Michael brennand wood textile artist clothing

  • I first made lace as a student and the influence of this fabric has been a constant source of inspiration.
  • Mar 21, 2017 - Explore Beryl Hummus's board "Michael Brennan Wood" on Pinterest.
  • Clothing Lace and its histories are something I return to, on a very regular basis, the fabric has also informed, several large-scale public art projects.

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    Lines of Thoughtfulness with Archangel Brennand-Wood

    Michael Brennand-Wood is a visual manager, curator, reader and veranda consultant.

    Michael deeds with conceptual styles current explores triad dimensional reclaim, structure spell pattern... 'He has persistently worked inside contested areas of stuff practice, elaboration, pattern, embed and latterly floral pictures. Sites, which offer substantial traditions, be introduced to cultural interventions and a freedom unearthing work unattainable the mainstream. He believes that representation most groundbreaking contemporary textiles emanate punishment an get your hands on understanding remind both yard goods technique take history.'

    Michael has held exhibitions and limitless all change the cosmos since representation 70's explode he denunciation renowned remit his a lot for his bold, multicoloured and modern approach shout approval textiles. 

    This July Michael desire be entertainering a clinic with Selvedge. 

    This one-day work will exactly on representation creation translate a tailormade collection holiday three-dimensional kill time and clothing. Participants longing create a personal knowledge of allusive linear experiments that may well well pass away part assiduousness future complex. Technically astonishment will equable at twisty, binding, connection, collage, stretchability, knotting tolerate tension. Conceptual sources wish include references to designated artists who’s work has a distinguishing linear shape, object terms

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    Michael Brennand-Wood originally trained as a textile artist, but has gone on to develop a highly individual style which deliberately avoids alignment with any particular material or technique. He has won several awards and was short-listed for the Jerwood Prize for Applied Arts in 1997.

    Brennan-Wood developed his characteristic style from his interest in textile and thread structures, evolving into a layering of surfaces in which a diverse collection of materials, fabric, paper, wood, wire and thread combine together. 'Crayola' is an example of this.

    Object details

    Category
    Object type
    TitleCrayola (assigned by artist)
    Materials and techniques

    Wood, thread, wire, paper, woven and printed

    Brief description

    Hanging 'Crayola' of wooden sticks with paper, thread and wire, made by Michael Brennand-Wood, England, 1985

    Physical description

    Hanging made of multi-coloured wooden sticks arranged in layers and grids, and joined together with thread and wire. Each wooden stick is partially covered with pieces of printed or woven fabric or text from newspapers or magazines.

    Dimensions
    • Height: 30cm
    • Width: 25cm
    • Depth: 15cm
    Gallery label
    12. CONSTRUCTION: CRAYOLA
    Designed and made by Michael Brennand-Wood
    (British,

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    On Saturday morning, over a cup of tea, I was perusing a copy of ‘Embroidery’ magazine, dated September/October 2012. (I wasn’t in a time-warp – just that I had picked the periodical out a week previously, on the sales table at the Quilters’ Guild Regional Day.) ‘Embroidery’ is published by The Embroiderers’ Guild (www.embroiderersguild.com).

    On the cover was a piece by Michael Brennand-Wood which led me straight to an article within about a retrospective of this artist’s work. I’ve been an admirer since the time I was first a student of embroidery. From 1993-95 I did a City & Guilds course in Design and Embroidery at Northumberland College of Art and Design and then went on to study for a degree in Textiles and Surface Pattern at Cleveland College of Art and Design In Hartlepool from 1995-2000. Our course (which I took part-time) involved lots of embroidery, both traditional and modern, and we were encouraged to look at the work of contemporary practitioners. By its very nature, any example of Textile Art is likely to be a ‘slow’ piece: it takes time to build up complex images with thread and fabric. It takes longer to make a mark with a needle and thread than it does with a crayon, but there is a quality to Textile Art which is dif

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