Eunice is one of a series called 'Needlewomen'.

What has happened to the collaborative aspect of textile arts and crafts?
Consider quilting bees where women gathered together to quilt for a special purpose.
Such gatherings develop community;
hone skills;
pass on traditions;
enrich a culture;
provide a venue for sharing story.
They also empowered women and girls;
honoured the elders and the crones in a group;
and provided safe and hospitable places to grow.

Ketevan is one of several pincushion dolls called 'Needlewomen'.
Textiles are an intrinsic part of our lives, 
 what we wear, including footwear and hats and garments;
shelter and flooring;
from how we swaddle our young to how we bury our dead;
for warmth and comfort.
They can express solemnity and emotion;
reflect our position in society;
are a part of ritual, ceremony and rites of passage;
represent national, spiritual, cultural and ethnic pride.

Policarpa is one of a series called 'Needlewomen'.
Often our definition of a woman who works with needle and thread
is influenced, even skewed, by our place in society.

There are continual debates about 'art' and 'craft'
and whether a handcrafted textile object can be fine art.

There is also the issue of fair recompense for 'women's work'.
How do we charge a just price for our hand sewn goods?

Consider too the paradox of the monied classes paying for expensive materials and notions
to keep themselves entertained
whilst the less fortunate work long hours for unjust wages to keep themselves fed.

Lucy is one of a series called 'Needlewomen'.
Stitching provides such comfort,
both to the one who stitches,
and to the recipient or viewer of the work.

Lucy is one of a series called 'Needlewomen',
designed to hold all the notions required to stitch.
I wondered how much we take for granted the tools we use a textile artists.
Who designed, and refined, scissors or thimbles or un-pickers?
When was the first sewing machine made and by whom?
Am I a responsible steward of all this wonderful tools?

Elizabeth is one of a series called 'Needlewomen'.
There is a transformative and healing power in needlework.
Stitching by hand is meditative and relaxing.
Creating garments and accessories can provide economic independence.
Handcrafted soft toys, dolls, garments and quilts bring comfort and solace.
Textile art can draw attention to many social issues.

Adelaide is one of the 'Needlewomen'.
Throughout history, women have used their dressmaking and needlework skills to improve their lives.
Many charities now aim to enable and empower women in marginal and impoverished communities
by developing their stitching and marketing skills.

Lady Brooke is the first of a new series of dolls called 'Needlewomen'.
These dolls are guardians of all that a needlewoman would need:
scissors, thimble, pins and needles, tape measure, un-picker.
They are named for famous (and infamous) seamstresses of the nineteenth century.

Regina is the last of a short series called 'Sticks and stones'.
This series has been a heartfelt and sometimes painful reflection on bullying.
I had not fully understood the impact of bullying until my own experience.

'Bullying reflects the bully' helped me realise that:
bullying reflects the bully;
bullying is all about power;
it is helpful to put myself in the bully's shoes (but it does not excuse their actions).

Troy is one of a limited series exploring bullying.
I have found that making 'Sticks and stones' has been a healing process,
and I now have a different understanding of the impact of bullying.


"Bullying tears at the heart' spoke to me of
rejection;
sorrow;
a loss of human dignity and respect.