grimsby Girl
The opening of the 62 Group Ebb & Flow exhibition is getting closer but the project itself has been almost two years in the planning.
It started with an invitation from Grimsby Minster to show our work in the Minster which is a busy and vibrant resource for the people of North East Lincolnshire, an “architectural gem” tracing its history on this site for more than 900 years. I soon realised, however, that because we are such a large group of very diverse artists that there would not be enough suitable hanging space and display for smaller 3D work in the Minster for all of our work to be shown.
A second venue was sort and we were offered the upper floor, the mezzanine, of the Muriel Barker Gallery at the Fishing Heritage Centre in Grimsby. The Grimsby Fishing Heritage Centre was purpose built and opened in 1991. Its permanent exhibition tells the story of the Grimsby Fishing Industry in its heyday in the1950s. The white-walled space at the Fishing Heritage Centre contrasts nicely with the grandeur of the Minster.

Lucy Brown
All at Sea
The Ross Tiger, GY398, is an ex-working 1950’s trawler and the largest item in the heritage collections. Lucy Brown, one of our exhibiting members has made site specific work to be shown on board the Tiger. The image left shows Lucy’s ‘sea bags’ which will be installed around the living quarters on the Tiger. Once the venues were in place we worked on the detail of the project and funding bid to Arts Council England by Grimsby Minster which was successful. This enabled us to work with freelance writer and curator, June Hill who has been on hand to advise the group throughout the project and who will be opening the exhibition on 13th September. It also helped the group to put together a full education programme and to produce a full colour catalogue with professional photography which will be on sale at both venues.
Details of our education programme can be found here. Many of our members visited Grimsby in February when we were given a tour of both venues and of the museum collections store. All of our exhibitions are selected by a selection panel of 5. The panel is different for each exhibition and can include a representative from the venue. The selection process has now been completed and 37 pieces of work were selected for the exhibition made by 28 artists.

Photography Day at the Minster
This week we also completed the photography for the catalogue which is now in the design stages. The catalogue will be on sale at both venues.
The photographer for the majority of the pieces is David Ramkalawon who came to Grimsby from London for 2 days to photograph work at both venues.
The snap left shows David photographing work in Grimsby Minster.
Next week the hanging process begins. Watch this space for more ‘behind the scenes’ glimpses of Ebb & Flow.
A couple of weeks ago I travelled to Durham to deliver a figurative weekend workshop to the very friendly and welcoming ‘Embroidery 15’ group. Many of the group had never worked figuratively before so I was pleasantly surprised by the resulting work. The workshop started with my presentation about the way different textile artists use the figurative image and by looking at my own handling collection which comprises of lots of small samples of different techniques that can be used for figurative textile work. We continued by experimenting with composition in collage and finally started to work with fabric and thread, mixing hand and machine stitch with appliqué and paint.
Here is a selection of the student’s work that was produced over the weekend.







textileartist.org is a great resource for textile artists, textile enthusiasts, students and educators.
Here are just a few of my favourite articles and interviews.
Textile artist Judith Scott: Uncovering innate talent

Interesting interviews on textileartist.org from
Nigel Cheney, Arran Illingworth, Tilleke Schwarz, James Fox , Jacqueline Treloar , Ann Goddard
and many others including myself.
Anna Scott who is an Australian embroiderer and blogger has kindly posted about my work.
It was so refreshing to get an email from Anna asking if she could use my images for her blog. Usually people just help themselves nowadays. I don’t really mind this on the whole as the images are usually used by students as reference material. Reproduction for financial gain would be another thing but images of my work can be found all over the internet and I like to share. She asked me why I use the image of a fish so often. It ‘s quite simple really. My hometown is Grimsby in Lincolnshire in the UK. Grimsby was once the largest and the busiest fishing port in the world and was known as the ‘ Klondyke of the East Coast of England’. Sadly this is no longer true, the northern cod wars with Iceland put paid to that and the place has gone to rack and ruin. Actually there are quite a few of my pieces that are about this very thing with references to a Grimsby St in London which has been knocked about somewhat in recent years. My family was very involved in the fishing industry both as fishermen and fish merchants so the fish has become my signature if you like, a symbol of where I’m from and I usually try to include on somewhere on my major pieces. The image below shows the first work in which I included a fish.
Public voting for the craft&design selected awards 2014 is now open
To vote for me please go to at the bottom of my makers page http://www.craftmaker.co.uk/suestone/
2 pieces of my work were selected for Pinpoint 13 which is an exhibition of contemporary miniature works that express a sustained conversation with materials. The selecting panel included leading figures within the textile art world, Polly Binns and Linda Brassington, who worked in collaboration with the Directors of One Church Street Gallery. The panel reviewed submissions from hundreds of applicants from around the world, seeking a breadth of approach in the construction or application of cloth and thread. Submissions came from an international arena including Israel, Finland, United States as well as the United Kingdom.
The exhibition runs until 9 November 2013 at One Church St Gallery, Great Missenden, Bucks, UK and also features work by my fellow members of the 62 Group of Textile Artists Ann Goddard and Jan Miller.
More information about these works.
Tilleke Schwarz: For the love of threads – TextileArtist.org.
Interesting article by Tilleke Schwarz on textileartist.org. Tilleke will be showing work at the Knitting and Stitching show.
I am looking forward to giving a helping hand on her stand at Alexandra Palace in October.
Well, what I thought was going to be a quiet month turned out not to be so! I was contacted out of the blue by Cupola Gallery in Sheffield to see if I had any work available for their next exhibition ‘Kilter Kelter.’ The exhibition on a recycling theme is an intercontinental collaboration between Cupola Gallery in Sheffield and Spaza Art Gallery in Johannesburg, South Africa and runs from 26 July to 8 September 2013.
I work a lot with recycled clothing and upholstery fabrics as a base for my stitching so I was delighted to be asked to be part of this exhibition. I also recycle images from my family and friends’ photo albums. ‘Loaves and Fishes’, made in 2010 is portrait of my Grandparents Harry and Annie Jane Smith. The title refers not only to their religious bent (they were both staunch Methodists) but also to the fact that Harry was a Master Confectioner and Baker who ran the village shop in Saxilby, Lincolnshire for many years. The ‘Closed’ sign refers to the demise of the village shop with the advent of supermarkets and my signature fish on Annie’s lap refers to their hometown of Grimsby, once the busiest fishing port in the world. The piece is made from applied recycled fabrics with hand and machine stitch. Even the wool used for Harry’s jumper is recycled, unravelled from an old cardigan!
I will also be showing some small studies including two pieces made from tray cloths embroidered by my Mum, Muriel May Stone.
‘Kelter’ is a local Yorkshire slang work for rubbish and ‘Takataka’ is Swahili for rubbish. So ‘Kilter Kelter’ meets ‘Take Takataka’ and on the opening night 26th July from 7.30 pm Cupola will set up a large screen and live web link so artists can share ideas and talk to each other across continents. Some of the smaller African Art works will also be available to order via Cupola.
Exhibiting Artists from the Spaza Art Gallery. https://www.facebook.com/Spaza.Art Jacob Ramaboya, Andrew Lindsay Dionne Macdonald, Gift Mangena, Justin Wells, Karel Miles, Imbali Arts, Hiltrud Aliber, Evil Jon, Stacey Macdonald, Bethuel, and many others.. I am particularly intrigued to hear that they have a sound piece. Recycled sounds!”
Cupola’s exhibiting artists include: Inguna, Susan Waters, Karin Walland, Jason Heppenstall (HeppoArt), Gavin Darby, James Lake, Lawrence Simonson, Ros Ingram, Klaus Pinter, Evelyn Albrow, Sue Stone, Sue Carter, Josie Beszant, Kimberly Werner, Hayley lock, Ella Robinson, Anne Menary, Aiden Spencer, Rachael Bennett
Work ranges from dresses made from salmon skins and old maps and elegant reclaimed steel scuptures, stunning portraits made from cardboard boxes to amazing paper and textile collages, miniature paintings on bottle tops and jewellery made from old colouring pencils.
Wise words from Karen Sherwood is the Founder, Director and Curator, Cupola Contemporary Art. “Next time you go to throw something away, just consider that thought and talent can transform almost any object into a thing of beauty and wonder. I hope you enjoy both exhibitions, even if you can only experience one of them ‘virtually’!”
Stitch magazine has published my ‘From Sketch to Stitch article in Issue no 83 June/ July 2013. The article explores the way I work and how my pieces are put together focussing on my work ‘Family with Fish’ 2011. Click here to Buy Stitch magazine More images of the work in progress
I also have an ebook for sale which documents the full making of this piece. Preview or buy the ebook. The ebook is available for iPad and iPhone only at the present time. To hear about my news and events and to be informed when the ebook will be available in other formats please sign up to my monthly newsletter
This piece is also featured in the 62 Group of Textile Artists 2012 ‘Radical Thread’ Book. Edited by Lesley Millar the book was produced to celebrate the group 50th anniversary. Preview or Buy Radical Thread