MMT3 Research

“How I Make my Work:

My sculptures are formed using a combination of embellishing and embroidery to create coastal inspired textures, blending a variety of recycled fabrics to create subtle variations in tone. I stitch the resulting textiles inside waste plastic that I use to cast true to life pieces with cement, giving a distinct contrast between the manmade structure of the packaging and the soft natural textures”

After Paris, he moved back to London eventually establishing his studio in Chelsea. The studio was a workshop filled with hundreds of found objects, models, sculptures, materials, tools, toys and stacks of books.[6] Paolozzi was interested in everything and would use a variety of objects and materials in his work, particularly his collages (

She developed a poetical language in combining traditional weaving techniques with concrete. Her transdisciplinary approach bridges contemporary design, fine arts and performing arts which allows her to experiment with objects in order to surprise the viewer.

Each piece is an experiment; the result of a fragile balance between different elements and forces. She wraps, binds, coats, and pours; testing, often to breaking point. It is a precarious path between freedom and control and the process often produces surprises and discoveries.

Drawing and photography have always formed an integral part of Ferrand Scott’s work. Often she is searching for the abstract and sculptural qualities in mundane everyday situations; the way in which sunlight and shadows can transform the domestic into the mysterious and sensual. Outside she discovers new angles and weather conditions revealing natural feats of engineering.

Ferrand Scott’s AA2A residency at Leeds College of Art gave her valuable time and space in the casting workshop. She took the opportunity to investigate using concrete in latex moulds (made using layers of liquid latex bound with tape and elastic). The elasticity of the latex brings out a smooth, warm sensuality not usually associated with concrete. It is these qualities which she developed during her subsequent artist’s residency in Civil Engineering at Leeds University funded by the Leverhulme Trust. The laboratory facilities enabled her to develop fluid concrete mixes designed for use with flexible forming.

Whiteread was one of the Young British Artists who exhibited at the Royal Academy’s Sensation exhibition in 1997. Among her most renowned works are House, a large concrete cast of the inside of an entire Victorian house; the Judenplatz Holocaust Memorial in Vienna, resembling the shelves of a library with the pages turned outwards; and Untitled Monument, her resin sculpture for the empty fourth plinth in London’s Trafalgar Square.

She was appointed Commander of the Order of the British Empire (CBE) in 2006 and Dame Commander of the Order of the British Empire (DBE) in the 2019 Birthday Honours for services to art.

“I cannot really describe myself as a conventional textile artist. I do work with fabrics and yarn but I have a broader interest in materials and material manipulation. My particular interest is in using materials like fabric, knits and plastics to mould concrete surfaces. I am the course leader for textiles at the Open College of the Arts (OCA), a British-based open access institution that offers high quality arts courses by distance learning. My role includes tutoring, assessing and course writing. In this blog post I would like to share my work, my approach and what inspires me as a practitioner and how this has helped me develop a course I have recently written for the OCA; Mixed Media for Textiles.

Like many students who study at the OCA I worked towards a degree in textiles later in life. After a career in nursing and whilst bringing up my children I was given the opportunity to take my life-long love of making and explore it at university. I studied Surface Design for Fashion and Interiors at the University of Huddersfield where I came into contact with methods, materials and ideas I had not previously known. I worked in a whole range of materials including fabrics, plastics, wood and paper, learning traditional textile techniques like embroidery and screen-printing coupled with the contemporary technology of computer aided design and laser cutting. I do see the value of using modern technology. However, my excitement lies with using my hands to create.”

Susan Benarcik is a sculptor and urban garden designer based in Delaware. Evolving simultaneously as artist and gardener, Benarcik posses an innate understanding of natural materials, which is dually expressed in her artwork and garden designs. Hard wired to inspire audiences with a fresh perspective, her work has been exhibited across the country in galleries, museums, sculpture parks, arboreta, and botanic gardens such as the New York Design Center, Brooklyn Botanic Garden, and the Delaware Art Museum.

The artist is the recipient of Individual Artist Fellowship Award from Delaware Division of the Arts in 2019, a National Endowment for the Arts Challenge America Grant to Organizations and Artists in 2017, and a Pollock-Krasner Foundation Award, in 2007. Her Master’s degree in printmaking is from Cranbrook Academy of Art, and Bachelor’s degree in Fine Art from Rosemont College.

Benarcik was an apprentice at the Fabric Workshop and Museum in Philadelphia, a Core Fellow at the Museum of Fine Arts in Houston, and most recently a Philadelphia CFEVA fellow. The artist teaches creativity workshops nation wide, and is a founding board member of the Jester Artspace, a non-profit organization in Wilmington, partnering with New Castle County to renovate a pre-civil war farmhouse for the arts.



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