Flora

The Gallery at the Ruthin Craft Centre is a bright, well lit and well designed space easily accessible to those browsing the craft show cases nearby. The sight of two large panels, 'Adam and Eve', drew many of these casual visitors 'just for a quick look' and provided a classy introduction to textile art.

Incredibly, this is Audrey Walker's first solo exhibition and it was interesting to see the development of the work from the 'Art of the Stitch and Insights' exhibition at the Barbican last year. The theme of glances, half smiles and observed emotions continues, perhaps with a slightly less 'larger than life' approach, which serves to increase the intimacy between the subject and the viewer. A series of drawings have been developed into stitched pieces, where the use of curtains as borders brings in elements of concealment, revelation and hidden feelings. In the same way that the women in these studies hide behind their curtains, the viewer experiences feelings of intrusion, almost voyeurism, in observing them. One in particular gives a sidelong glance, a half smile, a tenderness that is almost provocative.

The techniques involved in the stitchery are immaculate but become secondary to the message which the figures impart. The use of gold thread in an underlying layer adds a golden gleam which is particularly effective in the pieces 'Golden Boy' and 'Adam and Eve'. The additional detail in the curtains, the head dress in the 'Flora' piece and the apples in the 'Adam and Eve' pieces adds to the interest but preserves the integrity of the figures, never diminishing their impact.

One non-figurative piece 'A Cumbrian Birthday' is reminiscent of Audrey Walker's much loved cherries series and celebrates a traditional new baby offering of port, cream crackers and rum butter. Also on display are a series of drawings from life, portraits of friends (some of whom are instantly recognisable) and these, while not directly related to the embroideries, also convey emotion and take us beyond the surface presented.

It was encouraging to see a good number of red spots and Audrey had included some delightful smaller, more affordable pieces most of which had been sold. Alongside the larger works, these looked a little cramped in their frames, as though craving breathing space.

As a touring exhibition, this body of work will be seen in many venues by many people and the accompanying catalogue will certainly be purchased in large numbers. The catalogue is excellent with clear photographs, absorbing text and, best of all, a retrospective look at Audrey's work.

A final thought concerning the reactions of the viewer. I was left trying to analyse the reasons why, with the powerful drawings and painting covering the same subject and conveying the message equally well, why am I always so drawn to the stitched pieces? Food for thought.

Maggie Grey