Sharmin Faeq Sadiq from Kurdistan, Iraq supported by the 'Swansea Women's Asylum and Refugee Support Group' 2022

EXHIBITIONS


2009

March
Art Dubai, Dubai, UAE.
https://www.artdubai.ae/

2010

November
Private event at the Royal Academy of Arts, London.
https://www.royalacademy.org.uk/

2011

March
Activist Art. Nominated to speak at event, Arts Arena (in partnership with UNESCO) Paris.
http://artsarena.org/

2012

March
Premio Valcellina Textiles Award, Maniago, Italy (1st prize)
http://www.premiovalcellina.it/index.pl/it


2013

May
Galerie Maeght, Paris.
http://www.maeght.com/

2015

May
Rook & Raven Gallery, London.
http://www.rookandraven.co.uk/

2020

May
Museo Des Arte Popular, Mexico City, Mexico.
https://www.museodeartepopular.com/
November
Zig Zag Building, Glastonbury, Somerset.
December
Stories in Yarn, in collaboration with artisan Amanda Wright, Bleddfa Centre. Wales, UK. https://bleddfacentre.org/

2021

October
October
Gallerie Qahili, Pristina, Kosovo.
http://galeriaqahili.com/
10th & 12th November
12 - 2pm
Elim Connect Centre, Wells, Somerset. https://www.connect-centre.org.uk/
1st - 3rd December
10am - 5pm
Goddess House, Glastonbury.
https://glastonburygoddesshouse.co.uk/


2022/23/24

8th - 29th
January 2022
ACE Arts, Somerton, Somerset, UK.
https://www.acearts.co.uk/
5th - 26th March 2022
10am - 5pm
National Waterfront Museum, Wales, UK. https://museum.wales/swansea/
1st April - 4th Sept 2022
11am - 6pm
The Red Dress will be exhibited as part of the
150 Years of the Royal School of Needlework: Crown to Catwalk” exhibition at the Fashion and Textile Museum, London, UK.
https://fashiontextilemuseum.org/
September
2022
Visit FanSina artisans in St Catherine’s, Sinai, Egypt
http://handeyemagazine.com/content/fansina
December
2022
Institute for Art & Culture, Lahore, Pakistan
https://iac.edu.pk/
April – June
2023
Bogatá, Columbia.
June – Sept
2023
Southern Vermont Arts Centre, USA
https://www.svac.org/
Oct - Jan
2023/2024
Frick Museum Pittsburgh, USA
https://www.thefrickpittsburgh.org/
Feb - May
2024
Fuller Craft Museum, Boston Massachusetts, USA https://fullercraft.org/
May - June
2024
Fibre Works Gallery, Vancouver, Canada
https://www.fibreworksgallery.com/
June - July
2024
South African Quilt Festival, South Africa. http://www.goodhopequiltersguild.org.za/festival2022/


2025

May - July
Brisbane, Australia
October 25th
Craft & Quilt Spectacular, Australia. https://quiltandcraft.org/about-the-event/


PRESS


2022

Stitch Magazine

The Times

2021

BBC Points West

BBC

The Times, UK

Radio Czech

Mendip Times, UK

Lorient le Jour

Radioteleviziono 21, Kosovo

RTK, Kosovo

Kallxo, Kosovo

— Täcklebo Broderiakademi, Sweden

— Threads Magazine, New Zealand

Stripgrids, Belgium

Re_think, Australia

2020

Le Temps de Broder, Switzerland

Independent (Arabic)https://www.independentarabia.com

Independent (Urdu)

Tusaayaksat, Canada

Al Arabia, Middle East / https://english.alarabiya.net/en/life-style/art-and-culture/2020/10/18/Artist-shares-story-of-11-year-global-embroidery-project-The-Red-Dress-

Selvedge Onlinehttps://www.selvedge.org/blogs/selvedge/the-red-dress

2012

—  Embroidery Magazine

2009

—  L’officel, France

Gulf News, Middle East 


OUR SUPPORTERS

A huge thank you to all who have given their time, energy, enthusiasm, advice, experience and financial support to the Red Dress project over the years.

In addition to the institutions below, funding has been gratefully received from a number of private donations and 344 individuals around the world via a Crowdfunded campaign in 2020.

"
The Red Dress is one of the most power pieces of clothing I have ever seen
Angelica Colleluci, Head of Design & Productions at Ozwald Boateng
The Red Dress in its final incarnation, a magnificent, regal robe, symbolises the empowerment of women through the creation of something beautiful, something which began with bowed heads and tired fingers but also with faith and joy, an openness and willingness to be a part of something which they could not see at that time but in which they could believe had meaning and worth connecting with other women around the world
Lady Alison Myners, Chair of the Royal Academy Trust 2020
The Red Dress is in some respects similar to Mail Art, the populist artistic movement centred on sending small scale works through the postal service. It initially developed out of the Fluxus movement in the 1950s and 60s – but on a larger scale – the journey of the work is part of its identity, process, and in fact function. A signifier of the temporal and physical nature of the process inherent in the creation of the piece. The surface of the dress layered with embroidery slowly transforming into a specific topographical map – completely particular to the work’s journey – and reflective of the burgeoning sculptural landscape of the object
Paul Black, Artlyst 2015
It’s her (Kirstie’s) red silk Dupion bodice and voluminous skirt created for the Red Dress that fully demonstrates her commitment to embroidery and the immense respect for the international community of makers
Denna Jones. Embroidery Magazine 2010
I can't remember when they embroidered that piece of silk (2018?) but I feel that something has changed since. The fact that they could embroider what they wanted and that it is appreciated has given them some strength, some confidence that I didn’t feel so strongly before. Last year, I sent them a drawing and asked them to “interpretate" it the way they wanted; again it came back with a lot of emotions, another beautiful story. Thank you for giving them this opportunity
Nicole Esselan, Founder of Kisany Africa (supporting artisans in DR CONGO and RWANDA)
This is both an extraordinary work of collective art and profound and eloquent social commentary. It is also an example of how potent the Attire language is capable of becoming
Attires Mind (Fashion Blogger) 2020
"
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