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art

Bepsoke Silkwork Typography Art

January 26, 2023 by Connie Mabbott

This Spring, Hawthorne & Heaney launched a collection of military inspired typography art, specially designed for an exhibition held in Fortnum & Mason over the summer of 2022. 

Designed, drafted & produced in our London studio, you can select any letter of your choice to be woven with military heritage inspired florals and embroidered onto luxury velvet.

Bepsoke Silkwork Typography Art London Hand Embroidery
Hawthorne & Heaney Typography Artwork
Bepsoke Silkwork Typography Art London Hand Embroidery
Hawthorne & Heaney Typography Draft & Embroidery
Bepsoke Silkwork Typography Art London Hand Embroidery
Hawthorne & Heaney Artwork Embroidery Close Up

Starting from £600 for a small 20cm square frame (15cm square artwork), this statement typography piece will look striking in a lounge space, hallway, dining room or bedroom.

Work with us to create your own unique color story to compliment your chosen space. This pastel toned version is a charming, subtle take on the design and would look handsome in a bright, light interior space.

Bepsoke Silkwork Typography Art London Hand Embroidery
Hawthorne & Heaney Pastel Typography Art

These Hawthorne & Heaney original artworks will also make for thoughtful wedding gifts – select three separate frames with the couples first initials for a timeless gift to celebrate their special day.

Bepsoke Silkwork Typography Art London Hand Embroidery
Hawthorne & Heaney Typography Artwork

To enquire and work with us on your bespoke artwork piece, get in touch via our contact page or email info@embroidery.london.

   

Filed Under: Art, ceremonial, Embroidery, Interior Design, London, London Embroidery, Monograms Tagged With: art, bespoke, bespoke embroidery, embroidery, Embroidery London, Hawthorne & Heaney, Hawthorne and Heaney, Initials, letters, London Embroidery, machine embroidery, Monogram, monogramming, personalisation, Personalised, textiles

Drawn & Formed Exhibition

August 5, 2022 by Intern

The Goldsmith’s Centre’s Drawn + Formed exhibition; in partnership with the Worshipful Company of Gold and Silver Wyre Drawers 

This exhibition explores the history and contemporary uses of hand-drawn wire in embroidery, jewellery and silversmithing. London was first introduced to gold and silver wire drawing by craftsmen from Europe around the 15th century, however, there is reference to combining metal wire with textiles as far back as the writing of the bible.

Wire drawing is the process of hand making wire for jewellery and silversmithing, using a draw bench at room temperature. The draw bench reduces the thickness of the metal by forcing it through a series of draw plates, although today metal thread is most commonly mass manufactured using moulds. The resulting wire is polished and coated with a precious metal, after which the wire can be drawn and reduced to a tenth of the size of a human hair!

This necklace by Teri Howes (Image 1) was inspired by the double helix structure of DNA. The use of contrasting gold and grey/black filaments highlights the helical structure more obviously. Howes uses crochet to create her jewellery pieces, an unlikely technique when using wire, but very effective.

Drawn & Formed Exhibition London Hand Embroidery
Image 1: DNA Necklace by Teri Howes – 18ct gold, fine silver, oxidised fine silver, grey diamonds, black diamonds | Photo taken by Cadi Williams
Drawn & Formed Exhibition London Hand Embroidery
Image 2: Left: Tiger by Laura Baverstock, gold, silver and silver gilt wires | Centre: Lenticular Brooch, 2013, by Andrew Lam, 18ct yellow, red, green and white gold, 24ct platinum, palladium and oxidised silver | Right: Lenticular Brooch, 2012, by Andrew Lam, sterling silver, flame oxidised 18ct red gold | Photo taken by Cadi Williams

This display case (Image 2) was almost hidden in plain sight as you entered the exhibition and it was only when I returned to the entrance that I noticed the familiar items from the exhibition advert. They were smaller than I expected but this made the intricacy even more impressive. 

I can see why the curators chose the stunning Tiger by Laura Baverstock to promote the exhibition; I noticed I wasn’t the only one admiring it whilst there. The Lenticular Brooches by Andrew Lam were packed with scale-like beads, appearing like textured fur from afar.

Drawn & Formed Exhibition London Hand Embroidery
Image 3: Morphosis by Annalisa Middleton Gilt wires, silk, wool, leather, glass | Image source: https://www.annalisamiddleton.com/copy-of-hand-and-lock-1

This goldwork design titled Morphosis by artist Annalisa Middleton (Image 3) immediately caught my eye due to the striking contrast of bright colours against the shimmering gold. This has to be my favourite piece from the exhibition. Middleton took inspiration from cellular biology and marine life and combined this with her interest in futuristic technologies to create this fantastical, organic, data capsule. The artist describes the design as a ‘portal’ for the viewer to be immersed in her world. From a biological perspective you could interpret the main feature of the design as a virus or a cell filled with a variety of organelles.

Drawn & Formed Exhibition London Hand Embroidery
Image 4: Dandalarm II: Lifecycle by Kate Pankhurst Silver and copper smooth purl, pearl-purl, plate, twist, kid leather, silk and metal threads, bell alarm clock frame | Photo taken by Cadi Williams

Image 4 shows embroidery in a more unusual frame in the form of a used alarm clock. Pankhurst started her alarm clock series with Lockdown O’Clock, an alarm clock with an embroidered face and great feathery wings, at the beginning of the Covid-19 pandemic. This most recent addition to the alarm clock series was inspired by nature and growth, something that many appreciated more throughout lockdown.

Another personal favourite was this rose gold, three-dimensional piece titled Embrace by Naomi Aindow (Images 5 & 6). I kept coming back to this display and would notice extra details every time. This body adornment piece is part of Aindow’s Spores of Life collection inspired by the intricate details of lichen and moss. The focus of this shoulder piece is enhancing the scale of these details through textured hand stitching and beading. I particularly like the contrast between the smooth, shiny, glass beads and the soft, comfortable fields of french knots. The hand embroidered forms remind me of the diverse species seen in coral reef photography.

Drawn & Formed Exhibition London Hand Embroidery
Image 5: Embrace by Naomi Aindow – Silk organza, metal threads, silk thread, glass beads, sequins | Photo taken by Cadi Williams
Drawn & Formed Exhibition London Hand Embroidery
Image 5: Embrace by Naomi Aindow – Silk organza, metal threads, silk thread, glass beads, sequins | Photo taken by Cadi Williams

Overall I thoroughly enjoyed my first visit to The Goldsmith’s Centre and would highly recommend it to anyone else interested in goldwork, silversmithing and body adornment. My favourite design was easily the goldwork Morphosis piece by Annalisa Middleton, due to its biological context and personal connection to the artist. The exhibition has inspired me to be more adventurous and explore more obscure materials and processes in my practice.

Written by Cadi Williams

 

______________________________

Exhibition details:
The Goldsmith’s Centre, 42 Britton Street, London EC1M 5AD
Free admission
16 June 2022 – 15 September 2022, 9am – 6pm

 

Filed Under: Art, Embroidery, London, London Embroidery Tagged With: art, embellishment, embroidery art, Embroidery London, exhibition, goldwork, hand embroidery, London, textile art, textile exhibition, textiles

Hawthorne & Heaney Visits ‘Thierry Mugler: Couturissme’

April 1, 2022 by Intern

 

This exhibition ‘Thierry Mugler : Couturissime’ is on at the Musée des arts Decoratifs, Paris.  A wonderful exhibition to go and see should you be in Paris. 

The exhibition focuses around the work and life of Thierry Mugler (1948-2022).  Known for his avant-garde techniques and use of interesting materials like faux fur, vinyl, latex, glass, PVC and chrome.  His ‘fantasy-tinged architectural style and bold silhouettes have made their mark on the history of fashion’.

Hawthorne & Heaney Visits 'Thierry Mugler: Couturissme' London Hand EmbroideryExhbition Signage, Yasmin Le Bon, Palladium , London, 1997

The exhibition showcased over 140 pieces, almost all of which had never been seen outside his ‘industrial couture’ atelier. Also shown are videos, photos, music videos, accessories, stage costumes and sketches.

Hawthorne & Heaney Visits 'Thierry Mugler: Couturissme' London Hand Embroidery

La Chimère Collection 1997-98, ‘La Tonkinoise’

 

Metamorophosis: Fantasy Bestiary

In 1997-98 two collections debuted by Mugler, Les Insects and La Chimère. These turned heads due to their fantastical and mythical depictions.  Taking inspiration from Insects, reptiles, birds and butterflies. Les Atlantes, took inspiration from the sea, in all its mythical depths.  

Hawthorne & Heaney Visits 'Thierry Mugler: Couturissme' London Hand Embroidery

Les Insectes Collection 1997

Mugler was an innovator, and determined to use synthetic materials in his work opposed to real skins or fur.  He created his own versions, the most famous of which are his embossed leather jumpsuits, pieced together to resemble crocodile skins.

Another example of this is the stunning plumage on his butterfly dress.  A long velvet sheath with flared train adorned with peacock feathers.

Hawthorne & Heaney Visits 'Thierry Mugler: Couturissme' London Hand Embroidery

La Chimère Collection 1997-98

Mugler embodied a key moment in French fashion history, when the ‘Jeunes Créatuers’ put Paris back in fashion competition with the rest of the world.

One of the most breath-taking and interesting pieces was his famous La Chimère gown.  This piece was designed in collaboration with the famous corset designer ‘Mr Pearl and the artist ‘Jean-Jaques Urcun.  It is said to be one of the most expensive couture creations in history.

Hawthorne & Heaney Visits 'Thierry Mugler: Couturissme' London Hand Embroidery

‘La Chimère’ from La Chimère Collection 1997-98

A long sheath dress, and fitted corset, adorned in ‘scales’ embellished with feathers, horsehair and crystals. It was one of the pieces in this exhibition that took your breath away, whether it be by the dazzling crystals and embellishment or the ‘scaled’ effect.  

 

Futuristic & Fembot Couture

Presented in 1989, the Hiver Buick collection paid homage to the American car designer Harley J. Earl, responsible for the 1959 Cadillac Eldorado’s famous tail fins. 

The collection played on these ideas, featuring a metallic finish, ‘convertible’ sheath gowns, ‘radiator’ belts and ‘fender’ bustiers.

Hawthorne & Heaney Visits 'Thierry Mugler: Couturissme' London Hand Embroidery

Tire Look Rubber Suit from Les Insectes Collection 1997 & A velvet suit with florescent Line embroidery from ‘Music-Hall’ Collection 1990-91

A later collaboration with Jean-Jacques Urcun and Jean-Pierre Delcros (an aircraft bodywork specialist) created mystical robotic-couture creatures. 

Hawthorne & Heaney Visits 'Thierry Mugler: Couturissme' London Hand Embroidery

Maschinenmensch from the 20th Anniversary collection 1995-6 

One of Mugler’s all-time masterpieces was the ‘Maschinenmensch’ which was presented in 1995 at the 20th anniversary show. It plays homage to the character of ‘Futura’ from the dystopian novel Metropolis.  The outfit took 6 months to make, and is reminiscent of a crabs shell in its construction.  The body armours plastic internal framework enables the wearer to move.  

 

The Mugler Lab

From experiences when he was young, Mugler often looked to the sky and his favourite star, shining bluer than the others.  He took to thinking of this star as his guiding angel, following him though life.

This later formed part of the inspiration for his perfume line, which he wanted to smell ‘so delectable you want to eat it’

Hawthorne & Heaney Visits 'Thierry Mugler: Couturissme' London Hand Embroidery

A Luminous dress from the Les Médases Collection 1999-2000

Staging Fashion

Fascinated by breath-taking architecture and the immensity of natural settings, Mugler went on to photograph his own muses and create his own campaign visuals.  He took to extreme locations, inspired by their sheer beauty and power. Photographing muses such as Jerry Hall in locations like an iceberg in Greenland, the dunes of the Sahara or atop the eagles of the Chrysler building.  

Hawthorne & Heaney Visits 'Thierry Mugler: Couturissme' London Hand Embroidery

A silk chiffon cape gown adorned with crystals from the 10th Anniversary Collection, 1984-5 and an image from the iceberg photoshoot

Mugler considered costume essential in the construction and enhancement of an individual’s life, staging it to make it more beautiful and fun.

 

Belle de Jour & Belle de Nuit

Mugler’s ‘glamazon’, a stylish, urban and unconventional woman defied the early 70’s hippie movement style.  Broad hats, architectural silhouettes and revealing cleavage defined his glamazon woman.  He thought of ‘Elegance is guts, it’s nerve’.

Hawthorne & Heaney Visits 'Thierry Mugler: Couturissme' London Hand Embroidery

Garments from the 20th anniversary collection. With a fitted velvet coat with snow look crystals and feather embellishments

Mugler adopted materials like latex and vinyl, often used in the underground scene and turned them into elegant classics in his collections.  The Mugler Look made history.

Hawthorne & Heaney Visits 'Thierry Mugler: Couturissme' London Hand Embroidery

A Tuxedo-style jacket with see through back adorned with crystals from the Ritz Collection 1992-93

 

Too Funky

In 1992 George Michae released the music video for his hit song ‘Too Funky’ music video.  During this time, George Michael had fallen out with his record company and  boycotted appearing in his own videos to spite them.  For ‘Too Funky’ he chose to use footage of a Mugler show, couture outfits and the models.

Hawthorne & Heaney Visits 'Thierry Mugler: Couturissme' London Hand Embroidery

Details from outfits which appeared in the Too Funky video

This wonderful video also allowed Mugler to reveal the contrast between glamour out on the runway and the chaos behind the scenes  

Hawthorne & Heaney Visits 'Thierry Mugler: Couturissme' London Hand Embroidery

Wrought Iron crinoline adorned with sequins and crystals from the Les Cows Boys Collection 1992

 

This exhibition truly made us fall in love with design and embroidery all over again, with the dazzling sequins and elegant forms of the designs. 

Thank you to Museé des Arts Decoratifs for this beautiful exhibition.

https://madparis.fr/thierry-mugler-couturissime-en

 

Words and Images by Rosie Watkins

Filed Under: Embroidery Tagged With: art, beading, bespoke embroidery, couture, design, embellishment, embroidery, exhibition, textiles, Thierry Mugler : Couturissime, visit

Louise Bourgeois: The Woven Child at the Hayward Gallery

March 25, 2022 by Intern

The Louise Bourgeois: The woven child was certainly an exhibition that made you stop and really consider the thought process of each piece, what emotion and psychological motive she was trying to portray to the viewer. With her use of materials ranging from steel to bone to gold and lingerie, each surface represents a memory and emotion from her life. 

The last two decades of her practice became more and more oriented around fabrics and the amenable characteristics of them, the ability to cut, tear, rip and then sewing them back together which Bourgeois used in a strong metaphorical style. Enhanced by the tactile sense of the pieces which evoked vulnerability and intimacy which Bourgeois furthered by using her own personal garments and bed linens in her work. She stated they were her ‘second skin’, they had been present at the monumental events in her life and were now a representation of that memory. 

As you enter the exhibition the first installation you are drawn to is ‘Cloth and Bone’, a steel pole has cattle bones attached to the end of rods which hang the artist’s undergarments, all saved from her childhood or of her mothers. Louise Bourgeois believed that the clothes she kept were just as important as the pages of her diary, which I can’t agree with more! Hunting through your wardrobe and finding certain items that suddenly spark a happy memory is just magical. Or more fitting with this exhibition, one that has that sentimental purpose to you, that words in a diary just couldn’t capture. 

Louise Bourgeois: The Woven Child at the Hayward Gallery London Hand Embroidery
‘Untitled, 1996, cloth, bone and steel.
Glenstone Museum, Potomac, Maryland’

Louise Bourgeois explores the meaning of mending and how this is shown through her use of fabric. The sculptures are formed from several distressed or ripped pieces of cloth which are then sewed back together, in a manner where the seams are still raw and visible. A metaphorical stance of human emotional repair which is not always perfect and when we are ‘mended’ we will look different than before how people carry their scars and allow this to be normal and ok, with the finished product becoming a work of art.

Her connection with fabrics is relevant to her mother who was a tapestry restorer, the late exploration from Bourgeois into fabrics suggests that in her later years of her life she wanted to revisit back to her youth and her family seeking familiarity with fabrics. 

Louise Bourgeois: The Woven Child at the Hayward Gallery London Hand Embroidery
‘In Respite, 1992, Steel, thread and pigmented rubber
Fondation Beyeler, Riehen/Basel’
Louise Bourgeois: The Woven Child at the Hayward Gallery London Hand Embroidery
‘Eugenie Grandet, 2009, mixed media on cloth, suite of 16
Collection the Easton Foundation, New York’

This series of textiles was based on the character Eugenie Grandet who was oppressed by her father, Bourgeois felt similar with her own father and wanted revenge against him. The artwork was made onto handkerchiefs and tea towels collaged using old embellishments from her hats and dresses, with most frames showing a clock to suggest the passing of time. 

My favorite series in the whole exhibition were the stuffed heads, each made with a textiles exterior and molded to express a human portrait. The aim of these portraits was not to create a likeness to any person but to show a psychological state and emotion, with some of the works having two faces on one head to express the contradicting and complex feelings shown by humans. Each head is made from a different process ranging from cloth to tapestry and needlepoint. 

Louise Bourgeois: The Woven Child at the Hayward Gallery London Hand Embroidery

Louise Bourgeois: The Woven Child at the Hayward Gallery London Hand Embroidery
‘Untitled, 2009, fabric and wood
Collection the Easton Foundation, New York’
Louise Bourgeois: The Woven Child at the Hayward Gallery London Hand Embroidery
‘Untitled 2002, Tapestry and Aluminium
Collection the Easton Foundation, New York’
Louise Bourgeois: The Woven Child at the Hayward Gallery London Hand Embroidery
‘Reticent Child, 2003, Fabric, marble, stainless steel and aluminium,
Collection the Easton Foundation, New York

This collection of work was created by Bourgeois when she was trying to understand her youngest son and his withdrawal. The sculptures represent his birth and early life with the figures being distorted and further animated by the concave mirror behind the scenes which added the metaphorical message of a distorted memory. Louise Bourgeois in her own words, 

‘There’s is a child who simply refused to be born, his birth was quite late. Was there something that he perceived that prevented him from wanting to leave the womb and go out into the world? How much of who he will be, his feelings and actions, will be pre-determined by this refusal to appear? How will this child face the future? Will he be shy, reduced to silence, awkward or even hostile?

Louise Bourgeois: The Woven Child at the Hayward Gallery London Hand Embroidery
‘Spiral woman, 2003, Fabric
Ursula Hauser Collection, Switzerland’

This creation was probably one of the most striking in there, a life size shaped human hangs from a single point attached to the ceiling, made entirely from black cloth and only the bottom half is recognisable as human limbs with the top consisting of a spiral. The twisted nature of the piece evokes nausea, dizziness and disorientation; it shows the physical manifestation of psychological states such as fear, anxiety and alienation. Bourgeois interest in the spiral shape stems from her fear of losing control, with the winding of the spiral being a tightening action and retreating into a point of disappearance. Then with the opposite movement of twisting outwards is a representation of giving up control and allowing positive energy. 

Louise Bourgeois: The Woven Child at the Hayward Gallery London Hand Embroidery
‘Spider, 1997, Steel, tapestry, wood, glass, fabric, rubber, silver, gold and bone
Collection the Easton Foundation, New York’

Louise Bourgeois: The Woven Child at the Hayward Gallery London Hand Embroidery

If you don’t like creepy crawlies then look away now! The Spider however for Bourgeois was a symbol of a ‘mender’ as if you break its web it will just rebuild it. This creature sits above the cage with its legs wrapped around it in a protective manner, Bourgeois personal belongings sit within the metal cage again, another nod to the sitting time. However the large scale of the spider has hints of a predator and if you digest the facts of spiders they have cannibal characteristics which again show’s a more complex side to the artist and her feelings towards motherhood and her sexuality. 

Louise Bourgeois: The Woven Child at the Hayward Gallery London Hand Embroidery
‘Cell XXIV, 2001’
Steel. Stainless steel, glass, mirror, wood and fabric
Collection the Easton Foundation, New York’

This glass box contains hanging conjoined heads each with two faces, the black fabric resembling depression, mourning and melancholia. The mirrors in each bottom corner of the box show the scrutiny the faces face, along with the idea of fragmentation and unease. 

Louise Bourgeois: The Woven Child at the Hayward Gallery London Hand Embroidery
‘Cell XXI, 2000
Steel, fabric, wood and glass
Collection the Easton Foundation, New York’

Near the end of the exhibition the sculptures begin to become more abstract still with gestures towards the human figure but very faint. One installation that really caught my eye was a collection of vertically stacked shapes. All were made from clothing or bed linen, terry cloth, tapestry and upholstery and unlike her other work had a sense of regularity. Louise Bourgeois felt the predictability of formal repetition and the rules given to geometry allowed for her life to have some order, she felt the set rules were the exact opposite to the emotional world she inhabited. 

‘Soft fabrics show a sense of vulnerability and intimacy, while also remaining flexible, adaptable and resilient’, This statement from the Hayward Gallery I felt really concluded the exhibition and the change of materials presented by Louise Bourgeois which perfectly mirrored her emotional state. 

Thank you to the Hayward Gallery for such a wonderful exhibition, if this was an interesting read I would highly recommend you visit yourself.

https://southbanklondon.com/events/southbank-centre/louise-bourgeois-woven-child

 

All pictures from Amelia Vance (Hawthorne and Heaney Intern)

Filed Under: Art, Embroidery, Embroidery, London Tagged With: art, exhibiton, fiber, London, louise Borgeois, textiles

Hawthorne & Heaney on Show at Fortnum and Mason

March 18, 2022 by Natasha Searls-Punter

Hawthorne & Heaney on Show at Fortnum and Mason London Hand Embroidery

We have the great privilage of being able to say that we currently have some works on display at the world renound Fortnum and Mason, London. As part of the celebrations for the Queen’s Jubilee, Fortnums are holding a series of exhibitions, spotlighting the artistic talents of British Craftsmanship. In partnership with QEST, the Queen Elizabeth Scholarship Trust, these exhibitions will show works from the scholars in a variety of fields, starting with ‘Wicker, Clay, Thread’ which are are delighted to be a part of.

 

Hawthorne & Heaney on Show at Fortnum and Mason London Hand Embroidery

Hawthorne & Heaney’s director, Claire Barrett is a scholar of QEST for Heraldic drafting, a much forgotten about skill but essential for the kinds of embroideries that Hawthorne & Heaney produce. The study of which has been applied directly to the hand embroidery artworks such as the working pocket sample below and the Positilion Badges in the case.

Hawthorne & Heaney on Show at Fortnum and Mason London Hand Embroidery

Hawthorne & Heaney on Show at Fortnum and Mason London Hand EmbroideryThis style of drawing has gone onto inform the approach of these machine embroidery pieces to give them a similar luxurious feel but for some more practical applications, be it cushions or for costumes.

 

Hawthorne & Heaney on Show at Fortnum and Mason London Hand Embroidery The exhibition is such as beautiful example of the incredible works of craftsmanship that are being produced in the UK, it would not do to talk about our bit and not highlight some of our favourites. Bob Johnston, wicker sculpter made this stag head piece, along with a cow version which is also on display which are arguably the most striking pieces on display. When we visited, the cow had already been purchased but the stag was still up for grabs.

 

Hawthorne & Heaney on Show at Fortnum and Mason London Hand EmbroideryPictures dont do this piece called ‘Just a Drop of Milk for Me’ by Robert Walker justice. Specialising in ‘Verre Eglomise’ this piece uses a combination of etching, guilding, filigree and hand painting.

Hawthorne & Heaney on Show at Fortnum and Mason London Hand EmbroideryThese colourful characters were created by hand embroidery scholar, Susannah Weiland . A mixed media artist, Weiland combines her printed drawings with stitching to create these final pieces which I’m sure you will agree are just precious.

Hawthorne & Heaney on Show at Fortnum and Mason London Hand Embroidery

We also have a second appearance in the exhibition with this typography piece which also draws on Claire’s Heraldic Drafting skills to weave the leaves within the design together. Machine embroidered onto velvet, this piece uses raised stitching to bring movement and character to the Monogram.Hawthorne & Heaney on Show at Fortnum and Mason London Hand Embroidery

Being amongst these works is very inspiring and has already got us thinking about what we want to produce next! Do pop up to the 3rd floor to see the pieces which will be on display until 10th April, being hotly followed by by the next exhibition on ‘Wood, Glass, Paper’

Filed Under: Art, ceremonial, Embroidery, London, Monograms Tagged With: art, crafts people, craftsmanship, exhibition, fortnum and mason, jubilee celebrations, London, picadilly, qest, the art of the exceptional

Hawthorne & Heaney visits Peru: A Journey in Time

February 8, 2022 by Intern

Hawthorne & Heaney visits Peru: A Journey in Time London Hand Embroidery

 

Independent, isolated yet highly developed. The Andean people challenge contemporary ideas of what makes a successful society, yet their civilisation began 3,500years ago (900 to 200 BC). The British Museum’s exhibition ‘Peru: a journey in time’ intrinsically integrates the different Andean communities in chronological order yet still allowing for an organic integration of life, death and rebirth which is poignant to the lives of the indigenous communities.

We must understand the connection the Andean people had with the land, which was shown predominately with symbols in their artwork, for example this cloth showing the three diverse landscapes the communities lived from, the rainforest, the mountains, and the ocean.

 

Hawthorne & Heaney visits Peru: A Journey in Time London Hand Embroidery
A piece of cloth, with hand painted symbols of the land. The bird feathers representing the rainforest, the circular shapes showing the mountains and the lakes and the waves for the Pacific Ocean.

They were incredibly resourceful from the sea and cultivated the land for crops, showing great technological innovation and communities that were rich in knowledge. However, unlike modern day cultivation they do not just take the resources, what is so beautiful about the Andean culture is that they believe that nature is a living being. ‘Sustaining all life, woven into the shared belief system of which the natural and supernatural worlds are intimately connected’. Many objects in the exhibition show this intimate connection through the divine beings embodying the power of plants and animals, reflecting how nature supplied for the needs of society.

 

Hawthorne & Heaney visits Peru: A Journey in Time London Hand Embroidery
A ceremonial drum, with a diagram of the pattern painted on it. With a depiction of the deities in purple on the diagram.

Hawthorne & Heaney visits Peru: A Journey in Time London Hand Embroidery

Hawthorne & Heaney visits Peru: A Journey in Time London Hand Embroidery
The statue of a killer whale reflects the abundance of marine resources from the Pacific Ocean.
Hawthorne & Heaney visits Peru: A Journey in Time London Hand Embroidery
The Spondylus shells were highly valued in central Andean societies as highly as gold and silver. They were only scavenged by skilled divers who would have to dive down 15-30metres. The shells were associated with the coming of the rains, fertility, and the riches of the oceans.

 

An Andean understanding of time is contradicting to that of a western perception. The belief that past, present and future are directly interconnected and happening at the same moment is for us almost incomprehensible and disrupts almost everything we base our cultural beliefs on! The Andean people take the living past into the present which influences the future. The importance of respecting ancestors and ensuring a safe passage into the afterlife is integral to the communities.

 

Hawthorne & Heaney visits Peru: A Journey in Time London Hand Embroidery
This delicately woven Funerary Blanket holds 74 images of human-like forms holding severed heads. All the figures are wearing head dresses and nose plates with feline type whiskers showing strong links to deities and mythical beings, which highlights the belief that at death the person transforms into a deity through the funerary rite.

 

Just dissecting this remarkable piece of textiles, we can take so much information about the funerary rituals. Firstly, the severed heads which represent the importance to the afterlife, it is suggested that the heads were taken from the sacrificial rituals which then developed into the life-giving ceremonies. The life-giving ceremonies were when the life force of individuals were symbolically extracted to maintain balance in the neutral cycle of life, enforcing this further the heads are sometimes depicted with plants sprouting from the skulls to show the interdependence of life and death.

 

Hawthorne & Heaney visits Peru: A Journey in Time London Hand Embroidery
Some of head pieces and nose pieces worn by the living to suggest deities.

Deities, were how the ancestors and mythical beings were depicted with head dresses on, nose pieces and accessories which gave them animal type features showing the strong link with nature. This style of dressing was not just depicted in the artwork to honour the ancestor, but also worn by the living bringing the deities to life.

Textiles also played a large role in respecting the dead and the ancestors. Skilled and trained weavers were sourced to create the most beautiful, patterned textiles to wrap the dead body, usually being much more complex weaving methods and finer fabrics used for the dead rather than the living who wore practical everyday cloth. The Textile industry was proof of technological innovation in society, being a collaborative activity, the trade was passed down to workers who would train for years to perfect their skill and improve their knowledge.

Hawthorne & Heaney visits Peru: A Journey in Time London Hand Embroidery
This Hummingbird Textile would have been a border probably to a Nasca Funerary blanket. Made from base cotton with the birds skilfully embroidered by someone with expert knowledge in camelid fibre from the llama family and the dyeing done with plant-based dyes. The hummingbird played a vital role in pollination and plant fertility.

Sacrifice and Ritual were dominant methods of respecting the ancestors, pleasing the gods and ‘maintaining a balance between the natural and supernatural worlds’. Ritual battles provided this, the indigenous communities didn’t fight to expand territory but used soldiers in a Moche ceremony of ritual battle. In which pairs of finely dressed warriors engaged in hand two hand combat, the losing warrior was stripped and taken to the mountains to be sacrificed.

Hawthorne & Heaney visits Peru: A Journey in Time London Hand Embroidery
A line drawing showing the aftermath of a ritual battle, in procession to the sacrifice.

Hallucinogenic plants were used extensively and were an important part of Nasca ritual, it allowed individuals to transform into different states of being and transcend time. This was visible in the artworks and ceramics of the communities giving the individuals the ability to really aline with their belief of life, death and rebirth being connected so deeply.

Hawthorne & Heaney visits Peru: A Journey in Time London Hand Embroidery
A line drawing showing what is on this ceramic pot. A deitie preparing to use the San Pedro Cactus, which has hallucinogenic properties.

Hawthorne & Heaney visits Peru: A Journey in Time London Hand Embroidery

The exhibition expresses all these elements of Andean life and culture in such a respectful and informative way I felt myself gliding round the room mesmerised by each fact and admiring such an enduring culture and community who lived through colonisation from the west. It truly is remarkable and really telling of how deep rooted and powerful their traditions were to survive western repression and rule and still be seen to be practised today, 200 years after gaining independence again from Spain.

 

‘In many ways, past traditions inform present practise, and the enduring belief that humans are a part of the living landscape helps to shape our shared future. The objects in the exhibition connect this narrative and provide a brief glimpse of these remarkable societies from whom there is so much to learn’. The last message from the Exhibition curators as you leave the exhibition, which I felt summed the whole display up wonderfully.

Thank you to the British Museum for this remarkable exhibition, if you found this interesting then I strongly suggest you visit the exhibition and see the artifacts for yourself! Closing 20th February 2022.

 

 

Photos and Words by Amelia Vance

Filed Under: Art, Embroidery, London Tagged With: art, british museum, exhibition, history, inspiration, peru, textiles, things to do in london

Hawthorne and Heaney take a look at Messums London: MATERIAL:TEXTILE, Modern British Female Designers

March 8, 2021 by Claire Sarah Barrett

Messums London has presented us with an online exhibition: MATERIAL:  TEXTILE, Modern British Female Designers, bringing together for the first time historically important textiles by female designers working in Britain. Offered as an online and virtual exhibition, along with a catalogue and podcast, it highlights the relevance of mid-century textiles and the vital role they played in the evolution of taste and culture.

Hawthorne and Heaney take a look at Messums London: MATERIAL:TEXTILE, Modern British Female Designers London Hand Embroidery

Mussums London; MATERIAL: TEXTILE

Focus is on the bold vision and leading lights of 1950-1970’s textile design and introduces their work to new collectors.

The video they have released offers you a kind of virtual wonder around the gallery whilst the context of the exhibition is explained. It then goes more in depth into each textile artwork. Highly educational and some exceptional works that I have never come across before.

Hawthorne and Heaney take a look at Messums London: MATERIAL:TEXTILE, Modern British Female Designers London Hand Embroidery

Carillion, 1970s

Hawthorne and Heaney take a look at Messums London: MATERIAL:TEXTILE, Modern British Female Designers London Hand Embroidery

Mezzanine Yellow, 1958

Hawthorne and Heaney take a look at Messums London: MATERIAL:TEXTILE, Modern British Female Designers London Hand Embroidery

Sweetcorn Green, 1958

Messums Productions also have a YouTube channel with more content on other virtual tours of exhibitions. So if you’re missing an Art Gallery visit, I would recommend a visit to their YouTube channel. Enjoy!

 

Words written by Sophie Reynolds

Images sourced from Mussums London

Filed Under: Art, Embroidery, London Tagged With: art, art gallery, female artist, inspiration, MATERIAL: TEXTILE, Messums London, Modern British Female Designers, online exhibition

Hawthorne and Heaney Visits the Summer Exhibition At The Royal Academy of Arts

December 21, 2020 by Intern

On the 10th of December, I had the exciting opportunity to visit the Royal Academy of Arts Summer Exhibition 2020, located just down the road from Savile Row. Due to the current climate with unprecedented challenges and not wanting to miss its 252nd anniversary, the event was postponed to the winter months for the first ever time.

Coordinated by Jane and Louise Wilson, the exhibition supports the exchange of ideas and experiences from any background, shaping cultural conversation to art that we love, hate and smile to. The displays contain over 1,000 pieces of work displayed in 13 rooms ranging from paintings to sculptures to digital art.

Hawthorne and Heaney Visits the Summer Exhibition At The Royal Academy of Arts London Hand Embroidery

Vincent’s Ear by Conrad Atkinson,  Shrinking Violet by Ed Mays, Outdoor Minor by Simon Periton

Upon entering Gallery 1, I was surrounded by expressive paintings, textual line drawings put together by Isaac Julien. In the centre of the room stood an installation called Air Kid by Yinka Shonibare. The sculpture is one of 4 in a collection called ‘Earth Kids’, that fights for climate justice illustrating the difficulty of the natural world. Climate change is such a threatening crisis of our time, with sea levels rising, increased temperatures and extinction of many species. It’s important to make people understand the damage and negative effects their actions are having on the planet, a philosophical objective in Isaac Julien’s style of work to make us reflect and visualise.

Hawthorne and Heaney Visits the Summer Exhibition At The Royal Academy of Arts London Hand EmbroideryAir Kid by Yinka Shonibare

One of the pieces that intrigued me the most was the Inter-Concreto sculpture designed by David Batchelor, located in the Large Weston Room. The layering of the coloured geometric grids and multidirectional positionings is similar to the abstract way I like to work when undertaking my own multimedia textiles projects. His work looks at how we analyse and react to colour and hues in this current digital age through hypnotic patterns and shapes. These sculptural installations are made with a variation of industrial material scraps as well as recycled or broken domestic items. In this day and age, I believe it is imperative to reuse and upcycle discarded and unwanted objects to reduce the amount of plastic and landfill constantly entering our oceans. Everything has the potential to be made into something with another form or purpose.

 

Hawthorne and Heaney Visits the Summer Exhibition At The Royal Academy of Arts London Hand EmbroideryInter-Concreto by David Batchelor

 

There was a common theme amongst some of the galleries that reflected the year we have all lived through, learnt and educated ourselves to a brand-new way of life during a pandemic. Gallery 4 curated by Sonya Boyce, portrayed this theme well with mass paintings, photographs and a video named ‘Twice’ by John Smith, who demonstrates how to wash your hands thoroughly whilst singing Happy Birthday through twice.

Hawthorne and Heaney Visits the Summer Exhibition At The Royal Academy of Arts London Hand EmbroideryTwice by John Smith

 

Hawthorne and Heaney Visits the Summer Exhibition At The Royal Academy of Arts London Hand Embroidery

The Earth is full of violence by Biggs & Collings, Bringing the past to new horizonsby Athena Anastasiou

 

Every year there is a room that presents small architectural projects and ideas including works from student designers. The inspiration this year was taken from the constructivists in Eva Jiřičná work, displaying bold colours, large plinths, drawings and miniature models.Hawthorne and Heaney Visits the Summer Exhibition At The Royal Academy of Arts London Hand Embroidery
Inside Gallery 6, Drawing together by Niall McLaughlin

The exhibition was ticket-based priced at £20 and definitely worth the visit if you are in the area. It is a great way of promoting artists as well as supporting the creative arts industry in these difficult times. It is also available to view online for those who are unable to attend in person.

(Exhibition visits were undertaken within contempary covid guidelines)

Words and images by Jessica Westley

Filed Under: Embroidery, London Tagged With: art, arts, London, london exhibitions, royal academy, summer exhibition, winter exhibition

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