Kirry is a founder and convenor of untethered fibre artists inc. The incentive behind the group’s formation was to promote the fibre arts and source opportunities to exhibit in a range of gallery venues, in a unique framework with a shared dialogue and mutual support both creatively and with administrative tasks. Since its foundation in 2014, untethered fibre artists inc have exhibited in regional, community and private galleries, and participated in satellite and invitational exhibitions. Kirry’s formative years were in the ragtrade, the Elizabethan Theatre Trust and the Sydney Opera. As an educator throughout her artistic endeavour, Kirry has tutored at the Australian Catholic University Teachers College, Ku-ring-gai Art Centre, numerous Fibre Forums (Australian and International), the Queensland Flying Arts Program, TAFE, and various universities and high schools as well as community project groups. She has been a judge on Genes for Jeans: Do it with Denim, Narrabri Cotton Awards, Embroiderer’s Guild NSW and Art to Wear. Kirry is also sponsored and supported by Bernina.
"Art to be worn is my trademark. Each of us has a story to tell, a story to cherish, our stories and memories are what make us human, gives us purpose and intent"
Personally, the naming process or exhibition title is all part of the birth of the artwork; this naming gives the artwear its character and direction, defining the design process. Liddell is no exception, working within the theme/subject and being inextricably related to a historical site, incorporating the industrial and human complexities, enables me to consider numerous possibilities. The expectation is to create an installation based on the wearable as a personal response to the subject matter. I would like to explore, interpret and reference the human element in the demise of the Power Station and its subsequent effect on community.My work ethics are fairly rigid, working on one concept at a time, setting myself strict boundaries and timelines. I proceed with this concept by telling a story within the design; each fragment has meaning and is purposely placed. I try to formulate each piece as easily identifiable as mine: perhaps by the strong use of line, strategic placement of faces and text, the rhythm and shape of the garment. Exploring sculptural elements through the layering of fibre in its ornate and practical forms, the wearable manifests the convergence of these processes: the fluidity and manipulation of fibre, dye and stitch, and the juxtaposition of the utilitarian echoes the mark of the hand and the imagination. My trademark is the attention to the detail, the constant challenge in this chosen artpractice, both in design and technical abilities, identifies me and the evolution of my personal skills. Collecting, collating and sampling, working in a variety of processes from traditional pattern-making techniques, screen printing and collage, to new technologies in machine embroidery and digital media, the goal is towards breaking down the perceived obstacle of using the body as an integral part of the installation. Every exhibition has the potential to evoke a reaction, a commentary and challenge the onlooker. I don’t want my artpractice to sit on the peripheral; I believe it has the potential to tell a story.