felt :: feutre

Contemporar y
Canadian
Felt Exhibition

1
felt :: feutre sponsors

1 felt :: feutre exhibition

Front Cover Artwork: I first encountered feltmaking while studying ceramics at the Uni-
felt :: feutre would like versity of Washington. I was exploring ceramic sculpture and intro-
thank Maggie Tchir for
allowing us to use this
duced handfelted layers to stratify the works. This felt exploration
work as our exhibition continued over the next decade, returning to the ceramic / felt
image. combination in vessels this last year.

Back Cover Artwork: I appreciate felts malleability; its sculptural potential whether used
Andrea Graham-Coru-
gosa (detail) :: Car-
in ar t or practical forms, and the richness of colours and textures.
mella Karijo Rother- This is a tactile craft. The maker has a physically intimate relation-
Cocoon7(detail) :: June ship with their objects. Felt is always engaging, whether in the mak-
Jacobs-Drought Revis- ing, or the wearing and viewing.
ited (detail)

Layout: Rachel Bevington

Curating this exhibition has been an incredible oppor tunity to be
www.iridophore.com exposed to such a range of highly talented ar tists and their work.
From fashion to sculpture, this range is possible when felt is the
Copyright 2013 felt medium. There is meaning inherent in the materials themselves, an
:: feutre and felt-feutre. aspect many felt ar tists explore in their work. The ar t works are all
org. All rights reserved.
No part of this work may
traditionally created, but use this as a vehicle to explore conceptual
be republished without messages. Some of the pieces in this exhibit are highly refined and
the explicit permission precise, while others are wild and exotic. All have been selected
of the artists. based on their individual ar tistic merits.

From my work as a textile conser vator, I now view textiles on a

macro level. That all textiles are built on a collection of individual
unique fibres. In felt this is par ticularly apparent, with each fibre
neither woven nor spun, but bound only by its own scales to the
next to create the whole. The individual pieces in this exhibition
similarly bind to build a collection of dynamic Canadian felt ar t.

Thank you to our jur y for assisting in the difficult selection process,
and to all of the ar tists par ticipating in this exhibition.

Laura Keil
MFA

letter from the curator

2
 Alexandra Keely MacLean is a visual
artist based in Fredericton, New Bruns-
wick. MacLean holds a joint Bachelor
of Applied Arts Degree from the Uni-
versity of New Brunswick and the New
Brunswick College of Craft and Design.
It was while studying at NBCCD that
she discovered her passion for the fi-
bre arts, prompting her to continue
her studies at the college, where she
obtained a Graduate Studies Diploma,
Fibre Arts division, in 2012.

Although MacLean creates an array of

wearable and decorative fibre art piec-
es, using an assortment of fibers and
processes, her true passion is creating
beautiful one-of-a-kind art pieces. Her
predominant focus as an artist is ad-
dressing social and political issues, in-
cluding environmental degradation, the
human condition, inequality and current
events, in ways that will inspire her au-
dience to think.

Plume
Merino Wool, Acid Dyes, Handstitching
107 x 58 cm (size small)
2013
Photographer : Lance Kenneth Blakney

Alexandra Keely MacLean

New Brunswick
www.alexandrakeely.com

alexandra keely maclean

3 felt :: feutre exhibition

April I have been working in fibre for most of
Oval white vessel with lacy cut away areas and my life. I started knitting and stitching
red interior bulb with my mother as a child. I fell in love
20 x 45 x 40cm with weaving at college. I have explored
2012 spinning, dyeing, and basketry. But it
is with felt that I feel I have found my
voice.
Jacqueline Bourque
New Brunswick Felt is fabulous! I love being able to have
complete control over the material as a
means of expression. Lately, I have been
exploring the round vessel and how it
can be manipulated to evoke a feeling
or make a statement.

jacqueline bourque

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Corugosa
Wool, Horsehair, Stiffening Medium
80 x 70 x 12cm
2013

andrea graham

5 felt :: feutre exhibition

Conjoined - The contrasting colour
and texture in this three dimensional
form is a play of light and dark. The
pod form speaks to regeneration as
the keeper of the seeds and their
magical potential.

Corugosa - Organ, plant or some-

thing else altogether, monochromatic
felted wool sculpted and stiffened al-
lows light and shadow to transform
the work. Simplicity and iconic form
coupled with primitive materials hold
beauty and power.

Andrea Graham resides in Ontario,

Canada and exhibits and teaches felt-
making techniques internationally.
Andrea is often recognized for her
three dimensional multimedia forms
and installations that speak to politi-
cal matters related to food and the
environment. 2014 for Andrea will
include a joint exhibition at the Mis-
sissippi Valley Textile Museum in Al-
monte, Ontario, and solo exhibits in
the State of Flux space at the Mod-
ern Fuel Gallery in Kingston, Ontario
and the DHG Gallery in Prato, Italy.
Andrea was a 2013 Niche Award fi-
nalist and a series of sculptures have
recently been acquired by the Bronf-
man family for the Claridge corpo-
rate collection. Andrea looks forward
to taking her work and expertise to
Holland, Germany, Argentina, Austra-
lia and New Zealand in 2014-2015.

Conjoined
Wool, Silk, Stiffening Medium
30 x 74 x 8cm
2013

Andrea Graham
Ontario
www.andrea-graham.com

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 Having worked with fibre since 1980, I of-
ten muse why it is important to spend time
forming the invisible, where meaning resides
in the void between the forms or within the
work itself.

I love working with fibre, because each fibre

leaves its mark of spirit and the life lived.
This gives me a head start.

Working with and listening to the animal

and plant based materials, I center into my
origin, my gesture and my direction, with
each mark building form. In the doing I set
myself ready for the next footstep.

Median
Handmade Wool Felt, Horsehair, Silk, Anilin Dye, Steel, Wood, Wax
95 x 20 x 25CM
2012
Photographer : Janet Dwyer

Joanne Circle
British Columbia

joanne circle

7 felt :: feutre exhibition

Born in coastal northern BC, but living west
to east and back in Canada, I am a person
who has lived more than two thirds of my
life by the sea. Relationship to place through
landscape has been the central theme of my
textile work, first through colour and cur-
rently through form based on specific ele-
ments of the coastal landscape of my rural
island home in the Pacific Northwest.

I work with wool, a material which needs to

submit to a process mirroring the unstop-
pable rhythm of the sea to transform from
insubstantial airiness to substantial textile.

I am concerned with nature deficit and

how experiences in nature contribute to
human health, well-being and spirit. I create
work that encapsulates an experience of
nature for an audience that often must de-
liberately seek out and arrange such mean-
ingful experiences.

White Noise (with video projection)

Wet felting with wool + silk, fibre, fabrics and yarns
173 x 155cm
2011

Deborah Dumka
British Columbia
www.deborahdumka.ca

deborah dumka

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 Barcelona
Wool-Nuno Felt, Soluble Textile Medium
2012

r osie godbout

9 felt :: feutre exhibition

For nearly thirty years, I have based my
approach on the conviction that clothing
is a creation unto itself, one that melds
the pictorial and plastic arts with the form
and movement of the human body. It is my
hope that all of my work evokes a singular
and unique approach born of my person-
al desire to revisit the concept of Art
Porter so cherished by the iconic Sonia
Delaunay.

By playing with combinations of colour

and printed patterns, opacity and trans-
parency, ethnic motifs and mixed refer-
ence sources, I aspire to create textile
works that, though exotic in appearance,
elude traditional classification, creating a
unique fusion that eschews a dominant
ethnic reference while having the power
to conjure them all.

When asked about my motivation, I like

to answer in the words of the great Issey
Miyake: If I am asked what I do, I say I cre-
ate happiness.

Tableau 2
Wool-Nuno Felt
2012
Photographer : David Bishop Noriega

Rosie Godbout
Quebec
www.godboutartaporter.ca

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 Shibori Kimono
Merino Wool, Silk Chiffon, Silk Fibres,
Shibori Dyed using Acid Dyes
2013

Jessica de Haas
British Columbia
www.funkshuifelt.com

Jessica De Haas has had a lifelong pas-

sion for fibre arts. After nearly a de-
cade of travels, interspersed with both
formal art school training and self-di-
rected studies, she settled down in Van-
couver and started her clothing line,
Funk Shui.

Using the ancient art of feltmaking, Jes-

sica creates gorgeous, one of a kind
fabric which is sculpted into wearable
pieces such as hats, shawls, scarves and
jackets. She is fascinated by the meta-
morphosis of ordinary materials into
something extraordinary. Jessica has
been selling her work from her Atelier
on Granville Island since 2006.

She has taught and exhibited locally

and internationally, most recently at the
Textile Museum of Oaxaca, in Oaxaca
City, Mexico.

jessica de haas

11 felt :: feutre exhibition

Creative imagining, intuition and intent flow
from heart to mind to hands as I introduce
diverse strands of wool and silk to a river
of silk fabric. Inspiration originates in my
life experiences and emotions, an aspect of
nature, or simply from the desire to know
a fibre or understand a colour more inti-
mately.

Allowing the felting process to happen or-

ganically ensures an ethereal outcome:
a dramatic free form textural landscape
where fibres and fabrics leap from the sur-
face. Hand-painting the felted piece allows
joyous play while creating an extravaganza
of colour with subtle mergings. Fibres and
colours meet, embrace and become one, giv-
ing birth to a wild and unexpected beauty.

Originating externally, and then flowing

through me, a strong river of connectedness
runs through each piece, holding a moment
and the moment, seemingly capturing the
past, the present and leading the way toward
the future.

Memory of Rose
Superfine Merino Wool, Silk, Hand Spun Silk
Yarn, Banana Fibre, Hand Painted With Dye
2013

Judith Dios
British Columbia
www.judithdios.com

judith dios

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Cocoon 5
Merino, Bluefaced Leicester; natural wool and red wool hand dyed; wet
felting with resist, shibori;
26 x 18cm
2013

carmella karijo rother

13 felt :: feutre exhibition

I value simplicity in line and form, highlighting natural shades of wool Cocoon 7
with minimum brushes of hand-dyed colour. Soft, pliant, and pro- Merino, Bluefaced Leicester; Natural
cessed simply by hand, felt is organic and comforting. Working the Wool And Red Wool Hand Dyed, Por-
felt in my studio, surrounded by the woods of Gatineau Park in Chel- cupine Quills; Wet Felting With Resist,
sea, Quebec, brings me closer to nature, a primary force throughout Shibori; Wool Filling
my life.
23 x 15cm
The Japanese have a word, ma, that expresses the space or interval 2013
between things. It refers to both physical entities and aspects of Jap-
anese culture, as reflected in peoples behaviour. Ma offers room to Carmella Karijo Rother
breathe, reflect and contemplate, to provide openness for the imagi- Quebec
nation of the viewer. This is the place where I wish my work to be. www.ckrother.com

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 Rose Plate
Needle Felted Wool
150 x 150cm
2012

Elizabeth Roy
Manitoba

My current work Smashing Dishes calls into question the historical positioning of women-as-artists and cur-
rent social hierarchies of craft and fine art reception. My process of hand felting is a slow, laborious, and some-
times painful method that, in its effect is an attempt to demystify cliches of artistic inspiration. Though it may
appear to valorize stereotypes of fine craft and the attendant assumptions of perfectionism and aesthetics of
finish, it further attempts to reframe this via the employment of an obdurate material. The particular wool used
crossbreed sliver, carded not spun, all natural and not dyed. It is a monochrome, unaesthetic chromatic grey
choice that no matter how much labour I apply remains lumpen, and unable to be transformed into something
precious. Its grey ambiguity resembles the raw clay-body of ceramics in the unformed state, a kind of arrested
development. My appropriation of this handicraft genre signals multiple conditions: womens work, a craft sub-
genre (a lower echelon of value than, say, embroidery), smallness of size and scale.

These investigations and processes result in the making of large-scale objects that resemble tableware. Each is
based on a specific referent, yet in its artistic form, it is held back by the method of making. A shift in size and
material pulls the audience into an uneasy relationship that disrupts expected responses. While clearly non-
functional, through their dependence on unique and known form they establish a variety of alternative readings
to typical or normative histories, hierarchies and roles.

elizabeth roy

15 felt :: feutre exhibition

16
My work explores, probes, and,
at times, subverts borders of
classification. Through this, I am
involved in the process of ques-
tioning boundaries of inclusion
and exclusion; cultures, genders,
animals, materials and practices
that are rendered other by
dominant cultures and ways of
being with the world. Other-
ness not only impacts my in-
terest in the interdependencies
of human-animal, male-female,
nature-culture and art-craft re-
lations but also my engagement
with the genres and materials of
art. My interest in the processes
and materials of contemporary
craft emerges from a negotia-
tion of difference, of materials
and practices that have been rel-
egated to the historical margins
of fine arts practices. The same
binaries that argue for the sepa-
ration of human-animals and na-
ture, and dichotomize male and
female, have been used to sepa-
rate the traditions of craft from
the practices of fine arts.

Through my studio practice, and

the processes of working with
and through materials and ideas,
I engage with the interdependen-
cies of species, groups, peoples
and practices. My recent work
explores spaces of ambiguity Fluff: In/Significance
between otherness, where the Small needle felted tufts of wool, thread & acrylic on
other, becomes an-other that canvas & board
permeates the skin of the self, a 46 x 61 cm
self that is in turn, saturated by
2013
the flesh of the world.

connie morey

17 felt :: feutre exhibition

An Ecology of Things
Needle Felted Corriedale Wool on Wooden Shelves
4 shelves x 31 x 51 cm
2013

Sister Formations
Needle Felted Corriedale
Wool
15 x 15cm to 15 x 20 cm
2013

Connie Morey
British Columbia

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 Mind and spirit, intellect and soul
join in the creation of the shawl
that is linked to flying and the dance of the
human soul.
In using my recurring motifs of vibrant
colours and circles
I make these symbols of the human spirit
sailing.

Ulrieke Benner is a textile artist and designer.

She works with wool and silk to create vi-
brantly coloured one-of-a-kind clothing and
art. The rich colours she uses produce strik-
ing creations that are distinctive and unique.

Ulrieke studied Textile Design in Germany, in

Massachusetts and, in Boston, worked with
Carter Smith, an internationally known de-
signer. She has been a feltmaker since 1996.
Ulrieke has a M. Ed. and BFA in Textile De-
sign and Fiber Arts. Originally from Germany,
Ulrieke has lived and worked on Salt Spring
Island since 2001.

She has exhibited in Canada, the US, Europe

and most recently has a third solo exhibition
at Jurgen Lehl, Japan. Ulriekes art is featured
in exclusive galleries internationally

Colours Circular Dance

Merino Wool, Silk Fabric
250 x 50cm
2013
Photographer : John Cameron

Ulrieke Benner
British Columbia
www.ulriekebenner.com

ulrieke benner

19 felt :: feutre exhibition

Elisabeth Wannaz began her career in
commercial art as a jeweller before trad-
ing her precious metals for textile in the
early 90s. Using a wide array of materials
such as linen, velvet, straw, lycra, leather
and fur, she created a bold and eccentric
line of hats for a discerning and sophisti-
cated clientele.

Her discovery some years later of the

richness and versatility of felt opened
the door to a new world of creativity.
Elisabeth began creating fabrics whose
harmonies of colour added a touch of
whimsy to her already cutting-edge de-
signs. Since then, not wishing to restrict
herself to hats, Elisabeth decided to ap-
ply the versatility of felt in the creation
of clothing.

With care and dedication she now in-

corporates her skills as a jeweller into
creating clothing thats durable, contem-
porary and of the finest quality.

Contemporaine
Merino Wool
2013
Photographer : David Bishop Noriega

Elisabeth Wannaz
Quebec

elisabeth wannaz

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Sea Trumpet Sea Trumpet is created using merino wool, combining 3-D sculp-
Merino Wool, Wire, Marbles tural work, wet and needle felting, and shibori techniques.
51 x 13 x 10cm
2013 Cindy has always had an interest in art; however it wasnt until
she discovered fibre art that she decided to follow her passion.
She has a certificate in graphic design and works full time as a
Cindy Obuck
graphic/web designer. Although she is a self-taught artist, she
Saskatchewan feels her work experience has helped in designing her art.
www.cindyobuck.com
She enjoys using various mediums in her art such as organza,
cheese cloth, chiffons, yarns and beads. She likes to experiment
with various embellishments to add dimension and interest to
her work, which has an abstract and contemporary feel to it.

Cindy has had three solo shows to date and is a juried member
of the Saskatchewan Craft Council.

cindy obuck

21 felt :: feutre exhibition

 Using bold colours with an overabundance of pattern, texture and trim trans-
forms the everyday into the fantastic. By multi-layering simple shapes and tex-
tures I create complex pieces with hidden depths that allow the viewer to
explore the joy of imaginary worlds. Hand stitching and beading add further di-
mension to the simple shapes. I like people to smile when they see my work.

My traditional working occupation is in the applied arts, with many years expe-
rience in architectural and graphic design. My formal post-secondary education
includes fine arts, psychology, interior design, certificates in Textile Surface
Design and Sustainable Building Design and numerous workshops in various
arts medium. My present artistic focus is on felting, with a particular interest
in nuno felting. I am a founding member and present co-director of The Art
Hive Artists Co-operative and former board member of Haliburton Highlands
Arts Council. I teach at the Haliburton School of the Arts and facilitate textile
based workshops for children and adults at various locations.

Open Windows
Wool
34 x 34 x 3cm
2013

Sandi Luck
Ontario
www.sandiluck.com

sandi luck

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Joomchi Dress: Reveal
Merino Wool, Silk Gauze, Silk Habotai, Various Resist Materials, Natural Dyes, Silk Threads
2013

fiona duthie

23 felt :: feutre exhibition

We expose aspects of ourselves, our
dreams, thoughts, histories, inadvertently
or with intention. These windows into the
self change over the course of our days and
lives, and will be read differently depending
on the perspective of the viewer. The mul-
tiple layers, folds and openings in my work
represent this concept. I find it fascinating
to engage with this idea when the human
body is the structure to be enveloped and
revealed by wearable art pieces.

Joomchi is a Korean art traditionally prac-

tised in paperI am particularly inspired
by the work of Jiyoung Chung. I appreci-
ate this cross pollination in craft, with one
artist and medium inspiring new forms in
another. Through Joomchi Felting, I work
with folds, felted lace, screens, felt conglom-
erations; a layering of surfaces that expose
new elements through the various pockets
and openings.

I start every project with white fibres, fo-

cussing on the interplay of surfaces and tex-
tures. After the work has been completely
felted, I display it in my studio, sometimes
for a few weeks, until the colours called for
become obvious. I dye each piece using a
combination of shibori and immersion tech-
niques with multiple passes through the dye
baths. Like the wool surfaces, building up
layers. I then add simple stitches that con- Cleft
nect the phrases of patterning like lines of
Norwegian Wool, Merino Wool, Silk Habotai, Various Resist
topography or songlinesthe concluding
Materials, Natural and Acid Dyes, Wool and Silk Threads
chapter in the narrative of each work.
90 x 60 x 20cm
Fiona Duthie is a fibre artist, writer, and 2013
craft educator based on Salt Spring Island,
British Columbia. She first encountered Fiona Duthie
feltmaking in 1996 and it immediately be- British Columbia
came her medium and passion. Raw wools, www.fionaduthie.com
shibori shaping and dyeing, resist shaping
and dyeing, stitches, prefelts, layering, em-
bedding, carving she explores the world
through surface design in feltmaking. Fiona
has exhibited her work in Canada, New
Zealand and the UK.

24
 EARTH NEST
Nest: hand wet-felted me-
rino wool, with barley seeds,
maple sticks
Plinth: Hand Wet-felted As-
sorted Wool Rugs Stacked;
Corriedale, Perendale, Rom-
ney, Merino wools
76 x 76 x 152 cm
2011
Photographer : Jeremy Addington

maggie tchir :: kathleen hill

25 felt :: feutre exhibition

There is a word in Sanskrit for the point
of return: it is pratikraman. Its opposite is
atikraman, which means stepping outside
our natural limits. Atikraman happens when
we break the universal law.
Returning to the centre of ones being or to
the source of inner wisdom is pratikraman.
These two Sanskrit words provide a useful
approach to understanding the current hu-
man predicament and a possible way out.
Satish Kumar
We are troubled with the state of the
world. Born of a shared concern for our
home planet we are compelled to respond.
Restoration, rejuvenation and sustainabil-
ity lay at the matrix of all life systems. The
EARTH NEST is an invocation for contem-
plation and reflection about our communal
relationship with our Cosmic House, this
biosphere that we call HOME.
Earth Nest
We are the beauty
Seeding the earth
We are the barely
Rooting
Be still and quietly grow
a deeper communion.
Maggie Tchir
2011
Kathleen Hill is a mixed media fibre artist. Graduating from
the Kootenay School of the Arts in Nelson, in 1998, Kath-
leen has an established art practice in Rossland, BC. She
has exhibited both nationally and internationally and is rep-
resented in collections in Canada and the U.S. In 2000 Hill
was a Columbia Basin Trust artist grant recipient. Kathleen
conducts workshops in traditional and contemporary tex-
tile processes throughout BC and in Washington State.
Kathleen Hill
British Columbia
Exhibiting nationally and internationally Maggie Tchirs
mixed media fibre works are included in private and corpo-
rate collections in Canada and abroad. Tchir taught textiles
for 20 years at Kootenay School of the Arts. As a consultant
with the Navajo Sheep is Life Feltmaking Project Tchir in-
troduced and promoted the art of felt on the reservation
(1997- 2005) and was a Research Associate at the Museum
of Indian Arts and Culture, Santa Fe, NM. Textile study resi-
dencies include Tibet, Nepal/India, Peru and France. Tchir is
a recipient of artist grants from the CCBC Grace Cameron
Rogers Scholarship, The Sheila Hugh MacKay Foundation,
The Banff Centre and The Columbia Basin Foundation. Born
in Vancouver, Tchir has lived the past 35 years in Nelson.
Maggie Tchir
British Columbia
26
 White Winter is created in hand felted
wool, silk & recycled vintage lace from my
great grandmothers wedding dress from
the 1800s. This piece is one in a series of
10 handmade felted dresses, each repre-
senting a Canadian season and landscape.
I made these dresses as a challenge to
myself last winter combining my two craft
mediums and passions, Fashion and Felt-
ing.

Lindsey studied fiber arts for three years

at the Kootenay School of the arts in Nel-
son, B.C and followed that with 2 years
at the international academy of design in
Toronto where she received her diploma
in fashion design. Having a passion for all
things fiber and textile related, as well as
a love of the Canadian landscape, Lindsey
also creates FELTSCAPES, felted scenes
reminiscent of works by members of The
Group of Seven, and inspired by her fam-
ilys island on Georgian Bay where she
spends her summers.

Lindsey shows her work continuously

throughout the year in various galleries
and exhibits in British Columbia and On-
tario, and is a permanent member of the
Craft Connection, artist co-op in Nelson
where she shows and sells her work, all
year long.

White Winter
Wool, Silk & Recycled Vintage Lace
2013

Lindsey MacTavish
British Columbia
www.lindseym-collections.ca

lindsey mactavish

27 felt :: feutre exhibition

 When I collect or work with
a fabric, yarn or fibre, I re-
spond emotionally to what I
perceive is its quality, cultural,
era, class or gender context.
Silk, for example, embody the
exotic, delicate or indulgent.
I alter context by changing
an aspect of scale, design, or
technique conventions.

Maureen is an Ottawa-based
artist working with diverse
textile techniques and medi-
ums. Her explorations with
reclaimed materials and low
impact dying practices have
informed her renewed cloth-
ing line Waisted, introduced
at the Green Expo Fashion
Show presented during the
Ottawa Living Green Expo
2013. Also influencing her
recent participation in the
outdoor textile art installa-
tion residency during the Tri-
ennale of Textile Arts in the
Outaouais 2013, where she
knit with reclaimed leather,
linen, newspaper and hand
spun grass leaves.

Drift Meices
Merino Wool Roving, Wool Roving, Silk & Polyester Fabric,
Hand Stitched, Silk Yarn. Hand Stitched, Hand Dyed, Hand
236 x 58cm Spun, Silk Yarn
2011 224 x 51cm
2011
Maureen Ballagh
Ontario
www.maureenballagh.ca

maureen ballagh

28
marjolein dallinga

29 felt :: feutre exhibition

I travelled far to an island in the Pacific
Ocean

There I found open valleys, snow covered

mountain tops and forests so dark and lush
that I felt lost and small

The beech trees spreading a divine scent

which haunted me for months to come

The three sculptures came out of this meet-

ing with this land of the long white clouds,
Aotearoa

The natural world inspires me; its sounds,

feel and touch, the textures and forms. My
work is inspired by feelings, thoughts and
dreams. For several years I have tried to
shape, sculpt, fold and cut this warm and
woolly material through the process of felt-
ing during which it metamorphoses from
an array of loose colorful fibers to a strong
sturdy textile.

It is from the dance of conflicting emotions

that creativity and art are born. Though
sculpture is usually perceived as static I see
it more as movement, the movement of wool
from fibers into felt.

And as long as there is movement there is

life.

Marjolein Dallinga was born in the Nether-

lands where she studied Fine Arts. She moved
to Montral, Canada, in 1989 to pursue her
art career through making art books and jew-
elry. While raising a family, her creativity led
her to toy making and teaching art classes.
This led her to discover felting, and she now
works in this medium.The world-renowned
CIRQUE DU SOLEIL became interested in
Marjoleins work, and for the last five years
she has experimented with felt for their cos-
tume design while also creating final prod- Aotearoa 1,2,3
ucts for their shows. Marjolein has her own Wool, Cotton, Silk Linen
company, Bloomfelt.com, and works from her
2013
studio with sewing and dyeing rooms. She
has taught felting for thirteen years in North
America, Europe, and Australia and New Marjolein Dallinga
Zealand. Last year she won two awards for Quebec
her costumes made for the WOW (World of www.bloomfelt.com
Wearable Art) in New Zealand.

30
 The Madeleines is a series of thirteen sculptural,
felted dresses made for the use of historical fig-
ures and their imaginary engagement in athletic
activity such as hockey, boxing, rugby, fencing,
baseball, croquet and one referee.

Pleurer comme une Madeleine or to cry like

a Madeleine is to cry inconsolably. These Mad-
eleines no longer cry: they are happy, finally to
get the chance to participate in the game. They
lift up their padded, armored, felted skirts with
their gloves to step out onto the ice, the field,
the rink.

Gaius Plinius Secundus, or Pliny the Elder, [23-

79 A.D.], Roman author of the Natural History
said that wool felt treated with vinegar would
resist iron and fire. The Madeleines are like that
too, made of the strongest stuff : like Boadecia,
for example.

Early on in my felt exploration for the Brassiere

Quilt Series [1992-2000], and Felted Sleeping Bag
Series [2000-2002], I decided on a combination
of silk and merino wool fibres, because of its pli-
ability, softness, skin-like texture, and openness
to receive other elements. For The Madeleines
old lace and bits of brassieres cut in stylistic
leaf shape, make a renaissance in the Madeleines
felted dresses and sport equipment. These ultra-
feminine elements make the felt stronger, and the
Madeleines wearing this felted armor feel more
substantial. It is a subtle strength not obvious to
the viewer.

The Referee is the last in this series of 13 felted

sculpural dresses. I started the Madeleine series
in 2003 and completed this series in March of
2013. The first personalities in the Madeleine se-
Madeleine: The Referee Emily Carr
ries are Hayley Wickenheiser and Isobel Stanley
Wool, Silk, Deconstructed Stressed Wool Blanket, Antique
to representing Hockey. To complete this series
Lace, Vintage Buttons, Hoop Skirt, Referee Whistle I decided the last personality in history, joining
2013 the rest of the Madeleines, would be Emily Carr
as Referee.
Angelika Werth
British Columbia The Referee stands alone.
www.angelikawerth.ca

angelika werth

31 felt :: feutre exhibition

Running in the Bush is a wet
felted wool sculpture made with
an old velour 1940 nightgown,
antique lace and silk and deer
antlers. I have been a runner for
40 years and taking care of my
lungs has always been a priority.
When I am in the zone, it is
like I am a deer freely running
through the bushmy breath
of life.

My interest in natural fibers

started 9 years ago after gradu-
ating from University of Ottawa
in Fine arts. I became intrigued
with the beauty and versatility
of wool, and set about learning
how to felt. Working with this
earthy fiber is a constant re-
minder of our connection with
the natural world, which I draw
my inspiration from.

Creating felt is a very physical

and tactile process, which de-
mands my energy and imagina-
tion. I get a lot of enjoyment
from using the same basic ma-
terial to make widely differ-
ent projects. I use wool and
recyclable material in a unique
style. Through an intuitive com-
bination and manipulation of
these materials I express both
strength and vulnerability of
felt making. My sculptures bear
witness to my inner growth and
history surrounding me. I also
enjoy recycling all natural fab-
rics and objects that have his-
torical significance and incor-
porate them in my work.
Running In the Bush
Wool, Antique Velour, Lace and Silk, Deer Antlers
70 x 40 x 23cm
2013

Diane Lemire
Quebec
www.dianelemire.com
diane lemire

32
 The barred owls sometimes come
and stop by the tree.
They stay a long time with an uncon-
cerned air
I am inspired by their intense gazing
eyes, to look for something

This island is rich in nature. The wild

objects invite me to create.

Aki is a self-taught artist and has

been needle felting for 7 years. He
first met this wonderful felting world
when his daughter attended the Van-
couver Waldorf School, He start-
ing making felted toys for his chil-
dren and learned many techniques
through exploration. After moving to
Salt Spring Island, Aki started needle
felting on a full-time basis. His cre-
ating focuses on his observations of
his natural environment, using local,
island wools. He explores and enjoys
the world alongside his three active
children and his creative wife.

Akis work is available at the Salt

Spring Island Market, and through
several gallery shops in British Co-
lumbia.

Gazing
Local Wools, Wire, Found Wood
60 x 80 x30cm
2013

Akihisa Otsu
British Columbia
www.saltspringwoolarts.weebly.com

akihisa otsu

33 felt :: feutre exhibition

Pine Grosbeak is created using wool and small bits of other fibres, Pine Grosbeak
wet and needle-felted, then stitched to mat board and framed, without Wool, Assorted Fibres
glass. 58 x 48cm (framed)
2013
Living in northern Saskatchewan, I am immersed in the beauty of the
Canadian Shield. The tactile nature of felt lends itself to reflect the
Donna Stockdale
rugged wildness of the landscape which starts in my backyard. I am
passionate about this place; the rocky shores, the boreal forest, the Saskatchewan
lichens and mosses, the waterways, and the creatures who inhabit it. I
take many photographs during my kayak and canoe paddles on the lake,
walks through the bush, and even through my kitchen window to use for
later reference in my studio.

I use wet and needle-felting techniques to create felt pictures and 3-D
works to express the rich colour, textures, and the play of light in both
the grand and the small places around me.

donna stockdale

34
 Yellow Slouch Hat
Merino Wool and Silk
2013

I am fascinated with the relationship that women have with

hats. In the hat world, there are two types: those who can wear
hats with confidence and those who consider themselves un-
able to wear hats. That difference comes from a womans self-
image, a state of mind that evolves over a life time. Beliefs run
deep, and a complex set of variables: comfort, style, function
and practicability, come into play when selecting a hat.

I am enchanted by the glamour of the 20s and classic design.

Inspiration comes from the up-cycled fabrics themselves, de-
tails already in the silk or the feeling that the garment conveys.
My hats incorporate comfort, style, function and practicality -
all important aspects when choosing a hat.

My current work incorporates silk, beading and sequins with

a goal to bridge the gap between felter and milliner - creating
hats not only for the glamorous woman in each of us but for
the practical girl too, so all will feel empowered to take on the
long winters in comfort and unique style.

Black Sequin/Bead Hat

Merino wool , Silk, Beads, Sequins.
2013

Trish Hirschkorn
New Brunswick
www.trishraine.com

trish hirschkorn

35 felt :: feutre exhibition

The Butterfly that emerged from my
womb of creativity is an expression of
my concern for the need of humanity to
evolve and transform in our ability to
live in health and harmony on this planet
together. We will need to change our
consumption practices and use eco-sus-
tainable, organic and green energy tech-
nology for the welfare of future genera-
tions.

This creation is nuno felted with merino

wool, Salt Spring wool locks, homespun,
silk organza and chiffon fabric. It uses
double-sided, rosette, ruffle, inlay, and
lace felting techniques.

Laurie Steffler has been passionate about

transforming fibre into felted art since
1986. She is a fibre artist who sells at
Circle Craft, Art Market and One of a
Kind Shows as Feltscapes Design. She
teaches feltmaking in her studio on Salt
Spring Island.

Her wearable art reflects her love of

living close to nature. She graduated
from O.C.A.D. as a painter and explores
colour and form through the multi-lay-
ering of dye baths and textural surface
dimensions. She treasures the local an-
gora/wool used in many of her designs.

My enthusiasm for a project blossoms

when I expand my horizons to evolve
the dye and felting techniques that I use.
Evolving is a focus for my inner growth
which is reflected in the art I create.

The Butterfly
Merino Wool, Local Angora and Wool Locks, Yarns, Silk Chiffon and Organza
2013
Photographer : Billie Woods

Laurie Steffler
British Columbia
www.saltspringfiberadventures.com

laurie steffler

36
 Canadian Spaces
Glory Days
Hand Dyed Wool,
Cashmere, Silk, Mohair
29 x 24cm (framed)
2013

Maggie Glossop
Ontario
www.maggieglossop.com

Rocks, water, trees and sky - these are the subjects of my art. I am drawn to and
draw strength from the natural environment around me. Through my work I invite the
viewer to focus on the beauty that is all around us but is often overlooked.

Maggie Glossop was born in Canada and educated here and in Great Britain. She is a
self taught artist who started exploring the creative uses of fibres and textiles more
than forty years ago as a weaver and spinner. In the late eighties, she became one of
the first fibre artists to (re)discover feltmaking and her passion shifted from spinning
and weaving tapestries to using the medium of wet feltmaking to create her images.

Inspired by Nature and working with natural fibres which she dyes herself, Maggie
creates unique textured images and sculptural pieces using the ancient techniques of
wet feltmaking. She continues to teach, sharing her enthusiasm and creativity with
young and old. Maggie has received many awards and grants to support and further
her work which is displayed in public, corporate and private spaces.

maggie glossop

37 felt :: feutre exhibition

 Drought Revisted
My fibre work explores themes bound by natures
forms, colours, textures and wonder. These influ- Wool, Silk, Yarns, Fabric
ences are translated by various techniques that 72 x 128 x 5cm
allow the work to express these feelings and in- 2012
spiration. Whether the forms are 2-dimensional
or 3-dimensional, installation sculptural works or June Jacobs
wearable garments. I chose my fibres, mixing and Saskatchewan
dying them to represent my own colour palette www.handwave.ca/artists/june-jacobs
to add to their depth and richness. The addition
of various surface embellishment techniques adds
focus and draws the eye to capture the details.
Combined with other materials expands their vo-
cabulary.

My daily walks in a landscape rich in diversity and

subtle in details inspires me to create while allow-
ing me to dream and envision new future works.
I focus on certain aspects of the environment, in-
terpreting them and then give them another voice
represented in hand felted wool.

june jacobs

38
hamideh abol

39 felt :: feutre exhibition

 My design approach is all about
making a unique statement while
complementing the body. I apply
a strong artistic and multicultur-
al identity to something you can
wear everyday.

This gown is influenced by Sur-

realist paintings and sculptures,
especially paintings by the great
20th century Surrealist Salvador
Dali. Many of the pieces are in-
spired interpretations of surreal
elements in Dalis paintings such
as animals and objects.

Hamideh was also inspired by

Pynchon: Could one combine
inside the same frame, elements
not found normally together to
produce illogical and startling
effects? The collection experi-
ments with humanitys often
incongruous connection with
nature, in particular by applying
natural fabric and natural dyes
into the textile creating process
in unique and unexpected ways.

Hamideh Abol was born in Iran to

a family whos heritage resides in
traditional Persian rug weaving.
She attended Emily Carr Uni-
versity of Art and Design where
she studied Fine Art Techniques.
After completing the certificate
program, Hamideh took masters
textile design in Italy and ap-
prenticed in pattern-making in
Vancouver and Tehran. In 2011
she began designing a collection
of couture and was jury selected
to debut at Montreal Fashion
Week for Fall/Winter 2012. Her
designs were lauded for a unique
approach to hand-worked fabric
and sustainable design.
Surrealism
Wool Rovings, Wool Locks, Silk Fabrics
2012

Hamideh Abol
British Columbia/Milan
abolbyhamidehabol.com
Photographer: Trevor Brady
40
 My current studio practice is fo-
cused on the development of
mixed media textile work which
focuses on our humanity; the rela-
tionships we cultivate with others
through our personal-collective
voices. The work engages the idea
of peace, reconciliation and the en-
vironment. The underlying thread
in my thinking and actions lies in
the importance of diversity and
the development of understanding
the whole or unity.

We have slaughtered in the garden

of beauty
Digging graves instead of planting
Mercy for the dead
A bitter justice
Begging eternity for love,
A Hungarian Prayer

The artist would like to acknowl-

edge and thank the Hungarian peo-
ple for their inspiration and col-
lective voices singing though this
prayer and Alanis Morisette for
the English translation from Prayer
Cycle. Please see Maggie Tchirs
Full Biography on page 26.

MERCY, A PRAYER
Merino Wool, Churro Wools,
constructed, stitched and braided
with photo transfer on silk.
3 panels: each 244 x 92cm
2012

Maggie Tchir
British Columbia

maggie tchir

41 felt :: feutre exhibition

Artworks listed in Red are included in the felt :: feutre travelling exhibition.

Akihisa Otsu Gazing..............................................................33

Alexandra Keely MacLean Plume...............................................3
Andrea Graham Corugosa, Conjoined......................................5,6
Angelika Werth Madeleine: The Referee Emily Carr.................31
Carmella Karijo Rother Cocoon 5, Cocoon 7.......................13,14
Cindy Obuck Sea Trumpet......................................................21
Connie Morey Fluff: In/Significance..........................................17
An Ecology of Things, Sister Formations............18
Deborah Dumka White Noise...................................................8
Diane Lemire Running in the Bush.........................................32
Donna Stockdale Pine Grosbeak............................................34
Elisabeth Wannaz Contemporaine...........................................20
Elizabeth Roy Rose Plate..................................................15,16
Fiona Duthie Joomchi Dress: Reveal, Cleft..........................23,24
Hamideh Abol Surrealism...................................................39,40
Jacqueline Bourque April .........................................................4
Jessica de Haas Shibori Kimono.............................................11
Joanne Circle Median..............................................................7
Judith Dios Memory of Rose...................................................12
June Jacobs Drought Revisited..............................................38
Kathleen Hill Earth Nest......................................................25,26
Laurie Steffler Butterfly...........................................................36
Lindsey McTavish White Winter...............................................27
Maggie Glossop Canadian Spaces: Glory Days........................37
Maggie Tchir Earth Nest......................................................25,26
Mercy, A Prayer...................................................41
Marjolein Dallinga Aotearoa 1, 2, 3.....................................29,30
Maureen Ballagh Drift, Meices..............................................28
Rosie Godbout Barcelona, Tableau 2 .................................9,10
Sandi Luck Open Windows.....................................................22
Trish Hirshkorn Yellow Slouch Hat, Black Sequin/Bead Hat......35
Ulrieke Benner Colours Circular Dance..................................19

table of contents

42
 felt :: feutre is a juried exhibition of the finest contemporary felt work being
created by Canadian fibre artists. This exhibit showcases work that is new,
fresh, challenging, visually exciting, and dynamic. Work that gives the artist
and viewer an opportunity to stretch their perception, through the use of the
medium or the concept/narrative presented. Work that represents the highest
qualities of technical execution, and artistic /design sensibilities.

felt :: feutre celebrates feltmaking in Canada in all its forms. In addition to the
exhibition and hosting Canadian Felting Week, felt:: feutre is a ongoing web
based resource for everything that is happening in the world of Canadian Felt-
making including Artists Profiles, Fibre Supply Resources, and a Canadian
Calendar of Events.

www.felt-feutre .org
43 felt :: feutre exhibition