Restored and remixed – conceptual textile practice with Michael Brennand-Wood

Art textiles

Ref: S4D12037

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About this course

Participants will subject an existing textile artefact/image to a series of technical and conceptual interventions. Restoration, recycling and repair are cornerstones of textile practice, processes that implicitly facilitate reinvention, do we preserve or reimagine?

Course Description

Michael regards courses as stalking horses for ideas. His workshops are designed to mentor, empower, and substantiate participants own practice via individual and group discussion.

Restored and remixed will investigate how imagery is changed and re-contextualized by the addition of new information to the core artifact. To replace that which has worn or disappeared creates a space for something new to happen.

Re-mixing within musical terms allows the existing master tapes or source to be re-imagined, a song might be edited or completely recreated to sound different from the original version. The pitch of a voice or the tempo might be altered; sounds and rhythms can be extended, duplicated, and looped. Restoration musically, is concerned with the preservation and transfer of recorded sound from one format to another, tape to vinyl and disc to download.

Restoration, recycling, repair and remaking are also a cornerstone of textile practice. The trade of textiles inevitably resulted in the assimilation of motifs, patterns and imagery at times reconfigured and re-imagined into the most inappropriate of contexts until all original meanings were lost.

Implicit within these processes are allusions to history, archeology, functionalism, politics and aesthetics. Decisions may well be shaped by the artists desire to reinvent from a transgressive or loving perspective. Whether to destroy, alter or substantiate the original intention and meaning of a work is a potentially interesting point of departure.

For this workshop participants will be asked to to bring an existing textile artifact. What transpires is dependent upon your personal orientation, all the tutor asks is that the original object or image evolves into something different and unexpected. Over the four days, Michael will guide your through strategies and critical analysis. Additional processes will inevitably encompass, photography, text, drawing and collage.


Arrival Day - this is the first date listed above

Courses start early evening. Residential students to arrive from 4pm, non-residential students to arrive by 6.45pm.

6.45pm: Welcome, followed by dinner (included).

8 - 9pm: First teaching session, attendance is essential.

Daily timetable

Classes 9.15 - 5pm, lunch is included.

From 6.30pm: Dinner (included for residential students).

Evening working - students may have access to workshops until 9pm, but only with their tutor's permission and provided any health and safety guidelines are observed.

Last day

Classes 9.15am - 3pm, lunch is included.

Residential students are to vacate their rooms by 10am please.

(This timetable is for courses of more than one day in length. The tutor may make slight variations)

Course Materials

What students need to bring

  • Please bring an existing textile artifact that you feel would make an interesting point of departure. This might be a rug, carpet fragment, item of clothing, domestic textile, usable item e.g. sack, bag, quilt, patchwork, chair cover or expressive item, sampler, hanging, old charity shop canvas work in frame, textile toy etc. A worn, partially destroyed item that has had essentially a life, would be ideal, as this affords plenty of opportunities for you to reimagine and restore into something different from how it was originally conceived as being used. Your task via a process of wear and tear, destruction and deconstruction is one of reinvention, the remixing of the familiar into something unexpected and hopefully conceptually exciting.
  • A collection of further materials, that you enjoy using and which are relevant to your investigation and which might add character to your work, e.g. wires, threads, string and wool, fabrics, paints, ribbons, tapes, drawing media, thin papers, a personal textile/paint/work box of the things you like to work with or have collected.
  • Camera or phone to record work.
  • Some basic tools, scissors, needles, pliers, brushes.

Available to buy

  • Available from shop:
  • Paint and graphic media: pencils, crayons, acrylics to draw onto paper.
  • Wires, threads, fabrics, papers, pva, etc.
  • Available from tutor:
  • Assorted materials that the tutor feels are relevant to the course, metal rods, wire, paint, collage material, fabric, paint, etc.
Wear appropriate clothing/aprons for the workshop or studio, including covered footwear.


Michael Brennand-Wood

Michael has an international reputation as one of the most innovative artists working in textiles today. He has lectured at Universities in London, Japan, Australia, New Zealand, Canada, Poland and USA.His work is represented in collections worldwide, including the Victoria & Albert Museum and the National Gallery of Australia.


Residential option available. Find out accommodation costs and how to book here.

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