E-MERGING Art Textiles Showcase // ONLINE

E-MERGING Art Textiles Showcase // ONLINE

Date: 1st Jun 2020 - 12th Jun 2020
Time: 24/7 on crawford.cit.ie/galleryatno46/
Venue: ONLINE SCREENING - See Link Below


Virginie Randu is a French native who has lived in Cork for 34 years. Scent is the work she presented for the final of the Art Textile (Special Purpose Award) in the Crawford College of Art and Design.

Virginie began her study with the imaginary “S” shape of “Scent”.

She wanted to link transparency, subdue shades and a new visual. She came across ice patches, took photos, that was the start of it.

Printing the pictures on transparent paper gave her the idea that it would be perfect on textile.

She used water colour paint reproduce the ice texture.

She looked at the South Korean artist Kim Tschangyeul, well known for his “water drops” paintings. He is a photorealist and abstract expressionist and has been looking at opaque liquid forms, spheres, and transparency for 50 years.

She found it interesting to see that the repetition of drops in Kim Tschangyeul’s painting appeared to be identical.

With the lockdown, she used what she had in hand, so she injected with inks, she dyed, used paint for glass, textile dyes even metallic copper powder on pure water drops.

She took photos after each result as they would soon disappear…a bit like a “scent”.

Silk fabrics were best evoking her concept as they can be found in many weights and would achieve great details with the printing. The colour had to be subdued as you can never colour what you smell!

She free machine embroidered copper colour thread, as a reminder for the process making of perfume in the alembic.

Four black drops were simply printed, fringed, and framed with a little thread detail stitched on.

She hoped she was able to create delicacy, evoking ephemeral.

Sissel Tolaas, the Olfactory expert once said: “There is something in the air”.



Patricia Frawley

Name of Piece: Untitled

Trees are the essence of life on earth.  From the dawn of time Trees have been an integral part of our World. By definition a tree has a strong trunk with lateral branches that extend with strength and fragility.   It is this essence that Patricia has attempted to capture through combinations and interactions of various materials.

Coming from a Patchwork/Quilting background Patricia enrolled in CIT Crawford College of Art and Design to explore textile materials and techniques beyond the medium of stitch.

As the design evolved the importance of selecting the correct materials was fundamental to the development of the piece. The framework required strength, durability and functionality yet, needed to fade into the background.

Patricia used a non-traditional hand twisted wire warp to create the framework which would provide the strength and support for the tree. This framework was enhanced by weaving a variety of carefully selected fibres through it to form the delicate illusion of the tree. When hanging, the piece casts a shadow communicating the true essence.

The finished piece is 54cm wide by 52cm long.

Materials: Coloured copper wire, brass wire, viscose and metallic threads



Maria McGarry

Maria McGarry is a Laois based textile artist and maker, specialising in feltmaking, art quilts and embroidery. In her work in Art Textile, CCAD, she visually translates global issues and the natural world through textile.

Her final year piece #ONE WORLD is a wet felted map of the world showing population density in rainbow colours; violet representing the densest (Areas like Myanmar, Bangladesh) and red (India) through to green, the least dense populations. The seas are in blue and Indigo. Almost 9 billion people inhabit this planet and we are all globally connected. The rapid spread of COVID-19 has emphasised this reality to all of us.

Maria has charted the global spread of the virus using 5 strands of red beaded tigertail wire highlighting the invisible spread of the virus with clusters of beads highlighting the epicentres and clusters of infections, as of 05/05/2020. The contrast that something microscopic can have the global world in lockdown so quickly.

#ONE WORLD was coined by the W.H.O. on 15/04/2020 

For further information: jgemcrafts@gmail.com



Margaret Fahy

‘Re-spect’ (to see a second time) is the title of the work by Galway native Margaret Fahy for the final year in the Art Textile (Special Purpose Award) in the Crawford College of Art and Design.

 The concept is about honouring ordinary things by looking a second time. Noticing the structure¸ patina and colour of kindling.  Margaret doesn’t attempt to capture its likeness but to evoke its quiet nature.  Like Issey Miyake she feels we don’t go far enough seeking out these subtle qualities.      

“What matters is that,
when I saw them,
I saw them as through the veil,
secretly, joyfully, clearly”

Mary Oliver

The works include four woven pieces of 8/2 cotton warp and weft¸ fine silk weft threads¸ metallic mesh and 0.60mm brass wire¸ using the Moorman technique¸ the clove-hitch knot and a random sett. The pieces have a sculptural quality¸ reflecting the strength and pleating of sawn firewood. The colour is the natural subdued colour of birch shot through with illuminating gold.  As with icons and manuscripts, gold elevates the ordinary to something precious. Margaret uses gold coloured brass to represent the human gaze¸ looking at firewood a second time. The pieces are exhibited as a quartet¸ each with its own ‘stage’¸ none taking centre stage.

Margaret is influenced by Issey Miyake’s corrugated cloths, icons¸ Josef Alber’s Homage to the Square¸ Olga de Amaral¸ Paul Klee¸ Andy Warhol and Sean Scully.




Joanne O’Mahony

A lifelong interest in design attracted Cork-based Joanne O’Mahony to the Textiles (Special Purpose Award) course in CCAD. Working with the theme of identity, her final project comprises of three pieces. It is a study of identity in terms of construction and de(con)struction. The pieces use manipulation of identity photos from her adult life, stitch with cotton thread and transfer printing.

The first piece Resilience, 2019 uses collaged identity photos on paper to show the strength gained from experience. It was inspired by the Japanese style of stitch of sashiko, used for repairing clothing which ultimately makes the garment stronger. The piece represents the constant reinvention that we must all face in order to move forward.

Having used stitch in Resilience, 2019, the next piece began with Joanne’s exploration of dressmaking as another method of constructing a 3D structure. Such exploration led her to artists such as basketmaker Joe Hogan and the sculptures of Lee Bontecou.  Bontecou’s use of scrap metal and Hogan’s writings on the small hidden steps taken in creating a basket, led to the creation of the piece In Praise of Small Decisions. Each separate piece used had an identity of its own before and when joined together with stitch, had a brand-new identity. It is unfinished, with threads visible, a work in progress as we all are. De(con)struction leading to construction.

In the final piece, That’s Where the Light gets In, Joanne printed collaged images from the identity photos onto tulle. The printing is done horizontally and vertically, allowing light to flow through the gaps in the printing. The title is inspired by the lines in the Leonard Cohen song Anthem, “Forget your perfect offering. There’s a crack in everything, that’s where the light gets in”. Our flaws are where the possibilities for reinvention come.



Christine Allan

Christine Allan is an Australian currently based in Cork.  She joined the Art Textile (Special Purpose Award) course at CCAD with a background in the study of historical textile technology, only having engaged in making - mainly embroidery - as a hobby.  This course gave her the opportunity to try many different techniques and engage with a diverse community of artists.

Christine's research for the final piece was focussed on the representation of data through art.  She feels that textiles in particular are an excellent medium to represent data – attributes such as texture, colour, volume, malleability and durability can be exploited.

In her final work she chose to explore data relating to climate change, as she believes that this is the sort of data that people need to experience on a visceral level to provoke behavioural change.  This work looks at global temperature averages from the early 20th century, with 3 projections into the future based on IPCC reports.  In the artwork, there are two weft threads per year, with the blue representing rising temperatures – when it reaches a rise above the well-established 1.5°C target, the threads escape from the weaving, creating a chaotic future.

The work was woven on a 4-shaft table loom, generously loaned to Christine from the college for 2 semesters, using clasped wefts.  In keeping with the environmentally-conscious theme, and partly made necessary due to COVID-19 lockdown, all materials used were found in Christine’s home – two types of cotton yarn, acrylic gold yarn, cotton string, and indigo dye.




Title: The Opium Poppy

This art piece endeavours to capture the fascinating history of the opium poppy, as well as illustrate the paradox of this potent plant - a pain reliever which invokes euphoric states, yet also a merciless harbinger of death.

The earliest historic records of this exotic flower date back to Mesopotamia in 3500 BC. Referred to as ‘Hul Gil’ in ancient Sumerian - meaning ‘Joy Plant’ - there is no disputing the pleasure opium gives its consumers. Morphine, an opium extract, continues to be widely used in Western medicine as a powerful pain killer.

 In addition to the ecstatic states it infamously induces, many renowned artists throughout the ages also lauded the flower for its inspirational benefits. Quoting film maker and artist Jean Cocteau - ‘the euphoria of opium is superior to health’. Pablo Picasso also publicly extolled the drug, he stated ‘I owe it my perfect hours’ and ’apart from the wheel, opium is man’s only discovery’.

However, despite its blissful properties, this plant has also brought humanity immense suffering. Oscar Wilde captures this artfully in the lines, ’There were Opium dens where one could buy oblivion, dens of horror where the memory of old sins could be destroyed by the madness of sins that were new’.

Many souls have lost their lives in the grips of addiction, as well as those caught up in the countless wars fought over this plant. This art piece attempts to present a visual portrayal of the contradictory nature of the poppy through three sculptures.




Title: It is in the Colour I see you.

Artist: Ann Commins has an interest in nature, social inclusion, different abilities, disadvantaged communities, access to services and justice.

The piece is made with a screen print made of an original drawing of a thistle developed from a photograph of a digitally enhanced thistle. Repeat patterns of the screen print are printed onto two layers of organza fabric, one black, one white. The prints of the thistle on the black fabric are embellished with silver thread using free machine embroidery. The thistle prints on the white organza are embellished with a combination of thistle colours: purples, pinks, blues. The fabric is exhibited in layers with the white at the back and the black at the front to create shadow effects. A large thistle, painted with fabric paint in thistle colours and embellished with free machine embroidery, is suspended in front of the two layers.

The thistle in this piece is a metaphor for people who can survive in the most barren places like the thistle. The piece is really a call to value all people and to try and find out their story. 

The single large thistle represents the detail, the beauty and the imperfections, when we see the thistle up close. Similarly, the more we know the story of any person the more we see them and understand them.




Title: Blue Order in a Connecting Chaos

Coming from a previous career working in the textile industry and studying Fine Art in NCAD, being a participant in the CIT CCAD Textile Course over the last 2 years has allowed me to further develop a creative narrative in a  tactile manner and cross the boundaries between Fine Art & Fine Craft Making.

Representing an aspect of my local woods I am presenting two textile screen print art works 89cm by 76cm with added detail of creative embroidery.

The forms of trees are fascinating, particularly in winter – the branch structures, the dense mass of criss-crossing of lines, the intricacy and interconnecting fullness of details, challenge my way of observing and recreating.

These woods are like a personified journal, an emotional outlet… a personification of an entwined relationship embracing all my life’s peaks and troughs.  Each visit prompts different moods, new inspirations resulting from different weather patterns, changing seasons and for me the woods merit close examination and a personal interpretation.

In 2007 I moved to Wexford and this journey began with referencing these specific woods through photographs, drawings and test pieces, processing ways of how I could build it into a creative narrative unique to my own voice and personal experience.

From my photographs I reconstructed, collaged, and repositioned the images making new motifs and screen printed them onto corduroy fabric to evoke tactility of the woods. 

The blue stitching lines are deliberate detail in an attempt to bring order to a forest where there is really no foreground or background to connect the chaos. The black netting as an added material, is a tribute to my father who has recently died while I was in the process of completing this work.

Aiseling Noone Visual & Textile Artist & Art Facilitator.
Email: aiselingnoone@gmail.com
Website: www.aiselingnoone.com




Áine Kavanagh lives in the historic town of Lismore in Waterford and has been quilting for more than 20 years. In 2013 she opened the Lismore Quilt Co. (www.lismorequilts.com), running a range of quilting and patchwork classes for all levels from her studio. Áine entered the Art Textiles (Special Purpose Award) course at the Crawford with the hope of using her background in quilting and keen interest in textiles to extend her boundaries and develop her artistic vision.

For this exhibition, Áine looked at the ancient Japanese textile practice of Shibori with indigo dye as a vehicle to explore ideas of mapping patterns and symmetries that underlie chaotic events in nature and the world in general.

Through the careful folding and machine stitching of fabric in a defined way, a structure is imposed on the cloth.  The immersion of the piece in the indigo introduces the element of chaos.  The resultant pattern when the stitches are removed is both defined and variable. The controlled removal of the stitches and the careful revelation of the pattern is central to the concept of order and chaos.

The final piece is displayed as a long rectangle, both stitched and unstitched, partly dyed and undyed.  It is in effect a story of dye and process, how the intentional shaping of the cloth evident in the undyed section, becomes imprinted by the dye to produce a textile piece that is both controlled and organic - a highly individual piece within the traditional framework of Shibori.

For more information contact Áine: ainekavanagh6@gmail.com



About Art Textile Course:



More info:


Showcases the Graduate Exhibition of Art Textile Special Purpose Award at CIT Crawford College of Art and Design, 2020.

This emerging group of textile artists employs a wide variety of disciplines including: Weaving, Textile Screen Printing, Felting, Shibori, Creative Embroidery, hand and machine; Fabric Dyeing and Digital Printing.

Although there is a wide variety of work on display there is a commonality among them from the title of our exhibition.... e-merging...

ChaMainos emerging from Order, Beauty emerging from the Ordinary, Calm emerging from the Woods, Shapes emerging from the Mist, Hope emerging from the Bleakness, Connections emerging from Global Pandemic, Pattern emerging from Climate Crises, Opium Tears emerging from Poppy Pods, Tree emerging from the Shadows , Identity emerging from many Fragments.

This exhibition highlights the awe-inspiring versatility of textiles as both a creative and expressive Art Medium.

These works were completed during the difficult times of the global pandemic of COVID-19 displaying a resilience and dedication of these artists to the pursuit of their individual artistic vision.

To celebrate their hard work, it was was important to share it with you all, so do take this opportunity to share, like and comment on the works which the artists have done. Please be sure to Follow Us on Facebook, Twitter and Instagram to find out more about students info and work.  


© CIT Arts Office | web development by Granite Digital