It is a natural technique for her though, and her mastery of this skill is clear when one watches her create a stencil and print its design onto fabric with her deft touch. She quickly realised it was a printing method harking back to ancient Egyptian times. She now jokes that she initially thought she invented the technique simply because she had no knowledge of anyone doing it previously. Stencilling is a signature technique of Susan’s, which developed out of block printing. Here Dallaway-Davidson examines stencilling, which is arguably Susan's signature and the most well recognised part of her practice.Ĭhapter Three: ‘Fabric Explorations: mastering the craft – Stencilling’ Written by Cerys Dallaway-Davidson, Collection Manager at Auckland War Memorial Museum, the final chapter is a glossary of kind, exploring the techniques Susan developed across her career. The following extract is taken from the publication Susan Holmes: Fabric Artist, which has been created in conjunction with the exhibition of the same name at Objectspace Gallery in Ponsonby, Auckland (19 November 2016 - 04 February 2017). Magic Feather Dress (and detail), Susan Holmes, 1995 Auckland War Memorial Museum Tāmaki Paenga Hira 1997.54.1 The magic and artistry of her craft lies in the techniques and processes she has developed in the surface modification of cloth.
Susan is a thoroughly tactile and largely self-taught artist whose intuitive engagement with fabrics is the cornerstone of her creativity. From an unassuming start of creating potato printed silk scarves, her practice has spanned the worlds of craft, fashion and fabric art, culminating in a significant contribution to the field of wearable art. Over four decades award-winning Auckland fabric artist Susan Holmes established a broad repertoire of fabric art skills.
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