Complex: The Art in Mixed Media was the third of the international embroidered art exhibitions sponsored by EGA. This exhibition widened the focus to include not only embroidery techniques, but other art media in the same work as well. The exhibition took place at EGA's headquarters in Louisville, KY from February 3 to July 15, 2016.

 

For this exhibition, guest curators Shirley Kay Wolfersperger and Carole Rinard developed a focused definition for the term "mixed media." They were looking for works of "embroidery combined with one or more non-fiber-based media to create a unified work. Non-fiber-based media may include, but are not limited to, photography and digital manipulation, clay, paint, wax, wood, paper, and pottery."

 

An article on the exhibit was published in the June 2016 issue of Needle Arts. The exhibit was also featured on the April 2016 edition of Threads by the Association of New Zealand Embroiderers' Guilds Inc.

 

 

 Complex: The Art in Mixed Media Complex: The Art in Mixed Media  Complex: The Art in Mixed Media 

Annual Financial Form 2015 screenshotAnnual Financial Report

2015 Annual Financial Reports were mailed to all chapter and region treasurers in December. These reports can be printed here, filled out, and sent to EGA Headquarters OR the process can be completed online. The deadline for the return of these forms is February 15, 2016. If you have not done so already, please send in your forms as soon as possible. Contact EGA Headquarters with any questions.

Thank You!!

through-the-needles-eye

 

 

 

The Embroiderers’ Guild of America acknowledges the value of needlework in art and history. The National Exhibit is a representative selection of the best in artistic and technical works. It is through the needle’s eye that EGA embraces both traditional and contemporary needlework while expanding the perception of embroidery as an art form.

 

The 21st Through the Needle's Eye will be launched at the Transylvania Community Arts Council in Brevard, NC, August 16-September 15, 2017. It is hosted by the Carolinas Region; Rosemary Kostansek, Chair.

 

FLOWER DETAIL

EGA Collection #270 consists of four crewel-embroidered bed hangings. Acquired by EGA in 1987, these panels were created in 17th century England. Each is about 87 inches tall and 40 inches wide and feature a variety of flora and fauna stitched in wool on twill fabric.

ALL FOUR PANELS, CURRENTLY HANGING AT EGA HEADQUARTERS IN LOUISVILLE.

ONE OF THE FOUR PANELS, TEEMING WITH A VARIETY OF FRUITS, FLOWERS, LEAVES AND ANIMALS.

 

Though it is not known for whom these pieces were created, it is believed they were created by professionals due to their size and design.

Jacobean Iron-on Transfer Patterns [Dover Publications, 1978] was written by EGA design consultant Linda Ormesson in 1978 and features many designs, all adapted from these hangings. The book also features a wonderful overview of the Jacobean style. It is no longer in print but is available from the EGA Lending Library and copies can also be found on the internet.

A RELATIVELY SMALL HORSE NEAR THE BASE OF ONE OF THE COLUMNS.

A CLOSE-UP OF SOME OF THE INTERESTING FILLING STITHES USED.

EVEN AFTER A FEW CENTURIES, THE BRIGHTLY COLORED WOOL IS STILL VIBRANT.

If these hangings are inspiring you to stitch, why not try Judy Jeroy’s Jacobean Crewel Embroidery Individual Correspondence Course? It’s a great way to acquaint yourself with this technique with the guidance of a wonderful teacher and expert.

A BUNCH OF GRAPES AND A POMEGRANATE TRAIL DOWN FROM THE TOP OF A COLUMN.

A FLOWER BUD BOASTING ANOTHER INTERESTING FILLING STITCH.

 

Honeywell2

A relatively recent addition to EGA's collection, this embroidery on paper was created around 1840 by artist and performer Martha Ann Honeywell. Honeywell was born in 1787 with no hands or forearms and only three toes on one foot. She made a career for herself touring the US and Europe cutting silhouettes, embroidering flowers as in this example, and writing in miniature all with the use of only her toes and mouth. Her embroidery performances included threading her own needles.

Honeywell1

The piece, including the frame, measures 4.5" x 5.5" and has "1844" carved in Roman numerals at the bottom.

There is an entry on Martha Ann Honeywell in the Encyclopedia of American Folk Art published by The American Folk Art Museum. Also of interest is this article about Sally Rogers, a contemporary of Honeywell with similar disabilities and artistic inclinations, written by Anne Digan Lanning from Historic Deerfield.

Honeywell3

The detail above is from EGA Collection Item #00146, a Chinese court robe. It was given to EGA by Edith John and is believed to be from the early 19th century. This style of robe was worn at court during the Ch’ing Dynasty (1644-1912) and is known as a dragon robe, or Ch’i-fu.

The robe is made of silk and is almost entirely stitched with gold couching. The only areas that aren’t are the dragon’s eyes, which are done in silk satin stitches. The design is divided into three areas – the sea is represented at the bottom by the diagonal lines, then a small area of earth just above that, and the rest is sky, where the dragons writhe amongst the clouds and a plethora of good luck symbols. There are a total of nine dragons on the robe and you can learn the wearer’s station by the number of toes the dragons have. This one is a four-toed dragon, which indicates a member of the imperial family below the third rank.

Two more details from the robe are below. For further reading, see Katherine Westphal’s wonderfully informative Dragons and Other Creatures: Chinese Embroidery (1979; Lancaster-Miller Publishers). A photo of this robe was also featured in the 2008 book A-Z of Goldwork with Silk Embroidery from Country Bumpkin Publications.

 

A DETAIL FROM THE WATER SECTION NEAR THE BOTTOM OF THE ROBE
THIS FROG SITS RIGHT ON THE BORDER OF THE WATER AND LAND SECTIONS.

 

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