fibre Quarterly  volume 2 issue 3 Summer 2006  

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Hillary Webb: Molecular colour and line  

Hillary Webb has been making the rounds of Craft Shows since graduating with a Bachelor of Design from the Ontario College of Art and Design in 2005.  Her work consists of cotton, wax, natural dies, tattered holes, reverse appliqué and thread combined to create objects/ images reflective of an organic world.

By waxing dyed cottons to deepen colours, embellishing with beading, and drawing with both graphite and embroidery, Hillary Webb draws on a seemingly microscopic, if not molecular, view of nature. Her subtle sense of colour and form is always under control, regardless of the size or shape of each piece. A broach or bookmark, alone or framed in a shadow box, are as finished as her larger wall pieces.

With attention to detail and layering of materials, Hillary is building a body of work to keep watch for.  Now is the time to invest -- with her career just beginning, and while she is still doing the "Craft Show" circuit, you have time to encourage this new artist.

If you missed her at the Toronto Outdoor Show, go to her website to view her work and see what is next:   

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The Sweater Lodge 

The Canadian Design Studio of Pechet and Robb warm up the Venice Biennial in Architecture this coming fall with their installation called SweaterLodge. 

 Bill Pechet and Stephanie Robb run an award-winning interdisciplinary design practice, based in Vancouver , with backgrounds in both architecture and fine art.  Since 1991, they have produced a portfolio of projects which include private residences, cemeteries, memorials, public art, commercial interiors, exhibitions, set designs and furniture. Their interest lies in developing environments which bridge the worlds of art and imagination to everyday life with a trademark theatricality, wit and cultural commentary.

The 10th Venice Biennale in Architecture began in 1984, adding a new component to a cultural institution that started in Venice in 1895, and has grown to include most aspects of Cultural production: visual arts, theatre, music, dance, literature and film. This year’s event which takes place from September 9th - November 19th will focus on the design of cities and their urban infrastructure and social dynamics, providing a unique international perspective on the relationship between architecture, society, and sustainability. The twelve-week exhibition will tackle the key issues facing cities today -- from migration and growth, to mobility and sustainable development.  It will examine the role of architects and architecture in constructing democratic and sustainable urban environments, and their links to policymaking, governance and social cohesion. It will propose a manifesto for Cities of the 21st Century – focusing on the potential of cities to contribute to a more sustainable, democratic and equitable world.

It will also provide the professional audience with new and detailed information of the complex issues that affect urban growth today: new developments in transport, emerging forms of urban governance, and the new landscapes of housing, workplaces, and public institutions that are shaping the contemporary world.

SweaterLodge has been chosen through a national juried competition to represent Canada at the 2006 Venice Biennale of Architecture. It is a multi-media exhibit reflective of: Canada ’s vast wilderness, our resourcefulness, our dedication to sustainable living and, our collective enjoyment of outdoor recreation.

The main element of SweaterLodge is a giant polar fleece sweater. Offering visitors a warm welcome, this common article of Canadian street wear is amplified into an iconic architectural environment, reflecting how outdoor leisure lifestyle intersects with Vancouver urban living. The polar fleece fabric is made from recycled plastic drink containers. Suspended within the Canadian pavilion, the inhabited garment becomes a lodge, a voluminous glowing orange interior space, evoking fire light and the brilliance of out-in-the-woods safety wear.

As visitors enter the sweater, they encounter a series of digital films showing vignettes about a city that intertwines wilderness and modern urban life. Each projection is activated by a viewer peddling a stationary bicycle: the faster they peddle, the faster the video plays.

The shipping crates and baggage used to transport the exhibition will transform to become pavilion furniture as SweaterLodge envisions a future where daily objects become multifunctional: a sweater becomes a lodge, packs become sofas, and bicycles become projectors.

After the exhibition, the 400 square meter sweater will return to Canada for a public “sew-in” event where it will be recycled into hats, scarves and mitts for charitable giving.

The Design Firm of Pechet and Robb  is in the home stretch for fundraising. They are hoping to raise another $25, 000 before the end of August. Creating a unique and memorable exhibit of this magnitude is an expensive proposition, and they rely on the generosity of government, corporate and private donations. 

People can donate on-line at All donations will receive an immediate tax receipt and  would be greatly appreciated!

 Lets get the Sweater Lodge to Venice and show what Canadian Design and Ingenuity is about


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The Textile Museum of Canada: Award Winning and Working Hard  

The Canadian Textile Museum celebrated its 30th anniversary in 2005 with eight mounted exhibitions and the launch of Canadian Tapestry, an online exhibition and database featuring more than 3,800 objects from the museums permanent collection. The event turned out to be a favourite of the 2006 Ontario Association of Art Galleries (OAAG) Awards which named A Terrible Beauty: an installation by Jennifer Angus, one of the eight exhibitions featured, as Exhibition of the Year, as well as recognizing Thor Hansen: Crafting a Canadian Style, with two awards for Design and Curatorial Writing respectively. Even the web launch did not go unrecognized at this years OAAG awards which granted Canadian Tapestry with the title of Website of The Year, a title that could be added to their growing repertoire as the site has also been awarded the prestigious Excellence in Arts, Lifestyle and Culture award from the Canadian New Media Awards.  

With so much attention at the OAAG awards, an increase in media coverage for A Terrible Beauty and subsequent increases in attendance, the TMC is using this interest to boost its role as public educator. The educational backbone of the TMC is well established thanks to the H. N. Pullar Library, and the creation of FibreSpace, a hands on creative education space that has been a part of the Permanent Collection Gallery since 2004. This coming fall the TMC will continue to grow with the launch of Arts for Youth – Arts for Life, a new special educational project directed towards students in the elementary and secondary school systems.    

As government and Board of Education budgets continue to tighten and arts related curriculum diminishes the TMC steps up its efforts to bring the museum experience to this next generation. The Museum offers engaging and inspiring curriculum-linked educational programs for school groups. Their gallery/studio programs include an educator-led tour of the current exhibitions with stimulating hands-on activities, affording each student the opportunity to create their own textile artworks connecting cloth and creativity to everyday life.      

To underwrite the cost of these programs for students and schools that are under stress from lack of funds and are unable to subsidize such activities, the TMC annual Golden Threads Campaign will fund this project. Arts for Youth – Arts for Life commencing in September will provide free-access for the large number of children from these disadvantaged schools. The TMC is looking to public for aid.  A gift of $50 will provide a visit for eight children: a donation of $125, for example will underwrite a field trip for 20 young people. Working in partnership with the Toronto District School Board and the DAREarts Foundation  ( the Museum will put its education department fully behind this increased effort.    

To support or find out more about this program visit the website

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fibre Quarterly  volume 2 issue 3 Summer 2006