In the gallery foyer until 21st October.

This year Oriel Myrddin Gallery joined forces with artist Laura Thomas and the National Wool Museum for the 2017 Big Draw – creating a giant woven work of art on the Museum’s tenter frame.

The tenter frame is situated near the banks of the river Bargod and is used for drying blankets after fulling – a process where the cloth is washed and then stretched out to dry so it doesn’t shrink. This is where we get the expression on tenter hooks.

The weaving, done by over 40 participants was filmed and turned into a time lapse animation by Jacob Whittaker.

Penitence I: the garter of penance, 2006-07

Leather, barbs, threads


Worn for long periods by nuns of particular orders, under the dictact of The Church of Rome. The pain inflicted by the barbs endured as punishment (often self-inflicted and decided upon) for ‘evil thoughts of the flesh’. A pain offered up as a private demonstration of Devotion; agony for the sake of and Love of Jesus Christ.

As with many pieces, there are hints of autobiography, whilst focusing on the main reasoning; the arrogance and misuse of power which brings potential for war and deep, often hidden sorrow and agony to the powerless.”

Rozanne Hawksley was born in 1931 in Portsmouth, Hampshire and has lived and worked in Pembrokeshire since 1987. She studied at Southern College of Art, Portsmouth Centre 1947-1951 and Royal College of Art, School of Fashion 1951-1954.

During her long career, Rozanne has taught and lectured at art colleges in Guildford, Brighton and Portsmouth as well as American Centre of Needlework, Washington DC, USA; Battersea College of Education (University of South Bank and Roehampton); Goldsmiths, University of London; The Slade and The Royal College of Art.

Solo exhibitions have included National Maritime Museum, Greenwich, London 2014; Foundling Hospital Museum, London 2011/12; Mission Gallery, Swansea, Wales 1997 and 2010; The Centre for the Applied Arts, Ruthin, Wales 2009; Imperial War Museum aboard HMS Belfast, London 2006/2007.

Amongst numerous national and international group exhibitions Rozanne’s work has featured in the Museum of Modern Art, Kyoto, Japan 2013; Golden Thread Gallery, Belfast 2012; Tilburg Textile Museum 2003, Holland; Royal Scottish Academy, Edinburgh 1993; Central Museum of Textiles, Łódź, Poland 1992.

In autumn 2017 Rozanne’s work will be shown at the Battleship Cove Maritime Museum in Massachusetts for a two year period. The Contemporary Art Society of Wales also recently purchased two works for the National Museum in Cardiff to commemorate the 50th anniversary of the Aberfan disaster.

Rozanne’s work is held in a number of public collections including Embroiderers’ Guild; Association for the Advancement of Science, London; National Maritime Museum; Imperial War Museum; The Bishop of London, the Rt. Revd and Rt. Hon Richard Chartres; National Museum of Wales.

Ruptures, 2017

Stainless steel frame, machine embellishing and hand embroidery on linen

“I let go of the need to be intact. The stitching of me loosens. The expansion bursts into endless ruptures of membranes. And the mass of me pours out as layers of grasping and pulling. The tide is low. What shapes will haunt me now?”

In creating ‘Ruptures’ I have returned to the recurrent themes in my work of duality, place, language, and conflict. My practices consist of using basic stitches and marks to make a visual outcome. It is repetitiveness and rhythm I am interested in. And a place where inner and outer landscapes merge, where the mundane and extraordinary can be brought closer together.


Born in Lithuania, Indre Eugenija Dunn now lives and works in Wales. Indre gained her BA (Hons)in Contemporary Textile Practice at Cardiff Metropolitan University in 2011 and has since exhibited her work in south and west Wales.




Handwoven lambswool and cotton


“The sense of belonging is a hard sense to describe. A subconscious feeling of being at ease; feeling comfortable in your natural habitat.

My interest in textiles began at a very young age as I was raised in a small village in west Wales that had two weaving mills. Creating this piece has made me realise how much influence the traditional Welsh designs have had on my work.

I have always been drawn to rich colours and enjoy playing with colour combinations.

The woven throw encapsulates the atmosphere and essence of the traditional designs that we’ve seen from the Welsh woollen industry.

The throw has a simple yet sophisticated quality that allows the space and the details inherent in my surroundings to hold equal prominence in the cloth.

This piece has been hand woven on a traditional loom.”


Llio James is a textile designer specialising in weave gaining her initial skills from Manchester School of Art followed by MA Design studies in Fashion and Textiles at Bath Spa University. She has since gone on to work within the weave industry in the USA and Scotland, more recently returning to Wales where she is keen to develop the relationship between hand weaving and the woollen industry within Wales.

Currently working as a part time co-course leader and weave tutor at Carmarthen School of Art, Llio also works on commissions and collaborations alongside developing her hand weaving craft.

Llio has shown her work in exhibitions across Wales and received awards including an ‘Entry to Work Scheme’ position with Macnaughton Textile Group in Perth, Scotland from The

Worshipful Company of Weavers; a scholarship from the James Pantyfedwn Foundation and an Art, Design and Technology Scholarship at the 2011 Urdd National Eisteddfod.

Other opportunities have included working as a weaving technician for the Buck’s Rock Performing and Creative Arts Camp, Connecticut in 2008; an internship with KOVA Textiles, New York City, in 2009 – 2010 and weaving placements with Melin Tregwynt in Pembrokeshire and The Gower Heritage Centre in 2010.

A Phoenix Yet in Flames, 2016 (detail)

Embroidery on mixed material

“I make visual narratives through embroidery, exploring human relationships, and feelings of love, fear, belonging, betrayal and tragedy. I’m inspired by the Celtic mythologies of my Welsh roots, in particular the collection of tales from ‘The Mabinogion’. These medieval fables were passed down through oral tradition, and include enchanting stories where people are turned into animals, and where love treads close to death and tragedy.

Embroidery and textiles are imbued with connotations of homeliness and domesticity, and have emotive qualities relating to memories of people and comfort. In my work, I channel the stories from my own life into textile narratives, pulling on the themes and styles of the medieval cyfarwydd (‘storyteller’). I am interested in the connection people have with animals, and the way we find comfort in their company, and I often use animals as metaphors and as a way of representing emotions. Using embroidery techniques, I stitch together the stories of my own life, depicting the stillness of an emotion in a moment in time.

I embroider using a free-hand Irish sewing machine, a specialist technique with a machine that ceased production in the 1950s.”


Rhiannon was born in Cardiff, attending a Welsh-speaking school in Llantrisant where she was immersed in Welsh culture, singing in the local choir and competing in the annual Eisteddfod. She remembers the excitement of hearing stories of her namesake, the horse goddess Rhiannon, in the Welsh fables of Y Mabinogion. She lost the Welsh language when her family relocated to Herefordshire, where she currently resides.

Rhiannon graduated from University College Falmouth in 2011 with a first class BA (Hons) in Textiles and in 2014 with an MA in Textiles from the Royal College of Art. In 2011, she received a Texprint award for the top 24 textiles graduates in the UK, exhibiting in Paris as part of Première Vision. Since, she has worked in fashion studios in London, New York and Stockholm as a textiles designer, where she developed her love of pattern and embellishment. Rhiannon was awarded the Worshipful Company of Needlemakers Scholarship in 2014.

In 2015, she was commissioned by Hampshire Council to produce a large scale WW1 memorial embroidery, permanently displayed in Whitchurch Town Hall. Other recent exhibitions include Made By Hand, Cardiff City Hall 2016, Act Up World Aids Day, Hackney Picturehouse (in collaboration with Faye Oakenfull) 2014, Portal, Llantarnam Grange, 2014, Show, RCA Battersea 2014, New Visuality, According to McGee, York 2011

In Another Light (Detail)
Sheepskin parchment, white gold, monofilament

“This is a work about memory, time and almost imperceptible but unstoppable change. The holes are seared into gilded sheepskin parchment before being cut out and threaded onto monofilament to create a delicate mass of barely there substance. A hole cannot exist without the material that frames it, and the work is as much about absence as it is about presence. Time is key, in the making of the work, but also, the white gold will slowly and subtly tarnish and change over time. This is the second in a series of works, over-archingly called ‘Nothing is Something’. The works are an expression of fragmentation and of unified separate moments that reflect something of the human condition, as well as the artist’s concern with ‘the impossibility of things remaining the same”.


Soft Target

Kidsilk Haze yarn

One in a series of 13 hand crafted pom pom targets.

Word play and language have often informed and inspired work, as have the choice, transformation and placement of materials to draw out meaning.  Soft Target is a play on words that acknowledges Claus Oldenburg’s soft sculptures.  The pompom is one of the first low craft objects that children learn to make. ‘Soft Target’ serves as a comment on the vulnerable, especially children during a military or terrorist attack.”


Philippa Lawrence was born in Louth, Lincolnshire. She graduated from Norwich School of Art with a 1st Class (hons) Degree in Fine Art in 1990. After graduating she did a residency at Gresham’s School, Holt to fund her MA in Printmaking at the Royal College of Art (1991-1993). She is Principal Lecturer on ‘Artist, Designer: Maker’ at Cardiff School of Art & Design, Cardiff Metropolitan University. She lives and works in Bristol with a studio at Spike Island.

Her practice is diverse, embracing land and environmental art, the use of textiles in a fine art context, and the relationship between art, craft and design.  Since 2003 her practice has been primarily site-responsive, concerned with issues related to human relationships to land, nature and place. Issues revolve around: boundaries, land use, land ownership, an increasing concern with imposed limitations, and an encroachment on humankind’s wild spaces – both the public and geographic and the private and psychological. Materials and process are equally important to her as is a consideration of the multiple sites we occupy.

Work pivots on material exploration, drawing out a material’s ability to carry metaphor and speak of human experience, and in a positioning of elements to assist an understanding of site and a re-activation of space. Trained in Fine Art Printmaking at Norwich School of Art and the Royal College of Art Philippa maintains an interest in the language of making, in the multiple and in process.

Philippa works on site-specific projects, commissions and exhibitions. She has exhibited widely both in the UK and internationally, including America, Japan, Czech Republic, Canada, Iceland and Australia. Notable exhibitions include ‘Angles of Incidence’ through AiRx and the British Council, at Singapore Botanic Gardens and at Inner Temple London (2014), ‘Encounters at the Edge of the Forest’, (2014) Chicago, USA, ‘Cloth & Memory {2} (2013) Salts Mill, Saltaire, ‘Bite-Size’ at the Daiwa Anglo Foundation and subsequent tour to Japan (2012) and commissions for Waddesdon Manor (2013-4), ‘Darning the Land: Seam’ at Church Gresley, Derbyshire (2011) for re:place, ‘Bound V-57’ for ‘Nature Unframed’ at Morton Arboretum, Lisle, USA (2011) and for Meadow Art Gallery ‘Barcode FB:814’, (2011) and ‘Tell it to the Trees’ at Croft Castle, Herefordshire (2009-10).

Recent awards made to the artist include Cardiff Metropolitan University Seed Funding (2015) to examine threatened crafts and HEFCW SIP funding (2011) to work with Waddesdon Manor.


She is currently working on a series of projects for Hestercombe House, Taunton.

Saturday 7 October 2017, 1 – 4pm

Join lecturer, researcher and maker Angela Maddock for a practical workshop inspired by the processes and discoveries during her residency at the Florence Nightingale Faculty of Nursing and Midwifery at King’s College, London.

Participants are encouraged to bring along something knitted or woven that is holed, worn or threadbare for repair. You will learn two methods of visible mending – weave and swiss darning and through discussion and making, explore acts of regeneration and repair, of making good but not always perfect.

Cost: £25 includes materials and  please bring something  to mend

Booking Essential 01267 222775

Suitable for age 16+

Saturday 7 October 2017, 11 am

Angela Maddock is a lecturer, researcher and maker who’s work celebrates the tactile and explores the properties, qualities and tensions of emotional and physical intimacy.

Maddock is a PhD by practice researcher in the School of Material at the Royal College of Art, where she is also a visiting tutor in textiles. As maker in residence 2016-17 at the Florence Nightingale Faculty of Nursing and Midwifery at King’s College, London she explored parallels between clinical practices and skills associated with textile making.

Admission Free

Gallery talk by Lucille Junkere

Friday 18 August 2017, 7pm

Lucille Junkere returns to the gallery to talk about her indigo dyeing journey since her residency at the William Morris Gallery. She recently travelled to Nigeria through a Winston Churchill Fellowship where she studied indigo dyeing techniques amongst Yoruba artisans. Àdíre is the Yoruba word for the resist dyed cloth made in Yoruba towns in Nigeria. The textile functions both as an aesthetic expression and a means of communication, offering a deep insight into Yoruba religion, culture, folklore and history. Her talk with be illustrated with short videos, photography, music and Lucille’s own indigo work.

Admission Free


Llygad y ffynnon (The source)

Ink and threads on plastic (detail)

“My instinct has always been to embrace both painting and embroidery traditions without having to conform to either. I feel a huge sense of freedom in this chosen area. While the act of drawing is central to my practice, I delight in the raw beauty of all my materials – whether they are fabric, thread, paint, paper or plastic.

The recent works on plastic challenge me in terms of scale, technique and emotional content. I relish the sense of theatre whilst working on the inked–up sheets of plastic. It is an intensely physical and gestural process – always concerned with balance and rhythm and expressive mark-making. A form of choreography and personal mapmaking which celebrates landscape, language and womanhood.

This is a landscape layered with ambiguous messages, a place with its own distinct edge…”

Eleri Mills was born in Mid-Wales and gained her BA from Manchester Polytechnic in 1977. In 2000 she was made an Elected Member of the Royal Cambrian Academy and was accepted to the honorary order of the Gorsedd white robe at the National Eisteddfod of Wales in 2004. She was 2010/11 Winner of the Creative Wales Ambassador Award, Arts Council of Wales.

Eleri Mills has exhibited her work widely across Wales, the UK and internationally and is represented by the Thackeray Gallery in London and Martin Tinney Gallery in Cardiff.

Significant exhibitions have included ‘Window on Wales’, Ruthin Craft Centre 2013; Macy Art Gallery, New York 2012; Art of the Stitch (Birmingham, Krefeld and Budapest tour) 2008; Meaning of the land Interceltic Festival, Lorient, France (Representing Wales) 2002; Scottish Gallery, Edinburgh 2001; Piel de Seda Embroidered Bookbindings Museo Nacional de Artes Decorativas, Madrid 1998; Museu Textil i d’Indumentaria, Barcelona (Wales in Catalonia Festival) and UK tour 1995; British Needlework National Museum of Modern Art, Kyoto and Tokyo, Japan 1982.

Her work is held in a number of collections including: Contemporary Art Society for Wales, National Museums of Scotland, Edinburgh and Whitworth Art Gallery, University of Manchester

Eleri has also been represented in the SOFA Sculpture, Objects and Functional Art fair in New York and Chicago and the Collect Craft Fair in Saatchi Gallery, London.

She was artist in residence at Sanskriti Kendra, Dehi, and research trip to India supported by Wales Arts International in 2016 and Teachers College, Columbia University, New York in 2012.

Photograhper: Toril Brancher

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