We found 13478 price guide item(s) matching your search

A Chinese embroidered panel, decorated script, 84 cm wide, and assorted other textiles (box)The script is embroidered, some fading, staining, 225 cm high

Textiles - linen and lace, christening gowns, table cloths, crewel work table runner, doylies, shawls;  Edwardian and later linen, lace and kid skin gloves; a variety of fabric off-cuts, gentleman's ties, vintage stockings;  various Edwardian and later linen, lace and kid skin gloves; a variety of fabric off-cuts, gentleman's ties, vintage stockings, etc qty

Textiles - a linen night dress;  woollen bed jacket;  underslips;  Lace -shawls, collars, cuffs;  feathers, sequins, etc

Two boxes of old textiles including four pairs 1970's/1980's Levi jeans and fur coat etc

Indian clothing and other textiles (1 box).

Two vintage cases containing cross stitch and embroidery patterns, together with other fabrics, blankets, textiles etc

Two boxes of lace and textiles and a box of handbags

Vintage brown leather case, Antler case with smaller case inside and vintage textiles.

Group of textiles and clothing accessories including sunglasses, cases for sunglasses, gloves etc

Bordalo II (n. 1987)"Half Weasel", 2022Painted recycled plastics, ceramics, and textiles on printed recycled woodSigned and numbered 40/9037x28x3 cmWith certificate of authenticity from the artist.

Bordalo II (n. 1987)"Half Hedgehog"From the series "3D Special Edition"Hand painted ceramics and reused plastics, MDF, textiles and printed vinylSigned and dated 49/32034,5x28,5x4 cmWith certificate of authenticity from the artist.

Bordalo II (n. 1987)"Baby Lynx"From the series "3D Special Edition"Hand painted ceramics and reused plastics, MDF, textiles and printed vinylSigned and numbered 229/30036,5x31,5x4 cmWith certificate of authenticity from the artist.

Bordalo II (n. 1987)"Half Howler", 2020Painted recycled plastics, ceramics, and textiles on printed recycled woodSigned and numbered 44/9028,5x24,5x4,5 cmWith certificate of authenticity from the artist.

Assorted textiles, inc. curtains with 1959 Harpers Bazaar and 5 Harrods Fashion catalogues, c. 1990s

British Army DPM Parachutist Smock, inside label H E Textiles Ltd, size 2. Combat smock inside label J Compton Sons Webb Ltd, size 190/120 US Army combat shirt, inside label NATO size 8090/8494, some holes to sleeve. Dutch Army webbing vest.NO OBVIOUS DAMAGE TO PARA SMOCK 'TAIL' STILL ATTACHED.

A central piece for a belt made of white jade, with reddish-golden flecks. It is carved on the front in the form of a lion's mask with a menacing expression. It has two curled horns and large jaws. The relief is intricately carved, and from the back we can appreciate it has a handle.It was sometimes depicted on ancient textiles, belt buckles, seals, bells or buttons to ward off evil spirits. In the southern dynasties, stone statues were often found in front of tombs for the same reason. Han Dynasty (206 BC-220 AD) or later.Size: 7.5 x 3.2 x 6.5 cmWeight: 128 gProvenance: Collection of Tommy Lam, Hong Kong, from 1980. 

White jade figure, with a reddish-yellow spot on the forehead. Carved in the form of a mythical beast, ‘??’ (bìxié) to ward off evil spirits, with a lion's body, wings, a half-open mouth with large teeth, a puckered expression, bulging eyes, a raised head, beard and fur on the face. All the elements are either in relief, openwork or engraved.The form of the ‘lion’ or mythical beast in ancient Chinese myths and legends is derived from the transliteration of ancient Sanskrit. Images of these figures are depicted on ancient textiles, belt buckles, seals, bells or buttons to ward off evil spirits. In the southern dynasties, stone statues were often found in front of tombs for the same reason. Han Dynasty (206 BC-220 AD) or later.Size: 4.2 x 2.2 x 5.6 cmWeight: 45 gProvenance: Collection of Tommy Lam, Hong Kong, from 1980.

A SUITCASE AND BOX OF CERAMICS, GLASSWARE, TIES AND TEXTILES, ETC, including two boxed limited edition Royal Doulton plates ( ‘The Harrier’ and 'Fire from the Sky’), with certificates, a Wedgwood David Shepherd limited edition plate, Royal Doulton ‘Thermette’ Bedwarmer, City of Birmingham Waterworks booklets and a quantity of men’s ties, some sporting interest (2)

Three flamskväv carriage cushion covers, late 19th/early 20th century, Swedish, Scania, worked in polychrome wools with birds and floral motifs,largest 49 x 48.5cm, one framed (3)Condition ReportOverall the textiles appear in good condition and are ready for placement. There is slight fading to colours. The weave to all three appears strong and in stable condition. One mounted and framed. One mounted. One unmounted and unframed.

Two flamskväv carriage cushion covers, c.1920s-30s, Swedish, Scania, worked in multicoloured wools with interlocking squares surrounded by tulip heads, eight-point stars and palmettes, within a border of stylised vine and flower heads,larger 48 x 105cm (2)Condition ReportOverall the textiles appear in good condition and are ready for placement. There is slight fading to colours. The weave to all three appears strong and in stable condition. Both unmounted and unframed.

A large appliquéd khatwa wall hanging, of recent manufacture, Indian, Bihar, variously dyed cotton and silk fabrics on a beige, tussah silk, woven cloth ground, with a serrated border,89 x 132cm, mounted on a wooden frameProvenance: The October Gallery, purchased 7 May 2003.Exhibited: The October Gallery and Joss Graham Oriental Textiles, 'Stitching Women's Lives', 7-31 May 2003.Literature: See Susan Conway, 'Bihar Quilting and North-East Thai Weaving: a Comparative Study of Status', Textile History, 30:1, 1999.For a similar example, see British Museum, no. As2003,02.1.Condition ReportWith invoice, exhibition guide and invoice for mounting. Good condition overall.

Léonide Markovnicoff,  Russian early 20th century -  Autumn;  watercolour and crayon on paper, signed lower right 'L Markovnicoff', 48.5 x 36 cm  Provenance:  The Bianchini-Férier Collection;  Christie's, London, Bianchini Textiles, 25-27th July 2001, lot 737 (part lot);  private collection  

Paule Vézelay, British 1892-1984 - Five Forms: Orange, Brown, Red and Grey on White, 1959; pastel on paper, signed and dated lower right 'Paule Vezelay 59', 45 x 53.2 cm (ARR) Provenance: the Estate of the Artist; England & Co., London (label attached to the reverse of the frame); private collection Note: this work is a variation on the painting 'Yellow Circle, 1956' in the Arts Council Collection, London. A pioneering artist of British abstraction, this work was made when Vezelay was living in Paris, after moving there in 1926. Vezelay was a central figure in the French avant-garde, exhibiting at the 'Salon des Superindepedants', where her work was praised by Christian Zervos, and was a member of the seminal Abstraction-Creation, alongside her friends Jean Arp and Marlow Moss. The 1950s was an important time for the artist, when she was invited by Andre Bloc to form a London branch of the constructivist abstract movement 'Groupe Espace', demonstrating her importance as a figure in Modernist European art. Despite some tensions between her and a younger generation of artists, Vézelay eventually succeeded in organising an exhibition at the Royal Festival Hall in 1955, alongside Marlow Moss, Ithell Colquhoun and Sonia Delaunay. In the 1950s the artist also found success designing textiles for Heals. 

A collection of antique children's gowns including white lawn garments, booties, caps etc to/w lace trimmings, edgings, squares, petticoats, and other vintage textiles (box)

TWO VELOURS DE KASAI TEXTILES. 23ins x 20ins and 20ins x 24ins.

A group of vintage and antique textiles and other items to include arts & crafts era embroideries, an ostrich feather fan a/f, vintage handbags and purses, early 20th century chinese silk in jade green that appears to have been cut from a garment, the very fine gold work embroidery featuring five clawed dragons, phoenix, plum blossom and other creatures, two Soviet union Pennants or flags and other items (qty, 1 bag)

Titles including: The Prince and Princess of Wales' Wedding Day (1981) by Audrey B. Zeder, The Queen's Jubilee (1977), Royal Souvenirs (1977) by Geoffrey Warren and many more. This collection features 3 commemorative cotton textiles, showcasing Prince Charles and Lady Diana, a London scene and a festive Crown with Trooping the Colour motif. Dimension of largest book: 8.75"L x 11.75"H. Dimension of largest textile: 20"L x 30"H.Dimensions: See DescriptionCountry of Origin: EnglandCondition: Age related wear.

An original abstract collage indistinctly signed lower left, a small framed print by Stan Rosenthal with COA verso from an edition of 50 and a small framed landscape picture in textiles. Largest overall size 28cm x 34cm

A set of four David Whitehead Bird Chair roller printed rayon textiles designed by Marian Mahler, originally designed in 1952, abstract design in yellow, white, sage and grey on a red ground, unsigned, 111 x 113.5cm. (4)

WILLIAM MORRIS (BRITISH 1834–1896) 'VINE AND ACANTHUS' EMBROIDERED PANEL, CIRCA 1890 coloured silks reserved on an unbleached linen ground, and lined with original printed cotton ‘Bird’ fabric by Morris & Co., later mounted and framed 169.2cm x 233cm (66 ½in x 99 ¾in) (frame size 181cm x 246cm (71 ¼in x 96 ¾in)) John and Joan Collins, Portobello Road, LondonAdrian J. Tilbrook and Dan Klein, LondonJohn Scott Collection Exhibited: The Fine Art Society, London Architect-Designers from Pugin to Voysey; The John Scott Collection , 3rd-25th June 2015, no. 84Literature: Morris & Company: Arras Tapestries, Wall-Papers, Fabrics, Furniture, Upholstery and Decoration, catalogue, circa 1910-12, p.24, where an identical design illustrated (half)Morris B. J. Victorian Embroidery: An Authoritative Guide, New York 1962, p.109Parry L. (ed.) William Morris, London 1996, p. 384The original design and cartoon for the tapestry are in the V&A; collection, accession numbers E.45-1940 and E.2472-1932Morris’ fascination with textiles was lifelong. This design is likely to have been partially inspired by the 16th century French and Flemish verdure tapestries he admired at Queen Elizabeth’s Hunting Lodge in Epping Forest as a child. In 1854 he visited France and was exposed to medieval ecclesiastical designs as well as observing weaving techniques in the Parisian Gobelins Works. As was characteristic of Morris, he personally sought to understand the physical making process, reportedly picking apart pieces to ‘puzzle out the tricks of the loom’.Despite his early enthusiasm for the medium, it was not until 1877 that Morris made his first official foray into tapestry weaving with ‘Acanthus and Vine’. This venture was once more prompted by his desire to understand Arras tapestry, studying it through making. Morris accordingly set up a haute-lisse, or horizontal loom, in his Kelmscott Manor bedroom, and spent 516 hours from May-September of 1879 completing it. This was not a seamless process, Morris himself renaming the piece ‘Cabbage and Vine’ following a distortion of the Acanthus leaves during production! The finished piece remains in the collection at Kelmscott, later being transposed to embroidery form.In the decades preceding the making of ‘Acanthus and Vine’, the status of embroidery as an artform was much diminished. The craft required a minimal and shrinking skill level, comprising repetitive stitch types and designs copied from kits. The founding of the Royal School of Art Needlework in 1872 aimed to improve the reputation of secular embroidery, with William Morris as one of the principle supporting designers. Morris’ opinions towards textiles foreshadowed principles of the Arts & Crafts Society, not established for another thirty years. He supported a return to traditional techniques, reacting against the stagnant designs and garish colour palettes of contemporary pieces. In the years prior to the making of ‘Acanthus and Vine’, not only did he become sole manager and proprietor of Morris & Co., but his work was influenced firstly by the opening of the South Kensington Museum (later the V&A;) and secondly his association with dyer Thomas Wardle. The former saw him inspired by sources as various as Indian textiles and traditional crewelwork, whilst the latter enabled him to work closely with a practitioner experienced in natural vegetable dyes. In ‘Acanthus and Vine’ sweeping arches of foliage envelope thoughtfully placed pairs of birds and plump bunches of grapes, all showcasing Morris’ love of gardening and his ornithological fascination. The colours are naturalistic, and the stitches lie flat to the fabric, allowing the subject to shine, rather than the materials themselves. For Morris, design elements had to serve a purpose within the pattern, birds needing to relate to the foliage rather than being a dominating feature. Thus, this embroidery retains the realism Morris prized, and his sentiment that ornamental art should primarily remind us of ‘the outward face of the earth’.

Textiles - a tapestry wall hanging, 108cm x 60cm; another 114cm x 81cm; a decorative floor covering (3)

Textiles - a large pair of Nina Campbell interlined curtains, Sir Oliphant, MCMXCV. Width 217cm x 73cm and 236cm x 76cm.

Textiles - two large pairs of Sanderson interlined Cascacs pattern curtains. Width 208cm x 207cm and 194cm x 207cm.

Textiles - a large pair of Arts and Crafts design curtains. Width 124cm x 221cm and 100cm x 218cm.

Textiles - a large pair of Heals curtains “Flower Shop”, designed by Hansjurgen Holzer 1967. 213cm x 334cm

Collection of textiles and fabriccomprising: Tibor Reich 'Garrick Jubilee' 118cm x 65cm approx, Tibor 'Lincoln' panel, 101cm x 91cm approx, Tibor 'Shakespeare' panel, 67cm x 123cm approx, two Tibor 'Atournament' panels, in different colourways, 59cm approx x 126cm approx, Tibor 'The age of Kings' panel, 61cm x 124cm approx, Tibor 'Shakespeares birthplace' panel, 48cm x 76cm, and two Tibor 'Etruscan' panels, 141cm x 46cm and 139cm x 55cm Overall in good order, minor wear and marks in places. Some very small stains which are not obvious. Would benefit from being aired.

A collection of various textiles, mostly mid 20th century plain and floral printed off cuts and miscellaneous sections.

A length of early 20th century black lace, 50x 394cm, together with a black cotton underskirt, a group of miscellaneous textiles and three berets etc.

A collection of early 20th century linen and textiles. mainly tablewares.

A collection of Vintage costume and textiles. Comprising coats, dresses, shirts and skirts in a variety of colours and designs etc, within a red suitcase.

A mixed lot of textiles to include a cotton Kasmir Pashimna shawl with embroidered polychrome boteh decoration along with a miscellaneous collection of silk and wool sheets and blankets. L.550cm W.50.5cm (black piece)

A collection of Middle Eastern Saudi Arabia items of jewellery, textiles, a Kukri & Arab knife, tambourine & musical instrument excellent to very good condition

A collection of various textiles comprising, childrens lace christening gowns, a cardigan, a floral stitched table cloth and feather. (alot)

A MIXED GROUP OF MAINLY CHINESE PORCELAIN AND TEXTILES, 18 TO EARLY 20TH CENTURY. To include various blue and white porcelain jars, cups. bowls etc. A famille rose bird feeder, A figural joss stick holder, A Japanese Imari dish, A European Chinese style dish with Shou character; A lacquer box, A Siam silk textile, together with four place mats. Largest dish 25cm (26) Some damages and repairs to note. Please contact us with specific condition queries.

Denise Zygadlo Bound, 2024 Paper-cut collage on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Denise Zygadlo is a visual artist/performance exploring cloth in all its forms and the memories and associations it holds. Working mainly with photocopied images transferred onto cloth and paper-cut collages and detailed drawings. Education 1973-1976 BA in Printed Textiles, Winchester Art School Solo Exhibitions 2012 Involutus Memet, Gatehouse of Fleet Museum, Galloway, Scotland 2014 Wrap, Gracefield Arts Centre, Dumfries, Scotland 2020 Kept Cloth, Arusha Gallery, Edinburgh, Scotland Group Exhibitions 2025 Upland, Kirkcudbright Galleries, Kirkcudbright, Scotland 2024 SSA Annual, Royal Scottish Academy, Edinburgh, Scotland Threads, Old Gala House, Galashiels, Scotland Awards 2012 Development, VACMA 2014 Performance, Creative Scotland Gallery Representation Arusha Gallery, Edinburgh Statement about AOAP Submitted Artwork A series of four paper-cut collages on the theme of 'bound' in its various forms. Using colour and ties to connect each to the other. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Denise Zygadlo Duty Bound, 2024 Paper-cut collage on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Denise Zygadlo is a visual artist/performance exploring cloth in all its forms and the memories and associations it holds. Working mainly with photocopied images transferred onto cloth and paper-cut collages and detailed drawings. Education 1973-1976 BA in Printed Textiles, Winchester Art School Solo Exhibitions 2012 Involutus Memet, Gatehouse of Fleet Museum, Galloway, Scotland 2014 Wrap, Gracefield Arts Centre, Dumfries, Scotland 2020 Kept Cloth, Arusha Gallery, Edinburgh, Scotland Group Exhibitions 2025 Upland, Kirkcudbright Galleries, Kirkcudbright, Scotland 2024 SSA Annual, Royal Scottish Academy, Edinburgh, Scotland Threads, Old Gala House, Galashiels, Scotland Awards 2012 Development, VACMA 2014 Performance, Creative Scotland Gallery Representation Arusha Gallery, Edinburgh Statement about AOAP Submitted Artwork A series of four paper-cut collages on the theme of 'bound' in its various forms. Using colour and ties to connect each to the other. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Hae-jin Yoo Woman in the Bath 'a', 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Haejin Yoo is a contemporary artist whose work explores themes of identity, persona, and introspection. Working primarily with oil and acrylic paints, she incorporates mixed media such as textiles, carpentry, and spray paint to push the boundaries of traditional canvas art and create immersive, surrealistic expressions. Her celebrated Woman in the Bath series reflects on private thoughts and the fluid nature of identity, drawing inspiration from the intimate setting of the bathroom. Haejin's art has earned numerous accolades, including 2nd prize in the 2024 Beautiful Bizarre Art Prize: RAYMAR Traditional Art Award, being named one of Saatchi Art's Rising Stars for 2024, and winning the First Prize Abstract Award at FIRA International Art Fair Barcelona (2022). After nearly eight years living and exhibiting in Germany, Haejin has returned to Sydney, Australia, where she continues to explore new mediums and themes, further expanding her artistic practice.   Education Self-taught   Solo Exhibitions 2021 Artland Online Solo Exhibition, represented by Azaro Artspaces   Group Exhibitions 2025 BFF Modern Portraits, 33 Contemporary Gallery, USA Corey Helford Gallery, Los Angeles, USA Nanny Goat Gallery, Petaluma, CA, USA Daughters of Eve, Quirky Fox Gallery, New Zealand Gems, Quirky Fox Gallery, New Zealand 2024 Woman in the Bath VI exhibited during HUGFest 2024, Canvas 3.0 Gallery, Oculus, New York City, USA The Other Art Fair, London, UK Beautiful Bizarre Magazine Exhibition, Modern Eden Gallery, San Francisco, USA 2023 The Other Art Fair, Los Angeles, USA The Other Art Fair, London, UK 2022 Impronte d'Arte, Bergamo, Italy (WINNER: Artist Expert Award, presented by Prof. Vittorio Sgarbi) Fira Internacional d'Art, Barcelona, Spain (WINNER: First Prize Abstract Award)   Awards 2024 2nd Prize, Beautiful Bizarre Art Prize: RAYMAR Traditional Art Award Saatchi Art Rising Star, Saatchi Art HUG100 Artists to Watch, HUG Finalist, Boynes Artist Award: 10th Edition 2023 Merit Prize Award, Teravarna International Juried Art Competition   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Kamila Sipika The Garden, 2025 Aquarelle on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Visual artist currently working in The Netherlands and Poland. Nature is rooted at the core of Kamila's creative inspiration as she works with subjects such as ephemerality, decay, tranquillity, folk traditions and timeless plants' symbolism. Her materials of choice are linens and cotton that serve perfectly the natural pigments, oil paints and dying the textiles. Her work encourages viewers to re-consider the relationship between nature and the painting medium. Her practice is founded on the curiosity in the surroundings. She collects a range of objects, primarily from nature, such as stones, seeds, shells, plants, and flowers to dry as a starting point of the creative process. Kamila strongly believes epiphanies can appear hidden in the most ordinary moments, textures, colours, and fragrances. Education Royal Academy of Art, The Hague, Netherlands, 2019 - 2021 Academy of Fine Arts, Warsaw, Poland, 2015-2019, 2021-2022 Group Exhibitions 2024 On Physiognomy of Nature, de Bouwput, Amsterdam (NL), duo show Sidewalk Hussle, collaboration, exhibition event of Orisun Studio, Den Haag (NL) Art Rotterdam Fair (with Rademakers Gallery) (NL) Wandler x Hotel l'Europe, Amsterdam (NL) 2023 Homebound exhibition, Den Haag (NL) Enter Art Fair (with Rademakers Gallery), Copenhagen (DK) Popłyniemy napięci w prąd radosnej energii, Galeria Nanazenit, Warsaw (PL) Springboard Art Fair, Utrecht (NL) Tiny Gallery x Fig, Sofia, Bulgaria 2022 Image Desires, Mysia 3, Warsaw (PL), solo show DAGLICHT, The Grey Space in The Middle, The Hague (NL) 2021 Fata Morgana (digital exhibition, NL) ART The Hague (NL) Graduation Festival, Royal Academy of Art, The Hague (NL) Awards 2024 Mondriaan Artist Start Fund 2023 Piket Prijs Nominatie Stroom PRO Invest 2022 Nominatie Buning Brongers Prijzen Statement about AOAP Submitted Artwork Discovering hidden in the daylight flowers blooming in the soil full of treasures and life, calms the mind of the one who wondered this way. The tactility and the fragrance are easily recognisable and recalled. Each flower carries a different meaning and perhaps a treasure of one's own memories. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Denise Zygadlo Homeward Bound, 2024 Paper-cut collage on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Denise Zygadlo is a visual artist/performance exploring cloth in all its forms and the memories and associations it holds. Working mainly with photocopied images transferred onto cloth and paper-cut collages and detailed drawings. Education 1973-1976 BA in Printed Textiles, Winchester Art School Solo Exhibitions 2012 Involutus Memet, Gatehouse of Fleet Museum, Galloway, Scotland 2014 Wrap, Gracefield Arts Centre, Dumfries, Scotland 2020 Kept Cloth, Arusha Gallery, Edinburgh, Scotland Group Exhibitions 2025 Upland, Kirkcudbright Galleries, Kirkcudbright, Scotland 2024 SSA Annual, Royal Scottish Academy, Edinburgh, Scotland Threads, Old Gala House, Galashiels, Scotland Awards 2012 Development, VACMA 2014 Performance, Creative Scotland Gallery Representation Arusha Gallery, Edinburgh Statement about AOAP Submitted Artwork A series of four paper-cut collages on the theme of 'bound' in its various forms. Using colour and ties to connect each to the other. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Julie Cassels Looking Back - Rewoven Series - After Vuillard - Red Rust, 2023 Composite Photograph Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Julie Cassels is a multidisciplinary artist whose work often has historical references, with a particular interest in the aesthetics of textiles and clothing, as they occur in all aspects of daily life. Her work is inspired by the depiction of fabric in all art forms, throughout art history, along with its interpretation and relevance. As a perpetual analyst, she reflects on the individuality of seeing and visual perception, illuminating them with work that encompasses video installation, photographic collage, digitally reconstructed objects, and low-relief mixed media canvasses. Education 2004 - 2005 MA at Manchester Metropolitan University in Textiles/Fashion 2001 - 2004 BA Visual Arts (Hons) Degree at Salford University. (First) 2000 - 2001 BTEC Arts Foundation Course, South Trafford College, (Dist) Solo Exhibitions 2021 We View Things Differently Now, Rogue Studios Project Space, Manchester, UK Group Exhibitions 2025 Return to the Sea, Seafront Gallery, Worthing Women in Art Prize, Roundhouse, Chalk Farm Rd, London NW1 8EH Ventriloquism, The Whitaker, Haslingden Rd, Rossendale, BB4 6RE Rogue Women 3, Rogue Studios Project Space, Manchester Air Gallery Open, Rogue Studios, 4 Barrass St, Manchester, M11 1WP Shutter Hub Yearbook 2024, online exhibition A Small Space World Tour, multiple venues A Room of One's Own, Irving Gallery, 28 Essex St, Oxford, OX4 3AW A Small Space, Square Feet Architects, 95 Bell St, London, NW1 6TL 2024 To the Sea, St Gilles Croix de Vie, France Bury Open, Bury Art Museum, Moss Street, Bury, BL9 0DR Spark Philosophy Retreat, Crawfordsburn Inn, Northern Ireland Live With It, Mura MA Art Space, 15 Stockport Rd, Marple, SK6 6BD A Small Space, Dezrez Projects, 285 Deansgate, M3 4EW A Small Space, Old Town General Store, Stockport, SK1 1NE Shape Exhibition, Gallery of Photography, Glasgow G1 1UG Comme Ca Art X Awol Studios Exhibition, Comme Ca Gallery, Manchester Rogue Women 2, Rogue Studios Project Space, Manchester Warrington Contemporary Open Exhibition, Warrington Museum and Art Gallery 2022 Shutter Hub Everyday Delight 2022, online exhibition Shutter Hub Yearbook 2022, online exhibition Bodfa Continuum, Plas Bodfa, Llangoed, Anglesey, Wales Manchester Open 2022, Home, Manchester, M15 4FN Postcards from Europe, Art at Arb, University of Cambridge, CB3 9DT 2021 Starting Space, Virtual Gallery Space, Artsteps and @ThePhotoEdge We View Things Differently Now, Rogue Studios Project Space, Manchester Shutter Hub Yearbook 2021, online exhibition Auckland Festival of Photography, Auckland, New Zealand In Manchester, Saul Hay Gallery, Manchester Awards 2024 Finalist Women in Art Prize 2021 Arts Council England DYCP Grant 2019 Greater Manchester Arts Prize runner-up 2015 Waterside 1-0 micro commission Statement about AOAP Submitted Artwork The two Looking Back - Rewoven works are composite photographs in a new series looking at the history of tapestry used as a backdrop for decoration and warmth. They reference works by the painter Edouard Vuillard who created complex layers and collages of textiles, reminding critics of the woolly reverse side of a tapestry. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Siobhan McLaughlin Lizard Point Detail, 2024 Earth pigment and oil paint on sewn remnant materials Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Siobhan McLaughlin is an artist and freelance curator based between Glasgow and Penzance. Working with remnant textiles and gathered earth pigments, her practice connects experiences of the landscape, layered with memories and connections to people, the body, and time. Exploring themes of place, memory, and sustainability, she considers how past activities leave impressions on our ecologies. Education 2014-2019 MA Fine Art, Painting and History of Art at Edinburgh College of Art and the University of Edinburgh, Scotland. 2013-2014 Portfolio Preparation, Tramway Visual Art Studio, Glasgow, Scotland. Solo Exhibitions 2024 Pilgrimages, Hweg Gallery, Penzance, Cornwall Group Exhibitions Selected Group Exhibitions: 2024 British Art Fair, Wilhelmina Barns-Graham Trust, Saatchi Gallery, London, England Make Yourself at Home, Hweg Gallery, Penzance, England Residency Room, VAS Centenary, Royal Scottish Academy, Edinburgh, Scotland London Art Fair with Ruup & Form, Islington Business Centre, London, England 2023 Elemental, Royal Scottish Academy, Edinburgh, Scotland Scottish Landscapes: A New Generation, Dovecot Studios, Edinburgh, Scotland Coast to Coast, 108 Fine Art, Harrogate, England 2022 HERE: Between you and the World, POP Griffiths Gallery, Brisbane, Australia 50 X 50, The Auction Collective, London, England Gilchrist-Fisher Award 2022, Rebecca Hossack Gallery, London, England On Paper, PAPER Gallery, Manchester, England 2021 Abstract Zeitgeist, Rafiki Gallery at the Biscuit Factory, Edinburgh, Scotland 2019 OPEN SSA+VAS, Royal Scottish Academy, Edinburgh, Scotland July Exhibition, Arusha Gallery, Edinburgh, Scotland All, Entire, Whole, New Glasgow Society, Glasgow, Scotland 2018 Guest Room in Sightseers, G39 Gallery, Cardiff, Wales THE SALON, EMBASSY Gallery, Edinburgh, Scotland Awards 2023 Stephen Palmer Bursary Award, Engage Scotland Art Trade Forum Bursary, Paul Mellon Centre for British Art, London Henderson Bursary Award, Pittenweem 2022 VAS From One to Another: Cornwall x Scotland Exchange Residency, Wilhelmina Barns-Graham Trust and Borlase Smart John Wells Trust RSA Residencies for Scotland- Cromarty Arts Trust, Royal Scottish Academy 2021 Hospitalfield Graduate Residency Programme, Arbroath Shortlisted for the Gilchrist-Fisher Award 2022, Rebecca Hossack Gallery, London Selected Member of PLACE Collective, UK's Centre for National Parks, Cumbria 2020 Selected member of Emerging Curators Group, British Art Network, Tate, London 2019 SSA Wilhelmina Barns-Graham Award, Wilhelmina Barns-Graham Trust, RSA Huntley MacDonald Sinclair Prize for Best Dissertation, Edinburgh University Helen A Rose, Bequest for distinguished artwork, Edinburgh College of Art 2018 Research Grant, Conservation dept. at the Pompidou Centre, Paris, Edinburgh University Astaire Art Prize, 2nd Place, Edinburgh College of Art Statement about AOAP Submitted Artwork My practice starts by walking: slowing down to encounter the nuances of landscape, gathering spectrums of site-specific colours affected by light, weather and time. I prioritise care while gathering earth to grind into pigment, connecting to an ancient form of paint-making. Remnant materials - an old fisherman's smock, childhood bedroom curtains - are gathered and sewn to create a patchwork canvas for painting. The gathering of these materials is important, from the landscapes I walk in and communities I meet, sewing the stories and histories of these textiles into the landscape of the painting. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Sara Berman Fencer Pen Study II, 2024 Pen on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About b. 1975, London; lives and works in London. A dialogue between painting and textiles. Feeding into each other, joining at the seams, meeting in uncomfortable places. There is a bleed in my work; a contamination. I can attempt a sanitization, a cleaning up of the domestic detritus into a cupboard marked 'Practice' but the bleed is the point, the uncomfortable nooks of the female bodily experience. This is the issue. Pass me a tissue so I can clean it all up for you and put something on. Clothing as objects of confinement, of protection, of identity, of safety. Inside. Outside. Painting is a game of materiality. The visceral qualities of paint. Layered, built up, scraped back and bruised. Emerging from violence of its own making. Searching. It is important to start any search with a map of the road to nowhere. My map is The Harlequin. An outfit, a costume The perfect disguise. The perfect reveal. It all starts with her. The Harlequin as a Woman is No Joker. She is the Trickster Whore. The Witch, the Shrew, the Sorceress with the voice of a Harpy. Fear her with her big mouth, her bloody gash. But I digress, I transgress. Me and My Big Mouth. Education 1995-1999 Saint Martins School of Art and Design, London 2014-2016 MFA Slade School of Art, London You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Sara Berman Fencer Pen Study I, 2024 Pen on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About b. 1975, London; lives and works in London. A dialogue between painting and textiles. Feeding into each other, joining at the seams, meeting in uncomfortable places. There is a bleed in my work; a contamination. I can attempt a sanitization, a cleaning up of the domestic detritus into a cupboard marked 'Practice' but the bleed is the point, the uncomfortable nooks of the female bodily experience. This is the issue. Pass me a tissue so I can clean it all up for you and put something on. Clothing as objects of confinement, of protection, of identity, of safety. Inside. Outside. Painting is a game of materiality. The visceral qualities of paint. Layered, built up, scraped back and bruised. Emerging from violence of its own making. Searching. It is important to start any search with a map of the road to nowhere. My map is The Harlequin. An outfit, a costume The perfect disguise. The perfect reveal. It all starts with her. The Harlequin as a Woman is No Joker. She is the Trickster Whore. The Witch, the Shrew, the Sorceress with the voice of a Harpy. Fear her with her big mouth, her bloody gash. But I digress, I transgress. Me and My Big Mouth. Education 1995-1999 Saint Martins School of Art and Design, London 2014-2016 MFA Slade School of Art, London You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Kamila Sipika Yellow Elder, 2025 Aquarelle on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Visual artist currently working in The Netherlands and Poland. Nature is rooted at the core of Kamila's creative inspiration as she works with subjects such as ephemerality, decay, tranquillity, folk traditions and timeless plants' symbolism. Her materials of choice are linens and cotton that serve perfectly the natural pigments, oil paints and dying the textiles. Her work encourages viewers to re-consider the relationship between nature and the painting medium. Her practice is founded on the curiosity in the surroundings. She collects a range of objects, primarily from nature, such as stones, seeds, shells, plants, and flowers to dry as a starting point of the creative process. Kamila strongly believes epiphanies can appear hidden in the most ordinary moments, textures, colours, and fragrances. Education Royal Academy of Art, The Hague, Netherlands, 2019 - 2021 Academy of Fine Arts, Warsaw, Poland, 2015-2019, 2021-2022 Group Exhibitions 2024 On Physiognomy of Nature, de Bouwput, Amsterdam (NL), duo show Sidewalk Hussle, collaboration, exhibition event of Orisun Studio, Den Haag (NL) Art Rotterdam Fair (with Rademakers Gallery) (NL) Wandler x Hotel l'Europe, Amsterdam (NL) 2023 Homebound exhibition, Den Haag (NL) Enter Art Fair (with Rademakers Gallery), Copenhagen (DK) Popłyniemy napięci w prąd radosnej energii, Galeria Nanazenit, Warsaw (PL) Springboard Art Fair, Utrecht (NL) Tiny Gallery x Fig, Sofia, Bulgaria 2022 Image Desires, Mysia 3, Warsaw (PL), solo show DAGLICHT, The Grey Space in The Middle, The Hague (NL) 2021 Fata Morgana (digital exhibition, NL) ART The Hague (NL) Graduation Festival, Royal Academy of Art, The Hague (NL) Awards 2024 Mondriaan Artist Start Fund 2023 Piket Prijs Nominatie Stroom PRO Invest 2022 Nominatie Buning Brongers Prijzen Statement about AOAP Submitted Artwork Discovering hidden in the daylight flowers blooming in the soil full of treasures and life, calms the mind of the one who wondered this way. The tactility and the fragrance are easily recognisable and recalled. Each flower carries a different meaning and perhaps a treasure of one's own memories. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Denise Zygadlo Cloth Bound, 2024 Paper-cut collage on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Denise Zygadlo is a visual artist/performance exploring cloth in all its forms and the memories and associations it holds. Working mainly with photocopied images transferred onto cloth and paper-cut collages and detailed drawings. Education 1973-1976 BA in Printed Textiles, Winchester Art School Solo Exhibitions 2012 Involutus Memet, Gatehouse of Fleet Museum, Galloway, Scotland 2014 Wrap, Gracefield Arts Centre, Dumfries, Scotland 2020 Kept Cloth, Arusha Gallery, Edinburgh, Scotland Group Exhibitions 2025 Upland, Kirkcudbright Galleries, Kirkcudbright, Scotland 2024 SSA Annual, Royal Scottish Academy, Edinburgh, Scotland Threads, Old Gala House, Galashiels, Scotland Awards 2012 Development, VACMA 2014 Performance, Creative Scotland Gallery Representation Arusha Gallery, Edinburgh Statement about AOAP Submitted Artwork A series of four paper-cut collages on the theme of 'bound' in its various forms. Using colour and ties to connect each to the other. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Hae-jin Yoo Woman in the Bath 'b', 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Haejin Yoo is a contemporary artist whose work explores themes of identity, persona, and introspection. Working primarily with oil and acrylic paints, she incorporates mixed media such as textiles, carpentry, and spray paint to push the boundaries of traditional canvas art and create immersive, surrealistic expressions. Her celebrated Woman in the Bath series reflects on private thoughts and the fluid nature of identity, drawing inspiration from the intimate setting of the bathroom. Haejin's art has earned numerous accolades, including 2nd prize in the 2024 Beautiful Bizarre Art Prize: RAYMAR Traditional Art Award, being named one of Saatchi Art's Rising Stars for 2024, and winning the First Prize Abstract Award at FIRA International Art Fair Barcelona (2022). After nearly eight years living and exhibiting in Germany, Haejin has returned to Sydney, Australia, where she continues to explore new mediums and themes, further expanding her artistic practice.   Education Self-taught   Solo Exhibitions 2021 Artland Online Solo Exhibition, represented by Azaro Artspaces   Group Exhibitions 2025 BFF Modern Portraits, 33 Contemporary Gallery, USA Corey Helford Gallery, Los Angeles, USA Nanny Goat Gallery, Petaluma, CA, USA Daughters of Eve, Quirky Fox Gallery, New Zealand Gems, Quirky Fox Gallery, New Zealand 2024 Woman in the Bath VI exhibited during HUGFest 2024, Canvas 3.0 Gallery, Oculus, New York City, USA The Other Art Fair, London, UK Beautiful Bizarre Magazine Exhibition, Modern Eden Gallery, San Francisco, USA 2023 The Other Art Fair, Los Angeles, USA The Other Art Fair, London, UK 2022 Impronte d'Arte, Bergamo, Italy (WINNER: Artist Expert Award, presented by Prof. Vittorio Sgarbi) Fira Internacional d'Art, Barcelona, Spain (WINNER: First Prize Abstract Award)   Awards 2024 2nd Prize, Beautiful Bizarre Art Prize: RAYMAR Traditional Art Award Saatchi Art Rising Star, Saatchi Art HUG100 Artists to Watch, HUG Finalist, Boynes Artist Award: 10th Edition 2023 Merit Prize Award, Teravarna International Juried Art Competition   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Julie Cassels Looking Back - Rewoven Series - After Vuillard - Blue Grey, 2023 Composite Photograph Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Julie Cassels is a multidisciplinary artist whose work often has historical references, with a particular interest in the aesthetics of textiles and clothing, as they occur in all aspects of daily life. Her work is inspired by the depiction of fabric in all art forms, throughout art history, along with its interpretation and relevance. As a perpetual analyst, she reflects on the individuality of seeing and visual perception, illuminating them with work that encompasses video installation, photographic collage, digitally reconstructed objects, and low-relief mixed media canvasses. Education 2004 - 2005 MA at Manchester Metropolitan University in Textiles/Fashion 2001 - 2004 BA Visual Arts (Hons) Degree at Salford University. (First) 2000 - 2001 BTEC Arts Foundation Course, South Trafford College, (Dist) Solo Exhibitions 2021 We View Things Differently Now, Rogue Studios Project Space, Manchester, UK Group Exhibitions 2025 Return to the Sea, Seafront Gallery, Worthing Women in Art Prize, Roundhouse, Chalk Farm Rd, London NW1 8EH Ventriloquism, The Whitaker, Haslingden Rd, Rossendale, BB4 6RE Rogue Women 3, Rogue Studios Project Space, Manchester Air Gallery Open, Rogue Studios, 4 Barrass St, Manchester, M11 1WP Shutter Hub Yearbook 2024, online exhibition A Small Space World Tour, multiple venues A Room of One's Own, Irving Gallery, 28 Essex St, Oxford, OX4 3AW A Small Space, Square Feet Architects, 95 Bell St, London, NW1 6TL 2024 To the Sea, St Gilles Croix de Vie, France Bury Open, Bury Art Museum, Moss Street, Bury, BL9 0DR Spark Philosophy Retreat, Crawfordsburn Inn, Northern Ireland Live With It, Mura MA Art Space, 15 Stockport Rd, Marple, SK6 6BD A Small Space, Dezrez Projects, 285 Deansgate, M3 4EW A Small Space, Old Town General Store, Stockport, SK1 1NE Shape Exhibition, Gallery of Photography, Glasgow G1 1UG Comme Ca Art X Awol Studios Exhibition, Comme Ca Gallery, Manchester Rogue Women 2, Rogue Studios Project Space, Manchester Warrington Contemporary Open Exhibition, Warrington Museum and Art Gallery 2022 Shutter Hub Everyday Delight 2022, online exhibition Shutter Hub Yearbook 2022, online exhibition Bodfa Continuum, Plas Bodfa, Llangoed, Anglesey, Wales Manchester Open 2022, Home, Manchester, M15 4FN Postcards from Europe, Art at Arb, University of Cambridge, CB3 9DT 2021 Starting Space, Virtual Gallery Space, Artsteps and @ThePhotoEdge We View Things Differently Now, Rogue Studios Project Space, Manchester Shutter Hub Yearbook 2021, online exhibition Auckland Festival of Photography, Auckland, New Zealand In Manchester, Saul Hay Gallery, Manchester Awards 2024 Finalist Women in Art Prize 2021 Arts Council England DYCP Grant 2019 Greater Manchester Arts Prize runner-up 2015 Waterside 1-0 micro commission Statement about AOAP Submitted Artwork The two Looking Back - Rewoven works are composite photographs in a new series looking at the history of tapestry used as a backdrop for decoration and warmth. They reference works by the painter Edouard Vuillard who created complex layers and collages of textiles, reminding critics of the woolly reverse side of a tapestry. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Siobhan McLaughlin Run Off From the Mine, 2024 Earth pigment and oil paint on sewn remnant materials and thread Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Siobhan McLaughlin is an artist and freelance curator based between Glasgow and Penzance. Working with remnant textiles and gathered earth pigments, her practice connects experiences of the landscape, layered with memories and connections to people, the body, and time. Exploring themes of place, memory, and sustainability, she considers how past activities leave impressions on our ecologies. Education 2014-2019 MA Fine Art, Painting and History of Art at Edinburgh College of Art and the University of Edinburgh, Scotland. 2013-2014 Portfolio Preparation, Tramway Visual Art Studio, Glasgow, Scotland. Solo Exhibitions 2024 Pilgrimages, Hweg Gallery, Penzance, Cornwall Group Exhibitions Selected Group Exhibitions: 2024 British Art Fair, Wilhelmina Barns-Graham Trust, Saatchi Gallery, London, England Make Yourself at Home, Hweg Gallery, Penzance, England Residency Room, VAS Centenary, Royal Scottish Academy, Edinburgh, Scotland London Art Fair with Ruup & Form, Islington Business Centre, London, England 2023 Elemental, Royal Scottish Academy, Edinburgh, Scotland Scottish Landscapes: A New Generation, Dovecot Studios, Edinburgh, Scotland Coast to Coast, 108 Fine Art, Harrogate, England 2022 HERE: Between you and the World, POP Griffiths Gallery, Brisbane, Australia 50 X 50, The Auction Collective, London, England Gilchrist-Fisher Award 2022, Rebecca Hossack Gallery, London, England On Paper, PAPER Gallery, Manchester, England 2021 Abstract Zeitgeist, Rafiki Gallery at the Biscuit Factory, Edinburgh, Scotland 2019 OPEN SSA+VAS, Royal Scottish Academy, Edinburgh, Scotland July Exhibition, Arusha Gallery, Edinburgh, Scotland All, Entire, Whole, New Glasgow Society, Glasgow, Scotland 2018 Guest Room in Sightseers, G39 Gallery, Cardiff, Wales THE SALON, EMBASSY Gallery, Edinburgh, Scotland Awards 2023 Stephen Palmer Bursary Award, Engage Scotland Art Trade Forum Bursary, Paul Mellon Centre for British Art, London Henderson Bursary Award, Pittenweem 2022 VAS From One to Another: Cornwall x Scotland Exchange Residency, Wilhelmina Barns-Graham Trust and Borlase Smart John Wells Trust RSA Residencies for Scotland- Cromarty Arts Trust, Royal Scottish Academy 2021 Hospitalfield Graduate Residency Programme, Arbroath Shortlisted for the Gilchrist-Fisher Award 2022, Rebecca Hossack Gallery, London Selected Member of PLACE Collective, UK's Centre for National Parks, Cumbria 2020 Selected member of Emerging Curators Group, British Art Network, Tate, London 2019 SSA Wilhelmina Barns-Graham Award, Wilhelmina Barns-Graham Trust, RSA Huntley MacDonald Sinclair Prize for Best Dissertation, Edinburgh University Helen A Rose, Bequest for distinguished artwork, Edinburgh College of Art 2018 Research Grant, Conservation dept. at the Pompidou Centre, Paris, Edinburgh University Astaire Art Prize, 2nd Place, Edinburgh College of Art Statement about AOAP Submitted Artwork My practice starts by walking: slowing down to encounter the nuances of landscape, gathering spectrums of site-specific colours affected by light, weather and time. I prioritise care while gathering earth to grind into pigment, connecting to an ancient form of paint-making. Remnant materials - an old fisherman's smock, childhood bedroom curtains - are gathered and sewn to create a patchwork canvas for painting. The gathering of these materials is important, from the landscapes I walk in and communities I meet, sewing the stories and histories of these textiles into the landscape of the painting. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Bellamy Jean The Star, 2025 Textile Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bellamy Jean is a contemporary textile artist and designer specialising in original and bespoke embroidery. She started sewing in the back of her mother's lingerie shop and has spent years developing her skills and style. Focused mainly on textiles, Bellamy creates meaningful pieces using fabric and thread. Through her work, she studies the art of alchemy and the symbolism surrounding world religions past and present, as well as colour compositions through the work of Hilma af Klint, Joseph Albers, and Alexander Calder. Each of her pieces is hand-drawn and embroidered freehand using an Industrial freehand embroidery machine. Education Art Foundation, City and Guilds school of fine art 2006 Freehand machine embroidery course, London Embroidery Studio 2017 Digital embroidery course, London Embroidery Studio, 2018 Group Exhibitions Babes in Arms, The De La Warr Pavilion, Bexhill, UK, September 2022 Babes in Arms, Big Yin Gallery, St Leonards on Sea, UK, November 2021 Statement about AOAP Submitted Artwork The two pieces that I have created are symbolic portrayals of femininity, with a star being the focal point of both embroideries. I used a star as an independent symbol within the pieces to show a life-giving source, the most common perception of being female. My aim is to further the conversation on the way women are perceived and portrayed in today's society. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Bellamy Jean Finding the Light, 2025 Textile Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bellamy Jean is a contemporary textile artist and designer specialising in original and bespoke embroidery. She started sewing in the back of her mother's lingerie shop and has spent years developing her skills and style. Focused mainly on textiles, Bellamy creates meaningful pieces using fabric and thread. Through her work, she studies the art of alchemy and the symbolism surrounding world religions past and present, as well as colour compositions through the work of Hilma af Klint, Joseph Albers, and Alexander Calder. Each of her pieces is hand-drawn and embroidered freehand using an Industrial freehand embroidery machine. Education Art Foundation, City and Guilds school of fine art 2006 Freehand machine embroidery course, London Embroidery Studio 2017 Digital embroidery course, London Embroidery Studio, 2018 Group Exhibitions Babes in Arms, The De La Warr Pavilion, Bexhill, UK, September 2022 Babes in Arms, Big Yin Gallery, St Leonards on Sea, UK, November 2021 Statement about AOAP Submitted Artwork The two pieces that I have created are symbolic portrayals of femininity, with a star being the focal point of both embroideries. I used a star as an independent symbol within the pieces to show a life-giving source, the most common perception of being female. My aim is to further the conversation on the way women are perceived and portrayed in today's society. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.