Archive

I feel I know you 2023

Embroidered braille with wool, embroidery thread & string on reclaimed sheer curtain, driftwood Projected photograph
228.6 x 276.9 cm l 90 x 109 in

 

Through the embroidered braille phrase I feel I know you, there is a suggestion toward the sense of touch as one would use when reading braille. Each circular character is stitched to appear like a lush forest floor, highly tactile and evocative of something beyond the communication of the words it represents. On the opposite side, in embroidered cursive reads ‘I feel I know you too’, suggesting a response and an interwoven relationship between the known and unknown. It calls for use beyond the five surface senses to access our emotive sensibilities, drawing ourselves into more expansive, incorporeal realms.

With the projected floral shadows and gently moving light source combined with its semi-transparent fabric, this re-purposed sheer curtain also speaks to what may lay beyond our line of vision, delving into the realm of possibilities. From this piece there is an invitation to return to nature where immersive and healing experiences can provide us with further connection to each other and ourselves.

Within this piece is a personal reference to my mother who many years ago lost her eyesight first in one eye, then the other, yet through a number of meticulous surgeries, cumbersome post-op regimens and natural remedies, regained the ability to see albeit without centre acuity. Now in her mid-eighties she maintains a dedicated gardening routine, inspiring everyone who experiences her colourful, sprawling garden. Her love of nature, the healing arts and her skills with sewing and knitting continue to inspire my own creative journey and through this piece it is my wish that others may also find their way into the garden, the forest, the lakeshore and our wild, spectacular natural environment.

Photography by the artist & Toni Hafkenscheid

One Hibiscus, Two Seasons 2023

Collected & dried hibiscus petals
Seven discs ranging in size from 7.4 to 53.3 cm l 3 to 21 in

 

For two consecutive summers I collected every flower with its richly pigmented petals from one single hibiscus plant situated within view from my studio. I carefully pressed and wrapped them individually in parchment paper huddled into a paper box. After pinning some of them to a wall in my work space, thinking ahead to the scheduled exhibition, I realized they would not survive too many trials of this process so I had the idea to sew each petal to cut out circular shapes from discarded screen door material.

After many attempts and iterations, this seems to have worked to highlight both the lush colour and delicate texture of the petals held together vulnerably but effectively.

 

 

 

Photography credit Toni Hafkenscheid

 

 

The Long Story 2023

Thousands of collected, sorted pine needles, found rope, embroidery thread, drift wood
304.8 x 58.4 x 58.4 cm l 120 x 23 x 23 in

 

From the Judith & Norman Art Gallery commissioned essay by Rosa Quintana Lillo:

“To build the sculpture The Long Story (2024), Humston wrapped thousands of collected and categorized pine needles with embroidery thread around an eight-foot length of flotsam rope hung from her studio ceiling. She began by sitting on the floor, then moved up the vertically situated rope, balancing on a ladder for the upper section. This piece marries vulnerability and boldness, perhaps presenting a perfect metaphor to describe our natural world. It speaks to Humston’s desire to work with existing organic materials that could be returned to the garden/forest/beach to be composted and not be made into more “stuff,” with manufactured products that end up in a landfill site. This work and others equally speak to Humston’s family history and stories told and passed down through generations. Her mother was a “war baby,” having been raised during and after the Second World War in England. She grew up with rations and learned early in life to preserve, reuse and repurpose everything. Transferring from mother to child, the ideas of sewing and mending, creating something beautiful from “waste” have also influenced and inspired Humston’s work.”

 

From the Garden to the Sea 2023

Iris flower sheaths, dried lilies, thread, driftwood
178 x 32 cm l 70 x 13 in

 

From the Judith & Norman Alix Art Gallery commissioned essay by Rosa Quintana Lillo:
“The assemblage works From the Garden to the Sea (2023), The Long Story (2024), Garden Queens (2023) and Home (2021–24) are constructed with flower petals, pine needles, eggshells, twigs and branches. All are organic, impermanent materials. At first glance, perhaps Humston assembled the materials in order to analyze or inspect. Under a more sustained gaze, it appears that the materials themselves are being re-presented to us in a new and experimental light. The materials hold meaning; they demonstrate their story.”

 

 

 

Photography Toni Hafkenscheid & the artist

Welcome Wall 2024

In the Garden of Exquisite Unknown exhibition
Pinned collection of ephemera with written text 640 x 305 cm l 252 x 120 in
330+ pinned organic ephemera
echoing the artist’s studio walls, with hand written text (see below)

Photography Toni Hafkenscheid