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Illustration: Terry Jarrard-Dimond. Crush. The work of textile artist Terry Jarrard-Dimond is one of precision both in colour and in line. It is not surprising to learn that the artist worked 3-dimensionally as a sculptor for many years before coming to textiles, as these five pieces by the artist shows. Each composition has a level of understanding and consideration for real penetration of the surface level, giving a natural feeling of depth rather than that of a superficial and stylised interpretation of 3-dimensions. It is fair to say that a creative artist with sculptural experience has a better understanding of spatial awareness and an intrinsic feel for dimensions and planes. Illustration: Terry Jarrard-Dimond. Little King. Jarrard-Dimond does not clutter her compositions with any unnecessary creative 'furniture', but keeps the work simple with shapes, colours and textures all adding their own significant contribution towards the overall composition. Rather than fill the ...

Illustration: Helene Davis. Black Rain. Probably the most fundamental and guiding principal that colours, literally, the work of textile artist Helene Davis is that of her passion for hand-dyed fabric. Davis, after using bought quilting fabrics for a number of years, moved into the process of hand-dying her own fabrics, making each quilting project a much more personal and individual process. Illustration: Helene Davis. Black Rain (detail). Hand-dying is an exciting but often less than accurate medium in which to work. It takes a lot of skill, time, and patience in order to arrive at a range of fabrics in colour-ways, tones, and scale that can easily be worked with. The fact that the images shown in this article have arrived at that point, is easily evident. Davis is in control of the medium from start to finish. By producing her own dyed fabrics, she is able to forge a link between colour and texture that is both personal and individual, something that can never be truly said for bou...

Illustration: Cynthia Corbin. Permeable, 2008. It is sometimes difficult to categorise Cynthia Corbin's work as it is so much more than the title of quilting or even textile art can do justice to. The techniques used in order to produce the resulting textural and painterly aspect of her work could very well be seen as on a literal par with some of the best efforts of fine art abstract painting. The fact that Corbin does indeed work with fabrics and stitching and not oils, acrylics or pastels is all the more remarkable as all the fabrics used are individually painted with dyes, rather than bought or dyed en masse. This attention to detail, taking each separate fabric as a project in its own right, allows Corbin to build up a unique library of artistic moments which gives her a perspective towards quilting that is much deeper, more personal and certainly more creative than most.  Illustration: Cynthia Corbin. Blocked, 2008. It is the mark making techniques and textures that have a...

Illustration: Peggy Brown. December Ice. Peggy Brown approaches textile art from the perspective of a watercolour artist. She produces fine art painting on both paper and fabric and is able to drift between the two mediums without the usual barriers that are often thrown up between textile and fine art painting. As far as textiles are concerned, Brown applies watercolour paint on to white fabric and then builds up layers of intensity of colour and texture as the mood takes her. These painted fabric pieces are then used within a built up collage composition. She also regularly uses paper within the composition as well as fabric, paper giving a different textural quality to that of the fabric.  Illustration: Peggy Brown. Another Form. Interestingly Brown uses the organic and free flowing quality of the watercolour paint to emphasise that very fact, that water is both free and fluid in its seemingly random journey across both fabric and paper. However, she also manages to give this ...

Illustration: Terrol Dew Johnson. Form Over Function #1. Terrol Dew Johnson started basketry weaving at the age of ten. He soon learned that he was a born natural and found that it was one of the few things in life that he found intrinsically effortless. Johnson is a member of the Tohono O'odham nation of southern Arizona. The Tohono O'odham have a long history of basket weaving using a whole variety of techniques using natural materials and dyes. These are all used in order to tie the basketry in with the local landscape colours and flora, making the baskets part of the community and of the larger landscape. Illustration: Terrol Dew Johnson. The traditional basketry weaving techniques that Johnson learnt at such an early age, have allowed him to expand into the world of contemporary fine art basketry, while still keeping hold of his traditions, which he uses as a foundation or anchor point for his subsequent career as an artist. Johnson has definitely turned the craft skill ...

Illustration: Deborah Lacativa. Clubbin , 2007. Illustration: Deborah Lacativa. Clubbin (close up), 2007. I was actually looking for work by another artist altogether today, when I came across the intriguing work of Deborah Lacativa. I have become an instant fan and therefore decided to write a post dedicated to her instead of the original artist that I had been looking for. Lacativa is an American artist from Georgia (the state not the country). She deals very much in the genre of textile art, using dye discharge techniques, along with free form stitching, to produce pieces of art work that are really not meant for anything but display purposes. This is not a criticism, as I personally believe that textile art deserves a place in the fine art pantheon. Unfortunately, it is very often either dismissed altogether by those with a vested interest in the narrow confines of the fine art definition, or placed within the large undefined world of craft. Illustration: Deborah Lacativa. Koda...