SSL Certificate
Michael Brennand-Wood
Random Precision: 3 Dimensional Line, Stitch, Structure, and Light

Session Two - June 9-15, 2019

Course Description
A consistent feature of my practice is the inter-relatability of structure, the micro and macro. I’ve always been interested in the construction of component parts that fuse at a distance into a coherent form. Initially for this workshop I would like each student to make a 3-dimensional or relief-based construction utilizing fabric, thread, metal, paper, paint, collage, and wood.

Sourcing a personal selection of materials with a strong linear quality, participants will then develop an individual vocabulary of three-dimensional line. This, together with the constructed form, will provide the essential components of the workshop, which will focus on an exploration of stitch, depth, translucency, illusion, and structure.

When we build an artwork we build it physically ... but we also build it conceptually. Paul Klee used the simile of the tree as a means to explain how influences are processed through the body (trunk) of the artist into a creative canopy that mirrors the root system but is subtly changed through the individuality of each artist.

Every work exists within a halo of interpretations, ideas, histories, personalities, and meanings. This class is designed to be an immersive experience with a specific focus on a call and response between new ideas, existing lines of thought, and the participant’s individuality. The ideal outcome is a series of ideas that can be developed in your own studio.

Artist's Biography
Michael Brennand-Wood is a visual artist, curator, lecturer, and arts consultant. Since 1979 he has occupied a central position in the research, origination, and advocacy of contemporary international art textiles. He has exhibited in major galleries and museums world-wide, including the Victoria and Albert Museum, the National Museum of Modern Art, Kyoto, and the National Gallery of Australia, Canberra. His work can be seen in private, public, and corporate collections worldwide. He won The Creative Concept Award in 1987 and The Fine Art Award in 1989 at the International Textile Competition in Kyoto, followed by the first RSA Art for Architecture Award in 1990. He has taught extensively in colleges and universities in the UK and overseas, and has undertaken residencies in Japan, Australia, New Zealand, Canada, and Belgium. He is currently Visiting Professor of Ornament at the University of Wolverhampton.

Artist's Statement

At the heart of my practice is a commitment to the developmental. I regard myself as an independent explorer of visual territories.

A defining characteristic of my work has been a sustained commitment to the conceptual synthesis of contemporary and historical sources, in particular the exploration of three-dimensional line, structure, and pattern. I have persistently worked within contested areas of textile practice, embroidery, pattern, lace, and recently floral and primal imagery. I believe that the most innovative textiles emanate from a synthesis of historical and contemporary sources, based upon an assured understanding of both textile technique and history. The diversity of my contribution - exhibitions, commissions, teaching, curatorial, advocacy, writing, and architectural consultancy - exemplifies the breadth of my involvement in the promotion of contemporary textiles.

Recent work, inspired by the traditions of floral imagery, has utilized computerized machine embroidery, acrylic paint, photography, and collage. Exploring the illusionary space between two and three dimensions, these works are colourful, dramatic, rhythmic, and holographic in feel with intense detail that merges at a distance into strongly optical configurations.

Website: Video 1 & Video 2 - descriptions of Michael's work


Supply List:

  • All participants should bring something that either describes their working methods or illustrates their chosen area of visual research. This could be a sketchbook, object, piece of work, or idea/inspiration image.
  • In addition, please bring a selection of materials you wish to use – this should include fabrics, threads, and any linear ‘lines’ i.e. wires, tapes, cords, strings, ribbons, etc. Papers, acrylic paint, or any other collage material would also be useful; the emphasis is on a personal collection of materials which act as an individual palette.
  • Bring a sewing machine if it’s something you enjoy using.

2019 - Session Two Faculty Work

Michael Brennand-Wood


Donna Brown


Cora Cohen


Jean Jones


Lesley Patterson-Marx


Hannah Perner-Wilson

Jeremy Randall



Paul Roden



Katja Toporski

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