If you have an event in mind that you would like to get us involved with, drop us an email to firstname.lastname@example.org to discuss what we can do for you.
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?
We thought we would share with you, an exciting project we worked on at the end of last year that we were really pleased with the result of.We had a client that wanted to give a sketchy feel to their anatomical artworks of the heart and liver, encorportating loose threads into the stitching.
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
Saturday was the big night of the year for beauty pagentry as it was the final of 2019’s Miss World competition, held in London’s Excel center. This year’s winner, Toni-Ann Singh from Jamaica was crowned this year’s winner, beutifully modelling Hawthorne & Heaney made winner’s sash.
Singh wowed the judges with her ambition to become a medical doctor when she finishes her current studies in Women’s studies and Psychology at Florida State University and her classical opera singing skills.
Here Singh poses with the current Mr World, Jack Heslewood aslo wearing his Hawthorne & Heaney made scarf.
It’s that time of year again. How time flys!
The studio will be closed for Christmas from 1.30pm on Friday 20th Dec 2019 until Friday 3rd Jan 2020. Therfore any orders placed from now onwards on our standard 5 working days service for machine, or standard 10 working days for hand embroidery will be fulfilled in the new year.
See you in 2020!
Kusheda Mensah with her Furtiture (labels just seen)
We just love it when we get to see a great project all come together, event better when we have been priviliged enough to be a part of it. One such project was earlier this year when we are approached by Kusheda Mensah from Modular by Mensah to produce some embroidered labels for her latest project, in conjuction with Adidas.
Having graduated from LCC, British born Ghanaian designer Mensah produces pieces in her signature playful but functional style. Seeks to bring people together and promoting better social behaviours, her furniture has values as well as purpose. This collection with Adidas also demonstrates the kinds of beautiful furniture that can be made sustainable and recycled materials.
”Inspired by playfulness, these modular shapes seek to redefine the idea of sustainable social well-being. Made from recycled foam and post-consumer recycled PET fabrics.”
The very small text and sheer fabrics provided some technical challenges for the embroidery but with some creative thinking, they came out very smart.
We can’t wait to see what this exciting designer does next!
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).
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.
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).
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”.
The exhibition is on until 26th Jan 2020 and I highly recommend a visit if you get the chance.