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Lesley Bricknell is a professional artist who lives in the South West of England. She has a degree in Textiles (First class) from Goldsmiths and a M.A. (Fine Art) from University of Plymouth. Her work crosses over disciplines including textiles, photography and printmaking. She is a member of Textiles Forum South West.
I make individual textile pieces as well as smaller, more intimate pieces. These are specially constructed or assembled in temporary arrangements and are intended solely as the basis for making photo images. Once these have been documented or recorded these pieces are usually destroyed. I have no further interest in them. I use digital photography as this allows me to alter images if necessary at a later stage.
My work evolves from a number of sources. For example working directly with materials that I consider have a certain potency or history. These are frequently worn and discarded fragments torn, unpicked and cut up from pieces of rejected work. I also make numerous exploratory samples and photo images that are worked and re-worked several times. Although these samples are intended to feed into final pieces, they also act as a valuable personal resource. I am attracted to fragile and barely held together surfaces and structures. In the idea that a piece of work may only exist for a short time, is recorded and then destroyed. In all these pieces threads are intentionally left uncut and tangled. Edges fray and unravel. Stains are allowed to travel unhindered.
Sketchbooks are an integral part of my practice. For me they provide a private space in which I can reflect on or discard current and ongoing concerns. Once the work is underway, however, my approach is largely intuitive. The materials I use in my work are generally humble in origin such as paper tablecloths, greenhouse screening fabrics, feathers collected from the beach. Because they are readily available and relatively inexpensive I feel free to experiment with them.
I use paper a great deal in my work. I love its fragility and the fact that it can also be strengthened by bonding, laminating and waxing. In 'Baptism', a series of miniature dresses, I have used waxed, stitched paper, Catholic texts from religious books and scripture notes written when I was fifteen years old. Baptism is traditionally associated with purity. By contrast I make use of staining, scorching and partially obliterated texts. In other pieces I have used bits of a tutu, wedding veiling and other delicate materials that I have collected and which for me have a certain resonance. More examples of my work can be seen by visiting my web site. You can contact me via my web site.