The transformation of the fibres during the felting process is irreversible and not completely predictable. I closely observe the reactions of this lively and unconventional material and respond to unforeseen changes, either by removing or accepting, supporting and even underlining them as an individual feature of this work. In the very end, there will be a considerable change in expression when the so-far flat and wet felt is being shaped three- dimensionally and dried. I’m also fortunate to receive scraps of cloth and paper from people I teach or generally meet in the generous world of textiles. Those gifts often trigger an idea. “Tea Flora Tales” is a perfect example in which people created their own connection to the landscape in small postcard-size pieces reflecting local wildflowers and places of special interest. And that effort also helped raise awareness of the need to conserve habitats. Spotted was created for an outdoor exhibition in the dunes of the island Ameland in the Netherlands, and featured the work of ten artists. This island felt comforting and safe to Hannah, and she wanted to focus on the lichen found hiding amongst the grass. Cas grew up in Norfolk and now lives in Kent. Her work has appeared in both solo and group exhibitions across the globe. She regularly works on collaborations and community projects including a commission with the Garden Museum (London) and a project with a homeless charity in the Medway area. She was also an artist-in-residence at West Dean College where she regularly teaches.

As with any good textile art book, the fundamentals of art practice are included, so if this is your first foray into this world, Cas has got you covered. Felting has a long history of practical and decorative applications. Offering a textural and tactile appearance that can stimulate the desire to touch, it can be meditative to create, satisfying to embellish and an exciting and versatile material with which to sculpt.The book honours the landscape as much as it honours the textile art traditions; if you were uncertain of the value in stitching landscapes, you will feel encouraged and prepared to have a go.

Though Ahmed works in painting, video, and installation art, the Azerbaijani artist is most known for his fantastical carpets and embroideries. In these works, he playfully riffs on traditional weaving patterns, creating new rugs (though sometimes ripping apart old ones) that feature optical illusions, acid drips, and pixelated glitches. Ahmed’s process begins on the computer, where he uses Photoshop to create these psychedelic distortions. He then prints the design to-scale on paper before handing it off to a team of 20 to 25 weavers. I’m not so sure I make a clear distinction between the value of cloth and paper as a surface for stitch. Instead, I prefer to investigate how any material’s surface responds to stitch, as well as different mediums and techniques. The layout of the book is an additional benefit, with plenty of white space giving freedom to what may feel like a difficult subject to learn. The photography is strong and there are plenty of detailed elements that help you understand how to apply the techniques in your work. Cas shares her own work, giving you new ideas for your personal creative path ConclusionIn the early 1970s, Italian conceptual artist Boetti was thinking about collaborating with Afghan artisans. As a test run, he asked local craftswomen to create two embroideries, one with the words “December 16, 2040” (the 100th anniversary of the artist’s birth) and the other with the text “July 11, 2023” (the day he predicted he would die). The embroiderers strayed from Boetti’s original designs, however, surrounding the dates with floral patterns and decorations. Boetti—interested in the concept of chance in artmaking—enjoyed this surprise, and thus began his decades-long partnership with Afghan craftswomen. We’ve gathered five different landscape artists whose art is dedicated to showcasing their favourite sights and grand adventures. Each uses key landscape design elements, such as line, colour, shape, and perspective, but their techniques are as diverse as the terrains they present. Textile Landscape by Cas Holmes is published by Batsford. Artworks by Cas Holmes, photographed by Jacqui Hurst Our connection to the landscape and the natural world is deeply felt and meaningful. And as I recognised its value in informing my own practice, I wanted to share that with other makers. I want the reader to be as excited as I am by this ‘in-between world’ of cloth, paint and stitch to represent landscape aspects in their own work.