Selecting work for an exhibition of embroidery and mixed media. Delighted to be showing my work at Indigo Crow Gallery, Lincoln alongside the wonderful hand stitched landscapes of Lucy Reid.
Retrospective – An Archive of work made in 2024
Title of Work: A Glimpse of Calm Amidst the Chaos 2024
“A Glimpse of Calm Amidst the Chaos” captures a 1940s family posed on a stile, embodying a fleeting moment of serenity in a world which seems to be run by lunatics. Set against an idyllic rural landscape, the family sits with an air of innocence, contrasting starkly with the chaos around them. Through a mix of hand stitch, free machine stitch and appliqué, Sue Stone weaves a tactile story of continuity and contradiction. By blending traditional techniques with contemporary reflections, the piece invites viewers to ponder how much – or how little – the world has changed. The work speaks to a longing for stability in uncertain times, drawing attention to the persistent tension between personal sanctuary and societal upheaval.
Materials & Techniques
Hand stitch and free machine stitch:cotton and wool threads on a cotton/linen background with applied recycled cotton lawn clothing fabrics.
Size: 38.5 x 51 cms
First Shown in the Broderers Exhibition at Bankside Gallery 2025
Title of work: The Stuff of Nightmares 2024
“The Stuff of Nightmares” delves into the fractured visions of a troubled mind affected by the world’s darkest realities. Through haunting imagery of global conflicts, innocent lives lost, and a society seemingly led by madness, Sue Stone uses intricate hand and free machine stitching combined with appliqué to capture this dystopian landscape. The textured layers, are pieced together to echo the fragmented experiences of those touched by war and suffering. This work confronts viewers with raw and unsettling truths, challenging them to acknowledge the unseen nightmares that echo through society, while also highlighting the fragility of humanity caught up in the mayhem.
Materials & Techniques
Hand and free machine stitch: cotton and wool threads on a cotton/linen background with applied recycled cotton lawn clothing fabrics.
Size:38.5 x 51 cms
First Shown in the Broderers Exhibition at Bankside Gallery London 2025
Soon to be shown in The Usher Open, Lincoln, UK 2025
For this exhibition which celebrated the 62Group@62 Sue Stone created two double-sided pieces that establish a dialogue between the visible and hidden aspects of her work, transforming the making process into a journey of learning.
Title – Coalescence
Sue Stone’s work is a construction of teaching samples and studies for completed pieces which showcase a diverse range of techniques and explorations. Each piece is distinguished by additional stitching that leaves a distinctive footprint on the back, adding a unique element to the artwork’s structure. By including self-portraits, Sue pays tribute to Audrey Walker, who was known for her stitched portraiture. This homage highlights the inspiration drawn from Audrey’s legacy and influence, whilst also highlighting the personal and introspective nature of artistic expression. This blend of teaching, experimentation, and tribute encapsulates Sue’s creative journey.
Materials: Linen, recycled clothing , cotton thread, wool yarn, paint, InkTense pencil
Techniques: Hand and machine stitching, appliqué, painting, waterproofing, fabric weaving
Size:63 x 182 x 2 cmsTitle – Integrated
Sue Stone’s work consists of digital prints of finished pieces that have been showcased in 62 Group exhibitions. This artwork is uniquely marked by additional hand and machine stitching, visible as a distinctive footprint on the back. This stitching not only adds texture and depth but also symbolises the Sue’s commitment to blending modern and traditional techniques in her creative process. The integration of these elements highlights the artist’s innovative approach to contemporary art, creating a dialogue between the visible and hidden aspects of her work, and inviting viewers to explore the layers of meaning within each piece.
Materials: Digitally printed waterproof fabric, Cotton threads, linen fabric
Techniques: Digital printing, appliqué, hand and machine stitching
Size: 63 x 182 x 2 cms
First shown at Salts Mill, Saltaire, Bradford in 62@62 Making as Learning exhibition
Title – Integrated
Sue Stone’s work consists of digital prints of finished pieces that have been showcased in 62 Group exhibitions. This artwork is uniquely marked by additional hand and machine stitching, visible as a distinctive footprint on the back. This stitching not only adds texture and depth but also symbolises the Sue’s commitment to blending modern and traditional techniques in her creative process. The integration of these elements highlights the artist’s innovative approach to contemporary art, creating a dialogue between the visible and hidden aspects of her work, and inviting viewers to explore the layers of meaning within each piece.
Materials: Digitally printed waterproof fabric, Cotton threads, linen fabric
Techniques: Digital printing, appliqué, hand and machine stitching
Size: 63 x 182 x 2 cms
First shown at Salts Mill
Celebrating the Life of Naomi Crowder who lived life to the full.
A partner piece to She Tailored the Clothes They Wore 2023 depicting Fred Stone, Sue Stone’s Dad in fashionable suits; waistcoat and single breasted jacket around 1929/30, double breasted and chalk striped in the 1940s , His suits were always worn with a white shirt and a tweed or silk tie.
Shown at The Hub, Sleaford in the 62 Group Tailored exhibition
From my father-in-law’s school photo (he is on the front row seated left at the end of the bench. Detail above.
“Good Companions :The Girls Who Made the Suits” explores the strength and solidarity found within a community of women. The artist’s mother, a professionally trained tailor, worked
tirelessly with a group of women in the tailoring department of a small-town store, crafting bespoke suits for local businessmen. Despite their skill and labour, the women received no recognition ; credit was given to the men in charge. In response, the women built a close-knit community, supporting one another both at work and in their personal lives. Through hand embroidery, Sue Stone reflects on this unspoken bond and the quiet power of their shared experiences.
Size:20 x 20 cms
Shown at the 13th Baltic Minitextiles exhibition at Museum of Gdynia, Poland in 2025
Now acquired by the Museum of Gdynia collection
Discover my works “Coalescence’ and ‘Integrated’ at the 62 Group’s ‘Making as Learning’ exhibition. Read more about the 62 Group I’d love you to visit the exhibition in person to see the amazing work of the 62 Group members.
This wonderful exhibition is taking place in the roof space at the historic Salts Mill in Saltaire, near Bradford, Uk. It runs from 8th September to 3rd November 2024.
‘Making as Learning’ is an exciting exploration of how the creative process itself can be a journey of learning. I’m thrilled to be showcasing my work in such a remarkable space. Salts Mill is open from 11am-4pm, Wednesday to Sunday. Read more about Salts Mill
For this exhibition, I’ve created two double-sided pieces ‘Coalescence’ and ‘Integrated’. The work establishes a dialogue between the visible and hidden aspects of the composition. This dialogue transforms the making process into a voyage of discovery.
This work is a construction of teaching samples and studies for completed pieces. It showcases a diverse range of techniques and explorations. Each piece is distinguished by additional stitching. This stitching leaves a distinctive footprint on the back, adding a unique element to the artwork’s structure.
By including self-portraits, I pay tribute to the late Audrey Walker; artist, and educator. Audrey was a former 62 Group honorary exhibiting member who was known for her stitched portraiture and still life compositions.
This homage highlights the inspiration drawn from Audrey’s legacy and influence. It also calls attention to the personal and introspective nature of artistic expression. The blend of teaching, experimentation, and tribute really encapsulates my creative journey.
Materials: Linen, recycled clothing , cotton thread, wool yarn, paint, InkTense pencil
Techniques: Hand and machine stitching, appliqué, painting, waterproofing, fabric weaving
Size 63 x 182 x 2 cms – double sided hanging
This work consists of digital prints of finished pieces that have been showcased in 62 Group exhibitions. This artwork is uniquely marked by additional hand and machine stitching, visible as a distinctive footprint on the back.
This stitching not only adds texture and depth but also symbolises my commitment to blending modern and traditional techniques in my creative process. The integration of these elements highlights my approach to contemporary art, creating a dialogue between the visible and hidden aspects of my work, and inviting viewers to explore the layers of meaning within each piece.
Materials: Digitally printed waterproof fabric, Cotton threads, linen fabric
Techniques: Digital printing, appliqué, hand and machine stitching
Size 63 x 182 x 2 cms
A footnote: I waterproofed both pieces of work because the roof in the roof space leaks! It’s good to be prepared for all eventualities!
Fred in Suits and Muriel May Stone • She Tailored the Clothes They Wore 2023
Fred in Suits shows Sue Stone’s Dad in the 1930s and 1940s
Sue Stone grew up surrounded by tweed, serge, and worsted fabrics. She learned to sew at an early age and the word ‘Tailored’ has a very personal meaning for her. In 1928 aged 14 her Mum, Muriel May Stone was apprenticed to a tailor. She trained professionally and then worked in the bespoke tailoring department of a large department store in her hometown of Grimsby until her marriage. Muriel may have had to stop going out to work when she married but she never gave up tailoring and so Sue and her sister, Jean wore the Sunday best suits, coats, and jackets that Muriel lovingly made for them.
Sue’s Dad, Fred was a picture of sartorial elegance and always wore a fashionable suit. He wore a 3 piece as a young man consisting of ultra fashionable plus fours, waistcoat, single breasted jacket and Argyll socks around 1929/30, and double breasted and chalk striped in the 1940s usually wore with a white shirt and a tweed or silk tie. He wore a suit everyday until his retirement when he reluctantly donned a more casual sports jacket or cardigan and slacks.
3 new self portraits 2023 no 68, 69, 70 – mixed media – part of Sue Stone’s installation of 70 self portraits which each measure 26 x 30 cms (10 x 12 ins)
A Grimsby Girl’s World Tour series has included imagined journeys to Bogota, Colombia, Tokyo, Japan, outer space, Copenhagen, Denmark, Madrid, Spain, Brooklyn, NYC, USA, & Vancouver, Canada.
The Grimsby Girl is the artist’s Mum, Muriel May Stone who was born in an era when women had no right to vote. She had no chance to travel abroad in her lifetime and very few opportunities in life to pursue her artistic and musical interests. Muriel loved singing and was a talented contralto. She left school aged 13 and was apprenticed to a tailor. It was a hard life with no recognition of her talents as a seamstress. Here, in this exhibition she visits Bergerac in SW France.
Below: Small studies for the Textileartist.org Stitch Club Workshop July 2023
A Grimsby Girl’s World Tour version 1 30 x 30 cms & version 2 • 33 x 28 cms
Version 1 was shown at the Uk Knitting & Stitching shows in the 62 Group of Textile Artists Essence exhibition celebrating the 60th anniversary of the Group.
These are very poignant pieces which capture the essence of my creative practice: textural stitch, appliqué and paint combine to create the allusion of a journey to another place and time. It is a poignant work depicting the visit of grandmother to a grandson she never met. He was born 3 weeks after she died. The Grimsby girl, my Mum, Muriel is shown as a child in this piece. She never had the opportunity to travel outside the UK in her lifetime; here she travels to Copenhagen where her grandson, Sam currently lives with his wife, Eliana.
A Step into the Unknown 2022 – revamped version • mixed media • 74 x 52 cms
Lost in a Strange World 2022 • mixed media – 74 x 52 cms
A selection of samples made for my Cast of Characters workshop for Textileartist.org
A selection of samples made for my Off the Grid workshop for Textileartist.org
Retrospective • An Archive of work made in 2021
Imagined Journeys A series of small mixed media studies
Below: A Grimsby Girl’s World Tour continues • Stopover Brooklyn. Image credit Pitcher Design. Hand and machine stitch study
Below: Another Time, Another Place and In Another Life were selected for The Broderers Exhibition The Art of Embroidery 2022
In Another Life 2021 continues a Grimsby Girl’s world tour with a stopover in Madrid . Size 48.5 x 59 cms • Hand/machine stitch with applied fabrics
Born in 1913 she was not able to travel during her lifetime and had very few opportunities in life to pursue her artistic and musical interests. She left school aged 13 and was apprenticed to a tailor. It was a hard life with no recognition of her skill as a seamstress. She loved singing and was a talented contralto. Here in another life, alongside her best friend she travels to Madrid to study music, dance and theatre.
Another Time, Another Place 2021 • Size: 48.5 x 59 cms
Hand/machine stitch/applied fabrics.
Born in a time when women had no right to vote and many left school at 13 or 14 years old. Ordinary women without opportunities to work after marriage or to travel abroad. Combining images of unknown people from the family album with images from the Alcázar Real in Seville, Spain; symbols of heritage combine with memories to make the composition and bring together an imagined journey to another time and place.
Below: Made in Grimsby was selected for the 62 Group exhibition Connected Cloth
Made in Grimsby • The documenting of a small lifestyle clothing brand called Anywear. 1975 • in an Edwardian shop premises, womenswear was designed & made in Grimsby from cloth that travelled from far and wide. During the lifespan of the business the need to become more commercial had replaced the ‘one off’ designs. By 2002 the designer had had enough of designing other people’s clothes and Anywear closed its doors.
Materials :linen and recycled clothing fabrics, cotton and linen threads
Techniques: hand and machine stitch, appliqué, piecing, drawing
Size: 139 x 87.5 x 2.5 cms
Photos by Pitcher Design
Below: Portrait of Mrs P •a head and shoulders portrait of Constance Howard MBE 1910 – 2000.
Size: 30.5 x 38.5 cms (12 x 15ins)
Techniques: hand embroidery & appliqué. Materials: recycled cotton, linen & silk fabrics, cotton embroidery threads & wool yarn.
Portrait of Constance Howard MBE (1910 – 2000) who established the influential Embroidery department at Goldsmiths College, University of London. She had a huge impact on contemporary embroidery in the second half of the 20th century.
Constance was a small, charismatic person with bright green hair which she sported from the 1930s up until her death. She was always known to her students as Mrs P.
Below: A Step into The Unknown
A Step Into the Unknown is part of the Imagined Journeys series • mixed media – Size: 116 x 84cms (46 x 33ins)
A series of small portraits
Made in Grimsby • The documenting of a small lifestyle clothing brand called Anywear. 1975 • in an Edwardian shop premises, womenswear was designed & made in Grimsby from cloth that travelled from far and wide. During the lifespan of the business the need to become more commercial had replaced the ‘one off’ designs. By 2002 the designer had had enough of designing other people’s clothes and Anywear closed its doors.
Materials :linen and recycled clothing fabrics, cotton and linen threads
Techniques: hand and machine stitch, appliqué, piecing, drawing
Size: 139 x 87.5 x 2.5 cms
Photos by Pitcher Design
‘From Grimsby to Greenpoint and Beyond’ has been selected for the 62 Group exhibition ‘Ctrl/Shift’ which will open at MAC, Birmingham on 21 July and runs until 9 September. The piece is made up of 9 sections measures 175 x 123 cms when assembled.
Materials :Linen/recycled clothing fabrics,cotton threads, InkTense pencils,acrylic paint
Techniques: Hand and machine stitch.appliqué, piecing, drawing, painting
Details of ‘From Grimsby to Greenpoint & Beyond’ photos by Yeshen Venema
A visit to Greenpoint, Brooklyn, New York sparked the idea for this work in which the emphasis shifts slightly away from people, and towards place, a specific place, New York and a snapshot of a specific time period 21/12/16 to 3/01/17. Another small shift is in the use of materials, black thread was used abundantly in this piece this is a new departure as was the use of Derwent InkTense pencils to draw and colour the background fabric.
A new approach, an attempt to capture a new energy in the work and a move away from control in the design process meant the work evolved and has had several incarnations during the making process rather than being pre-planned.
There are a multitude of references in this work; to the atmosphere and fast pace of New York City to the areas and places visited and to great beer, coffee and food consumed. Also referenced are a selection of the many street artists in Greenpoint and Bushwick including Faille, a Brooklyn-based artistic collaboration between Patrick McNeil and Patrick Miller and there’s tribute paid to particular artworks, ‘Jawbone of an Ass’ by Jean-Michel Basquiat and ‘The Mermaid’ a sculpture by Liz Craft at the Whitney Museum of American Art in Manhattan.
A Girl’s Day Out in the East End for Hilda, Nellie and Ida
mixed media • hand and machine stitch with acrylic paint
size 128 x 102 cms
Yesterday I delivered this piece to its new home in the North East of England. I was sad to see it go so I decided to revisit how I made it, however, I am very happy that it has gone to such a good home with new owners who love it so much. It was made in 2012 for one of the 50th Anniversary exhibitions by the 62 Group of Textile Artists ’62@50′ at the Holden Gallery at Manchester School of Art.
This is my Artist Statement for that exhibition.
Exploring displacement using old family photographs, images of distant relatives I never knew, cut into to a modern day environs, Girls Day Out enquires into and questions, the sense of belonging/not belonging whilst referencing the passing of time and the transience of life itself.
Hilda, Nellie and Ida were 3 sisters and Ida, the tall, elegant one on the right was my sister’s mother-in-law. This piece combined the then, the now and alludes to a journey in-between. The street art in the background is by an artist called Stik and was found in Grimsby St London, E2 in 2011. The images above are the original images I combined to make the work and those below are of the work in progress.
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.
womanwithafish 