LIZ HEWITT www.celticstitch.co.uk Liz is a well-established artist who has exhibited throughout the UK, for the last 20 years as a solo artist and as a member of several groups. Liz’s creative journey began at an early age and she has been stitching in one form or another ever since. In the mid 90’s her creative journey took a more central role after ill health forced her to retire as a diagnostic radiographer. After retirement she studied art and textiles through various courses. Since being diagnosed with Chronic Fatigue Syndrome working with cloth has become an essential part of her life, as when cloth is stitched and embellished, it embodies her thoughts and emotions, and becomes a healing process. Cloth being the silent companion of us all; used to protect, comfort and decorate. Liz is inspired by nature in particular, the relationship between trees and humanity Instagram: Stitchliz which has led Liz to research the Celtic mythology of trees, and the Celts belief that man must live in harmony with nature. Her work draws on this belief, and focuses on how trees can soothe, inspire and sustain us, both physically and spiritually. Liz’s recent work has been using Eco printing with windfall leaves and Eco friendly natural dyeing techniques, to imprint cloth. Each piece revealing the beauty of real leaves and the dyes bound within plants. Liz is currently looking at ways of recording how our industrial past has marked the landscape. Tea or saltwater is being used to stain transparent fabrics, worn but loved old fabrics and papers with rusty items collected as she walks the landscape of Devon & Cornwall. These fabrics are then layered and stitched to create maps of marks, documenting the effects the Tin mining industry has had on the landscape and its people.
Deep in the Heart of the Seam II A record of the marks left on the Devonian & Cornish landscape by the Tin Mining industry. Rusty washers and other rusty found objects collected as I walked through the area and sea water were used to stain West African strip cloth. Strips of mud cloth with appliquéd vintage linen were added, stitched with the marks found within the ruined buildings, rusting machinery and lode.