Liminal Materials – Charrette van Eekelen, Jillian Wordsworth, Tracy Hay

Charrette van Eekelen, Jillian Wordsworth, Tracy Hay

Showing 26th July 2023 - 13th August 2023

Exhibition Information

Liminal Materials – Charrette van Eekelen, Jillian Wordsworth, Tracy Hay - Charrette van Eekelen, Jillian Wordsworth, Tracy Hay


In the realm of liminal materiality, the artist becomes an explorer, constantly pushing the thresholds of what is possible. It is within this creative space that the true magic of paint and materiality unfolds. These artists, Tracy Hay, Charrette van Eekelen and Jillian Wordsworth, continue to push these boundaries. They invite us to question our own preconceptions, to engage with the liminal spaces that exist within and beyond our physical world. This brings forward past memories turning them into new versions and depictions in the present day. In doing so, we discover new dimensions of artistry and the transformative power of pushing thresholds.

The act of pushing thresholds requires a willingness to embrace the unknown, to venture beyond the familiar territories of artistic practice. These three artists explore the possibilities of incorporating non-traditional materials into their paintings, such as fabric, thread, or even organic matter. By doing so, they disrupt the established hierarchy of materials and challenge the viewer’s perception of what constitutes a painting and how we hold our memories, inviting a new experience and way of seeing.


Charrette van Eekelen
Charrette van Eekelen has been exploring the use of fabric, hand embroidery, and assemblage in her recent works. Having recently completed the Ilam School of Fine Art’s MFA in 2023, she has developed a unique approach to painting using fabrics that are painted and then stitched with freestyle embroidery. The stitches in her work serve various purposes, resembling pencil drawings, guiding fingers pointing to specific elements, or creating shadows and light.

With a background in sculpture and painting, van Eekelen merges these two disciplines while also acknowledging the historical lineage of embroidery and craft makers from the past and present. By intentionally playing with quilting, paint, and fabric, she incorporates both personal and universal images into her artwork. These images are drawn from the recesses of her mind, childhood memories, or beloved artworks. She finds inspiration in recalling these images, whether they are from her own past or great masterpieces, and seeks to discover something new within them, reimagining and reconstructing them in the process.

Materiality is a crucial component in van Eekelen’s work. She works alongside the materials, allowing them to guide and shape the final outcome. By merging painting and embroidery, both done by hand and machine, on fabrics, she creates layers that intertwine memories, while also editing and reconstructing the images. This process allows her to hold onto the familiar while moving forward, creating a way to explore new possibilities.

Stitches, in particular, hold a special significance in van Eekelen’s work. She sees them as representing time, as they can move in all directions, much like the passage of time itself. Through the combination of various artistic techniques, van Eekelen intertwines memories, personal experiences, and artistic exploration to create unique and layered artworks.


Tracy Hay
I am interested in the transformative characteristic of paint from a liquid to a pliable form, one which can be used to create interesting patterns.

Dried paint, made through an industrial and chemical process have at once been used and reused in this ongoing study. Made for other works which have since been disassembled, these paint strips have been reclaimed and regenerated to create colourful new works.

This concept of repurposing and frugality have been extended to the simple running stitches, or Japanese ‘Boro’, through the paint. The word ‘Boro’ comes from the simple straight stitching used in Sashiko. The reworking of both the paint and the stitch is made with a single strand of embroidery thread while the paint reflects the geometric forms and patterns seen within Sashsiko.

Through colour play and structured patterning, there is a relationship between these re-imagined works, one of chance and structure, fluid and solid, shape and form.

Jillian Wordsworth
Meditations whilst out walking.
Within this fast-paced modern world is felt a calling; a hunger to nurture the spirit through connection with land and with nature.  My art becomes my meditation, stilling my mind, creating my pause as I reflect on my experiences.  I seek to record those moments in which the every day becomes unfamiliar; a fragmentation which opens a space for encounters with a world beyond the now.

An openness to alternative ways of viewing and understanding the world led to an investigation of Japanese aesthetics and art practices.  There I read of the concept of Kehai, a presence not clearly seen but rather vaguely perceived.  The calligraphic script for this term incorporates concepts of spirit, mind, atmosphere and mood.  The materials utilised in these works owe some influence to Japanese traditions, but are more generally reflective of traditional materials utilised in early European art forms.

The morning fog hangs in the air
A misty veil enveloping
A private world
A quiet place
The world so familiar becomes barely recognisable
and I am invited to look anew. 

Full Exhibition Works

Liminal Materials – Charrette van Eekelen, Jillian Wordsworth, Tracy Hay - Charrette van Eekelen, Jillian Wordsworth, Tracy Hay

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