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Cruthaich! a Celtic inspired exhibition to coincide with CeltFest Warwick in 2022

3 March to 19 April 2022

Artists are invited to apply to be a part of Cruthaich! a celtic-inspired exhibition hosted by Warwick Art Gallery to coincide with CelticFest Warwick in 2022. The exhibition will run from 3 March through 19 April and it is anticipated that the festival will attract an audience of 6000 people.

Whilst ancient Celtic art varies between time and place, it is collectively underpinned by a desire to enhance the beauty of the everyday. Art appeared in all kinds of objects including functional items such as cooking vessels, brooches, combs, and hairpins. 

Drawing inspiration from this, artists are invited to take an everyday object and elevate it. Artists are encouraged to use any object available to them and turn it into a work of art. This could be something as simple as a cup, a wooden spoon or a book. Two-dimensional depictions of objects are also welcome.

Artists may wish to draw inspiration from some of the common themes in Celtic art such as:

  • The use of abstract geometric patterns, vegetal designs and swirling, interlocking lines
  • A love of flowing forms
  • Depictions of animals (real or imagined), particularly animals of the forest
  • The desire to convey messages of power
  • Depictions of gods, warriors and important figures
  • Decorative writing and illustration

FILL OUT ENTRY FORM HERE. Save the completed form then email it to us at This email address is being protected from spambots. You need JavaScript enabled to view it. Entry is free. Submissions close 4 February 2022 Applicants will be notified of the outcome of their application on 11 February. Please direct all enquiries to: This email address is being protected from spambots. You need JavaScript enabled to view it.


Algalrhythms - Life Movements


6 January - 12 Febraury 2022

Bluebottle Remains 2020 resizeSvenja's Artist Statement

"In December 2019, before the world as we know it changed, I spent five weeks wandering the shores of King Island. Without knowing what was to come, I already felt quite despondent about the apocalyptic events dominating the world news. It had been a year of Trump, #metoo, Greta Thunberg, endless gun violence, war, and terrorism, culminating in the epic fires burning in Australia.

Interestingly, what I found on the shores of King Island reflected this theme in some ways. My thoughts regarding death and decay and the fragility of life, found substance in the wealth of kelp in varying stages of colourful decay on the shores; the skeletons of birds ripped from the skies, the bones of wallabies, and the carapaces of sea life littering the island – they all had a beauty – and a stillness - to them that calmed me. On reflection some time later I realised that this was the phenomenon biophilia – a hypothesis proposed by Edward O. Wilson that humans possess an innate tendency to seek connections with nature and other forms of life. With that connection comes the realisation that we too, are part of that endless cycle of life, and that every stage of it is beautiful in some way.

Green Lichen 2020. Photo Svenja. Free motion embroidery botanical dyeing acrylic paint. resizeA further hypothesis called urgent biophilia (Keith Tidball 2012) posits that when disaster strikes via geophysical events, war, pandemic and the like, humans ‘seek engagement with nature to further their efforts to summon and demonstrate resilience’, and that ‘within the envelope of our skin is a biological entity which, through evolution, has been tuned for survival in natural environments’. By engaging with nature on the island and for the months afterward as I explored it through textiles, I believe I was feeling biophilia. For those that can’t reach nature, I hope that my imagery inspired by it may help them in their search for connection with it, now needed more than ever.

Dried Kelp 2020. Photo Svenja. Moulded and boilded leather acrylic paint heat distorted organza resizeMy primary form of record keeping during the residency was photographs, and some of these are on display with the related works as very obvious indicators of my inspiration. Others were more difficult to transcribe, as they weren’t necessarily an object of focus, but perhaps more a sense – of retained movement, of decay, of disintegration back into the earth. As the body of work grew, the distance from photograph to work grew – firstly towards altered digital prints on fabric, then to stylised lino prints on paper and fabric. This was a pleasing progression, as I wanted to move away from re-creating, to expressing my own interpretation and reaction.

My work explores the beauty of ‘tragedy’ using the many textile techniques I have used in the past decade making wearable art works – most of them biologically inspired. Dyeing is often a starting point, followed by free-motion embroidery, shibori shaping, needle and wet felting, leather moulding, and now 3D pen printing and digital sublimation printing."

Official Opening Saturday 8 January at 1.00pm
Artist Talk Saturday 22 January at 10.30am


Baltic Mini Textile Gdynia: on tour from the Gdynia City Museum, Poland

2 December 2021 to 15 January 2022

 DSC7358 resizeLaunched in 1993 in Gdynia, Poland, the Baltic Mini Textile exhibition is one of Europe’s leading reviews of textile miniatures. The juried event is held every three years featuring artists from all over the globe.

The remarkable characteristics of the 20cm x 20cm x 20cm textile miniatures are significant for their close ties with the latest trends in contemporary art. The artists are given strict size restrictions while being left with a freedom of choice of topic, material and technique; the resulting miniatures serve as veritable laboratories illuminating the new possibilities presented by artistic textiles.

Warwick Art Gallery was one of the venues selected to receive the first Australian tour of the Baltic Miniatures in 2013. Gallery Director Karina Devine explains how the exhibition was pivotal for the Gallery’s following of textile artists by introducing innovative and radical ideas for their own practice.

 DSC7295 resize“The first international tour of the Baltic Mini Textile collection remains one of the most talked about and influential exhibitions we have had,” says Karina, “Working with the curator at Gdynia City Museum to arrange this tour of mainly works from the 2016 and 2019 Baltic Mini Textile Gdynia exhibitions has been complex but wonderfully rewarding. I am thrilled to demonstrate to other small to medium galleries that big dreams are possible even if you are a small organisation in regional Australia”

The Baltic Mini Textile Gdynia exhibition features 36 exquisite works from artists based in Europe, the United Kingdom and Australia. The works arrived in Australia, travelling by air, in June after several delays due to COVID19.

 DSC7232The Baltic Mini Textile Gdynia exhibition showcases the ingenuity of textile artists as they experiment with scale and push the boundaries of accepted traditional textile materials. The creative solutions reveal the exciting possibilities of the miniature genre.

Warwick Art Gallery (Queensland, Australia) and Gdynia City Museum (Poland), have collaborated to bring this special exhibition to tour Australia. It is a unique partnership that offers a once in a lifetime experience for all lovers of contemporary art.  Warwick Art Gallery is open Tuesday to Saturday 10am to 4pm. It will be closed between 24 December and 3 January.  Enquire about the exhibition by contacting Karina Devine This email address is being protected from spambots. You need JavaScript enabled to view it.

Lene Helmer NIELSEN (Denmark) Tasty embroidery 1 2016 embroidery, embroidery on paper, linen tulle netting
Michelle ANDREWS (Australia) Echidna  2016 tesselated origami, cardboard paper
Hanns HERPICH (Germany) Perforation 2016 own technique, wool

  • Always worth a visit - there is something new and inspirational to see
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