Pam, the Office Administrator in the American version of the TV show ‘The Office’, is said to have uttered the best line in any series finale: There’s a lot of beauty in ordinary things. Isn’t that the point?

Whether or not those final lines are indeed the best in TV history, American textile artist Joetta Maue offers definitive proof the statement itself holds true through her imaginative embroidery pieces. Joetta believes in the power and beauty of the ordinary, and she combines photography, drawing and stitch to help us all see what she sees.

Whether cuddling a baby whilst making dinner, staring at a broken window shade or even the simple act of getting up in the morning…all are honoured through her use of stitch on found linens. Even dust is celebrated!

Joetta offered us an insider’s look into both her philosophy and techniques. Her route to textile art is quite interesting, and she explains how drawing and photography inform her work. She also shares her thoughts about sprinkling text in her work, and the new directions in which ‘the ordinary’ is taking her.

Eighteen years’ worth of old artist’s paint rags and a camper van were the stimulus for Patricia Brown to find a new craft that she could do in a small space.

Having purchased the whole gamut of colours in the DMC embroidery floss range, Patricia spent several weeks merging with the essence of her rags and then set off on her travels, with an eagerness to stitch, despite many years of absence from the craft.

With inspiration along the way from different stitching styles, artists and even a spiritualist choral group, Patricia taught herself to integrate her gestural approach to abstract painting into her hand stitchery. It resulted in her Remnants Series of stitched textiles.

Patricia is an Artist Member of State of the Art Gallery in Ithaca, New York and is known for her exhibitions of drawings, paintings, collages and mixed media assemblages in galleries and museums across New York. She taught visual art in New York State public schools where she was awarded Art Educator of the Year. She has co-authored a book, Traveling Through Glass, with her close friend and poet, Lisa Harris.

Lindsay Olson jumped at the chance to take part in an ocean acoustics science expedition and then explore the project’s science and technology concepts through her art. After three weeks on the Research Vessel ‘Endeavor’, she returned home and started to figure out how to use the collected data as inspiration for her project ‘The Art and Science of Sounds in The Sea’.

This body of work highlights the research conducted from the University of New Hampshire’s Center for Acoustics Research and Education. Her artwork is currently touring in Europe and the US in numerous science outreach exhibitions.

Lindsay’s artistic practice has developed out of her intense curiosity about science and its relationship with society. She was chosen to be the Fermi National Accelerator’s first artist in residence at CERN and has worked with the Metropolitan Water Reclamation District of Greater Chicago, the Field Museum and the Chicago Botanic Garden. Lindsay currently teaches textiles at Columbia College Chicago.

In this article, we explore the art of incorporating scientific data into your work. Lindsay shares with us the excitement of being part of a research team working on a scientific research vessel and shows us in detail how she went on to develop her artwork for this project.

Delicate, intricately crafted lace pictures – with a modern take and framed with carefully selected small knotty branches – have brought Hungarian artist Agnes Herczeg international recognition.

Her fine, detail-oriented artworks range from a petite 5cm up to 18 cm for the taller pieces. They often depict peaceful scenes of domestic chores and bucolic landscapes and portray women as introspective and resting, showing their connection with nature.

It was at the Hungarian University of Fine Arts, where she studied textile restoration, that Agnes first discovered her love of the “almost forgotten” techniques of fine embroidery and, in particular, lace-making. Through her own diligent practice, learning from her array of specialist needlework books at home, Agnes developed her exquisite and meticulous skills.

The ethereal pieces often portray traditional women’s work in the garden or countryside. Threads of blue, green, orange and brown entwine to form fruit trees and figures. The pieces convey a striking visual juxtaposition between the looseness of the lace and the solidity of the wood and her determination to push the boundaries shows in each and every piece she makes.

Ruth Miller cares as much about the narratives of her work as she does the actual images themselves. She’s committed to telling stories about the joys and challenges of daily life, especially for those living in African-American communities.

To say her pieces are remarkable is an understatement. Not only are her works life-sized, but they’re also entirely handstitched with tapestry yarns. Her ability to blend and merge fibre is unmatched. Upon close inspection, the viewer is amazed at the intricacy of layer upon layer of colour and stitch. The fact a single piece can take at least a year to create becomes readily apparent when viewed up close.

Ruth’s unabashed sharing of her artistic journey is a must-read. You’ll learn as much about the influence of politics and race on her work as you will her stitching techniques and colour theory. We’re so grateful for her honesty and encouragement to our readers.

We also invite you to view her work and process in this short video: