A Japanese aesthetic and influences from an African childhood unconsciously bleed into the work. Natural dyes, rusting metal and more recently homegrown plants feed into the slow unpredictable adventure of textile alchemy. 
Found objects and discarded tools, recycled materials, vintage linens and sea salvage all lead me in different directions. Researching traditional crafts and techniques, embracing the flawed and imperfect, exploring the beauty and history of these resources all help us see things in a different way.
Each piece of wrapped fabric, each stitch, each mark creates the uniqueness. They form a visual language, growing and evolving. Clusters of objects allow me to explore multiples, creating volume, a recurring theme. Enticing the viewer will see a beauty they may have missed.
As my experimentation with natural processes continues, the idea of place is becoming central to my practice. Sustainability and using local resources (whether discarded or homegrown) are key in trying to minimise my artistic footprint, whilst still engaging the viewer with works of undiscovered or transient beauty.
The concept of place, the bi-products of eco dyeing, and my fixation with craftsmen’s tools has led to the development of a group of work, ‘Artefacts’ which has evolved into ‘nest’, ‘implements’ and ‘adornment’, created with found objects and natural foliage, both homegrown and gathered along the canal towpath. 
The development of ARTEFACTS’ continues with new pieces being exhibited at the Garden Museum in October as part of the Curiosity Project. Inspired by the Tradescant Ark, I have created a series of fetish figures and talisman charms to accompany a shaman’s jacket and mantle, which will reflect parts of my identity.
Strands of work proposed for the coming year are IDENTITY and COLOUR. My research is focused on the colours of Africa, the topographical landscape and the traditional use of colour in tribal adornment, social hierarchy and for communication. I am researching the Dinka, Massai and the people of the Omo Valley East Africa. The concept of identity has also lead me to research Quipu/Khipu the Peruvian talking knots, a way of recording numerology with which I intend to illustrate my personal journey.
I am a member of two exhibiting textile groups – the international PRISM Textiles and STUDIO21

100 (Time & Grid ongoing projects) photography Jonathan Dredge

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