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[Kumihimo, hand braiding, paper yarn, wood veneer]
2022

Whilst retaining the same elements of wood, paper and light, The Light Charmer re-imagines the traditional Japanese lantern using the ancient technique of kumihimo braiding to sculpt light.

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[Ghost fishing, weaving, re-using ghost nets, Healthy Seas]
2021

The Ghost Urchin is made of 10 panels woven with ghost fishing gear retrieved from The North Sea by Ghost Diving and Healthy Seas. By untangling, unravelling, sorting and cleaning the Ghost nets, this ‘immortal material’ can be prepared for weaving. With each net having a distinct texture, coarseness and colouring, it is possible to express tactile qualities similar to that of a real sea urchin.

Finalist of the Dorothy Waxman International Textile Design Prize 2022

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[Weaving, re-purposing industrial waste, window manifestation]
2022

A contemporary translation of the Samurai armour in the form of window manifestations and room dividers that celebrate the beauty of armour in our modern day context.

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[Weaving, natural materials, Ikat, pattern, colour, hanging system]
2020

Showcasing the quality of Jute, whose high tensile strength, breatheable nature and stretch resistant qualities can be utilised in a more luxurious context. Cotton warp combined with different states of Jute, from raw to process.

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[Upholstery, machine braiding, hand tufting, embroidery, weaving]
2021

An abandoned chair was revived using a pile of damaged garments destined for landfill. By unpicking the archaeology of the chair, the bone structure was revealed to be redressed once again.

Reclaimed synthetic yarns were machine braided at the Textiel Museum Tilburg where it was possible to add strength and mix qualities of these yarns. Using the techniques of hand tufting, hand embroidery and machine embroidery over and around the braids, I was able to “paint” the design of my body print on the chair.

Finalist for the Hand and Lock Prize for Embroidery 2021

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©2022