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CFPR at Making Futures 2026

Researchers from the Centre for Print Research (CFPR) at UWE Bristol will share their work at Making Futures 2026, taking place at Arts University Plymouth from 29–31 October.

Our contributions explore how creative research can rethink our relationships with materials, technology, craft and ecological responsibility.

Dr Laura Morgan, Florence Robinson and James Knight explore how robotics, digital fabrication and textile craft knowledge can work together to repair garments and extend their lives.

29 October
11:20 - 12:20

Dr Sofie Boons explores crystal growth as a collaborative process between people and materials, considering its potential to reshape craft practice and our understanding of material ecologies.

30 October

11:00- 12:20
&
1:30- 3pm

CFPR PhD researcher Bo Lanyon presents practice-led research exploring botanical pigments, earth-derived colour and the role of materials as collaborators in artistic practice.

30 October
11:00- 12:20

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Juliet Bailey @dashandmiller last week kindly also took us on a surprise visit to meet the lovely @angieparkertextiles just before we left Bristol.

It was so nice to meet Angie and to see her archive collection of the hugely influential weaver Peter Collingwood OBE’s (1922 -2008) looms, weaving samples, tools, huge library and notes. It was also clear that all roads lead back to Ethel Mairet and Ditchling village with Collingwood’s own copy of Vegetable Dyes being part of the archive! (He was taught by Mairet and Barbara Sawyer). Collingwood’s amazing macrogauze weavings were created on the loom in image 1, touchingly covered in newspaper ‘graffiti’ that reminded me of my mum! It’s wonderful that Angie has been using the looms - here in image 1 she’s holding up a small piece she wove using his techniques. Image 2: a crateful of Collingwood samples, image 3: a mix of weaver’s hand tools including the copper one which may have belonged to Mairet herself.

Angie explained that she accidentally become the keeper of this extraordinary archive a few years ago in order to keep it intact, as Collingwood wished and is in the process of working out how to make it available to others as a wonderful resource.

Angie is of course a talented weaver herself specialising in beautifully colourful rugs and hangings using traditional techniques such as Krokbragd, in vibrant contemporary colours - she also teaches and has published a gorgeous book on Krokbragd, see final image.

Thank you to Juliet for the introduction and to Angie for hosting us all ❤️

#handweaving #petercollingwood #weavingarchive #krokbragd

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Snippets of weaving studio life that caught my eye on Monday @dashandmiller in Bristol visiting the very talented Juliet Bailey and her team. A complete profusion of great cops of colour, and looms old and new creating such variety of textiles! 💙💛❤️

#weaving #wool #colour #threeacresofcolour

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Wonderful day on Monday presenting our prototype storage enclosure for the amazing Three Acres of Colour project for @garryfabianmiller at Juliet Bailey’s very inspiring Bristol weaving studio @dashandmiller @bristol_weaving . For @tabbygibbs_conservation who made the enclosure and hanging mechanism, @ania_m_golebiowska who came because of her natural dye experience and myself (driver) it was a truly fabulous, collaborative day, worthy of several posts (my posting mojo might be back).

We had the opportunity to meet some of the project’s key players including @riagrowsdyes who has done done all the natural dyeing and Juliet and her wonderful team who have woven all the pieces completed so far - and to spend some more time with current hero Garry, looking resplendent in a fabulous shade of green. (Previous post about our last encounter temporarily pinned)

Still to meet are Sarah Griffin who is growing and harvesting the crops on her Valley of Pewsey farm, the owners of the Dartmoor flock of sheep and the Cornwall spinners The Natural Fibre Company. What a collaboration!

It was a wonderful opportunity for Garry and Ria to see six of the nine woad woven squares in their subtly changing shades laid out together for the very first time. A similar number of the weld squares are also now complete with the madder shades due to follow along soon.

Such an honour to be involved in a small way with this amazing project to ensure suitable inert conservation storage and integral simple hanging mechanisms for all 27 pieces.

#preventiveconservation #textilconservation #naturaldye #weaving

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What a fun week! Working on some content. Big thanks to everyone involved so far. 🎬 @territotailoring @brownintowntailorsandatelier @daviddarbyminns @jokototailoring @dashandmiller @bristol_weaving @haigharrisons @clifton_suits @robsonhowes ✂️🪡🧵

#bristol #bespoketailoring #tailoring #videography #photography

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Tonight we will officially launch the public art programme for the Temple Quarter Enterprise Campus - last minute tickets are available via @bristol_uni_publicart

Here are a few highlights from the Charting Change engagement programme, facilitated by myself and Programme Artist Jack Stiling @stilings_workshop from 2024 - 2026 which informed the development of my final artwork, Soft Monument.

1 - 2: We held a public exhibition called Work in Progress at St Anne’s House @bricksbristol with Barton Hill History Group back in 2024. This showed Jack’s photography of the changing Temple Quarter area, his interactive kinetic sculptures and my early research and artworks on the design and development of the patterns and motifs which led to Soft Monument.

3 - 4: We collaborated on several workshops with the University’s historic printing press Bristol Common Press @bristolcommonpress to create letterpress posters - a pair with women in engineering at the university and students studying philosophy, and a pair as an original artwork by Jack and I called ‘Working Titles: Construction and Weaving’.

5 - 6: We held community visits to the weaving mills and fabricators Dash & Miller @dashandmiller and The Bristol Weaving Mill with Somali elders group Ayeeyo and Awoowo @ayeeyoandawoowo and explored grasses at the University’s Botanic Gardens @brisbotanicgdn

7 - 8: We co-hosted a creative welding workshop for local women over 60 with WTF Workshops @wtfworkshops and Barton Hill History Group.
9: I made a portrait series of the participants wearing their artwork which was installed at Wellspring Settlement.

10: We facilitated a play and engineering workshop for families at Barton Hill Microcampus with Jack’s wrecking ball sculptures and mini buildings.

All of this (and much more!) has been percolating into the final artwork, Soft Monument (11), and Jack’s artwork, audio piece Ear to the Ground, which you can listen to on the UoB website via @bristol_uni_publicart

It has been an epic journey of nearly 3 years of work, and I cannot wait to share the results with the public today!

Come and celebrate tonight! 6-8:15pm 🙌

#publicart #socialpractice

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Rana Begum‘s (@ranabegumstudio) large-scale tapestries in ‘Taking Form,’ her upcoming solo show at The Third Line, grow out of a collaboration that began in 2022—when she developed seat covers and tapestries for the Bristol Beacon Transformation, commissioned by Bristol City Council and curated and produced by Field Art Projects (@fieldartprojects).

Working with the textile studio Dash & Miller (@dashandmiller) and Bute Fabrics (@butefabrics), Begum created textured jacquard designs whose pattern and material respond to the sound and light of the space. Swipe to view ‘No. 1218,’ ‘No. 1219,’ and ‘No. 1226 Textile’ at Bristol Beacon (@bristol_beacon).

📍 Bristol Beacon, Bristol, UK

Image: Courtesy of Bristol Beacon. Photo: Jamie Woodley.

Tap the link in our bio for more information.
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#RanaBegum #BristolBeacon #ContemporaryArt #TakingForm #TheThirdLine

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Soft Monument - final reveal! Today I visited the site to put the finishing touches to Soft Monument @bristol_uni_publicart @contemporaryartsociety and document it all together with the floor cushions in situ, and seat upholstery by @catupholstery.

Here it is! Details below.

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Soft Monument, 2024 - 2026

Soft Monument is an ode to the invisible labour of women - the work which rarely receives its
own monument but is monumental in effort, sacrifice and repetition as well as joy.

The artwork traces the role of women in shaping industrial history, from Barton Hill to the
wider world. Four large-scale yet familiar objects represent weavers, welders, seamstresses,
and the domestic labour of unnamed women. Geometric repeat patterns evoke the rhythms
and cycles of industry, reminding us of the threads across generations which connect us to
place.

The monument becomes the negative space within the circle of soft, wool panels which hold
invisible conversations, ideas and reflections, honouring those whose unseen contributions
have supported people in this space to gather, connect and innovate.

__

Soft Monument is made of British wool and mild steel. It was fabricated by local women-led
businesses: woven by Dash & Miller @dashandmiller and the Bristol Weaving Mill @bristol_weaving ; metalwork by Dizzi Lombardo @thirteen.thirty.0ne and Lottie Smith @foragedsmith and pieced together by Jokoto Tailoring @jokototailoring

#publicart #textilesculpture #weaving

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Today was the culmination of 2 and a half years of work: installing my public artwork Soft Monument at the University of Bristol’s Temple Quarter Enterprise Campus.

It was incredible to see my designs come to life and wrap around the communal seating area of the Story Exchange one by one.

The amount of people who have worked so hard to bring this project to life behind the scenes is astounding, and I am very grateful and honoured to have your support and backing as the project has developed. The building will be open to the public from 7th Sept - come and see it!

Many, many thanks to:

Production team: Megan O’Shea at @contemporaryartsociety ; Martha Crean and Nicki Kent @bristol_uni_publicart ; the whole Public Art Advisory Panel and University of Bristol team; Programme Artist Jack Stiling @stilings_workshop

Engagement programme contributors: Ayeeyo and Awoowo @ayeeyoandawoowo and Barton Hill History Group (see Facebook); Dr Rhiannon Daniels and team @bristolcommonpress ; WTF Workshops @wtfworkshops and local women who learnt welding; Barton Hill Microcampus team.

Fabrication team: the entire crew at @bristol_weaving and @dashandmiller for weaving the panels; metalwork fabrication by Dizzi Lombardo @thirteen.thirty.0ne and Lottie Smith @foragedsmith ; sewing and piecing by @jokototailoring and upholstery by @catupholstery

Install support: Spike Island technical team @spikeisland ; SRM @wearemcalpine and Feilden Clegg Bradley Studios @fcbstudios

Documentation: Beeston Media @beestonmedia

Thanks to many others I don’t have space to name and all those I didn’t meet who set this project in motion and kept it going. I appreciate you all!

#publicart #weaving #textileart

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After a nerve racking drive down the tiniest of Devonshire lanes, Geoff and I had the complete pleasure yesterday of visiting @garryfabianmiller at his and Naomi’s beautiful home, held deep within their sublimely beautiful woodland garden that blends seamlessly into the surrounding Dartmoor National Park. It was an utterly idyllic end to our week in the southwest of England. The whippets happily racing and pottering contentedly whilst we talked and talked for hours, finding so many connections and shared interests.

It was such a privilege to understand a little more about the thought processes and fascinating techniques behind Garry’s extraordinary colour saturated prints he used to make in his Darkroom and the related work he has continued to make since. And to hear of his deep connections to artists such as Samual Palmer, his fellow artist ceramicists and the inspiration he has drawn from the work of Ethel Mairet and other textile artists such as Elizabeth Peacock.

And it was as wonderful to hear first hand the backstory to the wonderfully collaborative Three Acres of Colour project that we are playing a very small end role in, as the weavings gradually move towards completion over the next couple of years. Fields of weld, woad and madder have been locally cultivated, harvested and hand processed into dyes. Local wool has been gathered, spun and is being dyed. And beautiful squares of pure gradations of colour are being woven @dashandmiller. A full circle of local SW of England production!

One of the aims of the project is to find sustainable, economic ways of upscaling from the traditional hand production of these natural dyes in the way that Ethel Mairet worked with them more than a century ago in Ditchling, into something larger scale for more commercial but sustainable production. The bringing together of so many artists and craftspeople is really inspiring - with the amazing @garryfabianmiller and his fascinating Darkroom in his Dartmoor idyl at the centre. Thank you so much for your time Garry, I hope there will be more conversations to follow and more connections to find ❤️💙💛

#threeacresofcolour #collaboration #naturaldye #colour

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After years of research, quiet planning and collaboration, I’m finally ready to share Architecture of Tailoring as it begins to unfold publicly. I’d love to invite you to to follow the journey.

Over the last several years, my practice has shifted from Savile Row tailoring and fashion design at Calvin Klein towards large-scale textile installation.

Architecture of Tailoring brings together weaving, British wool, bespoke tailoring and architectural space into a new body of work.

Over the coming months I’ll be sharing the making process, collaborations and exhibition updates as the project evolves.

Join the waitlist to receive early exhibition news, artist talks, demonstrations, workshops and opening announcements.

www.architectureoftailoring.com
Link in bio
 #ContemporaryArt #InstallationArt #TextileArt #contemporarytextiles  #britishwool

A big thank you to @woveninthebone
More coming soon with those sneak peaks.

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