Cutting & Stitching Edge

The Cutting & Stitching Edge | Contemporary Embroidered Art from Mr X Stitch

Something a bit different this week – LaceFence.


“LaceFence is a Dutch based company that designs & produces unique architectural fabric delivered globally. LaceFence has grown into a product which lives up to the highest standards for a variety of applications.



“LaceFence shows how something which was meant to be purely functional can also be decorative. Hostility versus kindness, industry versus craft.



“The architectural applications are limitless. Varying from (french) balconies, building facades, ceiling panels, bridge & staircase railings, room dividers, park & driveway fencing, gates & doors, logo’s & promotional banners or even just as a handmade artpiece on the wall.”


I’m a bit in love with this idea. Why should chain link fences be boring? If you’re going to have the same old same old then at least they can be yarnbombed, but LaceFence changes the game significantly with their concept.

I also like the fact that they’re honouring traditional lace with many of their designs. On their site you can see new and fresh ideas that cater to the commercial requirements of their customers, but a lot of the time it appears that they enjoy playing with patterns that are familiar and nostalgic.


I think it’s beautiful and one day when I get to do the Grand Designs thing and build Mr X Stitch Towers, I’m getting me some LaceFence!


The Cutting (& Stitching) Edge is brought to you in association with PUSH: Stitchery, the contemporary embroidered art book curated by Jamie Chalmers. Featuring 30 textile-based artists from around the world, it’s a must have for needlework fans.

{ Comments on this entry are closed }

Sayraphim Lothian is a “public artist and investigator of playful engagement & experiments in guerrilla kindness” from Melbourne, Australia. She has a new artist in residency project that is very interesting!

Sayraphim Lothian - Wreath

“It’s called Craffiti and it’s soft sculpture and other crafted works based on some of Melbourne’s amazing street art scene. The crafts range from knitting to cross stitch, hand quilting to soft sculpture and embroidery. Alongside each work is a photo of the original street art piece and most of the artists represented have works of their own in the exhibition as well.

Sayraphim Lothian - Tag
“I look at sewing as solving puzzles, how am I going to make this the shape I want, what craft will I use, what materials will give me the surface I’m looking for, and so using street art for the inspiration offered me a whole new set of challenges. Will I make this 3d or 2d? What kind of craft will suit the original work the best? And, in one case, how the hell am I going to make this guy stand on his own without wire or bring hung up?

Sayraphim Lothian - Figure

“Using other people’s artwork as a starting point for your own is also a great responsibility. With any work you make, you want to make it as best as you can, but when using someone else’s work as a template, you have an added responsibility to be true to their vision as well as your own. You don’t want to present a work they’re going to hate!

Sayraphim Lothian - Crowned Figure

I love the idea of artists in residence, those schemes that museums, historic houses, libraries and other institutions have where artists are invited in to soak up the collections, the buildings, the histories and the stories and emerge with new artworks based on their experiences. Artists can offer the public a new way to look at an item, a new way to think about a building, a new way to experience a history. Artists can take the familiar and re-present it in a new light, using different materials to encourage us to really look at something we thought we knew, and present to us new thoughts, ideas and experiences we haven’t had before.

Sayraphim Lothian - TentacledFigure

In a way, Craffiti is exactly this, an artist residency down the alleyways of Melbourne, bringing back ideas and forms found under eaves, on walls and fences, attached to poles and hidden under bridges. Remaking these forms in new materials to present them to the audience in a new light.


When I was first approaching the street artists, I was a little aware that craft can be seen as a bit daggy in the public eye and that some of these artists have been painting the streets for decades. In particular one artist who I have been in awe of since I discovered his work over 10 years ago, I was a bit nervous to email him and say “Umm, I’d like to quilt your tag please…” but they were all amazingly supportive and really keen to see their work in new ways.

Sayraphim Lothian - Octopus


“I’m a public artist, who’s main body of work is in Guerrilla Kindness. It’s where I made small, handcrafted works to place out in the streets for people to find and take home, to make their day a little brighter. So with Craffiti I really wanted to have a Guerrilla Kindness aspect to it, as well as take it out to the streets. I was very aware that I was bringing street art into a nice, clean gallery space so I wanted to ensure that some of Craffiti made it’s way back out onto the streets. So I knitted around 20 spray cans (which rattle, thanks to a film canister and wooden bead inside) and they’ve been sent off to friends around the world who’ll be dropping them in their cities. Already spray cans have gone out in Perth (AUS) and Durham, NC (USA), they’ll also be appearing on streets in London (courtesy of Deadly Knitshade), Berlin, New York, Boston, Stockholm, Brisbane (AUS) and of course Melbourne! Each can has “Craffiti” and “@sayraphim” so that people can check in if they’d like to, but they don’t have too. It’s an obligation free gift, from us to whoever finds them.

Sayraphim Lothian - Troll

Such a great idea and some excellent pieces of work. I want that troll so bad. Follow all of Sayraphim’s adventures on instagram, facebook, twitter and on her website.

{ Comments on this entry are closed }

The Cutting & Stitching Edge | Contemporary Embroidered Art from Mr X Stitch

Over on YouTube, Erin McMom is a cross stitch artist who’s doing some really clever stuff. Go grab a drink, make yourself comfortable and enjoy Erin’s video for the OK Go song “Before The Earth Was Round

I came up with the idea to create a 3D globe while I was out for a run sometime in June. I had just finished my previous project and had no idea what I was going to do next. I was listening to my iPod when the OK Go song “Before The Earth Was Round” came on, and I knew I had to try a 3D globe to turn the concept of the song into a cross stitch. I printed out a template for a paper globe and sketched it onto the aida cloth with a pencil that very same evening. I thought it would take me about 3 months to complete (a gross underestimation).

“Early into the planning stages I decided I wanted to find a way to incorporate the song lyrics into my time-lapse video as a nod to the band, as an element of interest, and as an extra creative challenge for me. I decided that using the floss to write a word each time I started a new strand would be the most interesting way to do it.

Toronto Confetti Skyline

“I planned out the lyrics by listening to the song and writing out all the lyrics into a notebook. I aimed to have one photo for each word in the song but broke some words down phonetically to keep the video moving. I also counted out any pauses between lyrics in the song. I marked these breaks with dashes (one dash representing each photo during the pause) generally 3-4 photos per second during pauses. Truth-be-told, I kind of rushed through the planning process because I was so excited to get to work. As a result, there are times where I miscalculated the amount of photos needed for some sections which caused variations in the speed of progress during the video, although looking back on it now, I think the variation makes the video more interesting.

“There’s even an entire section that I forgot to spell out in thread, so I created a work-around after finishing the entire project and fit it into the video (I’m actually in love with that section and I’m glad it worked out that way!) It’s a wonder this worked out at all, let alone working as well as it did! In total the video is comprised of over 700 still photos and took me over 1200 stitching hours to complete (I lost track).

“This is my second OK Go cross stitch video, they are my favourite band and I’m really hoping they’ll see this video eventually.

OK Go – What To Do

“When I create time-lapse cross stitch videos I mark where the corners of the cloth will sit on my craft table using a pencil. Every time I take a new shot I line the corners up with my marks again to minimize movement. Good lighting is difficult to achieve without shadows so I’ve experimented with a variety of set-ups. My current set-up consists of a desk lamp, and some clamp lights which I attach to the edge of the table. I also use a Rotolight which I mount on the hotshoe of my Canon SL-1. My camera is set-up on a Velbon tripod with one of the legs unextended and propped up on the edge of my desk so the camera can lean over my work as far as possible without casting a shadow. I set my camera to the correct zoom and ISO setting and it remains on the tripod for the entirety of the project.

Mystery GuitarMan Cross Stitch Time Lapse

Erin really knows what she’s doing and her output is growing fast. Well as fast as a stitcher can under the circumstances.

Hello Hong Kong Confetti Skyline

I hope these videos inspire other people to have a go at doing the same. I must admit, I’m thinking about it…

Don’t Forget To Be Awesome


The Cutting (& Stitching) Edge is brought to you in association with PUSH: Stitchery, the contemporary embroidered art book curated by Jamie Chalmers. Featuring 30 textile-based artists from around the world, it’s a must have for needlework fans.

{ Comments on this entry are closed }

The Cutting & Stitching Edge | Contemporary Embroidered Art from Mr X Stitch

Kate Crossley is a textile artist from Oxford.

Kate Crossley - Chrysalis

“I love to use the medium that speaks to me at that moment and is best suited to the idea, I use paper, fabric, stitch, paint, dye, photo transfer, fibre etch, paper mache, resin and found objects. The piece may become a quilt, a wall hanging, a box or a book.

“Ideas of layering, wrapping and preserving are returning themes, I often build up layers of fabric and embroidery only to use acid on the surface to burn away parts to reveal detail underneath, a sort of artist’s archaeology.

Kate Crossley - Book at Bedtime

“I enjoy telling a story, of things that have gone before and of objects that have become precious and have a story to tell. Although my work often has a strong personal theme this is not always obvious; it is important to me that my work allows the viewer the space to invent and interpret the work for themselves.

“All of my work contains some elements of stitch and textile. I mainly use a Janome machine and a Juki machine for free machine embroidery and with my newest purchase, a New English Quilter which allows me to use my Juki more like a long arm quilter. I love to use free machine embroidery, especially for adding text, combined with patchwork and quilting. I often work in multiple layers, burning back the surface with devore paste to create exciting new fabrics and unusual, aged surfaces.

Kate Crossley - Box Of Delights

“I use various weights of calico cotton, muslins and scrim, lots of pure silk, especially dupion, alongside recycled fabric. For thread I use a pure silk and really love Texere’s brilliant selection. Most work starts off white or cream and I like to use walnut ink, Procion and natural dyes to colour recycled fabric. I also use different photo transfer methods. Bubble Jet Set is wonderful to use if you want to print directly onto fabric using an inkjet printer and Lesley Riley’s Transfer Artists Paper is lovely to use as you can draw and paint over images and distress the surface before you iron on to the fabric.

“I have also learnt simple mould-making and casting techniques as well as resin casting as sometimes I want multiple objects in a piece and this is the simplest way to reproduce a found object. Of course sometimes an object is simply too precious to use in a cabinet so a mould and cast allows me to go ahead and use it.

Kate Crossley - Clock

After making “Clock” and winning the Quilt Creation section at the Festival of Quilts this year I was asked if it could go on display this March at the American Museum in Bath alongside some of their wonderful old clocks and quilts. They have a wonderful collection of quilts on display and this year are hosting an exhibition Hatched, Matched, Dispatched – & Patched! An exhibition featuring quilts and garments associated with birth, marriage and death which looks amazing. I will also be running some workshops at the Museum the first is on May the 9th.

Kate Crossley - Clock (detail)

Kate is fearless in her exploration of the textile form. Her huge sculptures are created with an array of printing and embellishment techniques that are quite frankly, mind boggling.

Kate Crossley - Kate's Book Of Common Prayer

I discovered Kate’s work last year, and was blown away by the chrysalis piece in particular. Her art is packed with narrative and and you have to take time to fully explore her work. Whether it’s digital printing, resin work or soft sculpture, there are loads of techniques to be enjoyed. The fabric force is indeed strong in this one.

Kate Crossley - In The Beginning There Was Void

I love art like this, where you’re forced to take time out to properly engage with it. Visit Kate’s website to keep up with where you’ll be able to see the work for yourself.


The Cutting (& Stitching) Edge is brought to you in association with PUSH: Stitchery, the contemporary embroidered art book curated by Jamie Chalmers. Featuring 30 textile-based artists from around the world, it’s a must have for needlework fans.

{ Comments on this entry are closed }