Educated at Edinburgh College of Art 1982 – 86 graduating with BA (Hons) First Class and Post Graduate Diploma, Commended. More recently completing PGCE in Learning & Teaching (Creative Practices) at Glasgow University, 2011.
Teaching experience began at Cumbria College of Art and Design 1990-96 moving on to Glasgow School of Art working with first year students in the School of Design. More specifically since 2007 Jo has taught in the department of Fashion & Textiles with responsibility for Y1 Textiles.
Alongside her teaching, Jo has a W.A.S.P.S. studio in Edinburgh where she makes work for exhibitions and to commission. She has regularly exhibited nationally and internationally since graduating, with work in numerous public and private collections.
Research interest lies in the meetinmore...
Educated at Edinburgh College of Art 1982 – 86 graduating with BA (Hons) First Class and Post Graduate Diploma, Commended. More recently completing PGCE in Learning & Teaching (Creative Practices) at Glasgow University, 2011.
Teaching experience began at Cumbria College of Art and Design 1990-96 moving on to Glasgow School of Art working with first year students in the School of Design. More specifically since 2007 Jo has taught in the department of Fashion & Textiles with responsibility for Y1 Textiles.
Alongside her teaching, Jo has a W.A.S.P.S. studio in Edinburgh where she makes work for exhibitions and to commission. She has regularly exhibited nationally and internationally since graduating, with work in numerous public and private collections.
Research interest lies in the meeting points between traditional drawing techniques; digital manipulation as a design tool, and the employment of traditional textiles hand-skills as a method of manufacture, specifically the Gobelin tapestry weaving technique.
Interests lie within the arena of embodied knowledge -
“Routines, habits, tasks and information our bodies "understand" without conscious thought”.
Juhani Pallasmaa – The Thinking Hand
2009
- and the interplay between drawing, making and material curiosity.
“Good work depends on the maker having curiosity about the materials at hand”.
Richard Sennett – The Craftsman 2008
Past subject matter of qualities and patterns of light are currently being explored in combination with qualities of fluidity – inkiness and brush marks. The challenge lies in capturing these spontaneous qualities when translated into hand woven tapestries.
Selected galleries:
V&A Museum, London.
Saatchi Gallery, London
Barbican, London
Ruthin Gallery, Wales
The Scottish Gallery, Edinburgh
Contepmporary Applied Arts, London
Brown Grotta Arts, USA
Selected public collections:
V&A Museum
House of Lords
National Museums of Scotland
Scottish Executive
RVI Hospital, Newcastle
Selected books:
Textiles: The Art of Mankind (Thames & Hudson)
British Textiles: 1700 – t the present (V&A Publications)
Tapestry: A Woven Narrative (Black Dog publications)
