About Banksias, 2017–18
88 x 49 cm, linen, rayon, cotton thread, hand stitching – Musing about different stages of a banksia.
A Catalogue of Treasure, 2012
74 x 57 cm, linen, cotton, various threads, hand stitching – Images of places and objects that speak to my heart. "Taking the Thread for a Walk".
Aerial Prescribed Burn, 1982
170 x 110 cm, cotton, hand appliqué, machine piecing – Inspired by the colours of the burn.
Along the Track, 2012
201 x 26 cm, sketches from a notebook, hand-dyed cotton, hand stitching – Indications of what might be seen on a bush ramble. Others have been there too.
Angela’s 21st Birthday, 1981
250 x 232 cm, cotton, machine piecing, hand quilting.
Anniversary Quilt, 1979–80
257 x 241, hand appliqué, piecing, and quilting – Made to mark Marjorie and Patrick’s 25th wedding anniversary, featuring profiles of their children and scenes from houses the family has lived in.
Australian Bounty: #1 Sunburst, 1999
125 x 109 cm, hand dyed taffeta, hand stitching – To remark on the energy and munificence and rarities which are revealed in Australia.
Australian Bounty: #2 Smoke and Ash, 2001
123 x 107 cm, disperse and dye-discharged fabric, painted silk, raw edge free machine appliqué, machine quilting – Much Australian native flora needs smoke and/or fire-heat to germinate. The piece presents life out of destruction.
Australian Bounty: #3 Casting Call, 2003
102 x 150 cm, hand painted taffeta, over-dyed commercial cotton, hand dyed cotton, heat cutting, hand stitching – Some of the cast of the Australian continent called to show themselves.
A Walk in the Bush, 1992
67 x 48 cm, mixed media, fused raw edge appliqué, hand and machine stitching – A small experimental piece ... elements of a bush walk recorded in textile and paper – raw edges, hand printed images, photographs, drawings, applied images.
Backward Glance, 2004
111 x 106 cm, polyester, raw edge hand appliqué – Musings on a network of memories, perhaps a little awry; the soft glow of happiness.
Banksias for Ruth, 1980’s
74 x 145 cm, cotton, hand stitching – A gift for Ruth. Designed for the wall space at the head of a bed.
98 x 62 cm, linen, other fabrics, cotton threads, fusing, hand stitching – The transition of things as they develop.
165 x 147 cm, cotton, polyester, hand and machine stitching – Everyone else has made my birds. I thought I’d better do them myself! There are eight birds, joined by strips that suggest twigs and branches and the quilting in each piece suggests the habitat of the bird (notice Halley’s Comet reflected in the water of the brolga. I first saw Halley when working on this piece).
Boab Dreaming, 2019
116 x 59 cm, linen, other fabrics, cotton threads, hand stitching – The boab in Kings Park was a seedling when these figures made history.
245 x 245 cm, cotton, hand appliqué, hand quilting – Hawaiian style appliqué, made from a bought pattern.
Bushlight #1, 1988
130 x 88 cm, cotton, rayon, polyester, machine appliqué, hand and machine quilting – I have been exercised by the diversity of form, the interest and beauty of banksia flowers and have depicted them in many different ways in my quilts. This one, I see, as a lamp enlightening the bush.
Bushlight #2, 1990
130 x 88 cm, cotton, rayon, silk, manmade fabric, machine stitching, hand quilting – A banksia image.
Buzz is 3, 1991
57 x 51 cm, cotton, lurex, polyester, fused raw edge appliqué, machine stitching
105 x 87 cm, cotton, transfer dyed polyester, raw edge appliqué, hand and machine quilting – An expression of “all this juice and all this joy”; a bird, a banksia, pillars, a jar and seed cases in a small enclosed garden. What is all this juice and all this joy? (Gerald Manly Hopkins)... the juiciness, the noise, the movement... springtime, a carnival. The honeyeater is an opinionated bird who clacks and squawks at everything but is very gentle to the blossom and feeds with great elegance.
Cathedral Windows, 1975–76
88 x 109, cm, cotton, hand stitching – Early learning piece.
Cat's Paw, 1980's
110 x 91 cm, cotton, hand appliqué, machine piecing – Personal design in Hawaiian style for Australian native plant.
221 x 178 cm, cotton, machine piecing – First machine pieced quilt - the points all matched!
Christmas Tree, 1992
88 x 107 cm, cottons, polyester, hand piecing, machine quilting, machine decorative stitching – A paddock at Christmas time with Western Australian Christmas tree Nuytsia floribunda.
City Park, 1991
138 x 56 cm, silk, satin, cotton, rayon, synthetics, lurex, hand and machine stitching – Strands of life across
Close Focus #1, 1989
44 x 47 cm, cotton, rayon, hand appliqué, machine piecing, hand quilting – A small piece to play around with colour and plant form.
Close Focus #2, 1990
37 x 39 cm, air brushed cotton, rayon, hand appliqué, machine piecing, hand and machine quilting – Experimenting with colour and form.
Close Focus #3, 1990
66 x 67 cm, cotton, rayon, hand appliqué, machine piecing, hand quilting – Exploration of colour and semi abstraction through an Australian native plant form. Seed cases of Eucalyptus macrocarpa.
Coconut Palm, 1990's
220 x 198 cm, polyester taffeta, cotton, Hawaiian style hand appliqué, hand quilting
Come and See the Aurora, 1989
170 x 136 cm, silk, satin, rayon, nylon, cotton, machine stitching – There was a spectacular and rare Aurora Australis visible in Perth in 1989…The lights are constructed largely from men’s ties.
Cue in Gondwana, 1987
198 x 180 cm, cotton, nylon, machine piecing, hand appliqué, hand quilting – A Bicentenary quilt to celebrate the development of Terra Incognito - the Great South Land - Australia, as part of Gondwana. Quilted symbols representing the five Gondwana continents are scattered over the surface. The applied celebration image represents living and non-living energy. I am celebrating 200 million years rather than 200 years!
Cutting Loose, 2006
78 x 80 cm, cut away raw edge hand dyed cotton, hand stitching – Exploring the effects of raw edge techniques. The shapes are hand stitched in running stitch, then dye is applied and only then is the stitching cut around to reveal the pattern and the fact that we are dealing with fabric which of its nature, frays.
Dancing with the Stars, 2017
53 x 53 cm, cotton threads on linen, canvas, hand stitching – Native plants are stars.
Done Gone Tiffaifai, 1986, finished 2020
115 X 110 cm, ethnic fabric, commercial fabrics, hand appliqué – Playing with Tahitian style Tiffaifai.
Dragon Watch, 1993
120 x 106 cm, silk, satin, cotton, lurex, brocade, velvet, appliqué, machine and hand stitching – Made on commission for a marine photographer who had worked on an old Dutch wreck the “Gilt Dragon”, wrecked on the west coast over 300 years ago.
Dragon Weed, 2012, finished 2020
96 x 96 cm, hand dyed painted polyester, raw edge machine appliqué, machine quilting – Sea dragon shapes merge with seaweed.
Dress Ups, 1993
104 x 133 cm, silk, satin, voile, cotton, polyester, braid, beads, brooches, buttons, machine stitching – A triptych representing dressups in childhood, dressups in fashion and institutional dressups: academic, military, stage, ecclesiastical, bridal. The notion that we all, male and female, dress up from the earliest to the latest years, is the idea behind this piece. The shape of the piece is to remind us not to take conventions for granted.
Drop Ins, 2014
40 x 40 cm, linen, embroidery threads, hand stitching – A lot of different birds drop into my balcony to drink.
Due Process, 2003
117 x 94 cm, silk, chenille, lurex, machine and hand stitching – A piece is developed step by step. The upper, embellished layer lies separate from the quilted (and, by implication, decorative) layer.
To celebrate the shapes and subtleties of Australian native plants. The title is a wry salute to those who find boredom in the Australian bush.
Dullflower: #1 The Mallee Flower, 1983
215 x 190 cm, cotton, hand piecing, hand appliqué, hand quilting – The Mallee Flower, represents the flowers and buds of a rather straggly, woody bush.
Dullflower: #2 Macrocarpa – Rose of the West, 1983
240 x 170 cm, cotton, polyester, hand appliqué and quilting. Collection of the National Gallery of Australia Accession number NGA 91.704 – Macrocarpa is a showy Western Australian eucalyptus tree whose popular name is ‘Rose of the West’.
The quilted pattern is of seed cases, buds and leaves of the same plant.
Dullflower: #3 Banksia, 1984
184 x 166 cm, cotton, rayon, hand appliqué, hand piecing and quilting, decorative hand and machine stitching – The spectacular flower is to the fore, attended by two honeyeaters which pollinate the species. Artistic license has combined the colours of the New Holland honeyeater and the shape of the large wattlebird but the smaller western spinebill is an accurate representation.
Dullflower: #4 The Everlasting, 1985
167 x 165 cm, spray-dyed cotton damask, polyester, hand and machine piecing, hand quilting – Play is made of the word ‘everlasting’ so the elements represent the past, the present and the ongoing, as well as the paper-like flow.
Dullflower: #5 The Orchid, 1985
200 x 137 cm, silk, cotton, lurex, brocade, machine piecing, hand stitching – The orchid is an Australian Spider Orchid which is ‘shy’ but opulent. This contra-distinction suggested the mode of a Japanese screen; also, the centre of the orchid is taken down the right hand side, evocative of Japanese calligraphy. Cloth of gold and silk seems to befit such a plant.
I have never studied physics but was enchanted to learn that energy can neither be created nor destroyed – only changed.
Energy: #1 Action (version 1), 2015–16
76 x 41cm, linen, viscose, embroidery thread, insulated copper wire, hearing aid batteries, gel pen drawing, hand stitching – Here Action refers to the 2nd law of thermodynamics.
Energy: #1 Action (version 2), 2019–20
78 x 43 cm, linen, hand stitching – Here Action refers to the 2nd law of thermodynamics.
Energy: #2 Exchange, 2015–16
78 x 43 cm, paper, linen, hand stitching – Exchange refers to the relationship between all forms of energy.
Energy: #3 Stored, 2015–16
76 x 41 cm, linen, hand stitching – Stored has reference to the iCloud and the energy available.
Eucalyptus Caesia, 1980's
103 x 93 cm, cotton, hand appliqué, machine piecing – Personal design in Hawaiian style for Australian native plant.
Expatriate Shoots, 1989
186 x 138 cm, silk, velvet, rayon, nylon, cotton, satin, machine stitching – Made as brief to celebrate a fabric garden. It suggests that transplanted stock may lack the vigour of indigenous stock though it may, for the moment, be more beautiful.
112 x 92 cm, cotton, synthetic, machine piecing and quilting – Combining pieces together off the top of one’s head.