Tapestry double cloth. Cotton. (Original Artwork)

The original jacquard woven tapestry is a double cloth. The weaving has cotton yarns in the warp and weft.

Care Instructions 

All Artwork is best preserved if care is taken to ensure they are correctly stored and displayed.

Storage

When tapestries are not hanging it is best to roll the tapestry with a core support. Use acid free paper and protect by covering with an inert material such as polyethylene Tyvek®.

If creases do appear in the textile during storage, then the tapestry can be carefully ironed on the reverse side using a low heat and a protective material between the iron and the textile surface.

Hanging

Avoid hanging the artwork in direct sunlight.

Cleaning

The safest way to clean the tapestry is by vacuuming. Use the hoover nozzle and hold the nozzle 5 - 10cm above the textile to reduce the suction pressure. To prevent scuffing or pulling loose threads, cover the nozzle itself with muslin, fine net or stocking, which can be held on with an elastic band.

If the tapestry requires further cleaning, then wet cleaning or solvent cleaning should be undertaken by a professional.

For further advice and services visit The Textile Conservancy.

http://www.textile-conservation.co.uk/ or email: info@textile-conservation.co.uk

Named after the Greek goddess of love, this beautiful sculpture showcases Angela’s interest in classical sculptural forms. One of a series of small scale pieces  where she explores the sensuality of the human form, the natural unglazed porcelain finish is used to amplify the sensuality of the piece.

Named after the Greek goddess of love, this beautiful sculpture showcases Angela’s interest in classical sculptural forms. One of a series of small scale pieces where  she explores the sensuality of the human form, the natural unglazed porcelain finish is used to amplify the sensuality of the piece.

This signature piece embodies Martin’s passion for creating sculptures that unite a beauty of form with power and drama, crafted from a lifelong study and fascination with the way in which the human body moves. 

Sculpted in his Carmarthenshire studio, every detail is effortlessly observed to create a sculpture that is both  visually stunning and engaging - drawing the observer to  consider the strength and balance of the human form. 

Over the years of me working with hot molten glass, I have found that I have wanted to create work that exaggerates its liquid qualities but in its solid state. I often use colour to assist in this exaggeration of its form to help show the movement of the glass and the flowing qualities of the glass.

I feel in contrast to this, by also cutting and highly polishing the surface it displays the cold qualities of the glass too. My main subject matter follows brain patterns and thought functions. The electricity of thought and the transference of information between pathways in the brain is what inspires me to create movement using molten glass. 

Over the years of me working with hot molten glass, I have found that I have wanted to create work that exaggerates its liquid qualities but in its solid state. I often use colour to assist in this exaggeration of its form to help show the movement of the glass and the flowing qualities of the glass. 

I feel in contrast to this, by also cutting and highly polishing the surface it displays the cold qualities of the glass too. My main subject matter follows brain patterns and thought functions. The electricity of thought and the transference of information between pathways in the brain is what inspires me to create movement using molten glass.

Over the years of me working with hot molten glass, I have found that I have wanted to create work that exaggerates its liquid qualities but in its solid state. I often use colour to assist in this exaggeration of its form to help show the movement of the glass and the flowing qualities of the glass. I feel in contrast to this, by also cutting and highly polishing the surface it displays the cold qualities of the glass too. 

My main subject matter follows brain patterns and thought functions. The electricity of thought and the transference of information between pathways in the brain is what inspires me to create movement using molten glass.

Margaret enjoys using different surface design techniques to create her multi component sculptures. Her 'Black Sea, Blue Harbour' scene is a construction of three blown forms with multiple layers of coloured glass that Margaret has sandblasted through the different layers.