On Saturday July 15 I’m joining forces with fellow In the Company of Morris artists Glenn Barkley and Kate Rohde at the Art Gallery of Ballarat for what we trust will a lively discussion about the influence of William Morris (and in my case, his brilliant daughter May Morris) on our works.
In the lead-up to the forum, titled Morris and Me, I’m taking occasion to revisit the individual panels in the triptych, Three Women, 2021 (pictured top) that features in In the Company of Morris and the three May Morris embroideries that are integral to the work.
Pictured below:
Image 1: First panel of Three Women;
Images 2-3: Australia, c 1888 (detail and full view), the embroidered table cover by May Morris that was the basis for my protagonist’s tattoo;
Images 2-3: Australia, c 1888 (detail and full view), the embroidered table cover by May Morris that was the basis for my protagonist’s tattoo;
Pictured below:
Image 4: Second panel of the triptych Three Women;
Images 5-6: A fragment from Autumn and Winter, c 1895-1900, May Morris’s magnificent embroidered panel (in my opinion, one of her finest works) inspired the central figure’s tattoo;
Images 5-6: A fragment from Autumn and Winter, c 1895-1900, May Morris’s magnificent embroidered panel (in my opinion, one of her finest works) inspired the central figure’s tattoo;
Pictured below:
Image 7: Third panel of Three Women;
Images 8-9: Vine Leaf, c 1890 (detail and full view), an embroidered table cover by May Morris, was the basis for the anonymous figure’s body art.
Images 8-9: Vine Leaf, c 1890 (detail and full view), an embroidered table cover by May Morris, was the basis for the anonymous figure’s body art.
The panel discussion Morris and Me is on Saturday at 2 pm and will be facilitated by curator Christopher Menz. Tickets include entry to the exhibitions Pre-Raphaelites Drawings and Watercolours and In the Company of Morris.
Bookings are at https://bit.ly/3qCKDnk.