Australia’s No. 1 magazine for fibres, yarns & textiles DOWN UNDER
SEE textile students’ imaginative designs
artist Robyn Woodrow
DISCOVER the work AUS $10.95 / NZ $12.95
ISSUE 14, 2014
of Stitch Theorem
DUT14 FC ii.indd 1
Stunning works on show
CR EA TE CO A ST LLA EA GE MP UN K
MEET multimedia
Innovative art quilts
19/12/2013 10:33
55 32
50 DOWN UNDER
Let’s Create 12 Playful Stitching
Dijanne Cevaal introduces a way to achieve intense embroidery using a regular sewing machine
32 Paper-cut Mandalas
Brenda Wood shows how cutting and rearranging components leads to complex patterns for appliqué
55 Steampunk Collage
Cecile Whatman layers various materials and elements to produce an olde world, yet modern, art piece
68 Artistic Layers
Ali George demonstrates processes and techniques for adding interest and complexity to a quilt
General 6 Bits & Pieces 74 Library 77 Blogroll 78 What’s On 82 Next Issue Features 10 Journeys
Suzanne Gummow looks at the reasons for exhibiting artwork
18 Meet a Textile Artist
Robyn Woodrow, a contemporary multimedia artist, shares her inspiration and creative journey
4 | www.downundertextiles.com
DUT14 pp04-05 contents.indd 4
18/12/2013 11:14
30
39 68 18
62 24 Fibre Art
Susie Cujes talks about introducing primary school children to the world of fibre art
30 Up Close
42 Students in Stitch
Meet Stitch Theorem, a newly graduated group of textile artists
48 Where I Create
Visit Tasmanian artist Sally Westcott’s home studio
50 Brushes and Threads
See the pieces created by South Australian textile art students for their latest exhibition
Subscriptions
Australia’s
SAVE % up to 30
DOWN UND
No. 1 magazin e for fibres, yarn
ER
Austr
alia’s N o. 1
DOWN UN
DER
s & textiles
magaz
ine fo r fibre s, ya
SEE textile students’
rns & textile s
imaginative designs
DISCOV ER
Creative postca rds
MEET
multim artist Robyn edia Woodrow
when you subscribe to Down Under Textiles. Turn to page 28 to find out more or visit online at
MEET
& DijanTricia Sm ne Cevaa out l
DISCOVER
of Stitch Theor the work em NZ $12.95
High school students from North Queensland showcase their work
Enjoy the work tACTile created for their one-off exhibition to celebrate Canberra’s centenary
ISSUE 14, 2014
39 Fashion Forward
62 100: Celebrating Canberra
AUS $10.95 /
See how Pearl Red Moon used offcuts of larger work to create wearable art
MAK Quick E SOURCI
www.moremags.com.au
& eas y gift tag s
NG IDEAS
Miniatu Marvelsre
Innovative art quilts Stu nning works on show
NK PU AM STE GE E A OLLA T A SmalCRl-E C sc
ISSUE 13,
AUS $10.95
2013
/ NZ $12.95
with a ale art big im pact
KANTHA STITCHI NG
FOIL EFF
ECTS
www.downundertextiles.com | 5
DUT14 pp04-05 contents.indd 5
18/12/2013 11:48
L E T ’ S C R E AT E
Playful
Stitching
I love the decorative effect of stitching, its ability to transform an image into layers of thread. Printfuse and Solufix, products I discovered last year, allow me to take a photo or drawing and create a wonderful embroidered image using my humble domestic machine and free motion stitching.
By Dijanne Cevaal Materials • Printfuse or Solufix • Photo or image • White or neutral coloured fabric, a little larger than the photo or image selected • Background fabric, larger than the photo or image selected • Batting the same size as the background fabric (I use Matilda’s Own wool/polyester batting) • Backing fabric, the same size as the background fabric and the batting • A selection of threads to match the colours in the image (I use Mettler silk finish thread, or Aurifil 30wt thread) • Universal 90/14 needles • Sewing machine with free motion stitching capability
General notes Printfuse and Solufix are similar products. They both have adhesive qualities, and both allow an image to be printed by an inkjet printer, and transferred onto a background fabric. Printfuse is useful if an image is to be stitched heavily, as it will not wash out. Solufix will wash out, and so is preferred if an image is not stitched as heavily, as it will allow the background fabric to show through. Print the image you wish to use in your normal photo printing programme. Be careful touching the printed paper once it has printed as it will be quite moist. Allow about 24 hours for it to dry properly. If the printed print is not used straight away, store it in a dry and sealed place.
12 | www.downundertextiles.com
DUT14 pp12-16 Cevaal playful stitching.indd 12
17/12/2013 14:46
Mettler silk finish cotton threads come in 30, 50 and 60 weight. While not shiny, they create a lovely lustre. Aurifil 30 weight thread also gives a nice finish to the work. I use universal 90/14 needles, a size larger than I normally work with, as the larger needle helps sew through the layers of thread that build up. You could also try top-stitch needles or quilting needles. Printfuse and Matilda’s Own batting are available from www. victoriantextiles.com.au. Solufix is manufactured by Freudenberg.
Method Select an image. Choose something which has strong graphic qualities and good lines. It is best to start with a simple picture, so as to get a feel for the process.
Stitching the design
Scan the image if necessary then print it onto the Solufix, following the manufacturer’s instructions.
Olive tree drawing, printed onto Solufix Allow the image to dry. Adhere the Solufix image to the white or neutral coloured fabric. Peel the backing paper away from the printed image. It should feel sticky on the back side of the image. Place the sticky side onto the ironed background fabric. Carefully smooth the Solufix onto the background fabric with the palm of your hand, making sure there are no creases.
Washing out the Solufix
Keep a copy of the original image handy as a reference point.
Make a quilt sandwich with the backing, the batting and the Solufix fabric. The layers create sufficient stability to be able to stitch heavily without having to hoop the work.
Begin by doing the outlines first and then fill in the smaller, denser areas of stitching. Add some more shades of a particular colour for greater depth.
Set the sewing machine up for free motion stitching by dropping the feed dogs and adjusting the tension if necessary. Fill half a dozen bobbins, as this type of work uses a lot of thread.
Once the stitching is complete, wash the fabric to dissolve the Solufix. Rub the surface of the fabric and the embroidery to remove all residue from the Solufix.
www.downundertextiles.com | 13
DUT14 pp12-16 Cevaal playful stitching.indd 13
18/12/2013 11:54
Working with coloured photos Look for defined shapes, lines and areas of colour. If unsure whether a photo is suitable, view it in greyscale on a computer; this gives a good indication of dark and light areas and lines. If the image is indistinct in greyscale, it is not a good candidate for this type of work. Complex photos require an enormous amount of stitching, as well as lots of different coloured threads. Examine the image closely to see all nuances of colour. Make a note of the various shades present in the picture. Look for dark lines that will provide an outline. From the outline, shapes will emerge that can be coloured in with thread. Work in smaller areas so as to keep the graphic structure of the photo in place.
I chose to work with the leave images on the left because it has distinctive leaf shapes and areas of colour. It looks like a relatively simple photo but closer examination reveals that there are quite a few colours in the picture. I printed the image onto Printfuse and cropped it so that the leaves became the focal point. The finished print was quite small, about half a postcard size. I did this deliberately because it limited the number of coloured threads I had to use, and it also abstracted the image slightly. Some complex photos can take up to two days of stitching! An example of a complicated image is the photo of Venice. It took no less that 15 shades of grey, giving so much depth to the finished piece. I stitched it in small sections after marking out the lines and carefully studied my original photo to help keep me on track.
Coloured photo
Image stitched out using Printfuse
14 | www.downundertextiles.com
DUT14 pp12-16 Cevaal playful stitching.indd 14
Stitched Venice image using Solufix
www.downundertextiles.com | 14
17/12/2013 14:46
Original Venice image
www.downundertextiles.com | 15
DUT14 pp12-16 Cevaal playful stitching.indd 15
19/12/2013 09:41
Stitched Madonna from Bayeux Cathedral using Solufix The image of a Madonna from Bayeux Cathedral initially seemed relatively simple, but once I really started looking I could see so many shades of grey. Finding the right hues of grey thread turned into quite an excursion. Madonna from Bayeux Cathedral
Dijanne has taught this technique in Australia and in Europe. She can be contacted on dcevaal@gmail.com. Dijanne has also published a number of books: Seventy Two Ways Not to Stipple or Meander; Seventy Two MORE Ways Not to Stipple or Meander- all new designs; Lovely Lutradur (with Marion Barnett) and Ravissant Lutradur (with Marion Barnett). Soon to arrive is Caravanserai To see more of Dijanne’s work, visit her blog www.origidij.blogspot.com
16 | www.downundertextiles.com
DUT14 pp12-16 Cevaal playful stitching.indd 16
17/12/2013 14:46
M E E T A T E X T I L E A RT I S T
Robyn Woodrow Recycled, repurposed, refashioned, remarkable – these words encapsulate the works of multimedia textile artist Robyn Woodrow. Robyn is a true ‘mixed media’ artist, with a current focus on the use of recycled papers and found objects in intricate works of wearable and fine art. With an impressive exhibition record, her works have been displayed both nationally and internationally, but it is still the pure joy of creating, and being inspired by the ‘shining light’ of new ideas, that keeps her going.
18 | www.downundertextiles.com
DUT14 pp18-23 meets a textile artist.indd 18
18/12/2013 11:20
How long have you been involved in creating art works? I’ve always been designing. As a kid, we didn’t have a whole lot of money, and I remember always making new stuff from old stuff. The Childcraft Encyclopedia Make and Do volume was my companion. I wanted to be an artist when I left school, but didn’t think I was ‘cool’ enough, so I became an art teacher instead. I graduated in 1987 specialising in textile manipulation and printing. After teaching high school art for a few years, I left children’s education and joined the army as an education officer. The ink rollers were put away for more than a decade.
Reluctant Bride, paper headpiece
Stories II, paper wall piece I then progressed into corporate management and communications, trying hard to find an outlet for creativity within a structured, process driven environment. It was only in my 30s that I realised that visual creativity was where my contented soul lay. In 2006, I acknowledged that I needed to more fully reconnect with my creative side and moved to the Sunshine Coast hinterland and established a home studio. For a number of years I balanced both the creative and corporate. Somewhere in there I also had two kids and got two masters degrees. In 2010 I underwent initial treatment for cancer, and since then have focussed more fully on the creative as well as charity work.
Community Conversations, paper wall piece
www.downundertextiles.com | 19
DUT14 pp18-23 meets a textile artist.indd 19
17/12/2013 16:42
Most of your work uses paper – what is it that you love about this medium? I love that every piece of paper I work with is different – in texture, in pattern, in weight, in colour. I don’t use ‘new’ papers, so each piece has its own unique ‘fingerprint’. The paper from every book reacts differently to touch and to colour – often with surprising results. I believe that just because something is no longer fit for its original purpose does not mean that it has no value. I love the thinking about the history of things before they were abandoned. Where have they been? Did they bring joy? Insight? Change? In particular, I find the fragile strength of paper is both a challenge and a pleasure to work with. I happily embrace the rips, tears and stains that continue to occur in books that are outside the protection of their covers. The period I spend creating with the pages (up to 400 hours for wearable art pieces) honours both the time which is spent writing them and creating the precious commodity of paper. Mirroring the repetition of type on paper, my paper works all feature repetition of form, letting the stories peek through. Butterfly Garden, paper wearable art (image by Anna Osk)
I am Where I am, paper wearble art (image by Mel McNiven)
I am Where I am, paper wearable art (image by Mel McNiven)
20 | www.downundertextiles.com
DUT14 pp18-23 meets a textile artist.indd 20
17/12/2013 16:42
Assemblage art
What other artistic media have you worked with? A shorter list is probably ‘what media haven’t I worked with?’ I am a self-professed ‘unfocussed’ artist - constantly distracted by new ideas, my creative practice changes direction quickly. I have previously worked with resin, beads, painting (all types except oil), printmaking, dyeing, sculpture, woodwork, silversmithing, millinery, sewing, bootmaking, weaving, photography, lampshades, and graphics. I guess I can turn my hand to a lot of media – which is probably why I have found a home in mixed media!
Mixed media piece (commission) What inspires you to begin a project? I make what I like. Great for self-fulfilment, not so good for business! My inspiration comes from anywhere: a new piece of pretty junk, a bunch of stones, a picture in a magazine, the work of others, a photograph, just an idea, a failed project, a dream. Often the image I have in my mind and what is actually created are two very different things. But the process, in turn, frequently inspires something new.
Sounds; recycled audio tape, wearable art (image by Mel McNiven)
www.downundertextiles.com | 21
DUT14 pp18-23 meets a textile artist.indd 21
17/12/2013 16:42
Mountain, altered book How and where do you work? Do you have a dedicated studio space? Do you work every day or in bursts for a project? I am fortunate enough to be renting a couple of rooms in an old house as a dedicated workspace (mainly because I can’t fit all of my ‘stuff’ into our house, and my husband is sick of stepping on pins). I have a ‘clean’ and a ‘dirty’ room, both of which are a disgraceful mess! It’s a bit like a Rubik’s cube, move item A to get to item B, which means moving item C… I do try to get down to my studio for at least a couple of hours each day, and have a full day once a week. Time spent there is directly related to the number of orders received, or my enthusiasm for a particular project.
Women of Scriptures, altered book
The Journey
Paper cuffs
22 | www.downundertextiles.com www.downundertextiles.com
DUT14 pp18-23 meets a textile artist.indd 22
18/12/2013 12:08
What is your current project or focus? I’m a bit of a ‘shiny light’ person. I’ll be working on one project, and then a sparkle from another will pull me away. That probably explains why my studio always contains so many ‘almost finished’ projects. All of my current work is based on the re-use and ‘second life’ of goods. Just because something is no longer fit for its original purpose, does not mean it has no value. Making products capturing both the quality and history of the past excites me. My current ranges include wearable art, 3D assemblage, millinery and jewellery from upcycled goods. I have a particular focus on recycled paper jewellery, bouquets and decorations for weddings and celebrations. I cannot understand the amount of money and non-renewable/recyclable resources spent on celebration! Nothing is a discrete ‘one time only’ event – everything we do has a knock-on effect!
Entangled, paper sculpture It is incredibly time-consuming, but rewarding. I am fortunate to have had pieces nominated in a number of competitions around Queensland, and images of my works appear nationally and internationally (including on a billboard at this year’s International Fashion Week in Malta). One of my paper headpieces is currently on display in the UK’s only millinery museum. Tea Party Dolls, my latest assemblage art doll range, features vintage porcelain doll parts, combined with found items. I am just starting a shadow box range ‘reliquary and reflection’ which will be true mixed media works, comprising papers, found objects, hand painting, encaustic and jewels. What are your plans for the future?
Lampshade, dress pattern I am focussing on lighting in my homewares range: lampshades covered in old movie films, pianola roll paper, dress patterns, vintage maps and lightboxes made from old audio cassettes. My latest jewellery ranges feature recycled watch movements, paper, antique laces, as well as vintage game pieces. All of my artwork includes recycled paper, manipulated in some way – torn, cut, fringed, folded, curled. It always contains repetition – a common theme throughout all of my artworks. I have found the concept of repetitive form quite cathartic, and the production process quite meditative. My wearable art designs are all paper-based.
Sustainable design world domination! Who knows? I’m not focussed enough to plan too far ahead, but I’d love to make my designing a viable full-time business. My dream is to be able to make limited edition, bespoke, upcycled goods and artworks for discerning eco-conscious clients. I would love to open a combined studio/shopfront, and be able to run some creative workshops (getting back to my roots of teaching and art). I’d also love to hold another solo exhibition in 2014 – just a matter of getting organised! Until then, I will continue selling through my website and madeit and etsy stores, as well as a few shops and galleries around Australia. As I live with inoperable cancer, I take life month by month. As Chopra says, “we are all born as infinitely creative beings” – I’m just going with the flow and trying to be receptive to wherever the creative forces take me.
Robyn has a website devoted to her art: www.robynwoodrow.com. Works including repurposed jewellery, lighting, clothing, sculpture and decoration are all sold under Robyn’s company, Red Zebra Designs, at www.redzebradesigns.com.au www.downundertextiles.com | 23
DUT14 pp18-23 meets a textile artist.indd 23
18/12/2013 12:10
Creative Textiles at Holy Spirit College Photographs by Robyn Robinson It’s not just the art rooms at Holy Spirit College that see the creativity of students. In Home Economics, students study a unit called Creative Textiles, in which they incorporate a variety of textile arts into a sewn article. Techniques learned include stencilling, patchwork, appliquÊ, embroidery and fabric dyeing/painting techniques. After experimenting and trialling each method, students combine the skills they have learned to design an original piece that shows a combination of techniques.
Tonisha Borg dyeing fabric with liquid radiance; salt was later added, creating a fabric to symbolise the movement of water for a beach outfit
Bag by Elissa McKendrick Pillow by Koby Agazzani
www.downundertextiles.com | 39
DUT14 pp39-41 forbes high school.indd 39
19/12/2013 10:03
Fashion forward Text by Carol Forbes Photographs by Michaela Harlow
The Student Festival of Fashion began as a fundraiser in 1998 and has continued to evolve ever since. Enjoy the work of some of the young designers who entered the 2013 competition. It is the much-anticipated highlight of the youth art scene in Mackay. The event is open to any high schoolaged student (under the age of 19) who is currently enrolled in one of the region’s schools. Students from the Whitsunday region, the Central Highlands and Mackay can enter either individually or collectively. The event is presented by the Mackay Pioneer Valley Arts Council. The art department of Holy Spirit College in Mackay has, for a number of years, supported their students to enter the event. In the past, the college has won several of the categories, including the Overall Supreme Award. When they get to Year 11, students are provided with the opportunity to explore art and fashion in a wearable art module, where they design fully wearable artworks in response to the concept of ‘My World’. Students develop their own individual focus from the broad concept, and are encouraged to use a wide variety of media; from fabrics and textures, to melted records and plastics, to create amazing pieces. The works range from the simple to the complex in both design and materials. To help them work through any challenges relating to construction, entrants
are given several weeks to complete their work in class time and after school. One of the Festival categories is called ‘Guys model T’. It is only open to males, and entrants are asked to use words and symbols, screen print, etch or draw whatever they fancy to make their mark on a T-shirt. In 2013, a Year 12 student from Holy Spirit College, Daniel Hair, won this section with his entry ‘Didn’t’ (see above). Daniel used Photoshop to help manipulate several images and words, then printed them onto the T-shirts. The same designs were then printed across three banners and hung from the ceiling at the school for an exhibition called ‘Vari ART’.
Dress by Teagan Tramacchi, modelled by Bianca Davidson
The entry from student Teagan Tramacchi incorporates folded paper receipt dockets into a creative dress. She is a selfconfessed shopaholic, a fact which sparked her choice of design.
40 | www.downundertextiles.com
DUT14 pp39-41 forbes high school.indd 40
18/12/2013 11:23
Duo collection by Megan O’Gorman, modelled by Megan O’Gorman and Holly Bryan
Guardian of Nature by M’Keely Armstrong
The entry from another Year 9 student, Megan O’Gorman, is a duo collection constructed from plastic wrappings and paper maché trimmed with buttons. She was inspired by plastic shopping bags and the effects they have on the natural environment. Year 12 M’Keely Armstrong also had a strong environmental aspect to her design ‘Guardian of Nature’. She used several mixed media materials, such as driftwood, hessian, shells and threads. She was awarded the Runner Up prize for the Wearable Art section for Years 11–12. A Year 9 student from the college, Logan Teuswen, won the Runner Up prize for her entry ‘Mask’. Her inspiration for this design was ‘the media’ and the effect it has on our lives. For more information and images of the entries, visit the Festival’s website, www.studentfestivaloffashion.com.au
Mask by Logan Teuswen, modelled by Savannah Neal
www.downundertextiles.com | 41
DUT14 pp39-41 forbes high school.indd 41
17/12/2013 16:35
100: Celebrating Canberra By tACTile
The tACTile group, comprising Jenny Bowker, Dianne Firth, Helen Gray, Beth Miller, with Beth and Trevor Reid working in partnership, are well known throughout Australia and internationally for their innovative art quilts.
Man at Work by Jenny Bowker
Fly Girl by Jenny Bowker
62 | www.downundertextiles.com
DUT14 pp62-67 exhibition tACTile.indd 62
17/12/2013 14:49
For their exhibition, 100: Celebrating Canberra, tACTile members created 20 art quilts each to provide a range of perspectives on Canberra. They also collaborated to create a work inspired by the cycloramic panorama of the site of the future capital city, as painted by Robert Coulter. A print of this painting was sent out to competitors in the Federal Capital Design Competition in 1911, including Walter Burley Griffin and Marion Mahony Griffin. The ACT Legislative Assembly purchased the work as being symbolic of the progress Canberra has made.
Concourse by Jenny Bowker
Carousel by Jenny Bowker
Jenny Bowker Canberra Sketches
My designs are about the relationship between the city of Canberra and the people who live here. I wanted my work to feel as if the viewer was flicking through my sketchbook, with occasional colour and text. I hoped Canberrans would feel connected to the work as they recognised the locations, and for people beyond Canberra to identify with the familiar in the things we do.
The Brighter Side of Hail by Jenny Bowker
www.downundertextiles.com | 63
DUT14 pp62-67 exhibition tACTile.indd 63
18/12/2013 12:35
Ranges, Mountains, Hills, Valley, Flood Basin by Dianne Firth
Dianne Firth The Canberra Site
Walter Burley Griffin noted five site characteristics of Canberra: the mountain ranges, local mounts, hills and spurs, valleys, and the Molonglo River and flood basin. My artwork focuses on these five site characteristics. Felt was chosen to symbolise solidness of earth and the opaqueness of cloud, while net was selected to represent the transparency of air and water. The colours of orange, grey and black reference earth, air and water. Molonglo River & Flood Basin #3 by Dianne Firth
Mountain Ranges #3 by Dianne Firth
The Canberra Site by Dianne Firth
64 | www.downundertextiles.com
DUT14 pp62-67 exhibition tACTile.indd 64
17/12/2013 14:50
The Griffin Legacy nos 34 – 37 by Beth and Trevor Reid
The Griffin Legacy nos 38 – 41 by Beth and Trevor Reid
Beth and Trevor Reid The Griffin Legacy
There are many reasons to love Canberra, two that come to mind immediately are the design of the city and the proximity of the bush. One of the first exhibitions we saw in coming to Canberra was a display of Walter Burley Griffin’s plans and the striking elevations drawn and painted by his wife, Marion Mahony Griffin. The Griffin Legacy nos 30 – 33 by Beth and Trevor Reid
The Griffin Legacy nos 26 – 29 by Beth and Trevor Reid
www.downundertextiles.com | 65
DUT14 pp62-67 exhibition tACTile.indd 65
17/12/2013 14:50
Crabapple Bark by Beth Miller
Crabapple Flower by Beth Miller
Beth Miller Bush Capital
Eucalyptus Blakelyi Bark by Beth Miller
Crabapple Fruit by Beth Miller I decided to create a combination of pieces that represented the work of the Griffin legacy but also have a more modern approach to how Canberra has grown since my arrival in 1975. The Bush Capital section represents the area’s indigenous and introduced trees. The trees that I selected are the Blakely’s Red Gum and the Crab Apple, and for each, I chose to represent the bark, the leaf, the flower, and also the fruit in the case of the crabapple.
Eucalyptus Blakelyi Flowers by Beth Miller
Eucalyptus Blakelyi Leaves by Beth Miller
66 | www.downundertextiles.com
DUT14 pp62-67 exhibition tACTile.indd 66
18/12/2013 12:39
House by Helen Gray
Helen Gray Lake Burley Griffin
Walter Burley Griffin and Marion Mahony Griffin planned the ideal city with a lake at its heart. At the centenary of the city the lake sparkled with activity. The house references a family home located on the banks of the Molonglo River where Lake Burley Griffin is now situated.
Sparkling Lake by Helen Gray
For more information about tACTile, visit their website at www.tactilequilts.net Jenny Bowker was the 2013 Rajah Award winner, and has won numerous awards for her traditional and art quilts. Check out her work at www.jennybowker.com Dianne Firth’s work has been recognised both in Australia and overseas. She received the McCarthy Memorial Award at Art Quilt National (US) in 2013, and her work Deluge was acquired by the Canberra Museum and Gallery. For more information contact dianne.firth@canberra.edu.au
Helen Gray’s work has appeared in a number of exhibitions, most recently in Art Quilt Australia 2013: People, Place & Nation. To contact Helen, email helenmgray@bigpond.com Beth Miller and Wilma Cowley will be exhibiting their works at The Q in Queanbeyan, NSW from 25th March to 14th April 2014. For more information, visit Beth’s website at www.bethmillerquilts.com Beth and Trevor Reid work collaboratively and have exhibited nationally and internationally. To find out more, email them at bethandtrevor@homemail.com.au
www.downundertextiles.com | 67
DUT14 pp62-67 exhibition tACTile.indd 67
17/12/2013 14:50