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Transcript of Presenter Felt makers Convergence1 - tmba … first introduced to felting in New Zealand, I was...
1
14th Southern Hemisphere Felt-makers Convergence
Presenter Profiles (Version 3)
Presenter Page Notes Wendy Bailye 2
Vicki Bishop 3 Workshop requirements listed on their profile page
Eleanor Brash 4 Jacquie Damon 5
Sam Everett 6 Workshop requirements listed on their profile page
Sanneke Hart 7 Marilyn Jensen, OAM 8
Debbie Leung 9 Workshop requirements listed on their profile page
Chris Lines 10 Workshop requirements listed on their profile page
Kirbysue Lyons 15
Jonna MacFadyen 16 Workshop requirements listed on their profile page
Stuart Marshall & Shirley Johnson
17
Elaine Murray 18 Workshop requirements listed on their profile page
Mieke den Otter 19
Shona Schofield 20 Workshop requirements listed on their profile page
Barbara Scott 22 Helen Stumkat 23 Marlene Taylor 25 Dorothy Walsh 26 Vivienne Young 27
I am a contemporary felt artisan, designer and tutor. I work fulltime
as a feltmaker
threads and recycled materials to produce fibre
wearables.
The making of handmade wool felt is an ancient technique that has
developed into a very advanced contemporary art form, incl
use of a wide variety of modern materials in the process. It is a
process of transformation, combining fabrics and fibres with great
alchemy into a pleasing finished product. I enjoy contributing to the
development of experimental, modern feltm
surface design and texture.
I have been felt making for nearly 25 years and run a vibrant felt art studio, The Felt Studio,
from my home in the Samford Valley, in Brisbane, Australia. Here I host workshops with
international tutors, and work on commissions and refining my personal felt making
practice. I teach my skill nationally and internationally from my studio and have been
featured artist with Expertise Events, travelling with the Craft and Quilt Fairs to each
Australia for two years. I continue to teach regularly in Australia. I have taught feltmaking
in the UK, Scotland, Norway and New Zealand as well as on cruises to some wonderful
destinations. I exhibit widely, and have won a variety of awards
I am constantly refining my skills, learning from many other talented artists and students,
who so generously share their wealth of knowledge with me. Being part of a growing and
diverse textile community has been a rich and life changing
ATASDA, QLD. Spinners, Weavers and Fibre Artists. I am a life member of the international
Feltmakers Association and the Australasian Regional Co
assistant editor and co-editor of Felt magazine
Felting provides me with a creative outlet that is both unique and full of challenge. It is
always the process that inspires me and fires my imagination; the finished product is often
far from my thoughts. By playing, so much is leaned!
has so many practical applications
intrigues me most about felt. I am inspired from within my inner landscape in combination
with the never-ending inspiration of
Presentations: “50 Shades of Grey” and “Hold on to Your Hats”.
Both are demonstrations only with interactive discussion.
WENDY BAILYE
I am a contemporary felt artisan, designer and tutor. I work fulltime
as a feltmaker using an eclectic mix of wool fibres, fabrics, silks,
threads and recycled materials to produce fibre-rich artworks and
wearables.
The making of handmade wool felt is an ancient technique that has
developed into a very advanced contemporary art form, incl
use of a wide variety of modern materials in the process. It is a
process of transformation, combining fabrics and fibres with great
alchemy into a pleasing finished product. I enjoy contributing to the
development of experimental, modern feltmaking techniques, focusing on innovative
I have been felt making for nearly 25 years and run a vibrant felt art studio, The Felt Studio,
from my home in the Samford Valley, in Brisbane, Australia. Here I host workshops with
ernational tutors, and work on commissions and refining my personal felt making
practice. I teach my skill nationally and internationally from my studio and have been
featured artist with Expertise Events, travelling with the Craft and Quilt Fairs to each
Australia for two years. I continue to teach regularly in Australia. I have taught feltmaking
in the UK, Scotland, Norway and New Zealand as well as on cruises to some wonderful
destinations. I exhibit widely, and have won a variety of awards for my feltwork.
I am constantly refining my skills, learning from many other talented artists and students,
who so generously share their wealth of knowledge with me. Being part of a growing and
diverse textile community has been a rich and life changing experience. I am a member of
ATASDA, QLD. Spinners, Weavers and Fibre Artists. I am a life member of the international
Feltmakers Association and the Australasian Regional Co-Ordinator (Region 17). I was
editor of Felt magazine for many years.
Felting provides me with a creative outlet that is both unique and full of challenge. It is
always the process that inspires me and fires my imagination; the finished product is often
far from my thoughts. By playing, so much is leaned! Felt is such a versatile medium that
has so many practical applications – the possibilities are never-ending. It is this that
intrigues me most about felt. I am inspired from within my inner landscape in combination
ending inspiration of colours, textures and patterns in the outer world.
Presentations: “50 Shades of Grey” and “Hold on to Your Hats”.
Both are demonstrations only with interactive discussion.
2
I am a contemporary felt artisan, designer and tutor. I work fulltime
using an eclectic mix of wool fibres, fabrics, silks,
rich artworks and
The making of handmade wool felt is an ancient technique that has
developed into a very advanced contemporary art form, including the
use of a wide variety of modern materials in the process. It is a
process of transformation, combining fabrics and fibres with great
alchemy into a pleasing finished product. I enjoy contributing to the
aking techniques, focusing on innovative
I have been felt making for nearly 25 years and run a vibrant felt art studio, The Felt Studio,
from my home in the Samford Valley, in Brisbane, Australia. Here I host workshops with
ernational tutors, and work on commissions and refining my personal felt making
practice. I teach my skill nationally and internationally from my studio and have been
featured artist with Expertise Events, travelling with the Craft and Quilt Fairs to each state in
Australia for two years. I continue to teach regularly in Australia. I have taught feltmaking
in the UK, Scotland, Norway and New Zealand as well as on cruises to some wonderful
for my feltwork.
I am constantly refining my skills, learning from many other talented artists and students,
who so generously share their wealth of knowledge with me. Being part of a growing and
experience. I am a member of
ATASDA, QLD. Spinners, Weavers and Fibre Artists. I am a life member of the international
Ordinator (Region 17). I was
Felting provides me with a creative outlet that is both unique and full of challenge. It is
always the process that inspires me and fires my imagination; the finished product is often
Felt is such a versatile medium that
ending. It is this that
intrigues me most about felt. I am inspired from within my inner landscape in combination
colours, textures and patterns in the outer world.
3
VICKI BISHOP, B.Ed
My Felting Life:
I began felting in 2006 at Jondaryan Woolshed with the Toowoomba Spinners and
Weavers.
My craft has developed with teaching my early learners how much fun felting is. I
have attended many workshops and love to make flowers, scarves and bags. I hope
to bring that joy of colour, texture and nature to my mini workshop.
Flower Workshop for those not going on Garden Tour:
Requirements: Small amounts of 3 or 4 colours wool, silk fabric, silk fibres and any
other texture, your preference. Usual felt items.
4
ELEANOR BRASH
I discovered wet felt making in 2009, when I enrolled in a Shellharbour Council sponsored
workshop. The tutor was well-known sculpture and feltmaker Anita Larkin.
This became a “light bulb” moment. Now, felted hats are my speciality and I have received
first place awards for my hats at Sydney’s Royal Easter Show and the Bendigo Sheep and
Wool Show.
I am currently the Secretary for the Illawarra Feltmakers Inc.
Suggested reading:
“Uniquely Felt” by Christine While. Origami Hat, Pages 189-191.
“Felt Magazine” – Issue 15. 9” Square Hat by Eleanor Brash, Pages 25-27.
Presentation: 19” Square Hat – Show and Tell plus interactive discussion.
5
JACQUIE DAMON
Jacquie combines decades of knowledge in the fashion industry with a passion for felting
and shoe making.
She is a designer, trainer, felter and student in the art of shoe making.
Presentation:
Shoe Making for Felters - Presentation and interactive discussion and demonstration.
Objective: Explanation and demonstration of the tools, materials and processes involved in
making a pair of felted shoes.
SAMANTHA (SAM) EVERETT
Liz Williamson was my main mentor and supervisor at Uni, and my studio practise helped
mould future Course outlines.
Anita Larkin was the first artist to teach me felting. I then studied under Jeanette Appleton
when she was in Australia, with a real focu
Hopper. My real claim to fame is having one of my felt dresses on The Kerry
Show!
I have been facilitating a 5 day course in
Bellingen for a couple of years now, and am a member of
live in a quaint and rural village called Wingham.
My studio – “A Little to the Left Studio & Gallery”
coast in NSW.
Presentation Topic: “Freestyle” Feltm
Fur and beyond!!!
Objective: Inspire, Engage, (gently) Challenge and Share my story and life as a Fibre
Artist, what “Freestyle Feltmaking” means.
Outcome: Participants will choose what we and/or they make,
imaginations and “what if I” responses. Like the name of my studio and gallery, my work is
a little to the left or right of main stream; just like me, I guess! This workshop is for those
who wish to develop their work more conce
with materials having no final outcome in mind, have lost their creative mojo, are
passionate about the creative process or just want a bit of a laugh in a relaxed, supportive
and informal space.
Requirements: Bring 4 shades of wool (can be neutral tones or bright colours), silk hankies,
pieces of fabric or other yarns. Usual felting requirements.
SAMANTHA (SAM) EVERETT
I am an artist and at the end of last year I extended my
studio space to include a Gallery that focuses on
showcasing Textile and Fibre Art, along with
artists!
I have a Bachelor of Fine Arts with Honours, and was the
first person to Major in Textiles at the College of Fine Arts
(Cofa, part of UNSW). Part of my Degree was spent on
exchange and scholarship at Glasgow School of Art
Scotlalnd.
Liz Williamson was my main mentor and supervisor at Uni, and my studio practise helped
mould future Course outlines.
Anita Larkin was the first artist to teach me felting. I then studied under Jeanette Appleton
when she was in Australia, with a real focus on colour mixing; and the wonderful Jenny
Hopper. My real claim to fame is having one of my felt dresses on The Kerry
I have been facilitating a 5 day course in “Freestyle Feltmaking” at Camp Creative in
ears now, and am a member of The Manning Fibre Artists
live in a quaint and rural village called Wingham.
“A Little to the Left Studio & Gallery” – is located in Taree on the mid north
“Freestyle” Feltmaking – from King Solomon, Impressionism, Possum
Inspire, Engage, (gently) Challenge and Share my story and life as a Fibre
Artist, what “Freestyle Feltmaking” means.
Participants will choose what we and/or they make, based on their interests,
imaginations and “what if I” responses. Like the name of my studio and gallery, my work is
or right of main stream; just like me, I guess! This workshop is for those
who wish to develop their work more conceptually, have forgotten how to simply “play”
with materials having no final outcome in mind, have lost their creative mojo, are
passionate about the creative process or just want a bit of a laugh in a relaxed, supportive
Bring 4 shades of wool (can be neutral tones or bright colours), silk hankies,
pieces of fabric or other yarns. Usual felting requirements.
6
I am an artist and at the end of last year I extended my
studio space to include a Gallery that focuses on
showcasing Textile and Fibre Art, along with emerging
I have a Bachelor of Fine Arts with Honours, and was the
first person to Major in Textiles at the College of Fine Arts
(Cofa, part of UNSW). Part of my Degree was spent on
Glasgow School of Art,
Liz Williamson was my main mentor and supervisor at Uni, and my studio practise helped
Anita Larkin was the first artist to teach me felting. I then studied under Jeanette Appleton
s on colour mixing; and the wonderful Jenny
Hopper. My real claim to fame is having one of my felt dresses on The Kerry-Anne Breakfast
at Camp Creative in
The Manning Fibre Artists, as I
is located in Taree on the mid north
from King Solomon, Impressionism, Possum
Inspire, Engage, (gently) Challenge and Share my story and life as a Fibre
based on their interests,
imaginations and “what if I” responses. Like the name of my studio and gallery, my work is
or right of main stream; just like me, I guess! This workshop is for those
ptually, have forgotten how to simply “play”
with materials having no final outcome in mind, have lost their creative mojo, are
passionate about the creative process or just want a bit of a laugh in a relaxed, supportive
Bring 4 shades of wool (can be neutral tones or bright colours), silk hankies,
My name is Sanneke Hart. I was born in Leiden, Netherlands and
came to Australia with my parents and brother in 1950. We spent
some time in the Bathurst Migrant Camp before we moved to
Toowoomba Queensland where my Dad got a job as motor bike
mechanic. Having no English
beginning. We moved to Brookstead about an hour west of
Toowoomba, and there I did my primary schooling. We moved to
Bribie Island and I went to Caboolture High School.
I was always interested in sewing, knitting and emb
encouragement from my Mum as she always regarded these ‘interests’ as WORK; not as a
hobby.
After my marriage we moved around a lot and got quite involved with dog obedience
training; then when we settled in Petrie (a suburb of
and then decided I’d like to lear
Fibre Artists – as they are now known.
I bought a second-hand Ashford Traditional Spinning Wheel and enrolled in TAFE classes;
however, the tutor obviously did not care much for teaching spinning. Her real love was
Inkle Weaving, which I took to enthusiastically. It was only when we bought a property in
Murphys Creek that I was introduced to the Toowoomba Spinners Club and join
January 1982.
At one of their early camps, Judy Turner was tutoring a felting class
ancient craft, I decided I had to give it a go. The requirements listed were 2” fibreglass
gauze (larger than the felt to be made), broomstick d
the wool between), needle and thread (to stitch and hold wool in place), 3m x 1/8” cord, a
large galvanized tray to keep the water contained, and a box of
law (who was living with us) set abo
End result was a very lumpy, bumpy piece of thick felt suitable for a mat, maybe.
Things have changed in felting nowadays
manner of fibres which can be incorporated
mats, boots, hats, nuno-felt clothing and sculptures
Felt Butterflies: Presentation and interactive discussion
SANNEKE HART
Hart. I was born in Leiden, Netherlands and
came to Australia with my parents and brother in 1950. We spent
some time in the Bathurst Migrant Camp before we moved to
Toowoomba Queensland where my Dad got a job as motor bike
mechanic. Having no English language made it difficult in the
beginning. We moved to Brookstead about an hour west of
Toowoomba, and there I did my primary schooling. We moved to
Bribie Island and I went to Caboolture High School.
I was always interested in sewing, knitting and embroidery – with not a lot of
encouragement from my Mum as she always regarded these ‘interests’ as WORK; not as a
we moved around a lot and got quite involved with dog obedience
training; then when we settled in Petrie (a suburb of Brisbane) I did some pottery lessons
d like to learn to spin and weave, so joined the Qld. Spinners, Weavers &
as they are now known.
hand Ashford Traditional Spinning Wheel and enrolled in TAFE classes;
however, the tutor obviously did not care much for teaching spinning. Her real love was
Inkle Weaving, which I took to enthusiastically. It was only when we bought a property in
Murphys Creek that I was introduced to the Toowoomba Spinners Club and join
At one of their early camps, Judy Turner was tutoring a felting class – and being a very
ancient craft, I decided I had to give it a go. The requirements listed were 2” fibreglass
gauze (larger than the felt to be made), broomstick dowel 4” wider, old sheeting (to place
the wool between), needle and thread (to stitch and hold wool in place), 3m x 1/8” cord, a
large galvanized tray to keep the water contained, and a box of carded wool. My mother
set about hand flicking greasy wool - a box full
End result was a very lumpy, bumpy piece of thick felt suitable for a mat, maybe.
Things have changed in felting nowadays; with superfine merino slivers, silks, glitz and all
can be incorporated – and all types of techniques used to make
clothing and sculptures - the list is endless and exciting.
: Presentation and interactive discussion
7
with not a lot of
encouragement from my Mum as she always regarded these ‘interests’ as WORK; not as a
we moved around a lot and got quite involved with dog obedience
Brisbane) I did some pottery lessons
n to spin and weave, so joined the Qld. Spinners, Weavers &
hand Ashford Traditional Spinning Wheel and enrolled in TAFE classes;
however, the tutor obviously did not care much for teaching spinning. Her real love was
Inkle Weaving, which I took to enthusiastically. It was only when we bought a property in
Murphys Creek that I was introduced to the Toowoomba Spinners Club and joined in
and being a very
ancient craft, I decided I had to give it a go. The requirements listed were 2” fibreglass
owel 4” wider, old sheeting (to place
the wool between), needle and thread (to stitch and hold wool in place), 3m x 1/8” cord, a
carded wool. My mother-in-
a box full. What a task!
End result was a very lumpy, bumpy piece of thick felt suitable for a mat, maybe.
with superfine merino slivers, silks, glitz and all
and all types of techniques used to make
the list is endless and exciting.
Marilyn S Jensen O.A.M
(Convenor of 14th
SHFC 2017, currently President of Toowoomba Spinners, Weavers & Dyer
I retired about 5 years ago from an almost 50year career in the health industry, working as a teacher
and administrator in large and small hospitals. I have graduate and several post
University qualifications at honours degree
local community and nationally with awards for my service across many fields within the health
industry and the local community. I have many publications related to my career and two in the
district I grew up in where my family were pioneers.
I have always been interested in threads and fibre. My earliest memories
were getting my fingers stabbed and pinned in mother’s sewing
machine as a youngster making a lace hanky for my mother as a gift.
I was first shown how to felt by Karen Christiansen, a member of the
Ipswich Spinners group in 1983. I made a flat piece of felt, which, I was
going to make into a clutch bag. That didn’t happen, and at that time I
was busy making quilts. Well, this pie
way into an evening jacket. I still wear this jacket with great pride.
results. I like making flo
and light nuno felt, mainly because of our warm climate.
Simple but Beautiful Felt Flowers:
Objective: To discuss, demonstrate techniques and share ideas in making felt flowers.
Demonstration and interactive discussion.
Eco Dyeing on Felted Items:
Objective: To discuss the process, and demonstrate how plain felt items can be brought alive
by using natural leaves and flowers to create stunning household accessories or enhance wearable
apparel.
Presentation, demonstration, and interactive discussion.
Marilyn S Jensen O.A.M.
SHFC 2017, currently President of Toowoomba Spinners, Weavers & Dyer
Inc.)
I retired about 5 years ago from an almost 50year career in the health industry, working as a teacher
and administrator in large and small hospitals. I have graduate and several post
University qualifications at honours degree level in these fields, and have been recognised by my
local community and nationally with awards for my service across many fields within the health
industry and the local community. I have many publications related to my career and two in the
rew up in where my family were pioneers.
I have always been interested in threads and fibre. My earliest memories
were getting my fingers stabbed and pinned in mother’s sewing
machine as a youngster making a lace hanky for my mother as a gift.
My mum still has this hanky today, more than sixty years later.
(Mum is 95)
I have no formal qualifications in textiles, but have exhibited
nationally and locally at various exhibitions. I have been awarded
numerous championships across a wide range of textile craft
I was first shown how to felt by Karen Christiansen, a member of the
Ipswich Spinners group in 1983. I made a flat piece of felt, which, I was
going to make into a clutch bag. That didn’t happen, and at that time I
was busy making quilts. Well, this piece of felt just happened to find its
way into an evening jacket. I still wear this jacket with great pride.
I find felt making hard work but so enduring. The unexpected,
sometime happens with felt making , producing extraordinary
results. I like making flowers, hats, wraps, useful bags and satchels
and light nuno felt, mainly because of our warm climate.
Simple but Beautiful Felt Flowers:
To discuss, demonstrate techniques and share ideas in making felt flowers.
discussion.
To discuss the process, and demonstrate how plain felt items can be brought alive
by using natural leaves and flowers to create stunning household accessories or enhance wearable
monstration, and interactive discussion.
8
.
SHFC 2017, currently President of Toowoomba Spinners, Weavers & Dyers Group
I retired about 5 years ago from an almost 50year career in the health industry, working as a teacher
and administrator in large and small hospitals. I have graduate and several post- graduate
level in these fields, and have been recognised by my
local community and nationally with awards for my service across many fields within the health
industry and the local community. I have many publications related to my career and two in the
I have always been interested in threads and fibre. My earliest memories
were getting my fingers stabbed and pinned in mother’s sewing
machine as a youngster making a lace hanky for my mother as a gift.
l has this hanky today, more than sixty years later.
I have no formal qualifications in textiles, but have exhibited
nationally and locally at various exhibitions. I have been awarded
numerous championships across a wide range of textile crafts.
I was first shown how to felt by Karen Christiansen, a member of the
Ipswich Spinners group in 1983. I made a flat piece of felt, which, I was
going to make into a clutch bag. That didn’t happen, and at that time I
ce of felt just happened to find its
way into an evening jacket. I still wear this jacket with great pride.
I find felt making hard work but so enduring. The unexpected,
sometime happens with felt making , producing extraordinary
wers, hats, wraps, useful bags and satchels
To discuss, demonstrate techniques and share ideas in making felt flowers.
To discuss the process, and demonstrate how plain felt items can be brought alive
by using natural leaves and flowers to create stunning household accessories or enhance wearable
Bio:
When first introduced to felting in New Zealand, I was fascinated
by the exquisiteness, pliability, versatility and functionality of the
material. Felt is believed to be the oldest fabric made
Having a strong heritage in working with silk, I often employ nuno
technique (that is, fusion and lamination of wool fibre with woven
fabrics) in my work. The wonderful marriage of the two materials
provides felt a contemporary and modern id
My collection is all handmade, with very fine craftsmanship
incorporating tradition, culture and contemporary design. Each
piece is a unique artwork dedicated to those who appreciate a
thoughtful approach to the integrity of making things. I stro
sustainable practice that is culturally and socially responsible. I have adopted natural dye,
zero wastage and up-cycled materials in my collection.
Workshops:
Name: Seamless Pouch
Objective: Sharing the technique of
Outcome: End of session, participants will finish a small seamless pouch with simple
surface design.
Requirements: Bubble wrap 1x1m, 60g wool top, small colour prefect for cut up designs, 1
to 2 metres of black thin wool yarn (optional), fork/skewer for laying wool yarn (optional),
soap and small scissors, scrap fellable fabrics (optional).
Participants: 8 - 10
Name: The Little Ones Adventure
Requirements: 10 grams of brightly coloured wool sliver
NB. Dolls will be available to purchase for class. Like a barbie doll.
Dolls will be judged in a beauty contest prior to fashion parade on Thursday night.
DEBBIE LEUNG
When first introduced to felting in New Zealand, I was fascinated
by the exquisiteness, pliability, versatility and functionality of the
material. Felt is believed to be the oldest fabric made
Having a strong heritage in working with silk, I often employ nuno
technique (that is, fusion and lamination of wool fibre with woven
fabrics) in my work. The wonderful marriage of the two materials
provides felt a contemporary and modern identity.
My collection is all handmade, with very fine craftsmanship
incorporating tradition, culture and contemporary design. Each
piece is a unique artwork dedicated to those who appreciate a
thoughtful approach to the integrity of making things. I strongly believe fashion can be a
sustainable practice that is culturally and socially responsible. I have adopted natural dye,
cycled materials in my collection.
Seamless Pouch
Sharing the technique of felting over a resist to make a seamless container.
End of session, participants will finish a small seamless pouch with simple
: Bubble wrap 1x1m, 60g wool top, small colour prefect for cut up designs, 1
f black thin wool yarn (optional), fork/skewer for laying wool yarn (optional),
soap and small scissors, scrap fellable fabrics (optional).
The Little Ones Adventure – Dolls (Barbie size)
10 grams of brightly coloured wool sliver. Bits of embellishment, silk.
will be available to purchase for class. Like a barbie doll.
Dolls will be judged in a beauty contest prior to fashion parade on Thursday night.
9
When first introduced to felting in New Zealand, I was fascinated
by the exquisiteness, pliability, versatility and functionality of the
material. Felt is believed to be the oldest fabric made by mankind.
Having a strong heritage in working with silk, I often employ nuno
technique (that is, fusion and lamination of wool fibre with woven
fabrics) in my work. The wonderful marriage of the two materials
entity.
My collection is all handmade, with very fine craftsmanship
incorporating tradition, culture and contemporary design. Each
piece is a unique artwork dedicated to those who appreciate a
ngly believe fashion can be a
sustainable practice that is culturally and socially responsible. I have adopted natural dye,
felting over a resist to make a seamless container.
End of session, participants will finish a small seamless pouch with simple
: Bubble wrap 1x1m, 60g wool top, small colour prefect for cut up designs, 1
f black thin wool yarn (optional), fork/skewer for laying wool yarn (optional),
. Bits of embellishment, silk.
will be available to purchase for class. Like a barbie doll.
Dolls will be judged in a beauty contest prior to fashion parade on Thursday night.
I
shows. I exhibit regularly with QuayCrafts, a mixed craft group
of professional makers based on the Isle of Wight.
I have taught many aspects of felt making, including functi
rugs; although these days I teach felt art workshops that are closely related to my own
practice and the specialised techniques I have developed. In 2017 I am teaching at the IFA
AGM (UK). Felters Fling (USA), as well as
In 2009 I led the Medina Yurt Project with 14 schools and community groups to produce a
fully felt-covered 14” yurt. I am regional co
workshops with international and UK tutors. This is
carried out for 12 years. I have had work published in a number of publications and
journals; and have travelled widely in connection with my interest in art and culture,
including Bangladesh and Siberia during the la
Presentations
“Collage to Create”: (1) Lay Down and Cut Up (practical session)
Aims or Objectives: To explore the potential of multicolour layering of pre
without nuno additions to the surface in the medium of
different stages of pre-felting and the possibilities with each stage to proceed with the
collage. I will explain the process of cutting to create shape, outline and shadow effects: re
cutting and assembling as an experimental approach be
samples (A4 size). We will look at the different stages of pre
with each.
I am an artist who specialises in using felt as my medium. My
personal practice focuses on the production of one
pieces in 2 or 3 dimensions through which I explore and
develop my themes. I originally trained in Fine Art
(specialising in portraiture), and have taught Art and Design in
schools, community groups and adult workshops.
I have worked in Art and Art Education my whole working life.
My painting practice and understanding of sculptural form has
underpinned my artworks in textiles, which I e
– locally, nationally and internationally, in juried touring
shows. I exhibit regularly with QuayCrafts, a mixed craft group
of professional makers based on the Isle of Wight.
I have taught many aspects of felt making, including functional items such as bags, hats and
rugs; although these days I teach felt art workshops that are closely related to my own
practice and the specialised techniques I have developed. In 2017 I am teaching at the IFA
AGM (UK). Felters Fling (USA), as well as New Zealand and Convergence!
In 2009 I led the Medina Yurt Project with 14 schools and community groups to produce a
covered 14” yurt. I am regional co-ordinator for IFA Region 2, organising
workshops with international and UK tutors. This is a volunteer role, and one that I have
carried out for 12 years. I have had work published in a number of publications and
journals; and have travelled widely in connection with my interest in art and culture,
including Bangladesh and Siberia during the last 5 years.
(1) Lay Down and Cut Up (practical session)
To explore the potential of multicolour layering of pre
without nuno additions to the surface in the medium of felt collage. We will look at
felting and the possibilities with each stage to proceed with the
collage. I will explain the process of cutting to create shape, outline and shadow effects: re
cutting and assembling as an experimental approach before finally felting to produce
samples (A4 size). We will look at the different stages of pre-felting and the possibilities
CHRIS LINES
10
am an artist who specialises in using felt as my medium. My
personal practice focuses on the production of one-off art
pieces in 2 or 3 dimensions through which I explore and
develop my themes. I originally trained in Fine Art
e), and have taught Art and Design in
schools, community groups and adult workshops.
I have worked in Art and Art Education my whole working life.
My painting practice and understanding of sculptural form has
underpinned my artworks in textiles, which I exhibit every year
locally, nationally and internationally, in juried touring
shows. I exhibit regularly with QuayCrafts, a mixed craft group
of professional makers based on the Isle of Wight.
onal items such as bags, hats and
rugs; although these days I teach felt art workshops that are closely related to my own
practice and the specialised techniques I have developed. In 2017 I am teaching at the IFA
In 2009 I led the Medina Yurt Project with 14 schools and community groups to produce a
ordinator for IFA Region 2, organising
a volunteer role, and one that I have
carried out for 12 years. I have had work published in a number of publications and
journals; and have travelled widely in connection with my interest in art and culture,
To explore the potential of multicolour layering of pre-felts; with or
We will look at
felting and the possibilities with each stage to proceed with the
collage. I will explain the process of cutting to create shape, outline and shadow effects: re-
fore finally felting to produce
felting and the possibilities
11
“Collage to Create”: (2) The Power of Pre-Felt (practical session)
Aims or Objectives: This session follows on and builds from the previous day. Participants
will build their own small collage samples, using an image they have brought as a design
inspiration. These can be long and narrow, or rectangle shape. There will be a focus on
Design Elements: composition, colour, tonal value, line and contract, pattern elements,
accents and focal points. Surface Textures: They will learn how to select an area using an
improvised viewfinder and develop their design from this. We will discuss the limited
palette. Applications in different areas of feltmaking will be discussed: i.e. how to apply
collage techniques in functional forms inc. bags, hats and wearables. All will be illustrated
with examples via Powerpoint.
“Faces of Felt”: (2 practical sessions)
Aims or Objectives: Using natural coloured
fleece in a range of tones, participants will
create a dramatic tonal Face of Felt. This is a
special process that has been developed
using digital image processing, especially for
felting and is accessible to all. It requires only
basic drawing ability. The digital processing is
demonstrated (via Powerpoint) and there is a hand-out with all the basic steps. Anyone
who is reasonably computer literate can use the method to produce their own images later
on.
Images for this session will be supplied pre-prepared and selected. The selection will be
differentiated for varying degrees of difficulty, and there will be some choice of image.
Requirements: I am requesting that pre-felts be prepared in advance for the Faces of Felt
session, unless we can get a bit more time from somewhere. This would require 4 pieces of
pre-felt A4 size in natural coloured fleece only (nothing dyed): white, light grey/brown, mid
grey/brown, dark brown/black 20-25g dry weight of tops per A4 size piece. This must be
laid in 4 layers in 4 different directions: horizontally and vertically and diagonally each way.
Although this is a very different workshop situation, I think we can do it with a carefully
structured Powerpoint to demonstrate the steps and method.
Participants need thin plastic drop-sheets for felting – no bubble wrap
2 small towels
Cotton fabric only, no polycotton
“My Journey in Felt”: Illustrated talk. Happy to take questions afterwards.
12
Felted Collage Design with Chris Lines
In this workshop we will cover the potential of multi-coloured pre-felts with the addition of
dyed or printed fabrics and non-wool fibres (if desired) to build up a 'collaged' or layered
design. We will cover techniques for making pre-felts and explore their potential, through
cutting and layering of shapes to build up a design. We will make a series of sample pieces
where we will consider aspects of colour theory, tone and composition. My aim is to show
you how these techniques can enhance and extend your skills by helping you to feel more
confident about using the basic elements of design, such as shape, colour, tone, texture and
pattern. You will produce a set of sample pieces using your own design inspiration. This can
be abstract or representational.
Session 1
You will experiment with multi-layered pre-felts to produce a range of samples: Our
objective will be to learn about mixing and separation in layers and how well to judge the
potential of softer and firmer pre-felts to give definition in shapes and motifs and how to
use the linear potential of edges within a design. We will look at blending and optical colour
mixing and the effect of changing background colours. You will produce a range of samples
for later use and to inform the design process in session 2.
Session 2
Taking a design source such as an image (drawing, photograph etc), which you will have
prepared prior to the workshop, you will prepare a selection of pre-felts. You will plan and
lay out the preliminary stages for a small designed wall-hanging sample using the methods
taught in session 1. You will continue to ‘build’ your design using a ‘collage’ technique with
13
your prefelts, fibres and fabrics. You will be supported to produce a layout based upon your
design, which will involve various design processes and adaptions. A camera will be a very
useful tool! You will assemble and finally felt your mini wall-hanging to completion. Note,
this may need further work to complete depending on your rate of work.
You may of course treat this work as a background for stitching and embroidery.
Materials and Equipment Required for both sessions
• Wool Tops in a range of dyed colours of your choice.
In detail:
Wool types
I suggest Merino tops and any other fine felting wool. You may use batts in combination
with tops but tops are essential. Merino is ideal but other fibre types can also be used to
different effect. You should use a fibre that you are experienced with and that you know is
suitable for felting. A layer of very fine wool such as Merino is desirable when bonding
fabrics to the surface.
Minimum quantity of 25g of each colour but you can also use up bits and pieces. Larger
quantities (e.g. 100g) for some colours. It's good to have a range of contrasting colours and
tones. From bright lights to toning sombre shades, according to your preferred palette. You
will need plenty of ‘darks’. It can be helpful to divide colours into tonal value – darks, mid-
tone and light when making your selection.
• Small quantities of other fibres such as silk or linen tops.
Fabrics
One piece of loosely-woven cotton fabric such as scrim or muslin, cheesecloth measuring
approximately 50 x 70 cm (must have an open weave).
Pieces of sheer, loosely-woven fabric, such as chiffon, georgette, muslin, gauze, preferably
natural fibres such as silk chiffon, gauze, georgette and habotai, linen, ramie, cotton but
viscose/rayon is also suitable. Polyester is probably best avoided in the time allowed.
Upcycled scarves, ribbons and cut up clothing are sources, as well as purchased fabrics.
These can range in size from whole scarves to smaller scraps and offcuts. Lace is also
suitable.
• Interesting yarns and threads, including silks, throwsters waste, hankies, beaded
yarns.
14
Your Felting Kit:
• small piece of smooth polyester net curtain (not lace or tulle) about A2 -A3 size
• thin plastic (dustsheet type, very thin) ESSENTIAL. 2 pieces A2 size
• olive oil soap,
• sharp scissors
• jug
• sprayer
• plastic bowl small for transporting wet felt and containing water
• plastic bag (for taking away)
• old towels
• cotton sheeting for rolling
soft rolling bar or swimming noodle (optional, only if you usually use one)
Notebook and camera
Some kind of design inspiration - cards, magazine clippings, photos, internet image searches
on a theme, sketches, anything that appeals to you as a starting point for design.
KIRBYSUE
Flower Workshop for those not going on Garden Tour:
Requirements: Small amounts o
texture, your preference. Usual felt items.
KIRBYSUE LYONS
I am a felter of 10 years and just happened upon it
at a Jondaryan felters’ weekend. My love of colors,
textures, seasonal rhythms come from the many
places lived : San Diego, Melbourne, Hobart, Lae,
Honiara, Brisbane and Toowoomba.
My craft is expressed through the layer upon layer
effect implementing wool, silk and cotton. and an
eclectic understanding of the felting process.
Nature with its organic influence is the perfect draw
for my inspiration giving maximum impact through
the creative spirit. Each piece is unique to my mood
and sometimes bargain findings. I love the feel of
the soapy slip and the wonderful happenings that
slide together when felting.
Flower Workshop for those not going on Garden Tour:
Requirements: Small amounts of 3 or 4 colours wool, silk fabric, silk fibres
texture, your preference. Usual felt items.
15
I am a felter of 10 years and just happened upon it
at a Jondaryan felters’ weekend. My love of colors,
textures, seasonal rhythms come from the many
places lived : San Diego, Melbourne, Hobart, Lae,
Honiara, Brisbane and Toowoomba.
is expressed through the layer upon layer
effect implementing wool, silk and cotton. and an
eclectic understanding of the felting process.
Nature with its organic influence is the perfect draw
for my inspiration giving maximum impact through
spirit. Each piece is unique to my mood
and sometimes bargain findings. I love the feel of
the soapy slip and the wonderful happenings that
, silk fibres and any other
16
JONNA MACFADYEN Textured in felt Acknowledgement to Annette Quentin-Stoll and her book Filz Experiment
Objective: Participants will have a choice of making either 3 cone shaped textured pieces or 3 flat textured pieces of felt using different stitches to pull the pre-felt into a specific textures and hand felt to “fix”. Outcome: Three finished felt items of textured felt to take home. Textures:- 1 Folds 2 Coral 3 Sheepskin Requirements: Flat texture pieces 3 rectangular pre-felts using two layers of wool. Pre-felts should be fine rather than thick layers to allow you to easily fold when making textures. The technique reduces the prefect by 50-70% so start with a minimum 30cm x30cm. Textured cone shapes 3 prefelts made around a cone shaped resist approx 28cmH x 23cmW. Strong sewing cotton in a contrasting colour Large needle towel soap solution for working the felt
STUART MARSHALL
&
SHIRLEY JOHSON
Stuart Marshall: I am President of the Hervey Bay Spinners, Weavers & Fibre Artists
Group. I enjoy all the various activities our group is involved in, although felting has been
my main focus over the last few years. When one
the drawing board.
The group have been conducting felting classes for the wider community, which have been
very popular. My felting repertoire is continually evolving; it keeps things interesting and
fun.
Shirley Johnson: I started on my fibre art journey some 10 years ago with the
encouragement of my dear friend Rosemary, who taught me how to spin. We spent many
hours together doing our crafts.
Several years later we attended a felting workshop making a hat and a
for me – once I had shaped the hat on a proper hat block/mould, I was sold. I enjoy making
hats and make traditional hats as I wear a hat every day
many hats I own!!
Presentation: Key-hole Scarf
interspersed with lots of discussion.
MARSHALL
SHIRLEY JOHSON
I am President of the Hervey Bay Spinners, Weavers & Fibre Artists
Group. I enjoy all the various activities our group is involved in, although felting has been
my main focus over the last few years. When one project is completed, I have 3 more on
The group have been conducting felting classes for the wider community, which have been
very popular. My felting repertoire is continually evolving; it keeps things interesting and
I started on my fibre art journey some 10 years ago with the
encouragement of my dear friend Rosemary, who taught me how to spin. We spent many
hours together doing our crafts.
Several years later we attended a felting workshop making a hat and a bag. Well, that was it
once I had shaped the hat on a proper hat block/mould, I was sold. I enjoy making
hats and make traditional hats as I wear a hat every day – and I’m not going to tell you how
Photos of Hervey Bay
hole Scarf – Show & Tell with a vibrant slideshow of their environment
interspersed with lots of discussion.
17
I am President of the Hervey Bay Spinners, Weavers & Fibre Artists
Group. I enjoy all the various activities our group is involved in, although felting has been
project is completed, I have 3 more on
The group have been conducting felting classes for the wider community, which have been
very popular. My felting repertoire is continually evolving; it keeps things interesting and
I started on my fibre art journey some 10 years ago with the
encouragement of my dear friend Rosemary, who taught me how to spin. We spent many
bag. Well, that was it
once I had shaped the hat on a proper hat block/mould, I was sold. I enjoy making
and I’m not going to tell you how
Show & Tell with a vibrant slideshow of their environment
I live in the Toowoomba region, and have been a felt maker for
some years now and have talent in many other areas as well. I
particularly like nuno scarves, hats and bags.
My presentation will be for beginners to advanced, with the only
skills needed being a sense of fun.
Presentation: Beginner Felt Workshop
I will help participants to successfully make a small nuno felt neck scarf.
Requirements:
25 gm fine merino wool
Length of tissue silk – enough for scarf about 1 metre x 0.4.
A handful of fun bits to decorate
1 piece of bubble wrap a little longer than your piece of silk fabric
Small piece wood dowel or plastic pipe
Usual felting items
ELAINE MURRAY
I live in the Toowoomba region, and have been a felt maker for
some years now and have talent in many other areas as well. I
particularly like nuno scarves, hats and bags.
My presentation will be for beginners to advanced, with the only
skills needed being a sense of fun.
Beginner Felt Workshop – Neck Scarf
I will help participants to successfully make a small nuno felt neck scarf.
enough for scarf about 1 metre x 0.4.
A handful of fun bits to decorate
1 piece of bubble wrap a little longer than your piece of silk fabric
Small piece wood dowel or plastic pipe
18
I live in the Toowoomba region, and have been a felt maker for
some years now and have talent in many other areas as well. I
My presentation will be for beginners to advanced, with the only
19
MIEKE DEN OTTER
Mieke den Otter is a painter with a background in
illustration and textiles. She is an active practicing artist and
regularly participates in group exhibitions, community arts
projects and mentoring to grow the arts.
Her experience in teaching includes TAFE Visual Arts & Craft,
Festivals and workshops with community.
She is inspired by the human form, environment and music.
‘Travel taught me that everyone on this planet have the
same wants and needs. I hope to make a difference in our
community by being involved in the arts.
It’s exciting, fresh, tactile, hard work, social times and creative days in isolation. My love of
the tactile has taken me on an exciting journey of mixed media drawing, painting, hand
spinning fibre, dyeing and felt making.’
www.facebook.com/Felt.Pieces
Presentation: Community Felt – Presentation and interactive discussion
I am passionate about fibres and textiles. I enjoy many fibre
arts, dyeing, spinning and feltmaking. My biggest love is designing,
producing and wearing my own unique handmade felt creations.
I grew up in Ashburton, always being interested in many crafts. My
father was a foreman in the Ashford spinning wheel factory and my
husband, John was a shearer and farmer
I love to work with wool. Being introduced to felting by another
coloured sheep breeder in 1991 and attending workshops by tutors
from NZ and overseas, I have, over the years, developed techniques
to create unique textiles.
Felting various materials such as merino, s
combination of rich colours create unique easy
just the look of the felt; it is the handle, touch, feel and drape of the felt that is most
irresistible. I have exhibited my felt designs in fashion parades, shops and galleries in New
Zealand and Australia. I feel I am always learning with felt, and love to inspire others in my
workshops.
My work experience covers a wide range of art and fibre techniques througho
My achievements are listed over the last 5 years:
2007 Taranaki Award, Creative Fibre Fashion Parade, selected by Annah Stretton
2006 Supreme Award – Creating Fibre Fashion Parade (National)
2006 Sentosa Silk Award, Creative Fibre Fashion P
2005 Merino Award, Creative Fibre Fashion Parade, selected by Bryan Molyneux
2005 Black & Coloured Sheep Breeders Award, Creative Fibre Fashion Parade
Exhibitions & Fashion Parades:
2015 Creative Fibre Festival Rotorua Fashion Runway, Liaison showca
2014 Creative Fibre Festival Dunedin Fashion pop
2013 Creative Fibre Festival Wellington Fashion Runway
2012 Cromwell combined Society of Artsd Crafts, Easter Exhibition. Guest Exhibitor &
masterclasses
2009 Waikoiaiti Fashion Parade
SHONA SCHOFIELD
I am passionate about fibres and textiles. I enjoy many fibre-related
arts, dyeing, spinning and feltmaking. My biggest love is designing,
my own unique handmade felt creations.
I grew up in Ashburton, always being interested in many crafts. My
father was a foreman in the Ashford spinning wheel factory and my
husband, John was a shearer and farmer – so it is not surprising that
rk with wool. Being introduced to felting by another
coloured sheep breeder in 1991 and attending workshops by tutors
from NZ and overseas, I have, over the years, developed techniques
Felting various materials such as merino, silk, mohair and alpaca, the layering of fibres and
combination of rich colours create unique easy-to-wear clothing and accessories. It is not
just the look of the felt; it is the handle, touch, feel and drape of the felt that is most
exhibited my felt designs in fashion parades, shops and galleries in New
Zealand and Australia. I feel I am always learning with felt, and love to inspire others in my
My work experience covers a wide range of art and fibre techniques througho
My achievements are listed over the last 5 years:
Taranaki Award, Creative Fibre Fashion Parade, selected by Annah Stretton
Creating Fibre Fashion Parade (National)
Sentosa Silk Award, Creative Fibre Fashion Parade
Merino Award, Creative Fibre Fashion Parade, selected by Bryan Molyneux
Black & Coloured Sheep Breeders Award, Creative Fibre Fashion Parade
Exhibitions & Fashion Parades:
2015 Creative Fibre Festival Rotorua Fashion Runway, Liaison showcase
2014 Creative Fibre Festival Dunedin Fashion pop-up
2013 Creative Fibre Festival Wellington Fashion Runway
2012 Cromwell combined Society of Artsd Crafts, Easter Exhibition. Guest Exhibitor &
2009 Waikoiaiti Fashion Parade
20
ilk, mohair and alpaca, the layering of fibres and
wear clothing and accessories. It is not
just the look of the felt; it is the handle, touch, feel and drape of the felt that is most
exhibited my felt designs in fashion parades, shops and galleries in New
Zealand and Australia. I feel I am always learning with felt, and love to inspire others in my
My work experience covers a wide range of art and fibre techniques throughout my lifetime.
Taranaki Award, Creative Fibre Fashion Parade, selected by Annah Stretton
Merino Award, Creative Fibre Fashion Parade, selected by Bryan Molyneux
Black & Coloured Sheep Breeders Award, Creative Fibre Fashion Parade
2012 Cromwell combined Society of Artsd Crafts, Easter Exhibition. Guest Exhibitor &
21
Garment Construction for Felt Jacket:
Aims or Objectives: (Talk, demonstration and questions). Discuss structure, patternmaking
and felting process of a felt jacket. Including demonstration using sliver/top and needlefelt.
Outcome: Participants will be able to create a fitting felt jacket or garment.
Requirements: Pad and pen/pencil.
Rose Fascinator:
Aims or Objectives: Hands on/practical. Creation of a resist, felting to form a rose.
Using millinery techniques to create fascinator.
Requirements: 30cm wide non-slip drawer liner
70cm square fine plastic (drop plastic)
30 cms square thick plastic or foam resist
Water sprinkler
Soap
30gm merino (very small amount silk optional)
9cm diameter circle of firm aida fabric
50cm hat elastic, (comb or clip optional)
Needle & Thread
BARBARA SCOTT
enterprise employing 35 people, creating garments and bedding from beautiful Australian
wool. I was awarded the ABC Australian Rural Woman of the Year in 1996.
I originally trained as an Art Teacher in South Australia before completing a Bachelor of
Education (Aboriginal Education) and a Diploma of Teaching (Primary). I then completed
several further textile-related studies before completing qualifications in Visua
Contemporary Craft.
Wool is a fascinating fibre to work with; a natural insulator
winter – able to hold large amounts of water before feeling wet, and gentle and soft against
the skin.
My original wearable art pieces use all the properties of this wonderful fibre. Wool, with its
microscopic scales – along with water, soap and a change of temperature with a little
agitation – is the basis for all of my felt making. Most of my pieces are reversible, providing
two totally different looks, and many incorporate silk and many other natural fibres.
Felt making is an energetic exercise. As I create each piece, I believe I incorporate the
creative energy into the piece, allowing the wearer to connect with the energy and t
message.
Presentation: From Conception to Installation
A presentation relating to a fibre exhibition and interactive discussion.
BARBARA SCOTT (Creator of Wow Creations
Original wearable art)
My fascination with Australian wool began early on in life as
I sat learning to knit and craft with my mother, a competent
craftswoman.
While incapacitated with a knee injury I learnt to spin wool
from the sheep’s back, along with many other fibres. From
here I progressed to growing and classing wool on an
Australian sheep farm while creating for my own pleasure.
However, as my production grew so did my need to find
other outlets – eventually resulting in a large commercial
enterprise employing 35 people, creating garments and bedding from beautiful Australian
wool. I was awarded the ABC Australian Rural Woman of the Year in 1996.
riginally trained as an Art Teacher in South Australia before completing a Bachelor of
Education (Aboriginal Education) and a Diploma of Teaching (Primary). I then completed
related studies before completing qualifications in Visua
Wool is a fascinating fibre to work with; a natural insulator – cool in summer and warm in
able to hold large amounts of water before feeling wet, and gentle and soft against
es use all the properties of this wonderful fibre. Wool, with its
along with water, soap and a change of temperature with a little
is the basis for all of my felt making. Most of my pieces are reversible, providing
tally different looks, and many incorporate silk and many other natural fibres.
Felt making is an energetic exercise. As I create each piece, I believe I incorporate the
creative energy into the piece, allowing the wearer to connect with the energy and t
From Conception to Installation
A presentation relating to a fibre exhibition and interactive discussion.
22
My fascination with Australian wool began early on in life as
I sat learning to knit and craft with my mother, a competent
While incapacitated with a knee injury I learnt to spin wool
from the sheep’s back, along with many other fibres. From
here I progressed to growing and classing wool on an
Australian sheep farm while creating for my own pleasure.
ion grew so did my need to find
eventually resulting in a large commercial
enterprise employing 35 people, creating garments and bedding from beautiful Australian
wool. I was awarded the ABC Australian Rural Woman of the Year in 1996.
riginally trained as an Art Teacher in South Australia before completing a Bachelor of
Education (Aboriginal Education) and a Diploma of Teaching (Primary). I then completed
related studies before completing qualifications in Visual Arts and
cool in summer and warm in
able to hold large amounts of water before feeling wet, and gentle and soft against
es use all the properties of this wonderful fibre. Wool, with its
along with water, soap and a change of temperature with a little
is the basis for all of my felt making. Most of my pieces are reversible, providing
tally different looks, and many incorporate silk and many other natural fibres.
Felt making is an energetic exercise. As I create each piece, I believe I incorporate the
creative energy into the piece, allowing the wearer to connect with the energy and the
23
Helen Stumkat
Textile Fibre Artist & Tutor
PROFILE
I have been conducting classes, both in
Australia and New Zealand, covering,
spinning, weaving, dyeing and felting for
the past 39 years. Throughout my career
I have received numerous awards and
accolades from multiple art galleries,
associated clubs and media print
including Textile Fibre Forum. I have also
been invited to conduct classes for Cobb
& Co Museum, MacGregor Summer and
Winter Schools, and the Cunnamulla Art Society. My works have been exhibited in solo and
group exhibitions, the latest solo exhibition of which being The Cunnamulla Fella Art Gallery
during June and July 2014.
EXPERIENCE
My initial experience began as an apprentice florist in 1959 working for Theresa O’Shea
Florist in Brisbane. From there I went into commercial breeding of cashmere goats, herd
numbering to 500 from 1977 to 2000. This journey enabled me to experience and to
expand my knowledge in all forms of natural fibres (plant and animal). During this period
and till the present day, I discovered the art of spinning, weaving, dyeing and felting which
lead me to hold positions in various local textile clubs and establishing my own business
namely, The Spinning Parlour 1979-1990 and Heirloom Creations 1994-2006. Since 2006 to
this date I currently produce and sell one-off, textile art garments, wall hangings and framed
works under my label Ewe-Unique Designs.
EDUCATION
MacGregor Summer and Winter Schools, University of Southern Queensland, Toowoomba
Queensland – Textile Art Design Courses (Dyeing, Spinning, Weaving, Felting and Millenary)
– 1980 – 2014
Textile Fibre Forum, Brisbane, Queensland – Textile Master Course – 1990 – 2006
International and National Felt Makers Convergence conducted by International Tutors –
Tutorials, Workshops and Seminars – 1996 – 2014
TAFE Brisbane, Mt Gravatt, Queensland – Diploma Millenary – 2014 – Present.
24
SKILLS
Over the years I have developed skills in spinning, weaving, dyeing and felting which has led
me to develop other skills including: Business Management, Teaching of all age groups in
the textile fields, Art Design and Presentation, Event Management and Promotion, Fashion
Design and Creation.
PRESENTATIONS
My Felt Journey
Professional Millinery Finishing Techniques
25
Marlene Taylor
Birth: 1962
Country: Finke
Home: Titjikala,NT
Language: Luritja
Yankunytjatjara
Marlene grew up at Titjikala and has spent most of her adult life in this region, her father
was a stockman at Maryvale Station, her mother worked in the station homestead cleaning
the house.
Marlene and her friends used to go to the stockyards after school and watch the stockmen
riding around, working the cattle. She attended high school in Alice Springs during her early
teens and on returning to Titjikala she worked at the Women’s Centre and the Art Centre.
She has two children and four grandchildren.
Marlene is a prolific artist and works across several mediums including batik, painting,
ceramics, felting and punu and played a major role in the designing and batiking several
fabric lengths for the Central Australian Aboriginal Women's Choir tour of Germany in 2015.
Presentation: Our Amazing Felt Beanies, with show and tell
26
ARTIST STATEMENT
I am Dorothy Ann Walsh, born on Manus Island New Guinea and my work is an expression
of the way I choose to interact with my community. I consider myself a textile artist.
Through my work I choose to delight others with historical knowledge and indulge the
senses.
I work with textiles, specifically by creating felt and constructing historically accurate
garments and accessories. My garments are constructed with cotton, linen, silk and or wool.
My historical garments need to be wearable as mostly they are used by the members of the
Queensland Colonial Association Incorporated and fit into the period of 1800-1900.
I felt with different fibres including but not exclusive to silk, cotton, wool, camel, alpaca,
angora and plant fibres. I use both the dry and wet techniques of felting along with the
process of nuno. My felting takes many forms and includes wearables, hanging pieces and
home wear items.
Currently, my work with historical garments reflects the lives of men, women and children
performing everyday tasks and work. This requires a large amount of research as most of
the garments which we have access to come from the upper classes.
My felting practice continues to develop techniques which allow me to embed textures into
my pieces. I want my work to reflect nature in a ‘touchable’ form that we may wear or wrap
around ourselves.
I enjoy my community practice and engage in teaching workshops in sewing and felting on a
regular basis.
Joint Presentation with Mieke den Otter: Community Felt – presentation and interactive
discussion.
27
VIVIENNE YOUNG
My interest in textiles began at an early age. Surrounded by family involved in knitting,
weaving and dressmaking, something had to rub off! I trained as a secondary art/craft
teacher, majored in painting – but was drawn more and more to textiles.
For many years I bred black and coloured Border Leicester sheep; initially for their long, soft,
lustrous fleece for hand spinning. Supply outgrew demand and in 1998 “Mirragong
Woolworks” was established to promote wool, supply pure wool yarn for knitters, and teach
the ancient skill of felt making.
A placement in Gobi Altai, Mongolia to teach felting for 3 months turned into 3 years. I am
now settled in Orbost, Victoria with no sheep or alpacas but plenty of fleece to keep me
spinning, felting, dyeing and knitting for years to come.
The title of my presentation is “Felting in Mongolia” – Interactive discussion with questions.