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
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/
14th - 22nd
February 2022
Institute for Art & Culture, Lahore, Pakistan
https://iac.edu.pk/
5th - 26th March 2022
10am - 5pm
National Waterfront Museum, Wales, UK. https://museum.wales/swansea/
1st April - 30th August 2022
11am - 6pm
Fashion & Textiles Museum with Royal School of Needlework, London, UK.
https://www.ftmlondon.org/
September
FanSina, Sinai, Egypt. Exhibition in Cairo to be confirmed. http://handeyemagazine.com/content/fansina
October
Venice, Italy.
October
SENSE, Birmingham, UK.
https://www.touchbasepears.org.uk/
Nov - March
Bogatá, Columbia.
April - Aug
Vermont, USA.
Sept - Jan
Pittsburgh, USA.
Jan -June
Vancouver, Canada

June - July
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


2021

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 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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