Statement

It’s not easy to define who I am and what I do, as my practice is informed by years of exploring, experiences and curiosity. Throughout my childhood I was always making. However as soon as I made my first willow basket, I knew I had to make more. An introduction to textile basketry and the suggestion to try some different materials took my making in a new direction. Working with fine flexible materials, with the use of a few simple tools, I sit on the edge of basketry and textiles, drawing skills from both areas: adapting techniques, exploring and experimenting. Most of my textile basketry work uses the technique of twining. Twining is very accessible; it doesn’t need a lot of space, expensive equipment, or even materials. You just need a lot of patience and time, as twining is slow.

CV

Solo Exhibitions

2018
Significant Figures: remembrance through making. Oxmarket Gallery, Chichester.

2012
Willow to Wire, Horsham Museum & Art Gallery

Group Exhibitions

2021 Forces in Translation installation. Ruthin Craft Centre.

2021 Basketry – Rhythm, Renewal & Reinvention. Ruthin Craft Centre.

2021 Warp, weft, stitch, thread. Gallery 57, Arundel, West Sussex.

2020 Elements: wood metal. Gallery57, Arundel, West Sussex.

Publications

2021 Weaving Windmill Loops to Create Surfaces with Varying Curvature. Stephanie Bunn, Mary Crabb, Hilary Burns, Geraldine Jones, Charlotte Megroureche, Ricardo Nemirovsky. The Bridges Organisation 2021.

2020 The Material Culture of Basketry co-edited by S. Bunn and V. Mitchell.

I am a contributing basketmaker writing a chapter in Part Two: Basketry as maths, pattern and engineering – Counting, number, loops and lines…

2020 Making Histories, Sharing Histories: Putting University – Community Collaboration into Practice

I have contributed ‘Studying Objects’ as a community researcher for the Basketry & Beyond heritage group.

About

Statement

CV

Solo Exhibitions

Group Exhibitions

Publications