A communion service at the Holy Covenant church in Jamison ACT, including dedication of the altar frontal by Ruth Hingston
On 29 November, the parish dedicated its new purple frontals for the altar, pulpit and lectern. They will be used during Advent and Lent. The deep, dark purple is complemented by a pathway of 40 stones wrapped in silver. Together they symbolise our journey towards the empty tomb. Christ always beckons us forward sometimes over ground that is rocky and through nights that can be dark and lonely. While it is easy to look only at our feet the heavens always declare God’s majesty, if only we look upwards.These have been gifted by the Daniels family as a small way of recognizing the long partnership of their parents, Jack and Beryl.
These frontals have been made by textile artist Ruth Hingston, who also made our green and white frontals.
an exhibition at CraftACT (an event in the 7th edition of Design Canberra), including Zooming Mindfully, a digital animation by Tim Brook and Ruth Hingston based on embroidery by Ruth Hingston
As Ruth explained:
The Coronavirus pandemic has introduced new ways to retain our connections with each other while we maintain physical distance. Now our social interactions are mediated by the screen. Zoom has become a popular digital platform to keep in touch, to foster our care for one another and maintain our mental health.
My regular Mindfulness meditation group’s practice has been transformed by Zoom this year. Usually we travel to a physical space together at a specific time. Now we Zoom in together from around the country from different time zones.
Sometimes it seems absurd that we sit in front of our screens in our separate homes, quietly isolating and logging on to Zoom, so that, as a group, we can close our eyes to meditate mindfully together.
One of our practices is to apply our mindfulness focus on an absorbing activity we enjoy, such as knitting, drawing or sewing. Although we are mostly silent in the presence of others, it seems we are all pleased to see each other, smiling and waving as we arrive and depart. I look forward to Zooming in again next week.
an exhibition of new work by Lucile Carson and Ruth Hingston
at M16, including embroidery and drawing by Ruth Hingston
The focus for this exhibition is the urban and suburban landscape in two capital cities, on places where we find evidence of increasing demand and changing expectations of our shared environment. Both artists have responded to the growing human footprint on these landscapes.
The annual CraftACT Accredited Professional Members exhibition at the CraftACT gallery, 180 London Circuit, Canberra, including Arriving Soon? an embroidery by Ruth Hingston
The setting for this piece is Canberra’s urban and suburban landscape, the places where we find evidence of increasing demand and changing expectations of our shared environment. Ruth has responded to the growing human footprint on this landscape, with a particular focus on the light rail project that is currently being constructed through the centre of Canberra’s inner north suburbs amidst continuing political debates about costs and completion dates.
Embroiderers from every region of Serbia gathered at the Australian Embassy in Belgrade to share skills and workshop new processes. Participants also displayed some of their earlier work, including the embroidery from Ruth Hingston’s Gudgenby residency
A retrospective exhibition of embroidery by Ruth Hingston at Galerija 42°, Cetinje, Montenegro
27 April–11 May 2018
The Erotic Cloth
launch of a Bloomsbury Academic book edited by Alice Kettle and Lesley Millar, including the chapter, An Embroiderer’s Jouissance, by Ruth Hingston
Some of the contributors to the book will discuss their work at three separate venues:
10 February at Midland Arts Centre, Birmingham
14 February at Manchester Metropolitan University
23 February at Art Workers Guild, London
A CraftACT exhibition celebrating ten years of the Namadgi Artist-in-Residence program, including Frosty Morning, Hospital Creek, an embroidered orihon by Ruth Hingston
Ruth’s new embroidery work, Frosty Morning, Hospital Creek, is a celebration of her early morning walks along the creek behind Gudgenby’s Ready-Cut Cottage, during her residency in early September 2016.
Ruth Hingston never fails to surprise with her inventive use of embroidery. Although in miniature, her very small seven-panelled embroidered screen narrates a vision of a monumental landscape that unfolds in all its delicate and detailed complexity, It is a reminder perhaps of the Japanese aesthetic of suggesting the majesty of nature through a miniature landscape in rocks and sand.
This demonstrates the variety and inventiveness of professional artists who live and work in Canberra. It includes works in a wide range of media, from embroidery to digital animation. Each work in the exhibition draws on material from a local collection of cultural material. Each celebrates an aspect of the lives and experiences of the real Canberrans, the people who have worked, raised families, played sport, made art and created communities.
The 2012 Accredited Professional Members exhibition at CraftACT, Canberra City ACT, including The New Playground an embroidery by Ruth Hingston
The signature of Ruth Hingston’s work can be found in her observations about the intricate relationship of people with the landscape. She uses drawing, mixed media and embroidery to reflect upon the perceptions of people in their daily interactions with their immediate environment. These interactions are unintentionally revealed in the patterns and textures created in the interior and exterior spaces of their domestic settlements.
Currently Ruth is exploring Canberra’s emerging northern suburbs as they edge towards the ACT–NSW border. The New Playground is her whimsical response to the transformations she has observed: once sheep grazed in paddocks; then raw suburbs spread across the hillsides; now, slowly, a wonderful playground brings new life to the place.
A screening at PhotoAccess, Manuka ACT, of a digital animation by Tim Brook, Ruth Hingston and Alistair Riddell
Slow, quirky and very Canberra, Untitled Moments is a digital animation based on embroidery.
Untitled Moments is a collaborative project exploring the visual impact of embroidery and photography in a digital animation. We’ve used digital technologies to combine images and sound to create narrative fragments—imagined incidents drawn from our observations of Canberra’s most unremarkable moments.
The resulting work does not attempt to mimic cartoons or conventional animations. It’s a pastiche, an idiosyncratic mixture of embroidery, drawing, watercolour, photography, scanography, digital animation, field recordings and digitally generated sounds. The final effect is sometimes contemplative, sometimes deliberately cheesy.
These five words sum up my practice, a practice embracing art, design and illustration, a practice that continues to grow and extend with each new idea, direction and creative endeavour. It is building an eclectic body of work—objects, installations, drawings, animations, costumes, illustrations, or whatever does the job.
My aim is to produce work that connects people with an idea and offers them a space in which to reflect on their own experience.
Collaborations bring new adventures. They allow artists to share perspectives, explore ideas, build concepts and generate innovative works. Stretching my imagination like this produces work that speaks on both an aesthetic and a conceptual level—always with a touch of whimsy.
The Accredited Professional Members exhibition, curated by Patsy Hely, including Unravelling Country, an installation by Ruth Hingston
Ruth Hingston darns and embroiders an old worn jumper seeing it as metaphoric of
darning and mending the land.
But the jumper is not remade in its original form—not returned to its natural state—a
reminder perhaps that sitting lightly on the land in the first place
might be the only answer to current ecological dilemmas.
A group exhibition at ANCA, Dickson ACT, including A Payre of Bodies, a 3-D mixed media work by Ruth Hingston
This work is based on the pattern pieces for an Elizabethan corset. It is constructed from cardboard, paper and calico. The surface of the corset is embroidered, quilted and painted in a monochromatic palette indicative of traditional corsetry. The corset is trimmed with pearls and small bows to encourage the viewer to consider the historical references and perceptions of feminine qualities associated with this garment.