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August 26–January 8, 2016
#hardtwist11
The Gladstone Hotel’s 11th Annual Juried Textile and Fibre Arts Exhibition
Lynne M Mack
To spin is to transform. Whether it’s turning a fleece into yarn for a cozy sweater or rotating a dubious fact through angles of truth, spinning changes what you started with into something very different.
The Gladstone Hotel’s 11th Annual Juried Textile and Fibre Arts Exhibition
HARD TWIST 11 CURATORS:
Helena Frei is an artist, writer and indepen-dent curator with an eye for detail and a profound curiosity about textiles and their relationships to language, culture and the human world in general. She is a graduate of McGill University and the Ontario College of Art and Design, and lives and works in To-ronto’s Kensington Market.
Chris Mitchell is an arts administrator, inde-pendent curator and former Director of Ex-hibitions at the Gladstone Hotel. She has a passion for working with artists, realizing cre-ative projects and developing entrepreneur-ial models for arts based initiatives. She is a graduate of Fine Arts, York University.
Exhibition Coordination by Lukus Toane Catalogue designed by Allison Chan
HARD TWIST 11 JURORS:
Julie Nicholson: Design advocate, curator, Do Design, co-founder Toronto Design Offsite FestivalDorie Millerson: AOCAD, MFA Chair, Materi-al Art & DesignPaula John: Hard Twist 10 ArtistLukus Toane: Director of Exhibitions, Glad-stone Hotel (ex-officio)
Hard Twist is an annual juried show of work that celebrates the intimate, layered and complex relationship between people and textile. The show has become an important annual event within the Canadian fibre art community and has been a signature event at the Gladstone since 2006.
Participants range from established artists with impressive track records to students in the process of refining their focus. The works are tiny and huge, straightforward and complex, representational and abstract, and speak of things as disparate as biblical lyrics, global warming and the fate of dryer lint.
Each year, co-curators Helena Frei and Chris Mitchell weave this wild diversity into a rich and complex tapestry inhabited by a powerful sense of human creativity.
THIRD FLOOR
CAFÉ (MAIN FLOOR)
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A Claire Bartleman
B Annabel Berthoff
C Valerie Carew
D Valerie Dennis
E Lise Downe
F Martina Edmondson
H Amanda Gresik
I Connie-Lynn Higgs
J Kathleen Morris
K Natalie Nadeau
L Brooke Ripley
G Liam Blackburn + Shannon Gerard
M Jenna Leigh Richards
FOURTH FLOOR
NA Stacie Go Eun Baek
B Jessica Bromley Bartram
C Judy Duggan-McCormack
D Margot Fagan
E Wenzi Li
F Wilma Kenny
H Lynne M Mack
I Judith e Martin
J Rob Shostak
K Jennifer Wigmore
L Jen Wilson
G Ketzia Kobrah
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STACIE GO EUN BAEK
AttentionHand-woven with cotton yarns25” × 40”$800
stacie-baek.com
Weaving out loud the emotionally charged personal statements about love and emotion is the primary focus of my project. I strive to create weaving pieces that speak my state of mind out loud by weaving my personal statement in capital letters.
Through this project, like pages of diary, my act of dictating some-thing that has transpired into the weaving makes my disappearing thoughts and feelings sustain longer. Also, revisiting hard thoughts by sitting at a loom labouring through the art-making process will prove my strength and my vulnerability. I hope that the connection between the artistic and narrative aspects of textile may be found in my weaving pieces.
Stacie Go Eun Baek is an artist based in New York City, who recently moved to Toronto. She has been fully supported by her parents to pursue her pas-sion in Fine Art and Education. Upon graduating from Maryland Institute College of Art on a full scholarship in 2011, majoring in Fiber Art, Stacie participated in various exhibitions and a fashion show, mainly in Baltimore and New York City. She has taken the opportunity to continue reflecting her thoughts through textile art in the artists-in-residence program (AIR) at Textile Arts Center. She also holds a Masters Degree in Art Education and New York City Teaching certificate.
CLAIRE BARTLEMAN
A Perfect ShotPulled apart found painting and wood18” × 18”
Ball of PaintingPulled apart found painting 6” diameter
Did Grandma Make This?Pulled apart found painting and cotton thread30” × 24”
Where’s the process? Pulled apart found painting and cotton thread on panel 22” × 26” × 24” × 24”
clairebartleman.com
This series is new spin on a discarded idea. Exploring the belief that one has to, literally or figuratively, tear things apart in order to tru-ly understand them, I tore apart, thread-by-thread, an abandoned stranger’s painting and transformed it—weaving, winding, stretch-ing, spinning—into five new pieces.
Claire Bartleman entered art school with the purpose of becoming a “paint-er”; she left art school questioning this desire and exploring surprisingly sub-tle boundaries between painting and textiles. Through repetitive craft-based actions, painting and textiles, she weaves to research high modernism, craft culture, feminist theory and the history of the grid in fine art.
The New Jessica Series
ANNABEL BERTHOFF
HairdressFelted human hair applied to hand sewn dress 2 ft × 2 ft × 4 ftNFS
Hairdress is an exploration of femininity through repurposed fi-bres. Hair is something that is cared for, and there are certain val-ues surrounding its state. When on a person, it is viewed as beau-tiful, but when removed from the owner, it is seen as grotesque. I wanted to use this disposed material and spend time working with the raw fibres to transform it into a symbol of beauty and femi-ninity. The final work is an assortment of human hair. Felted using the same process as felting wool, it is then applied to a hand-sewn dress and serves as a vehicle for both artists’ process and concep-tual understanding.
Annabel Berthoff is a contemporary artist based in Toronto, Canada. Her work explores the relationships humans have with their surroundings and the value that is placed on these relationships. She works mainly in tex-tiles to repurpose and give new meaning to found objects. Her work has been recognized by Artscape Toronto, Edward Day Gallery, Scholastics and Albright Knox.
JESSICA BROMLEY BARTRAM
The Moss WitchEmbroidery thread, various fabrics6” × 8” shadowboxNFS
The Moth WitchEmbroidery thread, various fabrics10” × 6”$750
The Star Witch Embroidery thread, various fabrics6” × 8” shadowbox$350
The Owl WitchEmbroidery thread, various fabrics6” × 8” shadowbox$400
jessicabartram.ca
As a multidisciplinary artist who creates two and three-dimensional work, I’m fascinated by the differences between the two realms. This project is an experiment in working through a visual idea in both dimensions, and an exploration of what happens to its form and character during the process of translation.
Jessica is a graphic designer, illustrator, writer, and artist. She has studied at the University of Guelph and recently finished a degree in Graphic Design at OCAD. Currently working as a freelance designer, she splits her time between design, illustration, and three-dimensional work in a variety of mediums.
Witchcraft
VALERIE CAREW
This work investigates a mergence between the interior domestic realm and the outer natural world through hand fabricated wear-able textile forms with the use of reclaimed household fabrics. These combine sensory isolation as a metaphor for reclusion with biomimetic role-play featuring neighbouring organisms in fallow fields which exhibit insulating behaviors similar to human versions.
Valerie Carew is a recent Graduate from the Interdisciplinary Master’s in Art, Media and Design Program at OCAD University. Her interdisciplinary methodology explores ecological literacy, notions of dwelling, and do-mesticity through a feminist perspective. Carew’s work references the natural world through biomimetic and performative role-play. She has exhibited internationally, including F Generation: Feminism, Art, Progres-sions in Melbourne, Australia (2015).
Cocooning (Headpiece)Felted wool, crochet tablecloth$300
CocooningDigital print42” × 30.5”$350
Body CoilingDigital print42” × 12”$350
valeriecarew.com
Home Spun
VALERIE DENNIS
Ripple Plaster cloth and canvas on MDF46” × 2.5” $2800
silverbirchstudio.ca
My recent work uses plaster cloth in its natural shade of white to emphasize texture. My designs feature geometric forms, and for the theme of Spin I have chosen to make a large circle as a wall piece. Many small, individual pieces of shaped plaster cloth have been attached to the backing and by varying the size of each ring, it creates the illusion of movement or spinning, within the circle.
Valerie Dennis is a graduate of Sheridan College: Craft and Design, and Staf-fordshire University, England, Design: BA, programmes.
Valerie makes modern, fibre inspired, wall pieces in a palette of white and grey. Floristry, visual display and prop making have encouraged her ma-terial exploration and travel to Scandinavia has affected the aesthetic of her designs.
LISE DOWNE
FluencyDried leaf stems, thread24” × 24” framed$925
I love the animated quality of leaf stems. Working with them over the past few years has been a liberating process because, although I select and place the stems in relation to one another, their individ-ual lines are a result of how they grew—having been a living part of a tree, and not a mark made by a person.
Lise Downe grew up in London, Ontario and studied art at the Beal Art Annex, majoring in printmaking. She painted for many years before turning her hand to poetry. LIse has published four books; the last one is titled This Way, published by BookThug. In addition to writing, she is a jeweler and maker of small sculptures who lives and work in Toronto.
JUDY DUGGAN-MCCORMACK
Spiralling EmbersCrocheted silk 52” × 52”$3000
jdmoriginals.ca
This piece explores the connection of modern surroundings as shaped by our past. It is inspired by a devastating house fire that my family endured in my childhood. From that tragic event also rose beauty as some watched in horror at the loss while others saw immediate beauty in the fire and eventual spiralling embers from the blaze. The smell and sight of a simple campfire can take me back to that day instantly.
Judy Duggan-McCormack is an emerging artist who recently earned her Bachelor’s Degree in Design specializing in textiles from OCADU in Toronto. Judy’s recent bodies of work have focussed on early Canadian immigration and the influence it had in shaping our modern society. She is influenced by the fact that we all have personal experiences to drawn upon to tell our own unique story.
MARTINA EDMONDSON
Manipulations by Staining, Plying, Incense and Needle burning of disposable materials and adding nature finds. Disposable materials—used coffee filters, teabags and flora & fauna finds—are transformed into new forms and objects such as masks and nests.
Martina studied Material Art and Design at the Ontario College of Art and Design with an emphasis on Fibre. Her work has been in invitational and juried shows across Canada and in Cheongju, Korea. Recipient of two Ex-hibition Assistance Grants from Ontario Arts Council and several awards in juried shows.
Mask WhiteFiber, wood10” × 8”
Mask BlackFiber, seaweed, feathers, pine needles11” × 13”
Mask EcruFiber, skeleton leaves12” × 9”
Nest 1 Washi paper, bleached, bound with thread3” × 3”
Nest 2 Used teabags, dyed, bound with thread, found bark 3” × 3.5”
Nest 3 Used teabags, dyed, bound with thread, found bark 3” × 4”
MASKS and NESTS
MARGOT FAGAN
SPINACHWool, silk and cotton yarns, natural dyes, metallic yarns4.25” × 22.5” × 1.75”
margotfagan.ca
This work is composed of 7 blocks covered in stitches depicting letters that spell SPINACH. The yarns I use are mostly natural fibres, and then dyed with natural dyes. Spinach is one of the vegetable materials I used in this piece. I also use commercial yarns. Beyond the obvious connection of the letters spelling the theme, SPIN can also refer to the altering processes of dyeing yarns.
Margot Fagan began her career as a textile designer for Canadian manu-facturers, and moved on to studio work producing her own fabrics and textiles for public commissions and exhibitions. She has received recogni-tion through awards, grants and international exhibitions. Margot’s work is held in the permanent collections of the Canadian Museum of Civilization in Gatineau, Québec and the Ontario Crafts Council in Toronto.
LIAM BLACKBURN + SHANNON GERARD
A History of the Gladstone in 46,387 StitchesWool with natural dyes approx 60” $2000
shannongerard.org
A History of the Gladstone in 46,387 Stitches is a crocheted tree ring depicting the history of the Gladstone building with one stitch for every day in the site’s history. Historical eras are indicated by colour rings. The wool is dyed using materials gathered along the West Toronto Rail Path.
In a new spin on portraiture and narrative, Shannon Gerard collaborates with people and sites to crochet historical timelines and individual chronol-ogies. Liam Blackburn dyes wool with natural materials gathered on long walks. Both artists use textiles to explore obsessions with time, mapping, and stories.
AMANDA GRESIK
100 Stitched Inches White belgium linen fabric and perle cotton thread; whitework embroidery12.5 “ × 12.5” (16” × 16” framed)
amandagresik.ca
This piece is part of a collection I produced for my Material Art & Design: Fibre thesis project. I created a sampler of “whitework” em-broidery, exploring and documenting 100 different stitches used in the vast world of whitework. The stitches mark the passage of time. Through the process of spinning time into a physical being, I am turning the tediousness nature of time into something useful and visually captivating.
Amanda is a recent graduate of OCAD University and is the 2016 recipient of the Material Art & Design Medal. Her primary focus is in whitework em-broidery, weaving and other types of needlework. Her work explores com-plex topics—illness, waiting, time and the connection people have between significant life events and textiles.
WILMA KENNY
Remembering GramFabric with painting, airpen writing, freestyle machine embroidery and ‘walking’ wheel from antique spinning machine48” × 6” $2900
kingstonfibreartists.ca/?s=wilma+kenny
Three generations of non-spinners kept this spinning wheel, for it had once been precious. Now nobody wants it, and the spindle has long been lost. I have stitched and written it into a story-wheel about my grandmother and the man she dared not marry: the girl she was, the woman she became, the person I remember and loved. A bright, curious, strong country-woman.
Wilma Kenny is a dilettante: a dangerous, two-edged word with negative connotations, but she refers to its original sense: a lover of art; one who delights in art. Beautiful and terrible ways of seeing, interpreting, trying to understand the world and our place in it. Shapes and colours combine with ideas and stories.
KETZIA KOBRAH
Embroidered BodiesEmbroidery48” × 48”$2150
ketziakobrah.com
Embroidered Bodies began as an attempt to understand the fear and fascination which surrounds body modification. The four foot embroidered illustration depicts two women, intertwined, sewing tattoos into each other’s skin. The piercing of the fabric mirrors the piercing of the flesh to create a thought provoking work of art which confronts viewer’s biases towards body modification and al-ternative aesthetics.
Ketzia Kobrah is a Toronto based illustrator with a background in fashion communications. Her work uses bold colours and contemporary subject matter to explore ideas of beauty and acceptability. She has been working together with Laurel Sherman since 2013 to create works of embroidered art, pushing the limits to technique and subject matter.
WENZI LI
Alienation—Top Three among Flowers (Oblong)Silk19” × 118” $1000
Alienation—Flour-ishing Melons (Oblong)Silk19” × 118” $1000
Alienation—Carps Jump Over Drag-on Door (Oblong)Silk19” × 118” $1000
wenzi.ca
As a Chinese woman living in Toronto, immersed in both eastern and western cultures, I position my work in both historical and con-temporary contexts and base my scarf and fabric designs on the motifs of traditional Chinese needlework. Beginning with a single traditional Chinese needlework motif, I develop a series of varia-tions. My scarf designs evolve from these variations, and, in turn, my fabric designs grow out of the scarf designs.
Wenzi Li is a Toronto-based textile designer whose work is rooted in the motifs of traditional Chinese needlework. She is studying for her Masters degree in Art, Media and Design at OCAD University. In 2016 she has shown in the Craft Ontario Craft Show at Daniel’s Spectrum, the Craftadian Show, the Starring Night Fashion Show, and the Pop Up Shop at Projector Gallery. In 2015, she showed in Made in Canada at 100 McCaul, Envelopment at Robert Kananaj Gallery, the Feminist Art Project at Daniels Spectrum, and in 2015, at Art Calorie at 49 McCaul Street. Her work can be found at the shop of the Textile Museum of Canada.
CONNIE LYNN HIGGS
(r)evolveHandwoven, ikat dyed85” × 17” × 0.5”$900
(r)evolve is a handwoven piece that embraces materiality and mark-making as means for self-expression. Textural details were added intuitively, allowing the visual characteristics of the work to be honest expressions of my own abstract thoughts. The woven cloth is intended to be viewed from a 360 degree perspective, al-lowing both its back and front side to be seen as revolving repre-sentations of my intuitive process.
Connie Lynn Higgs is a 2015 graduate of the Nova Scotia College of Art and Design. She is an aspiring textile artist and has been recognized as an emerg-ing talent following her selection as the 2015 textiles finalist for the Halifax based Starfish Student Art Awards and as the Nova Scotia provincial finalist in the 2015 national BMO 1st Art! Competition.
LYNNE M MACK
Convoluted-Lorenz ManifoldCotton yarn, fibreglass rod and wire72” × 36”$1500
Convoluted-Lorenz Manifold started life with one stitch, then two, three etc. and grew into an unwieldly over-powering object engulf-ing and controlling its maker, transformed by its own existence. No longer easily managed and expressing the unexpected spin of life’s journey.
This piece is completely out of character for Lynne who is usually frustrated by keeping within the lines, so the exercise proved that putting your mind to anything it can be achieved. Her usual modus operandi is free-form or chaos knitting, developing irregular shapes in colourful abstract patterns.
JUDITH E MARTIN
Moon ClothIndigo dyed wool, hand stitch56” × 11.5”$1800
judithmartin.info
I worked from the back of the cloth, cutting strips off the bottom and couching them in angles and circles. The fabric became so en-ergized with hand work and marks I could hardly hold it.
I was inspired by the rotation of the moon, ancient female figurines from pre-history and the immensity of our vulnerable inner selves.
Judith Martin lives and works on Manitoulin Island, Lake Huron, central Canada. She holds a first class honours degree in Embroidered Textiles from Middlesex University in the UK and maintains a popular blog, Judy’s Journal. Martin creates two sided, hand stitched artwork from found and re-purposed cloth.
KATHLEEN MORRIS
kathleen-morris.com
The animate world spins a wordless story. Through a primal lan-guage, it discloses a narrative of human membership in a living landscape. Its chapters are read bodily, through gestures of move-ment, the scent of earth, reverberations of song, a narrow shaft of sunlight. Three felted works investigate this language of landscape through texture, form, and pattern.
Kathleen Morris is a maker, educator, researcher, and craft advocate. Her textile projects commonly draw upon the rhythms, patterns, and marks found in the natural world. Her current work is inspired by the writings of David Abram, whose seminal book The Spell of the Sensuous investigates how humans relate to a “more than human” world.
PulseKnit, felt13” × 13”
CascadeKnit, felt12” × 23”
DecayKnit, felt13” × 13”
In the Language of Landscape
NATALIE NADEAU
Star Stitch with Raised Roses Digital print of found doily, bacteria, agar and petri dish 24” × 24”$600
natalienadeau.com
Star Stitch with Raised Roses is part of the Inheritance series of petri dishes hosting bacteria-covered doilies. Second hand doilies are submerged in an agar solution ‘culture medium’ that encour-ages bacterial growth. The growth period lasts for a month. Germs embed into the thread motif, constructing a visual representation linking past human contact with the specimen. The crocheted doi-ly embodies a strong, and perhaps forgotten, sense of domestic, social heritage. Documenting the small moment in time where the bacteria engulf the symmetrical thread structure of the doily demonstrates the decay of inherited tactile traditions.
Natalie Nadeau holds a BFA from the University of Windsor and a Mechan-ical Technician-CAD/CAM Diploma from St. Clair College. She is currently entering into her final year of an MFA at Concordia University.
During the past six years, Natalie has created numerous large-scale works that incorporated a variety of different materials. She has developed an artistic practice that incorporated metal fabrication/foundry processes, bio-artistic aesthetics, appropriation of ready-mades and time-based ma-nipulation. She has exhibited multiple works in various galleries across Southwestern Ontario and the United States, and has had the opportunity to show at the Grey Nuns Building in Montréal, QC, The Art Gallery of Wind-sor in Ontario, and the !dea Gallery in Toronto.
JENNA LEIGH RICHARDS
Twisted StitchesRemnant fabric119” × 286” × 1”$3900
jennaleighrichards.com
A remnant is a small quantity of something left over, often un-used, but not necessarily unwanted. In using remnant fabric I am supporting the idea that not everything fits into a standard, the premeasured is not necessarily exactly what is needed and there-fore is often discarded. I am purposely removing the material from its intended function, and also intentionally mis-pairing material and process.
The pattern is twisted stitch, knit through the ‘incorrect’ part of the loop. I am working against the concept that materials have only one use and processes can be conducted incorrectly.
Jenna Leigh Richards is a graduate of Hite Art Institute at University of Louisville in Louisville Kentucky, where she earned her Bachelors of Fine Art in Ceramics and Fibers. She has exhibited regionally and nationally and has participated in recent residencies at Vermont Studio Center), Figure One Gallery, and Haystack Mountain School of Crafts. Jenna’s work can be seen in One in Herself at Woman Made Gallery in Chicago Illinois and in an upcoming exhibition Small Expressions 2016 at the Milwaukee Art Muse-um. Notable recent exhibitions include Materials: Hard & Soft at the Patter-son-Appleton Center for the Visual Arts, Over Under, Artist in Residence Exhibition at Figure One Gallery, Larry and Ladonna Was Here, and The Art-ist-Collector Relationship at Kentucky Museum of Art and Craft. Her work is also part of the collection of Larry Shapin and Ladonna Nicolas.
BROOKE RIPLEY
BearingYarn, clay, glue, paint24” × 12” × 12”NFS
mydogindiana.tumblr.com
I start with a thread of yarn. I twist and knot it in a technique called “crochet”. I rely on this technique to create soft forms which often relate to the body. A single thread gets spun to create a chamber of a heart, a disc of a spine, or an essential artery of an organ.
Bearing is one piece within a series about personal resiliency. This piece combines two metaphors about strength and perseverance. Both the “backbone” and the “heart” are body parts that we com-monly refer to as places from which to draw courage.
Brooke Ripley was born in Canada, completing her BFA with honors at The University of Western Ontario in 2000. In 2003 she moved to the U.S. to study at the San Francisco Art Institute, completing their Post Bac pro-gram, and in 2004 moved to NY to attend the prestigious Pratt Institute, completing her MFA suma cum laude in 2006. Post graduation, in addition to continuing her fine art career, she has been working as a graphic design-er, recently leaving her position as Art Director for a company in the NY fashion Industry. She moved back to Canada in August 2013, and is continu-ing to pursue her career as an artist and teacher in Toronto.
ROB SHOSTAK
City Yarn: BikeTOYarn, reflective thread, straight pins32” × 40”
rodasho.com
City Yarn: BikeTO, 2016 is a mapping of Toronto’s cycling infrastruc-ture created with reflective string. Cycling continues to be a core issue for many people in Toronto and globally. Over half of Ontar-ians would like to cycle more often. Approximately three-quarters of Torontonians point to lack of infrastructure as a barrier to regu-lar cycling. For years there has been a push for a minimum grid of separated, safe cycling lanes in order to promote active transpor-tation options for everyone.
This piece displays the cycling infrastructure as it currently exists in Toronto. It includes bike lanes, cycle tracks and recreational trails. Commonly overlayed on a street map, here it is shown on its own emphasizing the fractured framework. A constellation of points hints of the broader street network, representing fatal and serious collisions sustained by cyclists in the city.
Rob Shostak is a Toronto-based designer whose practice crosses many dis-ciplines. From high rise buildings, to product design, graphic work and car-tography, the cross-pollination between each project creates new problem solving strategies and ideas. Born in Montréal, he has also lived in Vancouver and Los Angeles. Rob has traveled extensively, but is most proud of having visited every province in Canada by car over the course of three months. In the summer he rides a bike with a planter on the back [#O2Wheels]. On Sundays during the winter you can find him curling.
JENNIFER WIGMORE
Paint NetAcrylic paint, medium, wire68” × 36”
jenniferwigmore.com
As a trans-disciplinary artist, Jennifer explores the entanglements of art making, pedagogy and research from within the disciplines of acting and visual art. In her recent solo exhibition, Reflex, paint became a scene partner in a maximalist process rooted in painting which enabled a reflexive topology with material. Mis-tint house paint is a symbol of our detachment from materiality and of our avaricious consumption habits. Their hides are the skin of consum-erism’s tailings. By collaging, sculpting, weaving and draping them, these skins embody a textile materiality that is imageless and fra-meless and explores the dimension of what we ascribe as painting.
A trans-disciplinary artist and educator, Jennifer completed her MFA in the IAMD program at OCAD University. Her research focus hybridized her the-atre and visual art disciplines and her material practice pushed the limits of what we define as a painting. Jennifer has a successful visual art practice and has curated multiple exhibitions. She is a founding member of Blunt Collective which takes her work to an international audience.
JEN WILSON
Justin T Embroidery 14” × 14”$1000
Justin BEmbroidery 14” × 14” $1000
Two Justins—the similarities between two of Canada’s biggest ce-lebrities right now may be many. Surely they’re both heavily spun by the mass media. In these works that power is transformed, spun back into the weaver’s hand, back into the colourful fibers of life. It’s a slowness that reveals the real power of people as in-domitable spirits.
In the 90’s, Jen Wilson moved to Toronto and was heavily inspired and influenced by the street art she found. She photographed the graffiti scene there until moving to London in 2010. Her creative explorations with street art led to painting on magazine ad faces. In the last 5 years Jen has used embroidery to create unique portraits, giving a traditional folk art a modern street twist.
jenr8.com
Two Justins
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