TAPESTRY comes into focus at Dean Clough, Halifax, in a major exhibition which is the biggest since the British Tapestry Triennale 2, held at the Harley Gallery, Welbeck in 1998.
“We hope that the exhibition will provide an awareness of the tapestry weaving which is produced in Britain today”, say the organisers. And it does, rich in variety and skilful in execution.
Shirley Ross’s Arizona Quartet has been seen before in this locality but is well worth further exposure – it is a striking and colourful impression of landscape.
Fiona Rutherford’s playful Up and Up is in cotton linen, wool, coconut fibre and Japanese paper yarn, while the complex work of William Jeffries in Aubage uses Gobelin tapestry and knitting techniques.
Soon Yuh Kang’s Meditation (wool and cotton) plays effectively with fabric and light.
Joyce Coulton’s sketchbook, in embroidery thread, is a delightful sequence of miniatures, with the subjects raging from human heads to fish and a ship at sea.
A life-size sleeping figure represents Mother Earth for Jenny Blockhine, while The Devon Witches are the subject of three pieces by Anne Jackson. She names the witches and in Scary quotes one their sayings, “Beat the Water, Tremble’s daughter. Thrice the Brindled Cat Hath Mewed”.
In the Foyer Gallery at Dean Clough, Simon Moller’s sculptural seating, in wood, shows strong design qualities, with titles like Tall Ships Broken Angel and Hairpin.
In the Photography Gallery, the locations of misdeeds and disasters come under focus from the camera of Matthew Hammond, or rather disposable cameras, which he explains he has used to give a mundane appearance to such places as Sharwood Crescent, Lockerbie, Market Street, Omagh, the Grand Hotel, Brighton, Saddleworth Moor, the Hillsborough Stadium and the Pont de L’Alma Underpass, Paris.