Her detailed stitched paintings are created using fabric, gouache, and ultimately embroidery. “Stitched Paintings is the term I use to describe my style of work,” she writes on her website. “The process flows like this: I paint blank pieces of linen in abstract washes then add botanical, illustrative details in with acrylic paint or gouache or ink, finally I add texture through stitch.”

Partly trained and partly self-taught, Woods has learnt her craft through trial and error. “Coming to stitch as a mixed media artist I have taught myself a variety of embroidery techniques which probably don’t follow traditional embroidery guides but work for the kind of mark making I enjoy creating,” she writes.

“Stitch for me has become a bit of an obsession which marries my love of detail, color, texture, and allows hours of quiet reflection and Netflix binge watching,” she concludes. Sounds ideal to us!

Take a closer look.

The post Fleur Woods’ Stitched Paintings Are a Homage to Nature appeared first on MagazineBlogger.

Her creative process is half planned, half left to chance. Often, Kozma uses dice as a way of determining which colors to use, while other times she will draw a thousand tiny bricks by hand. According to her, combining these methods creates an organic rhythm that could not exist if she were making all of the choices solely on her own accord.

“I don’t really know where I fit into the contemporary art scene,” she admitted in an interview with Textile Artist. “Sometimes I wonder if I should be making things that are more on trend or would appeal to the masses. I still struggle with posts that don’t get many likes, and question how I could be cooler/better, essentially more popular–HA! But then I check in with myself and I know that this work is meaningful to me and that I’m telling stories. Storytelling is timeless, like textiles in general.”

Having received her BFA from Moore College of Art & Design, her untraditional work has been featured in several solo and group shows in Philadelphia as well as New York, Delaware, and Miami, Florida for Art Basel.”Sitting down and making art at the end of the day, grounds me and gives me time to breathe, process, and breakdown the day,” she says.

The post Kelly Kozma’s Art Relies on Chance and Probability appeared first on MagazineBlogger.

But then, this isn’t your traditional embroidery work. Rather, her textile work is meant to look like expressionistic paintings, with the needlework imitating brushstrokes. “In the beginning, I felt that my work looked a bit like topography; a two-dimensional, birds-eye version of the map of a face,” said Kerrison. “As my work has developed it has become more and more complex, taking on more of an expressionistic, brushstroke approach.”

Using a range of unconventional and improvisational approaches to her work, her pieces take well over 250 hours to complete. Once she’s picked a subject matter, she sketches it a number of times before scanning and printing the chosen sketch. She then uses a lightbox, tracing on the black of the design using a heat transferable fabric pen, after which she irons the design onto a piece of fabric, attaches it to a hoop or frame and finally begins to sew.

“I just zone in and enjoy the flow and movement of the embroidery,” she describes the process itself. Here are some highlights from her Instagram page.

The post The Expressionistic, Raw Embroideries of Sorrell Chrystal Kerrison appeared first on MagazineBlogger.

With her mother and grandmothers all being gifted seamstresses, it was only a matter of time before Cobbett followed suit. After studying at Chelsea College of Art (UAL), she worked in the printed textile design industry, but a move to the country and a gift of an old Bernina sewing machine changed her course of action. And so, her long-held desire to be a maker, as well as a designer, finally came to fruition, through her reimagined forests.

“I love intricacy and adding my own little secret threads to the work that might not be obvious at the time but in a certain light, they shine out or sparkle,” she shared in an interview with the Voice of London. Inspired by the forest floor, she constantly scours her surroundings, seeking hidden treasures, and photographing and collecting fallen debris. Those are later recreated using approximately 130,000 individual stitches a day.

“Someone said to me recently that when someone asks me how long each piece takes to make that I should say that it’s taken me 22 years of experience to get to this point,” she says. “I think sometimes we forget that a person’s ability to make something isn’t based on the actual time it took to make.”

The post Textile Master Recreates Plant Decay, Moss, and Fungi appeared first on MagazineBlogger.

“A reoccurring theme of spiders in a series of pieces that I have made have all been based around cutting away at fabric, and weaving lace-like structures similar to webs over the holes to make them complete again,” the British embroiderer elaborated in an interview with Textile Artist. “The break down and rebuilding is a subject that keeps coming up in my work, and one that I don’t feel I have finished exploring yet.”

A sewing enthusiast, Pritchett admits that his work feels more illustrative than conceptual. “The shows that I have exhibited in have featured alongside mostly illustrators so I suppose I’m not really sure how my work fits in alongside other textile art,” he explains. A mixture of traditional hand embroidery and illustration, his work is definitely worth following:

The post The Enchanted Embroideries of Adam Pritchett appeared first on MagazineBlogger.

“As a teenager, I learned how to crochet from my mom, Takako Yamashiro,” she relayed in an interview with the Urban Outfitters blog. “I never learned how to read patterns.” Once she figured out that crochet could be much more than just scarfs and baby blankets, the possibilities were endless. “I have been consistently crocheting since then, making costumes, bikinis, soft sculpture, wall hangings, pillows, giant portraits based on the Cathy comics.”

“My aesthetic is all about bright colors, humor and the queering of pop culture,” she says. “So, being surrounded by my work and the beautiful work of my friends creates a pop culture of its own: it’s all around me and part of my daily life.”

Working from her apartment, she takes pleasure in being surrounded by her art. “This is the first time in my life I have lived alone and I thought that I was finally going to have a ‘grown-up’ minimal, fancy, apartment,” she admits. “But it turns out I actually just want to live in a psychedelic TGIFridays/Pee-wee’s Playhouse with plants.”

Enter her playful world:

The post Mikki Yamashiro is Effortlessly Cool appeared first on MagazineBlogger.

Being a one-woman show, her work indeed takes much time and effort, with each of her pieces carefully hand-stitched, packaged, and shipped by her. Splitting her time between creating one of a kind originals and teaching creative workshops, her work takes her out on the road quite often.

Based in New Hampshire, she has developed over the years a very distinct embroidery style and aesthetic. Her approach to stitch is fairly unruly, often abandoning traditional stitches and techniques in favor of bold shapes, playful patterns, and contemporary subject matter.

The result is more often than not – playful and uplifting. Something to add to your home, perhaps.

The post Sarah K. Benning’s Embroidery Pieces Are Quite Delightful appeared first on MagazineBlogger.

“I never actually studied anything relevant to design or to mask making,” she admitted in an interview with Vogue. “But I did grow up with two parents who were fine artists. My dad also taught at a few different art academies around Norway. I grew up around their artist friends. There was always art material lying around to make things with and I suppose it tuned my eye from an early age.”

Her creations began as a sort of experiment with costume-making while working in a vintage shop. They’re made from everything and anything – from samples of hair from a two-hundred-year-old Japanese geisha hairpiece to everyday objects found in the street. Those are assembled in carefully crafted pieces that are in and of themselves an exploration of textures and patterns.

“The whole process starts with whatever material I’m interested in,” Kennedy explained. “I connect with materials on an emotional level. I don’t draw or sketch, but instead just sculpt and let the materials lead the way.”

This is one artist you’ll definitely want to follow on Instagram.

The post Damsel Frau’s Masks Are Nothing Short of Miraculous appeared first on MagazineBlogger.

An avid supporter of women’s rights, equality, and freedom of expression, Olek’s pieces were exhibited in the United States, the United Kingdom, Germany, Brazil, Turkey, France, and other places around the globe; proving that people are tuned to her message.

“As a kid I learned to crochet a little,” she shared with Spear’s Magazine. “It was something to do when I was growing up; we had to reinvent what we had, to make something out of it. I spent a whole week collecting the tin caps from the milk we got every day to make art. I would collect the shiny paper when we had chocolate and make something out of it. I really hate it when artists say, ‘I can’t work because I don’t have materials.’ Find your own materials! Find your own!”

This DIY punk spirit shines throughout her work, making it altogether unique. Take a look for yourself.

The post Olek’s Crochet Art is Something Else appeared first on MagazineBlogger.

Her detailed stitched paintings are created using fabric, gouache, and ultimately embroidery. “Stitched Paintings is the term I use to describe my style of work,” she writes on her website. “The process flows like this: I paint blank pieces of linen in abstract washes then add botanical, illustrative details in with acrylic paint or gouache or ink, finally I add texture through stitch.”

Partly trained and partly self-taught, Woods has learnt her craft through trial and error. “Coming to stitch as a mixed media artist I have taught myself a variety of embroidery techniques which probably don’t follow traditional embroidery guides but work for the kind of mark making I enjoy creating,” she writes.

“Stitch for me has become a bit of an obsession which marries my love of detail, color, texture, and allows hours of quiet reflection and Netflix binge watching,” she concludes. Sounds ideal to us!

Take a closer look.

The post Fleur Woods’ Stitched Paintings Are a Homage to Nature appeared first on MagazineBlogger.

Her creative process is half planned, half left to chance. Often, Kozma uses dice as a way of determining which colors to use, while other times she will draw a thousand tiny bricks by hand. According to her, combining these methods creates an organic rhythm that could not exist if she were making all of the choices solely on her own accord.

“I don’t really know where I fit into the contemporary art scene,” she admitted in an interview with Textile Artist. “Sometimes I wonder if I should be making things that are more on trend or would appeal to the masses. I still struggle with posts that don’t get many likes, and question how I could be cooler/better, essentially more popular–HA! But then I check in with myself and I know that this work is meaningful to me and that I’m telling stories. Storytelling is timeless, like textiles in general.”

Having received her BFA from Moore College of Art & Design, her untraditional work has been featured in several solo and group shows in Philadelphia as well as New York, Delaware, and Miami, Florida for Art Basel.”Sitting down and making art at the end of the day, grounds me and gives me time to breathe, process, and breakdown the day,” she says.

The post Kelly Kozma’s Art Relies on Chance and Probability appeared first on MagazineBlogger.

But then, this isn’t your traditional embroidery work. Rather, her textile work is meant to look like expressionistic paintings, with the needlework imitating brushstrokes. “In the beginning, I felt that my work looked a bit like topography; a two-dimensional, birds-eye version of the map of a face,” said Kerrison. “As my work has developed it has become more and more complex, taking on more of an expressionistic, brushstroke approach.”

Using a range of unconventional and improvisational approaches to her work, her pieces take well over 250 hours to complete. Once she’s picked a subject matter, she sketches it a number of times before scanning and printing the chosen sketch. She then uses a lightbox, tracing on the black of the design using a heat transferable fabric pen, after which she irons the design onto a piece of fabric, attaches it to a hoop or frame and finally begins to sew.

“I just zone in and enjoy the flow and movement of the embroidery,” she describes the process itself. Here are some highlights from her Instagram page.

The post The Expressionistic, Raw Embroideries of Sorrell Chrystal Kerrison appeared first on MagazineBlogger.

With her mother and grandmothers all being gifted seamstresses, it was only a matter of time before Cobbett followed suit. After studying at Chelsea College of Art (UAL), she worked in the printed textile design industry, but a move to the country and a gift of an old Bernina sewing machine changed her course of action. And so, her long-held desire to be a maker, as well as a designer, finally came to fruition, through her reimagined forests.

“I love intricacy and adding my own little secret threads to the work that might not be obvious at the time but in a certain light, they shine out or sparkle,” she shared in an interview with the Voice of London. Inspired by the forest floor, she constantly scours her surroundings, seeking hidden treasures, and photographing and collecting fallen debris. Those are later recreated using approximately 130,000 individual stitches a day.

“Someone said to me recently that when someone asks me how long each piece takes to make that I should say that it’s taken me 22 years of experience to get to this point,” she says. “I think sometimes we forget that a person’s ability to make something isn’t based on the actual time it took to make.”

The post Textile Master Recreates Plant Decay, Moss, and Fungi appeared first on MagazineBlogger.

“A reoccurring theme of spiders in a series of pieces that I have made have all been based around cutting away at fabric, and weaving lace-like structures similar to webs over the holes to make them complete again,” the British embroiderer elaborated in an interview with Textile Artist. “The break down and rebuilding is a subject that keeps coming up in my work, and one that I don’t feel I have finished exploring yet.”

A sewing enthusiast, Pritchett admits that his work feels more illustrative than conceptual. “The shows that I have exhibited in have featured alongside mostly illustrators so I suppose I’m not really sure how my work fits in alongside other textile art,” he explains. A mixture of traditional hand embroidery and illustration, his work is definitely worth following:

The post The Enchanted Embroideries of Adam Pritchett appeared first on MagazineBlogger.

“As a teenager, I learned how to crochet from my mom, Takako Yamashiro,” she relayed in an interview with the Urban Outfitters blog. “I never learned how to read patterns.” Once she figured out that crochet could be much more than just scarfs and baby blankets, the possibilities were endless. “I have been consistently crocheting since then, making costumes, bikinis, soft sculpture, wall hangings, pillows, giant portraits based on the Cathy comics.”

“My aesthetic is all about bright colors, humor and the queering of pop culture,” she says. “So, being surrounded by my work and the beautiful work of my friends creates a pop culture of its own: it’s all around me and part of my daily life.”

Working from her apartment, she takes pleasure in being surrounded by her art. “This is the first time in my life I have lived alone and I thought that I was finally going to have a ‘grown-up’ minimal, fancy, apartment,” she admits. “But it turns out I actually just want to live in a psychedelic TGIFridays/Pee-wee’s Playhouse with plants.”

Enter her playful world:

The post Mikki Yamashiro is Effortlessly Cool appeared first on MagazineBlogger.

Being a one-woman show, her work indeed takes much time and effort, with each of her pieces carefully hand-stitched, packaged, and shipped by her. Splitting her time between creating one of a kind originals and teaching creative workshops, her work takes her out on the road quite often.

Based in New Hampshire, she has developed over the years a very distinct embroidery style and aesthetic. Her approach to stitch is fairly unruly, often abandoning traditional stitches and techniques in favor of bold shapes, playful patterns, and contemporary subject matter.

The result is more often than not – playful and uplifting. Something to add to your home, perhaps.

The post Sarah K. Benning’s Embroidery Pieces Are Quite Delightful appeared first on MagazineBlogger.

“I never actually studied anything relevant to design or to mask making,” she admitted in an interview with Vogue. “But I did grow up with two parents who were fine artists. My dad also taught at a few different art academies around Norway. I grew up around their artist friends. There was always art material lying around to make things with and I suppose it tuned my eye from an early age.”

Her creations began as a sort of experiment with costume-making while working in a vintage shop. They’re made from everything and anything – from samples of hair from a two-hundred-year-old Japanese geisha hairpiece to everyday objects found in the street. Those are assembled in carefully crafted pieces that are in and of themselves an exploration of textures and patterns.

“The whole process starts with whatever material I’m interested in,” Kennedy explained. “I connect with materials on an emotional level. I don’t draw or sketch, but instead just sculpt and let the materials lead the way.”

This is one artist you’ll definitely want to follow on Instagram.

The post Damsel Frau’s Masks Are Nothing Short of Miraculous appeared first on MagazineBlogger.

An avid supporter of women’s rights, equality, and freedom of expression, Olek’s pieces were exhibited in the United States, the United Kingdom, Germany, Brazil, Turkey, France, and other places around the globe; proving that people are tuned to her message.

“As a kid I learned to crochet a little,” she shared with Spear’s Magazine. “It was something to do when I was growing up; we had to reinvent what we had, to make something out of it. I spent a whole week collecting the tin caps from the milk we got every day to make art. I would collect the shiny paper when we had chocolate and make something out of it. I really hate it when artists say, ‘I can’t work because I don’t have materials.’ Find your own materials! Find your own!”

This DIY punk spirit shines throughout her work, making it altogether unique. Take a look for yourself.

The post Olek’s Crochet Art is Something Else appeared first on MagazineBlogger.