Textiles Artist

This has been an exciting project to be a part of in that it offers an opportunity to collaborate with the work of another artist. In the  first instance  there are the photographs of Reece Scannell which have been translated into a screen print, and then given to the artists to translate in their own way.

I have viewed my contribution as a collaboration wishing to maintain the integrity of the original work whilst also somehow adding my translation to the piece, by working in a manner which is part of my modus operandi.



I loved the nude sculpture and the framing of her in this beautiful screen print, but found the baroque decoration features less distinct and i could not think of a way to use them in an interesting way. As I loved the nude and did not want to change her in any way I tried to think of the feeling she created for me, which was kind of forthright but in a pastoral way, I don't know why, but it did, so that set loose elements such as pomegranates, plants and weeds and grapevines, with which i set her forth in the world, which seemed less austere and rigid than a cold hard building.

Nude sculpture framed on neutral linen. The ladies have a torch in hand. The artist set colour loose elements such as pomegranates, plants and weeds and grapevines all around the Hand printed black and white artwork give it Picturesque look.
Cording Size: 119cm (w) by 74cm (l)
- Year Completed: 2017

Small Viennese Building Artwork Hand Printed on Linen, The artist found a face embedded in the stonework of the arched doorway  and created a  linocut  in larger scale,  which somehow created a hint of how this building might have been used or by whom it might have been inhabited. Printed on natural linen, grey shadows and black building embossed with shades of blues and purples leno and gold stitch.
Cording Size: 35cm (w) by 44cm (l)
- Year Completed 2016

Viennese Building

The angle of this photo and print were interesting in their own right and were strong with lines and shadows and difficult to change in such a small piece without distorting the original. So I then looked for elements in the screen print which i could telescope and use to frame the screen print.

I found a face embedded in the stonework of the arched doorway and created a  linocut in larger scale, which somehow created a hint of how this building might have been used or by whom it might have been inhabited. It allowed me to add some colour and in a sense mystery.

About Dijanne Cevaal

I was born in the Netherlands but have lived most of my life in Australia and small parts of my life in France.

My quilts are a product of a lifelong engagement with textiles, the mobility of the stitch, the interaction of colour created by dyeing and printing, and the creation of stories. As a small child I built constructions that were stitched and embroidered and this love of embroidery continued through my teenage and adult years.

I have a Masters degree from Charles Sturt University NSW, which has pushed me to examine the textile surface in a more immediate way, not simply as a vehicle for imagery, but a return to the touch and textuality of textiles, its intimacy and its narrative content.

All the fabrics in my work are hand dyed, and I employ simple printing techniques to create original one-off fabrics used in my work. I love simple resist techniques such as folding and tying, having fallen in love with the indigo cloth of West Africa.

I tend to work in fairly simple colour contrasts though the cloth I use is often complex in the colours they contain. Stitching both by machine and hand are important elements, as is the creation of texture. Pattern and  repeats is also an element of my work.

In the past 15 years I have been curating traveling exhibitions, that have travelled mostly to Europe and the Middle East. My travels have opened up a whole new world of textiles- the Middle East was a treasure trove of textiles made by hand in time honored ways they were stunning.

The experience has also seen the emergence of the Sentinelle series ‐ whereby I can use my European background as inspiration for expressing my concerns for the future- where I can combine the rich tradition of  pattern and decoration and stitch with my love of byzantine icons and nature.

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