Details
Fabric thread and clay in glass test tube
H. 20 x dia. 5 cm
A botanical sculpture capturing the budding and blooming of the Blackthorn Tree. One of the first trees to blossom in early spring, the blackthorn is so striking as the flowers always appear before the leaves emerge, with the white bloom a strong contrast with the ebony bark. The petals, sepals and buds are created from manipulated silk fabric and clay, the stamen from stiffened thread. The twisted wire branch is wrapped in threads and silk. This sculpture is set in a glass test tube with a solid wood base.
About Emma Rosa
With a keen observation of nature, Emma Rosa uses multi-disciplinary techniques and mixed media to create botanical studies from fabric and thread, capturing the essence of a plant.
She is deeply drawn to antiquated botanical illustrations, how they capture the whole plant – every element is important, not just the flower that most regard as the focus of beauty - where science and art meet.
Marrying a foundation in fine art and a past career in dressmaking, she utilises machine embroidery and traditional Japanese flower making techniques, creating intricate botanical detailing. Finished pieces are often set in salvaged glass domes, vintage bottles, science equipment or specimen jars.
Nestled in the heart of rural Devon, the turning of the seasons, conservation and folklore are the threads that weave through her work.
"I started creating botanical sculptures in 2019 and have since exhibited with Make Southwest, Craft Festival, Unit 12 Gallery, White Chalk Gallery, Ramster Exhibition of Embroidered Art and Thelma Hulbert Open exhibition."
"In May of this year I had two pieces selected by the Society of Botanical Artists to show in Plantae Exhibition, Mall Galleries, London, where Passiflora was short listed for the ‘Making a Mark’ award."
Artist Q&A
When did you first work with textiles in art?
E: After a background in Fine Art, a career in dressmaking, then a break to start a family, I returned to my sewing machine in 2019, and began to experiment with manipulating fabric and thread into botanical studies.
How does the location of your studio/home come into your work?
E: A move to rural Mid Devon in the same year became the biggest catalyst for my work. My garden studio is nestled in the heart of the countryside, and I have all the subject matter I need in the hedgerows and fields that surround me. I relish the turning of seasons, and keenly observe the changes that take place throughout the year.
Do you listen to anything as you work?
E: I am a big fan of Audio Books, and can become very immersed in listening to some pretty epic tomes while my hands are busy! I have recently worked my way through Hilary Mantel’s ‘Wolf Hall’ series, and the tone and despair of these historical novels complimented my latest collection for this exhibition, as I became interested in the last ‘dying’ stages of plants.