left: Balaclava (+/–), 2019
inverted, greyscaled, and horizontally flipped ‘+/–’ balaclava after Rosemarie Trockel; design translated from images and knitted by Sarah Shepherd
machine knitted donegal lambswool hand dyed with natural hair dye (ebony black) and squid ink, undyed donegal lambswool (natural chalk)
Be Soft But Not Too Soft (Michelle), 2019
boots modelled after a pair owned by Michelle Williams Gamaker
unfired flax fibre clay with grogged body (hand modelled); red, blue, green, and yellow iron oxides
right: Be Soft But Not Too Soft (Michelle with Sylvie Stripes and Steep Curve), 2022
boots modelled after a pair owned by Michelle Williams Gamaker
unfired flax fibre clay with grogged body (hand modelled); iron oxide, porcelain slip,
calcium powder, and activated charcoal powder
Balaclava (op), 2019
inverted 'op' balaclava after Rosemarie Trockel;
design translated from images and knitted by Sarah Shepherd
machine knitted donegal lambswool hand dyed with natural hair dye (ebony black)
and squid ink, undyed donegal lambswool (natural chalk)
Stretch (after Sylvie Fleury) (red, black, white diagonal), 2022
diagonally s t r e t c h e d knitted polyester ribbing (black and white) and stretch woollen foldover ribbing (red), c.14th–18th century dress pins collected from the Thames foreshore, chromed hard brass dress pins cast from two originals, chromed fixings
exhibition view:
The London Open
Whitechapel Gallery
2022
left: Balaclava (+/–), 2019
Be Soft But Not Too Soft (Michelle), 2019
right: Balaclava (op), 2019
Be Soft But Not Too Soft (Michelle), 2019
exhibition view:
The London Open
Whitechapel Gallery
2022