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UPDATE | ‘Welcome to Country - now you see me: seeing the invisible’

Last week, we conducted a trial hang of ‘Welcome to Country – now you see me: seeing the invisible’ at the Melbourne Convention Centre, testing how Australia’s first ever 3D tapestry would hang. This long-anticipated moment did not disappoint. With expert support from ICS Conservation, the two panels were joined and hung in an ellipse, bringing to life the ambitious vision of artists Maree Clarke (Yorta Yorta/Wamba Wamba/Mutti Mutti/Boonwurrung) and Mitch Mahoney (Boonwurrung/Barkindji).

The result is breathtaking. We can’t wait to see it installed at the New Footscray Hospital in the coming months, where it will bring joy and calm to a space that can often feel overwhelming.

Created over 14 months by our team of 12 weavers and two dyeing specialists, this tapestry is the product of more than 10,000 hours of extraordinary collaboration and skilled craftsmanship.

The new Footscray Hospital tapestry is a collaboration between Plenary Health (@plenarygroup), the official arts partner for the new hospital, Footscray Community Arts (@footscrayarts), the Australian Tapestry Workshop, and the Tapestry Foundation of Australia, in collaboration with the Victorian Health Building Authority and Western Health (@westernhealthau). The tapestry commission is supported by the Premier’s Suite, a partnership between the Tapestry Foundation of Australia, the State Government of Victoria, and the Australian Hotels Association.

Maree Clarke (@ree_clarke) and Mitch Mahoney (@mitch_mahoney_art) are represented by Vivien Anderson Gallery (@vivienandersongallery).
@ics_conservation

Photo: @astridmulder.photography

UPDATE | ‘Welcome to Country - now you see me: seeing the invisible’

Last week, we conducted a trial hang of ‘Welcome to Country – now you see me: seeing the invisible’ at the Melbourne Convention Centre, testing how Australia’s first ever 3D tapestry would hang. This long-anticipated moment did not disappoint. With expert support from ICS Conservation, the two panels were joined and hung in an ellipse, bringing to life the ambitious vision of artists Maree Clarke (Yorta Yorta/Wamba Wamba/Mutti Mutti/Boonwurrung) and Mitch Mahoney (Boonwurrung/Barkindji).

The result is breathtaking. We can’t wait to see it installed at the New Footscray Hospital in the coming months, where it will bring joy and calm to a space that can often feel overwhelming.

Created over 14 months by our team of 12 weavers and two dyeing specialists, this tapestry is the product of more than 10,000 hours of extraordinary collaboration and skilled craftsmanship.

The new Footscray Hospital tapestry is a collaboration between Plenary Health (@plenarygroup), the official arts partner for the new hospital, Footscray Community Arts (@footscrayarts), the Australian Tapestry Workshop, and the Tapestry Foundation of Australia, in collaboration with the Victorian Health Building Authority and Western Health (@westernhealthau). The tapestry commission is supported by the Premier’s Suite, a partnership between the Tapestry Foundation of Australia, the State Government of Victoria, and the Australian Hotels Association.

Maree Clarke (@ree_clarke) and Mitch Mahoney (@mitch_mahoney_art) are represented by Vivien Anderson Gallery (@vivienandersongallery).
@ics_conservation

Photo: @astridmulder.photography

UPDATE | ‘Welcome to Country - now you see me: seeing the invisible’

Last week, we conducted a trial hang of ‘Welcome to Country – now you see me: seeing the invisible’ at the Melbourne Convention Centre, testing how Australia’s first ever 3D tapestry would hang. This long-anticipated moment did not disappoint. With expert support from ICS Conservation, the two panels were joined and hung in an ellipse, bringing to life the ambitious vision of artists Maree Clarke (Yorta Yorta/Wamba Wamba/Mutti Mutti/Boonwurrung) and Mitch Mahoney (Boonwurrung/Barkindji).

The result is breathtaking. We can’t wait to see it installed at the New Footscray Hospital in the coming months, where it will bring joy and calm to a space that can often feel overwhelming.

Created over 14 months by our team of 12 weavers and two dyeing specialists, this tapestry is the product of more than 10,000 hours of extraordinary collaboration and skilled craftsmanship.

The new Footscray Hospital tapestry is a collaboration between Plenary Health (@plenarygroup), the official arts partner for the new hospital, Footscray Community Arts (@footscrayarts), the Australian Tapestry Workshop, and the Tapestry Foundation of Australia, in collaboration with the Victorian Health Building Authority and Western Health (@westernhealthau). The tapestry commission is supported by the Premier’s Suite, a partnership between the Tapestry Foundation of Australia, the State Government of Victoria, and the Australian Hotels Association.

Maree Clarke (@ree_clarke) and Mitch Mahoney (@mitch_mahoney_art) are represented by Vivien Anderson Gallery (@vivienandersongallery).
@ics_conservation

Photo: @astridmulder.photography

UPDATE | ‘Welcome to Country - now you see me: seeing the invisible’

Last week, we conducted a trial hang of ‘Welcome to Country – now you see me: seeing the invisible’ at the Melbourne Convention Centre, testing how Australia’s first ever 3D tapestry would hang. This long-anticipated moment did not disappoint. With expert support from ICS Conservation, the two panels were joined and hung in an ellipse, bringing to life the ambitious vision of artists Maree Clarke (Yorta Yorta/Wamba Wamba/Mutti Mutti/Boonwurrung) and Mitch Mahoney (Boonwurrung/Barkindji).

The result is breathtaking. We can’t wait to see it installed at the New Footscray Hospital in the coming months, where it will bring joy and calm to a space that can often feel overwhelming.

Created over 14 months by our team of 12 weavers and two dyeing specialists, this tapestry is the product of more than 10,000 hours of extraordinary collaboration and skilled craftsmanship.

The new Footscray Hospital tapestry is a collaboration between Plenary Health (@plenarygroup), the official arts partner for the new hospital, Footscray Community Arts (@footscrayarts), the Australian Tapestry Workshop, and the Tapestry Foundation of Australia, in collaboration with the Victorian Health Building Authority and Western Health (@westernhealthau). The tapestry commission is supported by the Premier’s Suite, a partnership between the Tapestry Foundation of Australia, the State Government of Victoria, and the Australian Hotels Association.

Maree Clarke (@ree_clarke) and Mitch Mahoney (@mitch_mahoney_art) are represented by Vivien Anderson Gallery (@vivienandersongallery).
@ics_conservation

Photo: @astridmulder.photography

UPDATE | ‘Welcome to Country - now you see me: seeing the invisible’

Last week, we conducted a trial hang of ‘Welcome to Country – now you see me: seeing the invisible’ at the Melbourne Convention Centre, testing how Australia’s first ever 3D tapestry would hang. This long-anticipated moment did not disappoint. With expert support from ICS Conservation, the two panels were joined and hung in an ellipse, bringing to life the ambitious vision of artists Maree Clarke (Yorta Yorta/Wamba Wamba/Mutti Mutti/Boonwurrung) and Mitch Mahoney (Boonwurrung/Barkindji).

The result is breathtaking. We can’t wait to see it installed at the New Footscray Hospital in the coming months, where it will bring joy and calm to a space that can often feel overwhelming.

Created over 14 months by our team of 12 weavers and two dyeing specialists, this tapestry is the product of more than 10,000 hours of extraordinary collaboration and skilled craftsmanship.

The new Footscray Hospital tapestry is a collaboration between Plenary Health (@plenarygroup), the official arts partner for the new hospital, Footscray Community Arts (@footscrayarts), the Australian Tapestry Workshop, and the Tapestry Foundation of Australia, in collaboration with the Victorian Health Building Authority and Western Health (@westernhealthau). The tapestry commission is supported by the Premier’s Suite, a partnership between the Tapestry Foundation of Australia, the State Government of Victoria, and the Australian Hotels Association.

Maree Clarke (@ree_clarke) and Mitch Mahoney (@mitch_mahoney_art) are represented by Vivien Anderson Gallery (@vivienandersongallery).
@ics_conservation

Photo: @astridmulder.photography

UPDATE | ‘Welcome to Country - now you see me: seeing the invisible’

Last week, we conducted a trial hang of ‘Welcome to Country – now you see me: seeing the invisible’ at the Melbourne Convention Centre, testing how Australia’s first ever 3D tapestry would hang. This long-anticipated moment did not disappoint. With expert support from ICS Conservation, the two panels were joined and hung in an ellipse, bringing to life the ambitious vision of artists Maree Clarke (Yorta Yorta/Wamba Wamba/Mutti Mutti/Boonwurrung) and Mitch Mahoney (Boonwurrung/Barkindji).

The result is breathtaking. We can’t wait to see it installed at the New Footscray Hospital in the coming months, where it will bring joy and calm to a space that can often feel overwhelming.

Created over 14 months by our team of 12 weavers and two dyeing specialists, this tapestry is the product of more than 10,000 hours of extraordinary collaboration and skilled craftsmanship.

The new Footscray Hospital tapestry is a collaboration between Plenary Health (@plenarygroup), the official arts partner for the new hospital, Footscray Community Arts (@footscrayarts), the Australian Tapestry Workshop, and the Tapestry Foundation of Australia, in collaboration with the Victorian Health Building Authority and Western Health (@westernhealthau). The tapestry commission is supported by the Premier’s Suite, a partnership between the Tapestry Foundation of Australia, the State Government of Victoria, and the Australian Hotels Association.

Maree Clarke (@ree_clarke) and Mitch Mahoney (@mitch_mahoney_art) are represented by Vivien Anderson Gallery (@vivienandersongallery).
@ics_conservation

Photo: @astridmulder.photography

UPDATE | ‘Welcome to Country - now you see me: seeing the invisible’

Last week, we conducted a trial hang of ‘Welcome to Country – now you see me: seeing the invisible’ at the Melbourne Convention Centre, testing how Australia’s first ever 3D tapestry would hang. This long-anticipated moment did not disappoint. With expert support from ICS Conservation, the two panels were joined and hung in an ellipse, bringing to life the ambitious vision of artists Maree Clarke (Yorta Yorta/Wamba Wamba/Mutti Mutti/Boonwurrung) and Mitch Mahoney (Boonwurrung/Barkindji).

The result is breathtaking. We can’t wait to see it installed at the New Footscray Hospital in the coming months, where it will bring joy and calm to a space that can often feel overwhelming.

Created over 14 months by our team of 12 weavers and two dyeing specialists, this tapestry is the product of more than 10,000 hours of extraordinary collaboration and skilled craftsmanship.

The new Footscray Hospital tapestry is a collaboration between Plenary Health (@plenarygroup), the official arts partner for the new hospital, Footscray Community Arts (@footscrayarts), the Australian Tapestry Workshop, and the Tapestry Foundation of Australia, in collaboration with the Victorian Health Building Authority and Western Health (@westernhealthau). The tapestry commission is supported by the Premier’s Suite, a partnership between the Tapestry Foundation of Australia, the State Government of Victoria, and the Australian Hotels Association.

Maree Clarke (@ree_clarke) and Mitch Mahoney (@mitch_mahoney_art) are represented by Vivien Anderson Gallery (@vivienandersongallery).
@ics_conservation

Photo: @astridmulder.photography

ANNOUNCEMENT | ‘Salt Creep with Fence No. 2’

We are thrilled to share that work has commenced on a major new tapestry for the permanent collection of @sam_shepparton. The piece is inspired by the late Philip Hunter’s 2008 painting ‘Salt Creep with Fence No. 2’ and is being developed under the guidance of artist Dr Vera Möller, Hunter’s partner.

Philip Hunter is widely recognised as one of Australia’s leading landscape painters, known for his restrained earth-toned palette and visually dense, large-scale works. Translating ‘Salt Creep with Fence No. 2’ to tapestry will be a welcome challenge for our weaving team, led by Emma Sulzer with Saffron Gordan, Pamela Joyce, Cheryl Thornton and Dr Caroline Tully.

We look forward to sharing progress in the months ahead.

-
Pictured: ‘Salt Creep with Fence No. 2’ Tapestry in progress, Photography by ATW. This project is generously supported by Metal Manufacturers Limited.

ANNOUNCEMENT | ‘Salt Creep with Fence No. 2’

We are thrilled to share that work has commenced on a major new tapestry for the permanent collection of @sam_shepparton. The piece is inspired by the late Philip Hunter’s 2008 painting ‘Salt Creep with Fence No. 2’ and is being developed under the guidance of artist Dr Vera Möller, Hunter’s partner.

Philip Hunter is widely recognised as one of Australia’s leading landscape painters, known for his restrained earth-toned palette and visually dense, large-scale works. Translating ‘Salt Creep with Fence No. 2’ to tapestry will be a welcome challenge for our weaving team, led by Emma Sulzer with Saffron Gordan, Pamela Joyce, Cheryl Thornton and Dr Caroline Tully.

We look forward to sharing progress in the months ahead.

-
Pictured: ‘Salt Creep with Fence No. 2’ Tapestry in progress, Photography by ATW. This project is generously supported by Metal Manufacturers Limited.

ANNOUNCEMENT | ‘Salt Creep with Fence No. 2’

We are thrilled to share that work has commenced on a major new tapestry for the permanent collection of @sam_shepparton. The piece is inspired by the late Philip Hunter’s 2008 painting ‘Salt Creep with Fence No. 2’ and is being developed under the guidance of artist Dr Vera Möller, Hunter’s partner.

Philip Hunter is widely recognised as one of Australia’s leading landscape painters, known for his restrained earth-toned palette and visually dense, large-scale works. Translating ‘Salt Creep with Fence No. 2’ to tapestry will be a welcome challenge for our weaving team, led by Emma Sulzer with Saffron Gordan, Pamela Joyce, Cheryl Thornton and Dr Caroline Tully.

We look forward to sharing progress in the months ahead.

-
Pictured: ‘Salt Creep with Fence No. 2’ Tapestry in progress, Photography by ATW. This project is generously supported by Metal Manufacturers Limited.

ANNOUNCEMENT | ‘Salt Creep with Fence No. 2’

We are thrilled to share that work has commenced on a major new tapestry for the permanent collection of @sam_shepparton. The piece is inspired by the late Philip Hunter’s 2008 painting ‘Salt Creep with Fence No. 2’ and is being developed under the guidance of artist Dr Vera Möller, Hunter’s partner.

Philip Hunter is widely recognised as one of Australia’s leading landscape painters, known for his restrained earth-toned palette and visually dense, large-scale works. Translating ‘Salt Creep with Fence No. 2’ to tapestry will be a welcome challenge for our weaving team, led by Emma Sulzer with Saffron Gordan, Pamela Joyce, Cheryl Thornton and Dr Caroline Tully.

We look forward to sharing progress in the months ahead.

-
Pictured: ‘Salt Creep with Fence No. 2’ Tapestry in progress, Photography by ATW. This project is generously supported by Metal Manufacturers Limited.

ANNOUNCEMENT | ‘Salt Creep with Fence No. 2’

We are thrilled to share that work has commenced on a major new tapestry for the permanent collection of @sam_shepparton. The piece is inspired by the late Philip Hunter’s 2008 painting ‘Salt Creep with Fence No. 2’ and is being developed under the guidance of artist Dr Vera Möller, Hunter’s partner.

Philip Hunter is widely recognised as one of Australia’s leading landscape painters, known for his restrained earth-toned palette and visually dense, large-scale works. Translating ‘Salt Creep with Fence No. 2’ to tapestry will be a welcome challenge for our weaving team, led by Emma Sulzer with Saffron Gordan, Pamela Joyce, Cheryl Thornton and Dr Caroline Tully.

We look forward to sharing progress in the months ahead.

-
Pictured: ‘Salt Creep with Fence No. 2’ Tapestry in progress, Photography by ATW. This project is generously supported by Metal Manufacturers Limited.

Congratulations, Ema Shin!

This week saw the opening of the 25th Biennale of Sydney.

'Hearts of Absent Women' was created over 18 months at ATW, with the assistance of ATW weaver Saffron Gordon. We are honoured to have played a part in supporting this work’s creation. We are deeply grateful to Ema for her vision and for pushing the medium of tapestry to new and extraordinary heights.

You can see ‘Hearts of Absent Women’ now at the Chau Chak Wing Museum as part of the 25th Biennale of Sydney: Rememory, on view until 14 June 2026.

-
Photography by Selina Ou

@biennalesydney @ccwm_sydney @ema.shin @gallerysmith_@saffronlilygordon @selinaou.photo

Congratulations, Ema Shin!

This week saw the opening of the 25th Biennale of Sydney.

'Hearts of Absent Women' was created over 18 months at ATW, with the assistance of ATW weaver Saffron Gordon. We are honoured to have played a part in supporting this work’s creation. We are deeply grateful to Ema for her vision and for pushing the medium of tapestry to new and extraordinary heights.

You can see ‘Hearts of Absent Women’ now at the Chau Chak Wing Museum as part of the 25th Biennale of Sydney: Rememory, on view until 14 June 2026.

-
Photography by Selina Ou

@biennalesydney @ccwm_sydney @ema.shin @gallerysmith_@saffronlilygordon @selinaou.photo

Congratulations, Ema Shin!

This week saw the opening of the 25th Biennale of Sydney.

'Hearts of Absent Women' was created over 18 months at ATW, with the assistance of ATW weaver Saffron Gordon. We are honoured to have played a part in supporting this work’s creation. We are deeply grateful to Ema for her vision and for pushing the medium of tapestry to new and extraordinary heights.

You can see ‘Hearts of Absent Women’ now at the Chau Chak Wing Museum as part of the 25th Biennale of Sydney: Rememory, on view until 14 June 2026.

-
Photography by Selina Ou

@biennalesydney @ccwm_sydney @ema.shin @gallerysmith_@saffronlilygordon @selinaou.photo

Congratulations, Ema Shin!

This week saw the opening of the 25th Biennale of Sydney.

'Hearts of Absent Women' was created over 18 months at ATW, with the assistance of ATW weaver Saffron Gordon. We are honoured to have played a part in supporting this work’s creation. We are deeply grateful to Ema for her vision and for pushing the medium of tapestry to new and extraordinary heights.

You can see ‘Hearts of Absent Women’ now at the Chau Chak Wing Museum as part of the 25th Biennale of Sydney: Rememory, on view until 14 June 2026.

-
Photography by Selina Ou

@biennalesydney @ccwm_sydney @ema.shin @gallerysmith_@saffronlilygordon @selinaou.photo

Congratulations, Ema Shin!

This week saw the opening of the 25th Biennale of Sydney.

'Hearts of Absent Women' was created over 18 months at ATW, with the assistance of ATW weaver Saffron Gordon. We are honoured to have played a part in supporting this work’s creation. We are deeply grateful to Ema for her vision and for pushing the medium of tapestry to new and extraordinary heights.

You can see ‘Hearts of Absent Women’ now at the Chau Chak Wing Museum as part of the 25th Biennale of Sydney: Rememory, on view until 14 June 2026.

-
Photography by Selina Ou

@biennalesydney @ccwm_sydney @ema.shin @gallerysmith_@saffronlilygordon @selinaou.photo

Thank you to all of the incredible volunteers who help make ATW such a vibrant and welcoming place.

This National Volunteer Week, we’re celebrating everyone who generously gives their time, from our tour guides and workshop assistants to the busy bees working behind the scenes. Pictured here are three of our regular volunteers, Jo, Elizabeth and Indi, whose enthusiasm and support are deeply appreciated.

Thank you for being such an important part of our community. 💛

-
Photography by ATW.

Tammy Gilson is a proud Wadawurrung woman and award-winning weaver who uses her Cultural practice to revive the tradition of possum skin cloak making.

In Wadawurrung wurru (language of the Wadawurrung) walert is the word for brush-tail possum. Walert walert is a highly significant artefact and each one carries deep spiritual connection and appreciation to family and Culture. A baby was given a skin at birth, which would be added to as they grew and would also tell their story.

The walert walert denotes a continuum of cultural practice and identity. See the walert walert and learn more at Interwoven: Fibre Art and Fashion, on display until 12th July.

WORKSHOP | Traditional Weaving with Native Grasses

Join Current Artist in Residence Emma Stenhouse for a hands-on weaving workshop inspired by the traditional coil weaving practices of Ngarrindjeri women.

Learn the fundamentals of coil weaving and create your own piece using Lomandra longifolia, harvested from Emma’s garden. Discover the process behind preparing native fibres, including harvesting, drying, and soaking techniques. No prior experience is required, and the program is recommended for ages 18 and over.

Traditional Weaving with Native Grasses
🗓️ Saturday 20 June
🕚 1 - 3 pm
🎟️ Adult $140 | ATW Friends / Concession $126
🔗 Spots are limited, book now via link in bio

—

Pictured: Emma Stenhouse, Traditional Weaving with Native Grasses, Photography courtesy of the artist. @emmastenhouseart

WORKSHOP | Traditional Weaving with Native Grasses

Join Current Artist in Residence Emma Stenhouse for a hands-on weaving workshop inspired by the traditional coil weaving practices of Ngarrindjeri women.

Learn the fundamentals of coil weaving and create your own piece using Lomandra longifolia, harvested from Emma’s garden. Discover the process behind preparing native fibres, including harvesting, drying, and soaking techniques. No prior experience is required, and the program is recommended for ages 18 and over.

Traditional Weaving with Native Grasses
🗓️ Saturday 20 June
🕚 1 - 3 pm
🎟️ Adult $140 | ATW Friends / Concession $126
🔗 Spots are limited, book now via link in bio

—

Pictured: Emma Stenhouse, Traditional Weaving with Native Grasses, Photography courtesy of the artist. @emmastenhouseart

WORKSHOP | Traditional Weaving with Native Grasses

Join Current Artist in Residence Emma Stenhouse for a hands-on weaving workshop inspired by the traditional coil weaving practices of Ngarrindjeri women.

Learn the fundamentals of coil weaving and create your own piece using Lomandra longifolia, harvested from Emma’s garden. Discover the process behind preparing native fibres, including harvesting, drying, and soaking techniques. No prior experience is required, and the program is recommended for ages 18 and over.

Traditional Weaving with Native Grasses
🗓️ Saturday 20 June
🕚 1 - 3 pm
🎟️ Adult $140 | ATW Friends / Concession $126
🔗 Spots are limited, book now via link in bio

—

Pictured: Emma Stenhouse, Traditional Weaving with Native Grasses, Photography courtesy of the artist. @emmastenhouseart

Artist Tammy Kannat recently spent a week in mini-residency at ATW, exploring natural dyeing processes and deepening her connection to material and place.

“A recent residency at the Australian Tapestry Workshop brought that truth into sharp focus. Gathering eucalyptus, pinecones and wildflowers from around Lake Eildon and dyeing my own wool from the land felt like the most natural extension of everything I believe about this practice. When colour comes from the earth itself, the work carries something beyond technique. It carries place, memory and feeling.”

We’re grateful to have shared this time and process with Tammy in the studio.

-
Photography by ATW

@tammykanat @gallerysallydancuthbert

Artist Tammy Kannat recently spent a week in mini-residency at ATW, exploring natural dyeing processes and deepening her connection to material and place.

“A recent residency at the Australian Tapestry Workshop brought that truth into sharp focus. Gathering eucalyptus, pinecones and wildflowers from around Lake Eildon and dyeing my own wool from the land felt like the most natural extension of everything I believe about this practice. When colour comes from the earth itself, the work carries something beyond technique. It carries place, memory and feeling.”

We’re grateful to have shared this time and process with Tammy in the studio.

-
Photography by ATW

@tammykanat @gallerysallydancuthbert

Artist Tammy Kannat recently spent a week in mini-residency at ATW, exploring natural dyeing processes and deepening her connection to material and place.

“A recent residency at the Australian Tapestry Workshop brought that truth into sharp focus. Gathering eucalyptus, pinecones and wildflowers from around Lake Eildon and dyeing my own wool from the land felt like the most natural extension of everything I believe about this practice. When colour comes from the earth itself, the work carries something beyond technique. It carries place, memory and feeling.”

We’re grateful to have shared this time and process with Tammy in the studio.

-
Photography by ATW

@tammykanat @gallerysallydancuthbert

Artist Tammy Kannat recently spent a week in mini-residency at ATW, exploring natural dyeing processes and deepening her connection to material and place.

“A recent residency at the Australian Tapestry Workshop brought that truth into sharp focus. Gathering eucalyptus, pinecones and wildflowers from around Lake Eildon and dyeing my own wool from the land felt like the most natural extension of everything I believe about this practice. When colour comes from the earth itself, the work carries something beyond technique. It carries place, memory and feeling.”

We’re grateful to have shared this time and process with Tammy in the studio.

-
Photography by ATW

@tammykanat @gallerysallydancuthbert

Artist Tammy Kannat recently spent a week in mini-residency at ATW, exploring natural dyeing processes and deepening her connection to material and place.

“A recent residency at the Australian Tapestry Workshop brought that truth into sharp focus. Gathering eucalyptus, pinecones and wildflowers from around Lake Eildon and dyeing my own wool from the land felt like the most natural extension of everything I believe about this practice. When colour comes from the earth itself, the work carries something beyond technique. It carries place, memory and feeling.”

We’re grateful to have shared this time and process with Tammy in the studio.

-
Photography by ATW

@tammykanat @gallerysallydancuthbert

Artist Tammy Kannat recently spent a week in mini-residency at ATW, exploring natural dyeing processes and deepening her connection to material and place.

“A recent residency at the Australian Tapestry Workshop brought that truth into sharp focus. Gathering eucalyptus, pinecones and wildflowers from around Lake Eildon and dyeing my own wool from the land felt like the most natural extension of everything I believe about this practice. When colour comes from the earth itself, the work carries something beyond technique. It carries place, memory and feeling.”

We’re grateful to have shared this time and process with Tammy in the studio.

-
Photography by ATW

@tammykanat @gallerysallydancuthbert

Artist Tammy Kannat recently spent a week in mini-residency at ATW, exploring natural dyeing processes and deepening her connection to material and place.

“A recent residency at the Australian Tapestry Workshop brought that truth into sharp focus. Gathering eucalyptus, pinecones and wildflowers from around Lake Eildon and dyeing my own wool from the land felt like the most natural extension of everything I believe about this practice. When colour comes from the earth itself, the work carries something beyond technique. It carries place, memory and feeling.”

We’re grateful to have shared this time and process with Tammy in the studio.

-
Photography by ATW

@tammykanat @gallerysallydancuthbert

Artist Tammy Kannat recently spent a week in mini-residency at ATW, exploring natural dyeing processes and deepening her connection to material and place.

“A recent residency at the Australian Tapestry Workshop brought that truth into sharp focus. Gathering eucalyptus, pinecones and wildflowers from around Lake Eildon and dyeing my own wool from the land felt like the most natural extension of everything I believe about this practice. When colour comes from the earth itself, the work carries something beyond technique. It carries place, memory and feeling.”

We’re grateful to have shared this time and process with Tammy in the studio.

-
Photography by ATW

@tammykanat @gallerysallydancuthbert

Artist Tammy Kannat recently spent a week in mini-residency at ATW, exploring natural dyeing processes and deepening her connection to material and place.

“A recent residency at the Australian Tapestry Workshop brought that truth into sharp focus. Gathering eucalyptus, pinecones and wildflowers from around Lake Eildon and dyeing my own wool from the land felt like the most natural extension of everything I believe about this practice. When colour comes from the earth itself, the work carries something beyond technique. It carries place, memory and feeling.”

We’re grateful to have shared this time and process with Tammy in the studio.

-
Photography by ATW

@tammykanat @gallerysallydancuthbert

Artist Tammy Kannat recently spent a week in mini-residency at ATW, exploring natural dyeing processes and deepening her connection to material and place.

“A recent residency at the Australian Tapestry Workshop brought that truth into sharp focus. Gathering eucalyptus, pinecones and wildflowers from around Lake Eildon and dyeing my own wool from the land felt like the most natural extension of everything I believe about this practice. When colour comes from the earth itself, the work carries something beyond technique. It carries place, memory and feeling.”

We’re grateful to have shared this time and process with Tammy in the studio.

-
Photography by ATW

@tammykanat @gallerysallydancuthbert

Hello Fiber Art Now lovers, my name is Ema Shin @ema.shin . I am taking over Fiber Art Now’s Instagram over the weekend! I will share my recent creative journey with you.

Firstly, I’d like to introduce myself. I am a Japanese-Korean artist based in Narrm/Melbourne, Australia, working mainly on textiles. My work celebrates women’s identities, femininity, and sexuality to recognise women’s values and voices. Through my work, I’d like to give opportunities to audiences to see how femininity and womanhood are built in physical, emotional, and social ways. The techniques I use, that used to be called women’s work, like embroidery and weaving, along with the warm and bright colors, are closely connected to my life and culture.

Recently, I created a large-scale tapestry sculpture commissioned by the 25th Biennial of Sydney, supported by the amazing Australian Tapestry Workshop. The artwork is titled “Hearts of Absent Women (Tree of Family),” which is part of my ongoing project since 2019. This body of practice is inspired by my Korean family tree book, which only records sons’ names and mothers who delivered sons for 32 generations. I dedicate my work to women ancestors and all hidden women throughout history.

I will see you soon in the next post :)

Photography by Selina Ou @selinaou.photo

#heartsofabsentwomen #womenswork #emashin

Hello Fiber Art Now lovers, my name is Ema Shin @ema.shin . I am taking over Fiber Art Now’s Instagram over the weekend! I will share my recent creative journey with you.

Firstly, I’d like to introduce myself. I am a Japanese-Korean artist based in Narrm/Melbourne, Australia, working mainly on textiles. My work celebrates women’s identities, femininity, and sexuality to recognise women’s values and voices. Through my work, I’d like to give opportunities to audiences to see how femininity and womanhood are built in physical, emotional, and social ways. The techniques I use, that used to be called women’s work, like embroidery and weaving, along with the warm and bright colors, are closely connected to my life and culture.

Recently, I created a large-scale tapestry sculpture commissioned by the 25th Biennial of Sydney, supported by the amazing Australian Tapestry Workshop. The artwork is titled “Hearts of Absent Women (Tree of Family),” which is part of my ongoing project since 2019. This body of practice is inspired by my Korean family tree book, which only records sons’ names and mothers who delivered sons for 32 generations. I dedicate my work to women ancestors and all hidden women throughout history.

I will see you soon in the next post :)

Photography by Selina Ou @selinaou.photo

#heartsofabsentwomen #womenswork #emashin

Hello Fiber Art Now lovers, my name is Ema Shin @ema.shin . I am taking over Fiber Art Now’s Instagram over the weekend! I will share my recent creative journey with you.

Firstly, I’d like to introduce myself. I am a Japanese-Korean artist based in Narrm/Melbourne, Australia, working mainly on textiles. My work celebrates women’s identities, femininity, and sexuality to recognise women’s values and voices. Through my work, I’d like to give opportunities to audiences to see how femininity and womanhood are built in physical, emotional, and social ways. The techniques I use, that used to be called women’s work, like embroidery and weaving, along with the warm and bright colors, are closely connected to my life and culture.

Recently, I created a large-scale tapestry sculpture commissioned by the 25th Biennial of Sydney, supported by the amazing Australian Tapestry Workshop. The artwork is titled “Hearts of Absent Women (Tree of Family),” which is part of my ongoing project since 2019. This body of practice is inspired by my Korean family tree book, which only records sons’ names and mothers who delivered sons for 32 generations. I dedicate my work to women ancestors and all hidden women throughout history.

I will see you soon in the next post :)

Photography by Selina Ou @selinaou.photo

#heartsofabsentwomen #womenswork #emashin

Hello Fiber Art Now lovers, my name is Ema Shin @ema.shin . I am taking over Fiber Art Now’s Instagram over the weekend! I will share my recent creative journey with you.

Firstly, I’d like to introduce myself. I am a Japanese-Korean artist based in Narrm/Melbourne, Australia, working mainly on textiles. My work celebrates women’s identities, femininity, and sexuality to recognise women’s values and voices. Through my work, I’d like to give opportunities to audiences to see how femininity and womanhood are built in physical, emotional, and social ways. The techniques I use, that used to be called women’s work, like embroidery and weaving, along with the warm and bright colors, are closely connected to my life and culture.

Recently, I created a large-scale tapestry sculpture commissioned by the 25th Biennial of Sydney, supported by the amazing Australian Tapestry Workshop. The artwork is titled “Hearts of Absent Women (Tree of Family),” which is part of my ongoing project since 2019. This body of practice is inspired by my Korean family tree book, which only records sons’ names and mothers who delivered sons for 32 generations. I dedicate my work to women ancestors and all hidden women throughout history.

I will see you soon in the next post :)

Photography by Selina Ou @selinaou.photo

#heartsofabsentwomen #womenswork #emashin

Hello Fiber Art Now lovers, my name is Ema Shin @ema.shin . I am taking over Fiber Art Now’s Instagram over the weekend! I will share my recent creative journey with you.

Firstly, I’d like to introduce myself. I am a Japanese-Korean artist based in Narrm/Melbourne, Australia, working mainly on textiles. My work celebrates women’s identities, femininity, and sexuality to recognise women’s values and voices. Through my work, I’d like to give opportunities to audiences to see how femininity and womanhood are built in physical, emotional, and social ways. The techniques I use, that used to be called women’s work, like embroidery and weaving, along with the warm and bright colors, are closely connected to my life and culture.

Recently, I created a large-scale tapestry sculpture commissioned by the 25th Biennial of Sydney, supported by the amazing Australian Tapestry Workshop. The artwork is titled “Hearts of Absent Women (Tree of Family),” which is part of my ongoing project since 2019. This body of practice is inspired by my Korean family tree book, which only records sons’ names and mothers who delivered sons for 32 generations. I dedicate my work to women ancestors and all hidden women throughout history.

I will see you soon in the next post :)

Photography by Selina Ou @selinaou.photo

#heartsofabsentwomen #womenswork #emashin

Hello Fiber Art Now lovers, my name is Ema Shin @ema.shin . I am taking over Fiber Art Now’s Instagram over the weekend! I will share my recent creative journey with you.

Firstly, I’d like to introduce myself. I am a Japanese-Korean artist based in Narrm/Melbourne, Australia, working mainly on textiles. My work celebrates women’s identities, femininity, and sexuality to recognise women’s values and voices. Through my work, I’d like to give opportunities to audiences to see how femininity and womanhood are built in physical, emotional, and social ways. The techniques I use, that used to be called women’s work, like embroidery and weaving, along with the warm and bright colors, are closely connected to my life and culture.

Recently, I created a large-scale tapestry sculpture commissioned by the 25th Biennial of Sydney, supported by the amazing Australian Tapestry Workshop. The artwork is titled “Hearts of Absent Women (Tree of Family),” which is part of my ongoing project since 2019. This body of practice is inspired by my Korean family tree book, which only records sons’ names and mothers who delivered sons for 32 generations. I dedicate my work to women ancestors and all hidden women throughout history.

I will see you soon in the next post :)

Photography by Selina Ou @selinaou.photo

#heartsofabsentwomen #womenswork #emashin

Hello Fiber Art Now lovers, my name is Ema Shin @ema.shin . I am taking over Fiber Art Now’s Instagram over the weekend! I will share my recent creative journey with you.

Firstly, I’d like to introduce myself. I am a Japanese-Korean artist based in Narrm/Melbourne, Australia, working mainly on textiles. My work celebrates women’s identities, femininity, and sexuality to recognise women’s values and voices. Through my work, I’d like to give opportunities to audiences to see how femininity and womanhood are built in physical, emotional, and social ways. The techniques I use, that used to be called women’s work, like embroidery and weaving, along with the warm and bright colors, are closely connected to my life and culture.

Recently, I created a large-scale tapestry sculpture commissioned by the 25th Biennial of Sydney, supported by the amazing Australian Tapestry Workshop. The artwork is titled “Hearts of Absent Women (Tree of Family),” which is part of my ongoing project since 2019. This body of practice is inspired by my Korean family tree book, which only records sons’ names and mothers who delivered sons for 32 generations. I dedicate my work to women ancestors and all hidden women throughout history.

I will see you soon in the next post :)

Photography by Selina Ou @selinaou.photo

#heartsofabsentwomen #womenswork #emashin

Hello Fiber Art Now lovers, my name is Ema Shin @ema.shin . I am taking over Fiber Art Now’s Instagram over the weekend! I will share my recent creative journey with you.

Firstly, I’d like to introduce myself. I am a Japanese-Korean artist based in Narrm/Melbourne, Australia, working mainly on textiles. My work celebrates women’s identities, femininity, and sexuality to recognise women’s values and voices. Through my work, I’d like to give opportunities to audiences to see how femininity and womanhood are built in physical, emotional, and social ways. The techniques I use, that used to be called women’s work, like embroidery and weaving, along with the warm and bright colors, are closely connected to my life and culture.

Recently, I created a large-scale tapestry sculpture commissioned by the 25th Biennial of Sydney, supported by the amazing Australian Tapestry Workshop. The artwork is titled “Hearts of Absent Women (Tree of Family),” which is part of my ongoing project since 2019. This body of practice is inspired by my Korean family tree book, which only records sons’ names and mothers who delivered sons for 32 generations. I dedicate my work to women ancestors and all hidden women throughout history.

I will see you soon in the next post :)

Photography by Selina Ou @selinaou.photo

#heartsofabsentwomen #womenswork #emashin

Hello Fiber Art Now lovers, my name is Ema Shin @ema.shin . I am taking over Fiber Art Now’s Instagram over the weekend! I will share my recent creative journey with you.

Firstly, I’d like to introduce myself. I am a Japanese-Korean artist based in Narrm/Melbourne, Australia, working mainly on textiles. My work celebrates women’s identities, femininity, and sexuality to recognise women’s values and voices. Through my work, I’d like to give opportunities to audiences to see how femininity and womanhood are built in physical, emotional, and social ways. The techniques I use, that used to be called women’s work, like embroidery and weaving, along with the warm and bright colors, are closely connected to my life and culture.

Recently, I created a large-scale tapestry sculpture commissioned by the 25th Biennial of Sydney, supported by the amazing Australian Tapestry Workshop. The artwork is titled “Hearts of Absent Women (Tree of Family),” which is part of my ongoing project since 2019. This body of practice is inspired by my Korean family tree book, which only records sons’ names and mothers who delivered sons for 32 generations. I dedicate my work to women ancestors and all hidden women throughout history.

I will see you soon in the next post :)

Photography by Selina Ou @selinaou.photo

#heartsofabsentwomen #womenswork #emashin

Hello Fiber Art Now lovers, my name is Ema Shin @ema.shin . I am taking over Fiber Art Now’s Instagram over the weekend! I will share my recent creative journey with you.

Firstly, I’d like to introduce myself. I am a Japanese-Korean artist based in Narrm/Melbourne, Australia, working mainly on textiles. My work celebrates women’s identities, femininity, and sexuality to recognise women’s values and voices. Through my work, I’d like to give opportunities to audiences to see how femininity and womanhood are built in physical, emotional, and social ways. The techniques I use, that used to be called women’s work, like embroidery and weaving, along with the warm and bright colors, are closely connected to my life and culture.

Recently, I created a large-scale tapestry sculpture commissioned by the 25th Biennial of Sydney, supported by the amazing Australian Tapestry Workshop. The artwork is titled “Hearts of Absent Women (Tree of Family),” which is part of my ongoing project since 2019. This body of practice is inspired by my Korean family tree book, which only records sons’ names and mothers who delivered sons for 32 generations. I dedicate my work to women ancestors and all hidden women throughout history.

I will see you soon in the next post :)

Photography by Selina Ou @selinaou.photo

#heartsofabsentwomen #womenswork #emashin

Hello Fiber Art Now lovers, my name is Ema Shin @ema.shin . I am taking over Fiber Art Now’s Instagram over the weekend! I will share my recent creative journey with you.

Firstly, I’d like to introduce myself. I am a Japanese-Korean artist based in Narrm/Melbourne, Australia, working mainly on textiles. My work celebrates women’s identities, femininity, and sexuality to recognise women’s values and voices. Through my work, I’d like to give opportunities to audiences to see how femininity and womanhood are built in physical, emotional, and social ways. The techniques I use, that used to be called women’s work, like embroidery and weaving, along with the warm and bright colors, are closely connected to my life and culture.

Recently, I created a large-scale tapestry sculpture commissioned by the 25th Biennial of Sydney, supported by the amazing Australian Tapestry Workshop. The artwork is titled “Hearts of Absent Women (Tree of Family),” which is part of my ongoing project since 2019. This body of practice is inspired by my Korean family tree book, which only records sons’ names and mothers who delivered sons for 32 generations. I dedicate my work to women ancestors and all hidden women throughout history.

I will see you soon in the next post :)

Photography by Selina Ou @selinaou.photo

#heartsofabsentwomen #womenswork #emashin

Hello Fiber Art Now lovers, my name is Ema Shin @ema.shin . I am taking over Fiber Art Now’s Instagram over the weekend! I will share my recent creative journey with you.

Firstly, I’d like to introduce myself. I am a Japanese-Korean artist based in Narrm/Melbourne, Australia, working mainly on textiles. My work celebrates women’s identities, femininity, and sexuality to recognise women’s values and voices. Through my work, I’d like to give opportunities to audiences to see how femininity and womanhood are built in physical, emotional, and social ways. The techniques I use, that used to be called women’s work, like embroidery and weaving, along with the warm and bright colors, are closely connected to my life and culture.

Recently, I created a large-scale tapestry sculpture commissioned by the 25th Biennial of Sydney, supported by the amazing Australian Tapestry Workshop. The artwork is titled “Hearts of Absent Women (Tree of Family),” which is part of my ongoing project since 2019. This body of practice is inspired by my Korean family tree book, which only records sons’ names and mothers who delivered sons for 32 generations. I dedicate my work to women ancestors and all hidden women throughout history.

I will see you soon in the next post :)

Photography by Selina Ou @selinaou.photo

#heartsofabsentwomen #womenswork #emashin

Hello Fiber Art Now lovers, my name is Ema Shin @ema.shin . I am taking over Fiber Art Now’s Instagram over the weekend! I will share my recent creative journey with you.

Firstly, I’d like to introduce myself. I am a Japanese-Korean artist based in Narrm/Melbourne, Australia, working mainly on textiles. My work celebrates women’s identities, femininity, and sexuality to recognise women’s values and voices. Through my work, I’d like to give opportunities to audiences to see how femininity and womanhood are built in physical, emotional, and social ways. The techniques I use, that used to be called women’s work, like embroidery and weaving, along with the warm and bright colors, are closely connected to my life and culture.

Recently, I created a large-scale tapestry sculpture commissioned by the 25th Biennial of Sydney, supported by the amazing Australian Tapestry Workshop. The artwork is titled “Hearts of Absent Women (Tree of Family),” which is part of my ongoing project since 2019. This body of practice is inspired by my Korean family tree book, which only records sons’ names and mothers who delivered sons for 32 generations. I dedicate my work to women ancestors and all hidden women throughout history.

I will see you soon in the next post :)

Photography by Selina Ou @selinaou.photo

#heartsofabsentwomen #womenswork #emashin

Hello Fiber Art Now lovers, my name is Ema Shin @ema.shin . I am taking over Fiber Art Now’s Instagram over the weekend! I will share my recent creative journey with you.

Firstly, I’d like to introduce myself. I am a Japanese-Korean artist based in Narrm/Melbourne, Australia, working mainly on textiles. My work celebrates women’s identities, femininity, and sexuality to recognise women’s values and voices. Through my work, I’d like to give opportunities to audiences to see how femininity and womanhood are built in physical, emotional, and social ways. The techniques I use, that used to be called women’s work, like embroidery and weaving, along with the warm and bright colors, are closely connected to my life and culture.

Recently, I created a large-scale tapestry sculpture commissioned by the 25th Biennial of Sydney, supported by the amazing Australian Tapestry Workshop. The artwork is titled “Hearts of Absent Women (Tree of Family),” which is part of my ongoing project since 2019. This body of practice is inspired by my Korean family tree book, which only records sons’ names and mothers who delivered sons for 32 generations. I dedicate my work to women ancestors and all hidden women throughout history.

I will see you soon in the next post :)

Photography by Selina Ou @selinaou.photo

#heartsofabsentwomen #womenswork #emashin

Hello Fiber Art Now lovers, my name is Ema Shin @ema.shin . I am taking over Fiber Art Now’s Instagram over the weekend! I will share my recent creative journey with you.

Firstly, I’d like to introduce myself. I am a Japanese-Korean artist based in Narrm/Melbourne, Australia, working mainly on textiles. My work celebrates women’s identities, femininity, and sexuality to recognise women’s values and voices. Through my work, I’d like to give opportunities to audiences to see how femininity and womanhood are built in physical, emotional, and social ways. The techniques I use, that used to be called women’s work, like embroidery and weaving, along with the warm and bright colors, are closely connected to my life and culture.

Recently, I created a large-scale tapestry sculpture commissioned by the 25th Biennial of Sydney, supported by the amazing Australian Tapestry Workshop. The artwork is titled “Hearts of Absent Women (Tree of Family),” which is part of my ongoing project since 2019. This body of practice is inspired by my Korean family tree book, which only records sons’ names and mothers who delivered sons for 32 generations. I dedicate my work to women ancestors and all hidden women throughout history.

I will see you soon in the next post :)

Photography by Selina Ou @selinaou.photo

#heartsofabsentwomen #womenswork #emashin

Hello Fiber Art Now lovers, my name is Ema Shin @ema.shin . I am taking over Fiber Art Now’s Instagram over the weekend! I will share my recent creative journey with you.

Firstly, I’d like to introduce myself. I am a Japanese-Korean artist based in Narrm/Melbourne, Australia, working mainly on textiles. My work celebrates women’s identities, femininity, and sexuality to recognise women’s values and voices. Through my work, I’d like to give opportunities to audiences to see how femininity and womanhood are built in physical, emotional, and social ways. The techniques I use, that used to be called women’s work, like embroidery and weaving, along with the warm and bright colors, are closely connected to my life and culture.

Recently, I created a large-scale tapestry sculpture commissioned by the 25th Biennial of Sydney, supported by the amazing Australian Tapestry Workshop. The artwork is titled “Hearts of Absent Women (Tree of Family),” which is part of my ongoing project since 2019. This body of practice is inspired by my Korean family tree book, which only records sons’ names and mothers who delivered sons for 32 generations. I dedicate my work to women ancestors and all hidden women throughout history.

I will see you soon in the next post :)

Photography by Selina Ou @selinaou.photo

#heartsofabsentwomen #womenswork #emashin

Hello Fiber Art Now lovers, my name is Ema Shin @ema.shin . I am taking over Fiber Art Now’s Instagram over the weekend! I will share my recent creative journey with you.

Firstly, I’d like to introduce myself. I am a Japanese-Korean artist based in Narrm/Melbourne, Australia, working mainly on textiles. My work celebrates women’s identities, femininity, and sexuality to recognise women’s values and voices. Through my work, I’d like to give opportunities to audiences to see how femininity and womanhood are built in physical, emotional, and social ways. The techniques I use, that used to be called women’s work, like embroidery and weaving, along with the warm and bright colors, are closely connected to my life and culture.

Recently, I created a large-scale tapestry sculpture commissioned by the 25th Biennial of Sydney, supported by the amazing Australian Tapestry Workshop. The artwork is titled “Hearts of Absent Women (Tree of Family),” which is part of my ongoing project since 2019. This body of practice is inspired by my Korean family tree book, which only records sons’ names and mothers who delivered sons for 32 generations. I dedicate my work to women ancestors and all hidden women throughout history.

I will see you soon in the next post :)

Photography by Selina Ou @selinaou.photo

#heartsofabsentwomen #womenswork #emashin

Hello Fiber Art Now lovers, my name is Ema Shin @ema.shin . I am taking over Fiber Art Now’s Instagram over the weekend! I will share my recent creative journey with you.

Firstly, I’d like to introduce myself. I am a Japanese-Korean artist based in Narrm/Melbourne, Australia, working mainly on textiles. My work celebrates women’s identities, femininity, and sexuality to recognise women’s values and voices. Through my work, I’d like to give opportunities to audiences to see how femininity and womanhood are built in physical, emotional, and social ways. The techniques I use, that used to be called women’s work, like embroidery and weaving, along with the warm and bright colors, are closely connected to my life and culture.

Recently, I created a large-scale tapestry sculpture commissioned by the 25th Biennial of Sydney, supported by the amazing Australian Tapestry Workshop. The artwork is titled “Hearts of Absent Women (Tree of Family),” which is part of my ongoing project since 2019. This body of practice is inspired by my Korean family tree book, which only records sons’ names and mothers who delivered sons for 32 generations. I dedicate my work to women ancestors and all hidden women throughout history.

I will see you soon in the next post :)

Photography by Selina Ou @selinaou.photo

#heartsofabsentwomen #womenswork #emashin

Hello Fiber Art Now lovers, my name is Ema Shin @ema.shin . I am taking over Fiber Art Now’s Instagram over the weekend! I will share my recent creative journey with you.

Firstly, I’d like to introduce myself. I am a Japanese-Korean artist based in Narrm/Melbourne, Australia, working mainly on textiles. My work celebrates women’s identities, femininity, and sexuality to recognise women’s values and voices. Through my work, I’d like to give opportunities to audiences to see how femininity and womanhood are built in physical, emotional, and social ways. The techniques I use, that used to be called women’s work, like embroidery and weaving, along with the warm and bright colors, are closely connected to my life and culture.

Recently, I created a large-scale tapestry sculpture commissioned by the 25th Biennial of Sydney, supported by the amazing Australian Tapestry Workshop. The artwork is titled “Hearts of Absent Women (Tree of Family),” which is part of my ongoing project since 2019. This body of practice is inspired by my Korean family tree book, which only records sons’ names and mothers who delivered sons for 32 generations. I dedicate my work to women ancestors and all hidden women throughout history.

I will see you soon in the next post :)

Photography by Selina Ou @selinaou.photo

#heartsofabsentwomen #womenswork #emashin

Hello Fiber Art Now lovers, my name is Ema Shin @ema.shin . I am taking over Fiber Art Now’s Instagram over the weekend! I will share my recent creative journey with you.

Firstly, I’d like to introduce myself. I am a Japanese-Korean artist based in Narrm/Melbourne, Australia, working mainly on textiles. My work celebrates women’s identities, femininity, and sexuality to recognise women’s values and voices. Through my work, I’d like to give opportunities to audiences to see how femininity and womanhood are built in physical, emotional, and social ways. The techniques I use, that used to be called women’s work, like embroidery and weaving, along with the warm and bright colors, are closely connected to my life and culture.

Recently, I created a large-scale tapestry sculpture commissioned by the 25th Biennial of Sydney, supported by the amazing Australian Tapestry Workshop. The artwork is titled “Hearts of Absent Women (Tree of Family),” which is part of my ongoing project since 2019. This body of practice is inspired by my Korean family tree book, which only records sons’ names and mothers who delivered sons for 32 generations. I dedicate my work to women ancestors and all hidden women throughout history.

I will see you soon in the next post :)

Photography by Selina Ou @selinaou.photo

#heartsofabsentwomen #womenswork #emashin

WORKSHOP | Sculptural Weaving with Claudia Bloxsome

Discover a fresh approach to textile making in this hands-on workshop that pushes the boundaries of weaving. Using yarn, wire, and locally foraged fibres, you’ll learn how to create dynamic, three-dimensional sculptural forms.

Claudia Bloxsome is a contemporary fibre artist whose practice explores the transformation of woven textiles into sculptural forms, drawing on themes of time, care, and materiality. Claudia will show you how to build self-supporting, hollow, and layered structures and you’ll explore new ways of thinking about fibre, form, and structure. Open to beginners and experienced makers alike, this workshop is designed to inspire new ways of thinking and making through hands-on exploration.

Sculptural Weaving with Claudia Bloxsome
🗓️ Saturday 13 June
🕚 1 - 4 pm
🎟️ Adult $165 | ATW Friends / Concession $150
❗️NOW BOOKED OUT - Join the wait list on our website

—
Pictured: 1. Claudia Bloxsome, ‘Mother Love’, 2026, courtesy of the artist. 2. Portrait of Claudia Bloxsome by @dylan.guy | 3. Studio Detail, courtesy of the artist. @cloudmaystudio

WORKSHOP | Sculptural Weaving with Claudia Bloxsome

Discover a fresh approach to textile making in this hands-on workshop that pushes the boundaries of weaving. Using yarn, wire, and locally foraged fibres, you’ll learn how to create dynamic, three-dimensional sculptural forms.

Claudia Bloxsome is a contemporary fibre artist whose practice explores the transformation of woven textiles into sculptural forms, drawing on themes of time, care, and materiality. Claudia will show you how to build self-supporting, hollow, and layered structures and you’ll explore new ways of thinking about fibre, form, and structure. Open to beginners and experienced makers alike, this workshop is designed to inspire new ways of thinking and making through hands-on exploration.

Sculptural Weaving with Claudia Bloxsome
🗓️ Saturday 13 June
🕚 1 - 4 pm
🎟️ Adult $165 | ATW Friends / Concession $150
❗️NOW BOOKED OUT - Join the wait list on our website

—
Pictured: 1. Claudia Bloxsome, ‘Mother Love’, 2026, courtesy of the artist. 2. Portrait of Claudia Bloxsome by @dylan.guy | 3. Studio Detail, courtesy of the artist. @cloudmaystudio

WORKSHOP | Sculptural Weaving with Claudia Bloxsome

Discover a fresh approach to textile making in this hands-on workshop that pushes the boundaries of weaving. Using yarn, wire, and locally foraged fibres, you’ll learn how to create dynamic, three-dimensional sculptural forms.

Claudia Bloxsome is a contemporary fibre artist whose practice explores the transformation of woven textiles into sculptural forms, drawing on themes of time, care, and materiality. Claudia will show you how to build self-supporting, hollow, and layered structures and you’ll explore new ways of thinking about fibre, form, and structure. Open to beginners and experienced makers alike, this workshop is designed to inspire new ways of thinking and making through hands-on exploration.

Sculptural Weaving with Claudia Bloxsome
🗓️ Saturday 13 June
🕚 1 - 4 pm
🎟️ Adult $165 | ATW Friends / Concession $150
❗️NOW BOOKED OUT - Join the wait list on our website

—
Pictured: 1. Claudia Bloxsome, ‘Mother Love’, 2026, courtesy of the artist. 2. Portrait of Claudia Bloxsome by @dylan.guy | 3. Studio Detail, courtesy of the artist. @cloudmaystudio

INTRODUCING | Emma Stenhouse

Our 2026 Regional Artist in Residence, Emma Stenhouse, a proud Ngarrindjeri woman and contemporary artist, has arrived at ATW!

During her ATW residency, Emma will investigate material traditions linked to ritual and cultural knowledge, experiment with tapestry weaving techniques and explore botanical dyes.

Emma’s practice centres on “storyworks,” shaped by a deep relationship to land and guided by strong female role models in her community. Growing up in Broken Hill, NSW, she draws on the practices of caring for Country, and the knowledge held within her family to ensure these traditions continue for future generations.

Visit ATW to view Emma’s exhibition or join her workshop:

▪ Traditional Weaving with Native Grasses
🗓️ Saturday 20 June
🕚 1 - 3 pm
🎟️ Adult $140 | ATW Friends / Concession $126
🔗 Book via link in bio

▪ Exhibition
🗓️ 14 May - 27 June

—
Pictured: 1. Portrait of Emma Stenhouse by Artist Lane | 2. Emma Stenhouse ‘Woven lomandra sections’, 2025, Photography by Colour Factory. @emmastenhouseart

The Regional Residency is generously supported by Alayne Davies through the Irene Davies Residency Scholarship and ADFAS Yarra.

INTRODUCING | Emma Stenhouse

Our 2026 Regional Artist in Residence, Emma Stenhouse, a proud Ngarrindjeri woman and contemporary artist, has arrived at ATW!

During her ATW residency, Emma will investigate material traditions linked to ritual and cultural knowledge, experiment with tapestry weaving techniques and explore botanical dyes.

Emma’s practice centres on “storyworks,” shaped by a deep relationship to land and guided by strong female role models in her community. Growing up in Broken Hill, NSW, she draws on the practices of caring for Country, and the knowledge held within her family to ensure these traditions continue for future generations.

Visit ATW to view Emma’s exhibition or join her workshop:

▪ Traditional Weaving with Native Grasses
🗓️ Saturday 20 June
🕚 1 - 3 pm
🎟️ Adult $140 | ATW Friends / Concession $126
🔗 Book via link in bio

▪ Exhibition
🗓️ 14 May - 27 June

—
Pictured: 1. Portrait of Emma Stenhouse by Artist Lane | 2. Emma Stenhouse ‘Woven lomandra sections’, 2025, Photography by Colour Factory. @emmastenhouseart

The Regional Residency is generously supported by Alayne Davies through the Irene Davies Residency Scholarship and ADFAS Yarra.

ON NOW | Floras Localis: Colour + Place

Floras Localis: Colour + Place brings together practitioners connected by a shared exploration of colour, materiality and place. Combining natural dyeing and circular design methodologies, the works develop hyper local palettes drawn directly from the Australian landscapes through foraged, found, and reclaimed materials. The exhibition unfolds as a series of textiles, ceramics, jewellery and vessels that trace the dialogue between design and site.

Including works by Sally Evans + Heather Thomas, Joanna Fowles, Tammy Gilson (Waddawurrung), Siri Hayes, Amanda Ho, Spiraro, Georgia Stevenson and Melinda Young.

Floras Localis: Colour + Place
🗓7 May - 11 July
📍 Australian Tapestry Workshop
🔗 Read more via the link in bio

Part of Melbourne Design Week (14–24 May 2026), presented by @NGVMelbourne and @Creative_Vic #NGV #MelbourneDesignWeek #CreativeVic #CreativeState
@f_emera @wildheather_australia @joannafowles @tammy.gilson.52 @sirihayes @spiraro__ @madebymelindayoung @georgiastevensonceramics @howardmoonage @theweaversworkroom

Pictured: Melinda Young, ‘Landlines’ (Speculative Vessels – carved, gathered, stitched, crusted, rusted, stained) 2021 - 2025. Various materials. Photography courtesy of the artist.

ON NOW | Floras Localis: Colour + Place

Floras Localis: Colour + Place brings together practitioners connected by a shared exploration of colour, materiality and place. Combining natural dyeing and circular design methodologies, the works develop hyper local palettes drawn directly from the Australian landscapes through foraged, found, and reclaimed materials. The exhibition unfolds as a series of textiles, ceramics, jewellery and vessels that trace the dialogue between design and site.

Including works by Sally Evans + Heather Thomas, Joanna Fowles, Tammy Gilson (Waddawurrung), Siri Hayes, Amanda Ho, Spiraro, Georgia Stevenson and Melinda Young.

Floras Localis: Colour + Place
🗓7 May - 11 July
📍 Australian Tapestry Workshop
🔗 Read more via the link in bio

Part of Melbourne Design Week (14–24 May 2026), presented by @NGVMelbourne and @Creative_Vic #NGV #MelbourneDesignWeek #CreativeVic #CreativeState
@f_emera @wildheather_australia @joannafowles @tammy.gilson.52 @sirihayes @spiraro__ @madebymelindayoung @georgiastevensonceramics @howardmoonage @theweaversworkroom

Pictured: Melinda Young, ‘Landlines’ (Speculative Vessels – carved, gathered, stitched, crusted, rusted, stained) 2021 - 2025. Various materials. Photography courtesy of the artist.

Thoughtful Gifts For Women Who Inspire Us

What do you give the women in your life, whether a mother, mentor, or loved one, when you’re looking for something lasting?

The tapestries pictured here offer something beautiful and quietly absorbing. These unique, collectable works of contemporary art bring warmth and depth to any space.

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Explorative Study - Pink Heath, 1979. Designed by Marie Cook, Woven by ATW. Wool and cotton. 42 x 36 cm.

Explorative Study - Untitled II, 2003. Designed by Margaret Stones, Woven by Chris Cochius. Wool and cotton. 22 x 25 cm.

Explorative Study - Yarra Valley Wild Flowers, 1988. Designed by Faye Plamka, Woven by ATW. Wool and cotton. 22 x 26 cm.

Thoughtful Gifts For Women Who Inspire Us

What do you give the women in your life, whether a mother, mentor, or loved one, when you’re looking for something lasting?

The tapestries pictured here offer something beautiful and quietly absorbing. These unique, collectable works of contemporary art bring warmth and depth to any space.

-
Explorative Study - Pink Heath, 1979. Designed by Marie Cook, Woven by ATW. Wool and cotton. 42 x 36 cm.

Explorative Study - Untitled II, 2003. Designed by Margaret Stones, Woven by Chris Cochius. Wool and cotton. 22 x 25 cm.

Explorative Study - Yarra Valley Wild Flowers, 1988. Designed by Faye Plamka, Woven by ATW. Wool and cotton. 22 x 26 cm.

Thoughtful Gifts For Women Who Inspire Us

What do you give the women in your life, whether a mother, mentor, or loved one, when you’re looking for something lasting?

The tapestries pictured here offer something beautiful and quietly absorbing. These unique, collectable works of contemporary art bring warmth and depth to any space.

-
Explorative Study - Pink Heath, 1979. Designed by Marie Cook, Woven by ATW. Wool and cotton. 42 x 36 cm.

Explorative Study - Untitled II, 2003. Designed by Margaret Stones, Woven by Chris Cochius. Wool and cotton. 22 x 25 cm.

Explorative Study - Yarra Valley Wild Flowers, 1988. Designed by Faye Plamka, Woven by ATW. Wool and cotton. 22 x 26 cm.