Textile Art

Page 2 of 7
Lisbet Olin-ranstam, Susanne Mason, Margo Styan, Stephanie Ford Forrester, Helen Simon, Natalia Tsvetkova, Nobia Shaheen, Diana Corcan, Jean Judd offering original Textiles artworks.


Contemporary Art / Textiles / Previous / Next
Susanne Mason: 'Lady', 2003 Textile Art, Figurative. This textile has been made by combining different textile materials such as velvet and satin to create the charming vision of a Renaissance lady. ...
, 2003
Figurative - Textile Art
30 x 70 cm (11.8 x 27.6 inches)
Margo Styan: 'Winter fun Skiers', 2002 Textile Art, nature. This fabric art wall hanging is hand dyed and factory 100% cotton.  It is originally designed, appliqued, zigzagged, stippled and framed with the utmost care. ...
nature - Textile Art
31 x 39 inches (78.7 x 99.1 cm)
Margo Styan: 'Spirit Woman', 2002 Textile Art, nature. This fabric art wall hanging is hand dyed and factory 100% cotton.  It is originally designed, appliqued, zigzagged, stippled and framed with the utmost care. ...
nature - Textile Art
31 x 39 inches (78.7 x 99.1 cm)
Margo Styan: 'Kayaking Splendor', 2003 Textile Art, nature. This fabric art wall hanging is hand dyed and factory 100% cotton.  It is originally designed, appliqued, zigzagged, stippled and framed with the utmost care. ...
nature - Textile Art
25 x 30 inches (63.5 x 76.2 cm)
Margo Styan: 'Winter Night 3', 2003 Textile Art, nature. This fabric art wall hanging uses hand dyed and factory 100% cotton. It is originally designed, appliqued, zigzaged, stippled, and framed with the greatest care.  ...
nature - Textile Art
25 x 28 inches (63.5 x 71.1 cm)
Stephanie Ford Forrester: 'Celtic Glory', 2001 Textile Art, Culture. Applique and hand- quilted wall hanging in cotton and Thai silk fabrics. ...
Culture - Textile Art
50 x 50 inches (127.0 x 127.0 cm)
Helen Simon: 'A  Coping  Haven', 2002 Textile Art, Landscape.
Landscape - Textile Art
36 x 28 inches (91.4 x 71.1 cm)
Helen Simon: 'Give Us This Day Our Daily Bread', 2001 Textile Art, Architecture. This dye- painted quilt was painted from a ten- year- old study of Taos Pueblo. We took our homeschooled son on a field trip out West, and ate bread from these hornos. This quilt is embelleshed w/ juniper, lavender, beadwork and leather, and was my first to be juried into ...
Architecture - Textile Art
14 x 15 inches (35.6 x 38.1 cm)
Natalia Tsvetkova: 'Selfportrait', 1998 Textile Art, Political. Tapestry from hand died wool and nylon...
Political - Textile Art
46 x 67 cm (18.1 x 26.4 inches)
Nobia Shaheen: 'Sand', 2011 Textile Art, Abstract.
, 2011
Abstract - Textile Art
8 x 8 inches (20.3 x 20.3 cm)
Nobia Shaheen: 'Curve', 2011 Textile Art, Abstract.
, 2011
Abstract - Textile Art
8 x 8 inches (20.3 x 20.3 cm)
Nobia Shaheen: 'Flower Girl', 2011 Textile Art, nature.
nature - Textile Art
13 x 5 inches (33.0 x 12.7 cm)
Nobia Shaheen: 'Grey Side', 2011 Textile Art, Other.
, 2011
Other - Textile Art
12 x 12 inches (30.5 x 30.5 cm)
Nobia Shaheen: 'Traditional', 2011 Textile Art, Culture.
Culture - Textile Art
11 x 5 inches (27.9 x 12.7 cm)
Nobia Shaheen: 'Traditional', 2011 Textile Art, Culture.
Culture - Textile Art
12 x 5 inches (30.5 x 12.7 cm)
Diana Corcan: 'Accurate Eye', 2011 Textile Art, Zeitgeist.   accurate, eye, Diana Corcan, textile, textile object, textile art, rope, braiding, weave, paint, handmade, original art, decorative, artworks, unique, motif, symbol, culture, natural material, tactile, visual art, mixed techniqe, dust, time, wall, cutout  ...
Zeitgeist - Textile Art
85 x 180 cm (33.5 x 70.9 inches)
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Diana Corcan: 'Dust of Time', 2011 Textile Art, Zeitgeist.  accurate, eye, Diana Corcan, textile, textile object, textile art, rope, braiding, weave, paint, handmade, original art, decorative, artworks, unique, motif, symbol, culture, natural material, tactile, visual art, mixed techniqe, dust, time, wall, cutout ...
Zeitgeist - Textile Art
85 x 180 cm (33.5 x 70.9 inches)
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Jean Judd: 'Contaminated Water 9 Through the Ice', 2017 Textile Art, Abstract. After a three- year hiatus in this series, Contaminated Water 9 Through the Ice, becomes to fruition.  As with the first piece in this series, there is no rust pigmentation on this piece.  I was pondering what the next step should be in this series, and since it was winter, ...
Abstract - Textile Art
33.2 x 42.2 inches (84.3 x 107.2 cm)
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Jean Judd: 'Rusted Lace 5', 2017 Textile Art, Abstract. Rusted Lace5 is a continuation of the Rusted Lace series.  The ground was created in 2011 using dye and rust pigmentation created by using scientific iron filings.  The sculptural hand stitching was applied in 2017and then framed.  The color nuances in the artwork are evident on personal inspection as detail ...
Abstract - Textile Art
42.2 x 32.7 inches (107.2 x 83.1 cm)
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Jean Judd: 'Rusted Snowflakes', 2017 Textile Art, Abstract. The rust pigmentation was completed on this piece in May of 2010.  My initial reaction was that it was not successful.  I added the star framing and set it aside in my pile of artworks waiting for hand stitching.  I bypassed this piece for several years as it still seemed ...
Abstract - Textile Art
30.8 x 19.8 inches (78.2 x 50.3 cm)
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Jean Judd: 'Sound Waves 3 Ionosphere', 2016 Textile Art, Abstract.  This piece continues the ebb and flow of waves that sparked this series.  The Ionosphere is the portion of the atmosphere between 31 miles and 250 miles from the surface of the earth.  It contains gases that have been ionized by ultraviolet rays and x- rays from the sun.  The...
Abstract - Textile Art
43.2 x 13.2 inches (109.7 x 33.5 cm)
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Jean Judd: 'Rusted Vines and Hinges', 2016 Textile Art, Abstract.  Rusted Vines and Hinges is a continuation of the experimentation of using architectural ironwork to create surface design for textile wall art.  Antique wrought ironwork, iron and brass hinges from the 1800s are utilized in creating the images on this heavily hand stitched artwork.  The brass hinge leaves a mint...
Abstract - Textile Art
24.5 x 27.7 inches (62.2 x 70.4 cm)
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Jean Judd: 'Fractured Gello 2', 2016 Textile Art, Abstract.  After a long hiatus from this series, completion of Fractured aEUR~Gello 2 brings this series back into the recent arena of completed artworks.  Constructing the ground and fracturing the piece was the smoothest part of the entire process in 2009.  Developing the intricate hand stitching design took several years of...
Abstract - Textile Art
52.2 x 54.5 inches (132.6 x 138.4 cm)
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Jean Judd: 'Shadow of the Past', 2015 Textile Art, Abstract.  Shadow of the Past has required a longer than usual completion window.  This piece was begun in 2009 as my first experiment in using old iron that I scavenged from the woods around my studio.  I used a shroud from a tractors radiator and a brake wheel to rust the...
Abstract - Textile Art
25.7 x 42.7 inches (65.3 x 108.5 cm)
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Jean Judd: 'Moon Shadow', 2015 Textile Art, Abstract.  The white and blue moons were design elements from the start and I would move them around the artwork from time to time.  The addition of the river did not come about until October of 2014.  The textural hand stitching design which gives the piece visual as well as physical...
Abstract - Textile Art
41.3 x 24.7 inches (104.9 x 62.7 cm)
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Jean Judd: 'Rusted Lace 4', 2014 Textile Art, Abstract.  The fourth addition to the Rusted Lace series of textile artworks, Rusted Lace 4, continues the pattern of having two pieces created from a similar hand dyed coloration in this case a burnt orange.  The repeating graphic design is created using scientific iron filings during the base fabric rusting process...
Abstract - Textile Art
43 x 16 inches (109.2 x 40.6 cm)
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Jean Judd: 'Rusted Lace 3', 2014 Textile Art, Abstract.  Rusted Lace 3 continues the exploration of scientific iron filings on hand dyed fabric to create lacy looking pieces in the Rusted Lace series.  Various values of orange are the predominant colors in this particular art quilt.  Whole cloth construction with Proxion dyes created the basis for the artwork.  Dense...
Abstract - Textile Art
43 x 16.5 inches (109.2 x 41.9 cm)
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Jean Judd: 'Abstract Textures 1 4', 2014 Textile Art, Abstract.  Abstract Textures 1. 4 continues the undulating spiral and wave forms found in the first three pieces of the series.  Orange, fuchsia and black are the predominant colors until you get up close and then you see bits of lemon yellow and green as well.  Whole cloth construction with hand...
Abstract - Textile Art
42.5 x 34.5 inches (108.0 x 87.6 cm)
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Jean Judd: 'Abstract Textures 1 3', 2014 Textile Art, Abstract.  Abstract Textures 1. 3 is the third completed piece for the series of textile artworks, Abstract Textures.  This series is where I first began to experiment using a i? 1/2paint with dyei? 1/2 format.  I used foam brushes to create my canvas for textural hand stitching.  These abstract, whole cloth pieces are...
Abstract - Textile Art
42 x 34.2 inches (106.7 x 86.9 cm)
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Jean Judd: 'Abstract Textures 1 2', 2014 Textile Art, Abstract.  This is the second completed piece painted with dye and then densely hand stitched to add visual and physical texture to the textile artwork.  The hand quilted design weaves and swirls in different directions across the fabric giving it movement and a sense of flow.  As with most of my...
Abstract - Textile Art
42 x 34 inches (106.7 x 86.4 cm)
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(Page 2 of 7) - MORE ARTWORKS

Artists Describing Their Art:

Margo Styan - There is a great need for peace and tranquility in the world today. Every living being can testify to this. We must stop, look, listen, and meditate upon all the wondrous things that the Creator has provided for our well being and growth. My art is intended to help those who stop for a while to look and then listen to their own inner beatings of their heart which urges them to meditate and discover truth for themselves and help them "grow and develop and appear in the utmost beauty". I believe we all have a gift that needs to be discovered and offered to this existence, and thus peace and tranquility can be found....

Stephanie Ford Forrester - Where does it come from? Why does one artist paint dark, disturbing images and another make art of transcendent light and beauty? What motivates the incredibly unique expressive mode of each individual artist? Life experience, external influences, serendipity, magical moments, receptivity, the minutia of life: all these combine to drive the artist to make art. I am very intrigued by the wonderful sensations and ideas that come out of left field, little glimmers of perception that happen on the periphery of my vision and awareness that evolve either instantly or over time to take physical form as paintings and fabric work. Be they the ephemeral, shifting colours and rhythms of the sea, the intensity in a person's face, or the ancient mythologies and symbols locked in the carved stone of past centuries, these are images that have worked themselves sideways into my mind and refuse to leave. Sometimes they come unbidden, charting their own course until set free in visual form. The journey of the creative process is very personal to each artist; we must allow our minds to be receptive to gentle peripheral influences as well as the powerful, 'in- your- face' immediate ones. The very materials one ...

Helen Simon - Creating expressions of gratitude for the glory of God are the focus of my work. I'm very hyper, and not content with working in one medium for long, so get it (my art) while you can. My various media include, but are not limited to, painted/dyed/quilted textiles, realistic painting in oils/acrylic/watercolor, herbal creations (soaps, lotions, potpourri) from my garden, and most lately and passionately, GLASS!! I've learned to make a pretty good-looking bead at the torch, and would live behind it, but for life's duties. Original needleweavings include my Glassies and I love making custom orders, to challenge & inspire. Satisfaction is guaranteed!...

Diana Corcan - Poetry and the poetry of objects. As in the poetry I write, the tendency to express myself artistically implies a dual nature. An inner primitive kind -- who yearns for the simplicity of former emotions, and a nature containing a perverted, sophisticated side, in which the influence on the aesthetic is done through an emotion compromised by the mundane. The desire of permanent return to our unperverted state, to a zero point, expressed in my poetry, manifests also in the textile objects I make, through the option for natural materials. The run between light and darkness, between color and non-color comes from the desire of an equilibrium point. It comes from the attempt to support my own feelings on a skateboard, activated in permanence by the power of feelings in motion. The acrobacy of emotion is what draws the object, builds it, animates it and settles its destination. ...

Jean Judd - Every quilt tells a story and every quilt is unique. The common factor in all quilts is that fabric and thread are used to create a piece of art. To many viewers, cutting up perfectly good pieces of fabric into little pieces and then sewing them together again into a totally different looking piece of fabric, is unbelievable. Who would want to do this day in and day out The dedicated quilt artist and fabric collector I have always enjoyed putting jigsaw puzzles together and the same person who enjoys jigsaw puzzles discovering a finished masterpiece constructed of hundreds or even thousands of little pieces is drawn to the magic of quilt design. Each quilt design is a puzzle waiting to be put together. The design starts in the quilt artists mind and is eventually transferred into reality with the final stitch in the quilt. Many times the original design is nothing like the finished quilt but this just adds to the excitement and the design potential for the next quilt design. What starts in the mind is often transformed into a bigger, better and more dramatic finished quilt than the artist ever imagined. I prefer to make my own ...