Creating art from recycled materials using traditional methods (applique, patchwork,…
EXPLORING 3D TEXTILES, PADDED STRUCTURE AND SURFACE CONTOURING.
As a textile artist I use the traditional method of quilted applique (adding a layer of wadding between the background and design fabric) in order to cushion the surface. ‘Green Buddha Temple’ is an example of individual panels with a depth of 1.5 inches.
Stuffing structures to create real depth raises the surface away from the flat background creating a sculptural quality. ‘Vibrant Buddha Temple’ is a simple design with a depth of four inches. A play of light casts shadow over the undulating surface which changes throughout the day.
The hood in ‘Mother and Child’ has a depth of six inches. The structure is manipulated and moulded to appear naturally contoured with deep folds.
3D TEXTILES: PADDED STRUCTURE
A padded structure can be created from individual parts, stuffed and stitched together. ‘Old Ted’ has a total of eight body parts and a depth of three inches.
A single structure can be stuffed and moulded like a sculpture. The outer skin of ‘Tomato’ has an internal wall (red satin adorned in sequins) between the padded external structure and the internal cavity. A depth of five inches raises the structure from the flat background.
The vagina in ‘Gang Bang’ is not as densely packed but achieves the same depth through careful manipulation of folds and pleats within the contoured surface.
‘Breast Cancer 2: Mastectomy’ has a depth of six inches constructed from layers of fabric, plastics and wadding. I enjoy seeing the creative process along side the finished product. An element of voyeurism is created, enticing the viewer inside.
I enjoy the challenge of creating textiles with real depth and sculptural beauty. The play of light upon a contoured surface changes with the weather and time of day.
by Christine Cunningham
Creating art from recycled materials using traditional methods (applique, patchwork, quilting) with a modern exploration into fabric manipulation and padded structure. Unusual materials include hair, plastic, rubber, metal, disintegrating fabrics and found objects. I source my treasures from carboot sales, charity shops and freecycle. Original poetry captures the essence of an experience, an emotional layering to which the viewer can relate on a personal level. I have two bodies of work. The Natural Collection explores abstract flower design and the seasons, religion, visions of India and Buddhism, childhood nostalgia and the seaside. The Womanhood Collection explores natural states of being including breast cancer, sexuality, the ageing process, anatomy, love, fragility and independence. I was inspired by my own experiences of breast cancer, both the physical brutality and fragility of living in the aftermath.