Still Life box by Jane Wolfe   I had intended to add a few of these images to my newsletter, but this collection of work is so good, I wanted to write more about them, so I am writing an extra blog post. The three students mentioned today are on the current online Experimental Textiles course. When drawing and painting is not normally part of your practice, it can very daunting to paint and draw a still life. I don't ask students to draw for the sake of making a picture, I ask so they can actively look at line and form. The spaces in between, the composition. Above - Jane's still life. Below - the still life drawing Jane's finished box. The still life was stuck to orange cotton then cut to shape and folded.   To make drawing and painting a still life less terrifying, I tell my students they will be tearing their work up when the they have finished drawing and painting. This helps to take away the fear of what the finished drawing or painting will look like. To make it more

Chasing rainbows Having taught many students over the years, from 4 year courses to one day workshops, both in person and online, I get quite lot of interaction via email. News about exhibitions of work, getting onto a higher education course, that kind of thing. I was delighted to receive an email from Carrey Gorney last week. Carry has taken various workshops with me, both in person and online. A few years ago Carry created a body of work entitled 'Burnt Histories' - "I have created ghostly portraits using the torn pieces of lace and faded photographs carried out of Germany by my Granny and her sisters when they fled the Nazis. They were always sewing, even before” Kaiser Bill” led the Germans into World War One. My grandmother had longed to become a doctor, like her brother, to rip up her sewing, to rip open her corsets and to become herself. I have ripped, scorched and singed the last fragments of their v