Sunday, 24 June 2012

Tuesday, 8 May 2012

 Onsite exploring how the chains of tatting hang in the space. 'Ghostly' isn't what I'm trying to achieve here, rather a sensitivity, and a sense of the lines which penetrate the building, a trajectory downwards through the space, resembling chains, white like flour, blossom or snowflakes falling...

Microscopic camera lets me look closely at the twist of the fibres, the delicacy of the knotting.

Saturday, 14 April 2012

Chains, loops and holes. . . .

                      Tatting bobbin and lace chain placed with mill artifacts.

The floors of this three storey mill building are littered with holes, strategically placed to allow chains to run through the building from floor to ceiling: labour saving leverage to pull bags of grain through trap doors. I am captivated by these threads which run throughout the building and all the little holes it leaves behind, like the holes made by needles through thread. Chains, loops and holes also feature in my lace tatting work and I wonder how these strands might come together in my exploration of this site.    

Wednesday, 28 March 2012


Seeing reflection everywhere. The inside printed on the outside, the outside printed on the inside.The first image is that of the two ends of a wooden bench in my garden. The shape of the de-constructed seat imprinted on the wood. Dead butterfly on the window sill at Melin Glonc- also a mirror image. Augmented image of trees at the mill creates its own uncanny patternation.   


In my studio there have been two narratives divided by the window in the middle of the space, one wall filled with images preoccupied with interior spaces and my obsession with Vermeer light, and the other of the expansive outside, nature and reflection. Is this the beginnings of a dialogue between inside and outside? Or two differing strands of work suggested by the site?