CEG, London CEG, London CEG, London
CEG, London CEG, London

Gallery - Retrospective 6, 2018-2019

Star Spouts

Margaret Wilson

This piece was made as part of the Guild's wet and needle felting class. The background is hand painted commercial felt. The mottled coloured piece was wet felted using a variety of different wool fibres to create a background. The star spouts were needle felted onto the mottled background using wool and angelina fibres. The piece was finished using running stitch.

Georgian Bay Bunkie

Meg Cheesman

Stitched in an architectural stitching class offered by Sylvia Alwan. The bunkie sits at the water's edge, overlooking the beautiful islands of Georgian Bay. The sketch-like quality conveyed by the stitching belies the architectural integrity and beauty of the handcrafted bunkie.

Karen de Ruiter

This piece was inspired by my teachers Mary Faye Green and Marlene Linton in the Beginners Stitch class 2018. Our project was to use the many stitches learned, incorporate a variety of fabrics/threads and add embellishments, to make a finished piece. I decided to make two heart shaped pot holders as they are functional and also allowed the creativity we were encouraged to explore.

St. John's Harbour circa 1900

Lynda Wadden

St. John's Harbour circa 1900 was completed during my Maps class with Mary Veenman. Based on an old map of St. John's, it was all backstitched on linen and shows the finger piers and fishing stages in the harbour that have long disappeared.

The Ghosts of Oxbow Glen Golf Course

Adeline Young

Like all golfers, myself included you want to consistently have a swing that will get the ball farther and straighter. This sequence of figures shows the form you need to practice and perfect to make this happen.

I drew the figures, cut out each one and arranged them on a piece of tissue paper. I traced them onto the tissue and placed it over a square of white organza and put it in my hoop. Using the back stitch and a single strand of black embroidery cotton I outlined all the figures. When completed I removed all the tissue paper. I painted the background of the picture on a muslin fabric to depict a golf course. The organza was placed over the painted picture and prepared for framing. I really enjoyed the class and all the steps that had to be done to complete the project.

A Touch of Yellow

Grace Sweeney

I taught a class called Coming Full Circle. We used a wide variety of techniques and materials to produce pieces depicting the universal circle image. This piece is a machine embroidered piece to show what could be done.


Ashley Powers

I was in the "Lets Draw for Fibre Arts" class taught by Diane Whitney. We worked on our intuitive and observational drawing skills and transferred images onto fabric. I selected a drawing of my son drinking his bottle in his bed. He is a sensitive boy and it took a while to get him to give up the bottle, but I look back fondly to the time when he was a bit smaller and needed that simple comfort to calm himself. I transferred the drawing onto tissue and used the free motion foot on my machine to transfer the drawing to cheese cloth. I used scrapes from his bedspread (the shark fabric) and a piece of canvas, as well as a dowel from the indigo workshop as the background for the piece.

Dorset Buttons

Angela Groenewegen

This piece was done for the class that Meg Cheeseman taught on Dorset Buttons. There are many variations of Dorset buttons. In this one, I used solid coloured pearl cotton thread to wrap a ring and build the base. Variegated thread was then wrapped and black thread woven in last. The fabric banding used in the framing was a remnant that just happened to match perfectly.

Thrush on a Beech

Susan Osmond

Wood thrushes make beautiful music and, on spring evenings, it's not unusual to hear at least one virtuoso in the bush behind my house. For this bird I used a variety of stitches to try to show the texture of different feathers and the way they catch the light. The background is an eco-print of leaves gathered from the bush, including the sharply-toothed and veined leaf of one of the tall beeches. To make the print I squashed the leaves between two layers of cotton, rolled the "sandwich" around a copper rod, wrapped it tightly with string, and steamed it on the barbecue for an hour or two.

Techniques and inspiration courtesy of Rose Klein's Stitch Mystery and Kathie Morgan's Eco-Print classes.

Julie Whitlock

This large wall hanging was inspired by a class on "Fabric Mosaics" taught by Kay Sweetman in 2019. I am nuts about roosters, they are so colourful and seem to have a very cocky attitude! After drawing out a design, the trick with this process is to have the patience to select a colour palette of fabrics, create thousands of 1/2" square 'tiles' backed with a fusible web and then work to attach them to your base pattern, one by one, mostly with a pair of tweezers and the tip of a very hot iron. Some machine stitching takes place after this to further secure the tiles, then highlights are added with hand stitching. As yet I haven't quite completed the embellishment on this piece (because I found some fabulous threads I want to incorporate!) but will eventually be stretched on a frame to hang in my dining room, replacing another rooster who will be retired to the garden fence!