Karen Scott, Hope University, Liverpool

19th July 2016

Karen Scott graduated from Hope University today with a BA(Hons) Art& Design. We have a video of the Graduation ceremony at Liverpool Anglican Cathedral here.…. and of course some photos….     Congratulations Karen, well done!!!


May 2016

Karen is graduating from Hope University with a BA (Hons) in Design, and her Final Degree Show runs from 28th May 2016 t0 6th June 2016. We were invited to the private view and prize-giving on Friday 27th May, and here are some photos of the student’s work.

December 2015

MEG held their Christmas Party on 5th December 2015 and Karen and her friend Melissa Courtney ran a fundraising stall in aid of Hope University 3rd Year Degree Design Students. They had some exciting items for sale, a very interesting stall.


September 2015

Karen Scott was presented with a Bursary cheque of £250 by Kim Parkman at MEG September meeting as Joint Bursary Winner 2015. Congratulations Karen!

Karen Scott, MEG Joint Bursary winner 2015, receiving her cheque from Kim

Karen Scott, MEG Joint Bursary winner 2015, receiving her cheque from Kim

Artists Statement by Karen Scott

I have been pursuing traditional hand stitch and textile techniques and hand rendered printmaking. This has included goldwork, crewel, rug-making techniques, crochet and dyeing, discharge, breakdown and devore in printing.

Response to Walker Art Gallery handling session

  • Knitted wire long neckpiece
  • Coiled copper with flax, silk and copper
  • Dance group photos.

Stitching examples

  • “Hand” Embroidery Sampler
  • Pomegranate image, using traditional Goldwork: my first ever attempt at goldwork:

Devore on denim: this development has been a great source of inspiration. I took the original image into the digital environment, manipulating  this and then reprinting for further work, such as creating cushions, lampshades, and embroidered embellishment.

  • Original Sample:- digital manipulation print- cushion star
  • Bark devore: digital print lamp cover and mugs, coasters.


Dyed Crochet African collars, 3 different versions: – these are all versatile pieces which can be worn in numerous ways, not just around the neck but also wound around the wrist, or even as a belt.

  • Tie-dyed silk slubby yarn, with suede beads: I loved the colourway in this so much I left this unwound to show off the beautiful blends after each resist bled slightly.
  • Tie-dyed silk yarn smooth, crocheted over fish tank tubing: I love how the crochet stitches look like beads.
  • Multiple layers of individually dyed silk yarn worked over synthetic basket reed for flexibility.

This whole process involved unsuccessful sampling of plastics and man-made yarn, before I moved on to silk yarns and acid dyeing.   I needed to make my own “niddy noddy” from upvc plumbing pipe for skeining yarn before dyeing.

African Collars Crochet And Yarn_ForBursaryApplication


I have also attached screenshots of my blog since January 2015. Unfortunately I do not have a premium account, so sometimes the text is difficult to read but I hope the photos give you a taste of my work – https://kayenne63.wordpress.com/

I am a mature student who used the opportunity of redundancy to change direction and embrace my creative drive which had been constrained for so many years. I have progressed from textile-based leisure courses, to City and Guilds Level 2 Textile and Design, and onto the Foundation Course in Art and Design.  I am now studying for a BA in Design at Liverpool Hope University.  I have been involved in supporting arts workshops; I have delivered silk painting, and jewellery making workshops in both a paid and voluntary capacity.

I love exploring textile art. I have a particular interest in traditional hand-stitching and printing techniques. Since January 2015 I have specialised in the Textiles element of my course as this is where my passion lies. In the Metal element of my studio practice I used textile techniques, using various grades of wire creating ‘broomstick lace’ and knitted wire pieces.  I am in the studio at Hope as much as possible and relish my time there.  I explore a range of skills and techniques outside of university through attending many creative workshops.  I am determined, curious, open minded and experimental in my approach, frequently pushing the boundaries of processes. I prefer a hand-rendered aesthetic and favour a distressed look, such as breakdown printing.

I am a member of a number of guilds, societies, galleries and museums, all of which give me support and inspiration, including Merseyside Embroiderers’ Guild and more recently Weavers, Spinners, and Dyers Guild and Textile Society.

Earlier this year I was delighted to have had my work accepted by the Walker Art Gallery, Liverpool, following a handling project as part of our studies. The work selected was an adaptable knitted wire neck piece (included in the photographs of my practice).

Experimenting with colour, especially dyeing, has formed a large part of this last year, leading to work with silk yarns and acid dyes in order to create a colour palette for African Samburu and Masai-inspired crocheted collars. These neckpieces, along with my knitted wire, were part of a publicity photo-shoot with the 2015 Cornerstone Graduate Dance Company, from Liverpool Hope University.I have continued to explore loom knitting, weave and stitch, combined with print techniques.

Following a programme of print induction, I have further developed my exploration of discharge and devore using composite fabrics.  Devore on denim has given me multiple opportunities e.g. the digital manipulation of scanned images of hand rendered work, and subsequently digitally printing and converting these printed images to home accessories. (See photos of cushions, lamp, mugs and coasters.)

I have been using rug-making techniques, such as locker hook and punch needle, in various scales, and investigating and sampling various embroidery methods, such as gold work and crewel work, and challenging myself with attempting tambour work. The couture houses such as Lesage and Lognon are a great source of inspiration.  I am particularly inspired by Karen Nicol, Michele Carragher and Tracey Franklin who have exemplary technique applied in a contemporary way, which I aspire to achieve.

My third year studio practice will be totally self-directed, as was the second year from January 2015 to May 2015. I intend to continue with exploration of surface design and with further exploitation of devore on various fabrics, in conjunction with surface manipulation and embellishment, using stitch and print.  I wish to delve further into traditional hand rendered techniques, so I will be investigating multicultural textiles, in particular those using indigo and fabric manipulation, such as the Miao of China, and Japanese shibori techniques.  I wish to stretch my knowledge of processes and materials.

I am also interested in the art of off-loom weaving and free-form tapestry work, including Tadek Beutlich and his wrapping technique and the wire work of Ruth Asawa, and have taken inspiration from a workshop of free form weaving with Eta Ingham-Lawrie.

For the first few months of my third year I will work on creating a collection of sustained two and three dimensional textile samples to develop and take forward to my final major project. I will work with an open mind to consider a potential range of final outcomes within personal accessories, over-scaled jewellery, home interiors and stationery.

For the Professional Practice element of the degree I will undertake two different placements in each of the Liverpool Cathedrals: both will focus on goldwork and hand stitching.  One placement will be in the Elizabeth Hoare Gallery, involving meeting and greeting the public, learning how to manage a small gallery space and reviewing the archived materials and textile works.  The other placement will be in the Metropolitan Cathedral Art Studio space where ecclesiastical embroideries are designed, handmade and repaired, and needlework workshops delivered.

If I am successful in receiving the generous bursary you offer, I would use this to develop my stitching skills by attending workshops, classes and one-on-one tutorials with experienced stitchers. Possibilities include on-line Hand and Lock master classes, and those provided by Golden Hinde Goldwork. I would spend some of the funding to travel to galleries, shows and archives, and to purchase specialised tools and materials to develop my end of year show in 2016.