Art

Hawthorne & Heaney for Eva Habecka

June 18, 2020 by Natasha Searls-Punter

Design by Eva Hebecka Napier, Embroidery and Image Hawthorne & Heaney

Another up and coming designer we have been working for recently is the lovely Eva Hebecka Napier. We worked with this BA fashion Design student from Kingston University on her graduate collection as she has a piece which she wanted to add some extra detail to in the form of embroidery which would refect her syrian ancestry as one of the themes of her project.

Design by Eva Hebecka Napier, Embroidery and Image Hawthorne & Heaney

This is the piece from her design we went on to produce for her.

Image by Eva Hebecka Napier

And the beautiful coat onto which it has now found its home.

Image by Eva Hebecka Napier

If you would like to see more from Eva and the other pieces from her collection, find her on instagram or her website

Images courtsey of @evahebecka unless otherwise stated.

Hawthorne & Heaney for Jessica Strain

June 12, 2020 by Natasha Searls-Punter

Work In Progress back in April 2020 (design by Jessica Strain, Image from H&H)

Some good news to share with you! During the lockdown period we were presented with the opportunity to spread some positivity and sponsor one of our freelance embroiderers with their graduate collection. Like many people when Covid lockdown began, Jessica Strain was stopped in her tracks from following through with her many months of planning when it came to producing her BA textiles Textiles graduate collection.

Work In Progress back in April 2020 (design by Jessica Strain, Image from H&H)

As a former intern of ours, she approached us to see if we could help with access to the machinery she could no longer use in the workrooms at uni. And so our sponsorship of Jessica’s collection began, making the small missing step in her production chain by realising her designs onto the final pieces. It was also wonderful for us to see her utilise some of the hand embroidery skills she learned during her time with us and weave them into her collection; such as tambour beading and limerick lace.

Hand Embroidered Limerick Lace by Jessica Strain

That collection, ‘Nature Reclaiming Spaces’ is now out as she has finished her course and the results are just beautiful. Have a read of the press release below for a flavour of the themes she explores through her textile collection. However, the images, as I’m sure you will agree, speak for themselves.

Work In Progress, Machine Embroidery (design by Jessica Strain, Image from H&H)

Work In Progress, Machine and Hand Embroidery (by Jessica Strain)

Jessica Strain has created an embroidery collection exploring how mother nature infiltrates all things man-made, whether that’s rust on a metal post or weeds growing through cracks of buildings, beauty can be found in the ordinary.

Combining traditional embroidery techniques with contemporary machine-led processes is at the heart of Jessica’s practice. Jessica began her collection by taking a roll of manually double-exposed film photographs on a 35mm camera. To develop her love of hand-led processes, it was only natural for Jessica to employ embroidery techniques such as tambour beading, limerick lace and shuttle tatting (a form of lacemaking) within the collection.

Sustainability is integral to Jessica’s design process; embroidery techniques lend themselves well to sustainable textiles as they are hard wearing and designed to last. Natural dyeing made up the majority of colour within Jessica’s collection; dyeing organic fabrics with onion skins, nettles and an indigo vat from home during the COVID lockdown. Jessica hand-dyed her digitally embroidered kimono in an indigo vat, each piece requiring 15 X 2-minute dips with additional rinsing between dips. Constituting of 13 pattern pieces, it’s evident how devoted Jessica is to her practice.

Machine Embroidered Kimono By Jessica Strain

Once the textiles side of her collection was complete, she brought the project around to its fruition, moulding them into these stunning garments.

Hand Embroidered Limerick Lace Skirt By Jessica Strain

Tambour Beading By Jessica Strain

Finishing off by taking those garments back into their natural habitat with this look book photoshoot, we are delighted that Jessica’s collection has come together so well and know that this is only the first step in wonderful things to come for this textiles designer.

Thanks for sharing these images with us, all image credits unless otherwise stated are courtesy of Jessica Strain. To see more of her work find Jessica on instagram or her website .

Hawthorne & Heaney in Collaboration with James Burke

February 17, 2020 by Natasha Searls-Punter

Over the last couple of weeks we have been working on a special project with visual artist and founder of Acrylicize, James Burke. Working with his multidisiplinary style he was creating a new piece in preparation for the ‘Superstar Showcase’. Burke’s work examines the relationship between us and the digital world, drawing upon our need for approval in form of the 5 stars. This new piece reimagines some of Burke’s earlier pieces on a similar theme.

The Constant Need For Approval, 2018
280 x 53cm, Acrylic, LEDs, powder coated aluminium

Burke also likes to challenge the way that we consume art, bringing pieces out of the gallery and into the rest fo the world. He champions art in work places and common space for wider consumption which is one of the objectives of his studio, Acrylicize. This playful, open minded attitude is what makes this new piece a great fit for the upcoming showcase.

Superstar Showcase is being held by Creative debuts X Adidas Originals. For this event they have gathered 25 artists, of which Burke is one to create a piece which incorporate or is inspired by Adidas’s classic Superstar trainers. This is where we come in, as we provided the embroidered elements of the stars created out to the Superstar’s laces.

Constellation, 2020

Adidas Superstars & laces on canvas

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On display now, 'Constellation' 2020 by James Burke featuring embroidery from us @jamesburke__artist @creativedebuts @adidasoriginals . . . #conceptualart #visualarts #embroidery

A post shared by Embroidery Specialists (@hawthorneheaney) on Feb 17, 2020 at 1:47am PST

We experimented with using the laces directly and taking a feel for them through the embroidery, but settled on using the laces as directly as possible. The stars are made up by weaving the laces back and forth on themselves to form the legs of the star whilst replicating the fastening process as we are used to seeing it on trainers. The piece has loose laces which join each of the stars to the next in as if formed from one giant lace with the trainers themselves clinging on to what is left of the laces at the end.

With all embroidery pieces, there is always a lot of sampling and preparation before working on the piece itself. This helps is to work out how it is best to approach the piece and achieve a consistent finish. Here are a few behind the scene, making of the piece which might shed a little light on the process.

To see more of James Burke’s work, check out where else you can see his pieces on his instagram. Also see the 24 other amazing pieces by debut artists in the Superstar Showcase on now at Adidas LDN, Oxford Street.

Hawthorne & Heaney for Watts and Co.

January 30, 2020 by Natasha Searls-Punter

Just a short one today, but we really wanted to share this stunning ‘three keys’ cope design we produced for Watts and Co last year. The combination of colours really pops, makes us think that yellow is a bit under used when it looks this good on mass.

The keys themselves are all bullion work in silver, in a combination of smooth and rough purl for texure . Edges in Pearle purl for defination.

Hawthorne & Heaney for Nygaards Bataljon

January 23, 2020 by Natasha Searls-Punter

In celebration of their 162nd anniversary, The Nygaards Bataljon from Norway commisioned us to produce a new flag for their ceremonies. The Nygaards Bataljon is a corps for boys from Norway founded in 1857.

As part of the celebrations they toured around Denmark, visiting some stunning locations in Aarhus, Sommerland and back to Bergen (Norway).

Here are a couple of clos ups of the flag now you have seen it out and about in action.

The stitching of the castle was pretty dense and rich on this double sided banned, and I’m sure you will agree that the yellow on the blue ground is very striking. The embroidery was finished off with a luxurious navy fringing around the edge.

Hawthorne & Heaney for Watts and Co

January 10, 2020 by Natasha Searls-Punter

Last year, we had the pleasure of making this banner embroidery for legendary company, Watts and Co. It is for the Church of the Incarnation, Highlands, NC. The church’s emblem has been embroidered onto exclusive Watts Blue Bellini silk damask, finished with silk bullion fringe. ⁠⠀

We included lots of raisings and textures in this piece to make it look as rich and luxurious as possible. We are particulally pleased with the fish and the cross’s halo, what’s your favourite bit?

Hawthorne & Heaney visit’s S.E.W’s International Contemporary Stitched Art Exhibition

December 26, 2019 by Natasha Searls-Punter

Last month, the Society for Embroidered Works held their very first exhibiton dedicated solely to embroidery. The International Contemporary Stitched Art Exhibiton was held in a characterful space in Clerkenwell, the turn out for quite a niche exhibition looked to be pretty good.

‘Despite her strength she remained on guard 1’ 25×21 cm by Christina MacDonald

The exhibition a great cross section of stitched art in its many forms, as you can see from the few photos included here, the range was quite broad so there was a little something to interest everyone.

‘Lady Gaga’ 34×34 cm by Sarah Gwyer

Providing a platform for stitched art is an important step in elevating the stitched art’s status within the artwork as historically it has been downgraded from art and though of more as ‘women’s work’ or ‘home crafts’. Whilst one might argue these terms to be fair, it would be equally fair to say that given the skills and conceptual strenghts of these pieces shown are most certainly ‘art’.

‘A Benediction from the Old World’ 62×46 cm by Kate Tume

Presenting them in this manner is an important part of S.E.W’s bigger mission to ‘redefine’ the stitched arts to a more apropriate status. If you would like to read more about S.E.W’s mission, have a look at their website.

‘Sisters’ 56x72cm by Bridget Steel-Jessop

Given the level of work on display at this first exhibition, we can’t wait to see what they will present to the art world next year!

‘The girl of the Vale’ 33x30cm by Rowena Liley

Hawthorne & Heaney visits Bridget Riley at the Hayward

November 20, 2019 by Natasha Searls-Punter

On Thursday we were lucky enough to visit the eagerly anticipated exhibition of Bridget Riley’s most comprehensive body of work (spanning an incredible 70 years), on display at the Haywood Gallery.

It was quite a unique experience in the way that the concept behind the paintings made you really think about the theory behind colour, art is about looking; and this exhibition really brings that to your attention. It was also unique in the physical way that the paintings made your eyes and brain hurt – (but in a good way of course!)

The following images are from my favorite series of works:

Stripes and Diagonals. “At the core of colour is a paradox. It is simultaneously one thing and several things – you can never see colour by itself, it is always affected by other colours.” (Bridget Riley, 2009).

Bridget Riley, Chant 2, 1967

Finding that colour is unstable and tangible, Riley used stripes and to bring about powerful colour interactions – pairing or grouping colours along horizontal or vertical stripes, mixing and creating an illusion of hues.

This was one of my favorite series as the work is simple, in the form of perfect clean lines of pigment, but the mixture of colours really make your eyes work and see colours that aren’t there. It isn’t until you go close up to the painting that you can really see what colours the paintings really possess.

Curves “When colours are twisted along the rise and fall of a curve their juxtapositions change continually” (Bridget Riley, 2009).

This series really made my head go in a spin – I think that even from the photos that I took, you can see the illusion of the waves moving and swirling. It is amazing to think that the paint is static, yet with the application of line and colour, there is so much movement.

Bridget Riley, Drift 2, 1966

Studies “The working process is one of discovery and it is worth remembering that the word discovery implies an uncovering of that which is hidden.” (Bridgit Riley, 2019). – I love this quote – it complies the meaning of creative experimentation perfectly.
I found this part of the exhibition fascinating as it showed us the ideas and some of the mathematical and theoretical workings behind the pieces. They were in themselves, very much pieces of art – intricately applied and thought out. It also made you really appreciate just how much thought and time goes into creating the final pieces of work.

Riley produces full-scale preparatory drawings, from which studio assistants under her assistance complete the final work. This gives her the time to solely work on the theory and studies behind the paintings.

Black-and-White “The basis of my paintings is this: that in each of them a particular situation is stated. Certain elements within that situation remain constant. Others precipitate the destruction of themselves by themselves.”(Bridget Riley, 1965).

Bridget Riley, Fall, 1963

Bridget Riley, Blaze 1, 1962

Even with the absolute basic level – simply black and white paint, the illusion is arguably even stronger. Maybe it’s the contrast or the simplicity that draws it back in but it was an amazing way to end the exhibition.

Overall I was really impressed by the exhibition, I thought it was well laid out and portrayed a real story. The surroundings didn’t take away from the paintings but added something to them – they really made you focus in on the work and allowed space for reflection.

“The eye roams and the brain roams with it. You think you get it, and then you don’t”.

(Guardian, 2019)

The exhibition is on until 26th Jan 2020 and I highly recommend a visit if you get the chance.