Matthew Cox is an artist from Philadelphia who works in a range of media, and is gaining attention for his embroidered x-rays.

“About ten years ago I began to respond to x-rays and Medieval tapestry as objects of beauty at about the same time. Because I had been thinking about redefinition of materials that have an expected purpose for some time it seemed natural to lay these two items over one another.

“The x-ray decides the outcome. Often x-rays have areas that are crisper, lighter or just more interesting than another area so I choose to leave that area exposed and improve the other space with embroidery. And, yes, there is a clear idea of the final design from the beginning.

“Until this past year the embroidery was about decorative embellishment of a material that has a somewhat dark presence. But in May I began to use iconic imagery, characters and symbols and the Heartthrobs and Avatars were born. This gives me an opportunity to not only redefine materials but also imagery that comes loaded with preconceptions. Also, prior to this group I had worked within the confines of the rectangle but these new pieces extend the body part outside of the box and extends the possibilities for imagination.”

I think Matthew’s work is great. It’s colourful and playful – there is no guessing who the x-rays will belong to and Matthew surprises us with his choices. The use of satin stitch adds texture to the pieces and it’s great to look through his site and see how this concept has evolved. Great stuff!

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The Cutting & Stitching Edge is brought to you in association with PUSH: Stitchery!

Zoe Williams is a needle-felting artist currently working in New York. Her art is astonishing.

“I started needle felting in 2008; my first pieces were rabbits, inspired by an important dream I’d had. Later I began working on a series of pieces inspired by dream animals which culminated with my solo exhibition, Somnium Bestia, in 2010. I’ve always been a great animal lover, so I guess it’s natural that animal imagery would dominate my work. I’m also fascinated by dream symbolism and mythology, so I strive to incorporate all of these elements into my growing menagerie.

“I’m currently working on several new projects, including a series based on critically endangered or extinct creatures. Gold Rhino is one of these, inspired by the Western Black Rhino which was recently declared extinct. I’ve nicknamed them “unicorns” because to me the unicorn epitomizes the magical, precious, and rare.

“I have a couple of group shows coming up, one in Brooklyn, NY and one in Port Townsend, WA:

Hey, Beautiful!  Amos Eno Gallery, Brooklyn, NY, Feb. 1st – 25th, opening reception Thursday, Feb. 2nd - 

“The second show will be in March, and I believe the opening reception will be Saturday, March 3rd. This one will be a two person show at Artisans on Taylor Gallery in Port Townsend, WA.

Zoe’s work simply floors me. Thanks to fantastic artists like our very own Moxie, my eyes have been opened to the potential of needle felted art, and Zoe’s pieces exemplify how great this art can be. The construction of the pieces is amazing and the way the animals grow from the walls, expanding past their natural boundaries is inspirational. It reminds me of the first time I saw Melissa Sue Stanley’s creations busting out of their frames.

It is great to see how Zoe’s work has developed over the years and I wonder what will come next. How big can she take these works?! I’m excited to find out. Visit Zoe’s website to enjoy more of this amazing needle felted art.

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The Cutting & Stitching Edge is brought to you in association with PUSH: Stitchery!

Jessica Wohl is an embroidery artist from Tennessee. She makes “the invisible visible”.

“My practice of investigating and scrutinizing people, objects and domestic environments reveals hidden metaphors and interpretations of that which we cannot, or choose not, to see. Particularly drawn to portraiture and manicured homes, I exploit the uncanny while subverting domestic representations of perfection and happiness.

“Conceptual strategies such as repeating, simulating, concealing, mutating and erasing induce a sense of discomfort. By employing tight boundaries, clean edges and sickly smiles, secret interiors are protected from the outside world.

“These protective barriers are created through the use of obsessive mark making. While subtly implying that my subjects are flawed, the handmade mark in this work is evidence of our human condition—that is, we are not as perfect as we may seem. Whether painting, drawing or sewing, I make marks by hand to acknowledge and embrace the imperfections in our society’s relentless pursuit of composure.

We’ve seen other artists who use stitch to explore photographs and portraits – Shaun Kardinal and Wayne Lo spring to mind. Jessica deliberately constructs her characters and modifies their backgrounds, creating hyper real images. I find them both charming and unnerving – it’s great stuff.

Find out more about Jessica at her website.

Things are a bit bonkers at Mr X Stitch Towers this time of year, so in lieu of a proper Edge post, here’s a little Xmas Love for you.

And here’s the pattern for you to make one of your own!

Peace on earth and goodwill to all of youse guys! x

Today I’m at a stand at the Knitting & Stitching Show in Dublin, pretty cool huh?

In order to entertain you while I’m away I’m following up on last week’s eight of the best from 2009, with eight Edge posts from 2010 that you might have missed. Get yourself a beverage of your choosing and we’ll crack on!

• Sally Hewitt’s tactile textiles!
• Emma Seymour’s hand embroidery!
• Muriel Decaillet’s installations!
• Maria Pineres’ amazing needlepoint!
• Evelin Kasikov’s CYMK stitchery!
• Eliot BK’s B-Boy cross stitch!
• Yin Xiuzhen’s suitcase cities!
• Lisa Connolly’s curious characters!

Normal service will be resumed next week!

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The Cutting & Stitching Edge is brought to you in association with my new book!

Next week I’m going to be having a stand at the Knitting & Stitching Show in Dublin, which is going to be awesome!

The side-effect of this is that life is a bit hectic here at Mr X Stitch Towers, so the next couple of Edge posts are going to re-introduce you to some of that have been featured in posts gone by. Here’s a selection from 2009!

• The awesome applique of Emily Eibel!
• Shannon Rankin’s mixed media art!
• You’ve never seen plush like Mortal Plush!
• The legendary Johnny Murder!
• Our very own Arlee Barr!
• The mixed media magic of MimiLove!
• Liz Kueneke’s neighbourhood projects!
• Silke Krah’s edgy embroidery!

There’s eight inspirational people for you to enjoy!

If you’re in Ireland next week, come along to the show. I’m going to be on stand N27, with some inspirational stitchery to look at, my emoticon cross stitch kits for you to buy and I’ll be signing copies of PUSH Stitchery to boot!

If you’re in luck you might also get to meet the fantastic Ellen Schinderman!

Come along and say hi!

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The Cutting & Stitching Edge is brought to you in association with my new book!

Melanie Kay is a textile artist from Manchester who creates domestic textiles from beer cans and recycled materials.

“I am intrigued by things that I hear and read as well as the things I see.  I take inspiration from the media, the theatre or even a film which allows me to take an introspective approach to my work and merge aspects of fine art and design.  The desire for my work to be meaningful influences the things that interest and astound me which in turn influences the way in which I work.

“Being experimental with the materials I use has enabled me to be innovative and inventive in the way I portray my imagery. I like to illustrate figuratively to encourage thought and portray sinister events in an aesthetically pleasing way. My aim is to catch the eye of the observer and draw them in before revealing the true happenings concealed within my work.

“Using beer cans as a surface for my work has meant that I have had to be innovative in the way in which I transfer imagery onto the cans. I begin my illustrations mostly in pencil and then use various textile techniques to transfer the imagery onto the cans including, printing, heat pressed textile vinyl, hand and machine embroidery. Not wanting to be limited by textile processes I have experimented with processes such as sanding and punching. “

I met Melanie at the Knitting & Sttiching Show in London and was iintrigued by her work and the accompanying narrative. Melanie’s use of beer cans as the materials for her work relates to domestic violence and the secrets that take place behind closed doors. Drink can be a demon, and one that can hide in plain sight; Melanie’s charming pieces are more sinister than they first appear.

Find out more by visiting Melanie’s website.

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The Cutting & Stitching Edge is brought to you in association with my book!

I discovered Valerie Huggins‘ work at this year’s Knitting & Stitching Show in London. She is a graduate of Julia Caprara School of Textile Art.

“Colour, pattern, and then more colour drive my passion for textiles, from the dazzling embroidery of Mexican blouses and the woven mirrored shawls of Gujarat to the overblown florals of Florida beachwear. In the tradition of patchwork quilts, I work mainly with commercially dyed and printed fabrics, finding excitement in placing seemingly conflicting designs side by side to provoke an unexpected dialogue.

“I am fascinated by the dual nature of flowers: as symbols of beauty, creativity and abundance, but also as witnesses to sickness, mortality and grieving. This has informed a series of work in which the viewer is lured in by the flowers’ loveliness, to be confronted by a dark and unsettling ambiguity. These themes of beauty and death are interwoven disturbingly in religious symbols and iconography.

The Poisoned Heart is the culmination of my long-standing interest in devotional and secular shrines, arising from my strict religious upbringing and fuelled by travels inGreece andMexico. Using strong colour, kitsch and even humour, this and other work challenges the viewer to question where the comfortable, familiar symbols of Christianity come from, and where myth, superstition and paganism end and organised religion begins.

The collecting of materials is an essential process in the formulation of my ideas. As a quilter, I have always hoarded precious scraps of fabric, but my work has expanded to embrace other “found objects” ― collected from holiday beaches and craft markets, pound stores, eBay, Voodoo shops and taxidermists ― that provide a disconcerting contrast to the softness and prettiness of fabric and thread.  But textiles are, and will remain, at the centre of my art. They are both an end and a means: a way of conveying my darkest fears and deepest loves, but also a visual delight in their own right.

It’s powerful work, gaudy and stimulating. Taxidermy crows emphasise the religious fervour and iconography that Valerie explores. It is an assault on the senses and I love it.

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The Cutting & Stitching Edge is brought to you in association with my new book!

I’m going to use this week’s Cutting (& Stitching) Edge to do a quick review of this year’s Knitting & Stitching Show at Alexandra Palace. As in previous years, the three rooms at Ally Pally were packed with inspiration and ideas for knitting and stitching fans alike.

I love walking through the various exhibitions and seeing new things that excite me, or challenge my preconceptions about stitchery. The Beryl Dean exhibit was a perfect example of the latter as it took my ideas of ecclesiastical embroidery and turned them on their head. The combination of contemporary, yet timeless, design and perfect execution took my breath away.

Image: ©Nigel Roberson 2011

There were plenty of students and school parties at the show, and it was good to see the likes of Craft Guerilla teaching stitchy skills to new people. The Upcycling Academy (run by the awesome Massey Fabrications) was constantly packed, educating people about fairtrade and how to make best use of existing materials.

The K&S show always showcases new student talent, and I spent a few hours talking with the graduates who were showing their work. I’ll be featuring some of them in Edge posts over the forthcoming weeks as there was some great work being shown. The macabre pieces of Valerie Huggins were quite stunning, including this piece featuring a stuffed crow!

I really love the Knitting & Stitching show. There’s so much inspiration to be found, as well as stalls selling all the stitchy accoutrements you would ever need. If you get the chance to visit the shows at Dublin or Harrogate, I thoroughly recommend it.

If you’re visiting the Dublin show, you’ll be able to swing by the Mr X Stitch stand to see some great stitchery, pick up a copy of PUSH Stitchery or a cross stitch emoticon kit, and hang out a while!

I leave you with a piece from Jean Bennett, a phenomenal mixed media artist that I cannot wait to introduce you to… Enjoy!

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The Cutting & Stitching Edge is brought to you in association with my new book!

Emily Roose is a graphic designer from Massachusetts. She contacted me about her latest series, “Slow Breaking News” and I asked her to tell me all about it:

“For my Masters in Graphic Design thesis project at New England School of Art and Design, I designed and created 6 breaking news stories into cross-stitch pieces over the course of 4 months. I wanted to highlight the absurdity of the ways these sensationalized breaking stories are reported in the media by putting them in a very very slow medium.

“Each piece took about 25-30 hours to design and stitch. I used source imagery from TV broadcasts and news websites. Since I only roughly sketched out the designs of each before I started stitching, much of the designs are improvised, and much of that stitching time was spent contemplating form and color, and taking out a lot of stitches when it didn’t look right. I came to think of cross stitching as a very slow mode of drawing.

“I got a lot of inspiration from sites like Mr X Stitch, Subversive Cross Stitch, and Feeling Stitchy, and lots of technical help from friends who stitch. I highly enjoyed the challenge of representing people and things with a very limited pixel grid.

“What I also enjoyed, unexpectedly perhaps, was the physical pleasure of cross stitching.  It just feels so good to hold fabric (I don’t use a loop when I stitch) and pull a needle and thread through. It’s hard to explain why but I’m sure readers of this site will understand! I’m currently working on a couple new cross-stitching projects, I think I’m hooked for life!”

This is a smart series of stitcheries. The slow production process challenges the drama of the content, raising the question of whether these issues would be newsworthy if the reportage took a week to produce. There’s something about the medium of cross stitch and the simplicity of these designs that further emphasises the contrast and dispels the hype. Nicely done!

You can find out more about Emily at her website.

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The Cutting & Stitching Edge is brought to you in association with my new book!