Teresa Hastings
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Teresa Hastings studied textiles at Central Saint Martins, and after gradutating worked for Jack Lenor Larsen in New York as a weaver and colourist before becoming an interior designer. Her practice developed a focus of architectural design and crafted product. Through close collaboration with a large team of makers she developed a collection of hand-cast ironmongery, hand-knotted rugs, fabricated metalwork and fumed-Oak furniture. In 2017 her focus returned to textiles and natural dyeing and to this end she has spent increasing time in the Indian Himalayas; initiating “Studio Kashi” in 2019 and now splits her time between her studios in London and India. Her aim is to continue to develop her artistic practice with a zero impact on animal or nature, whilst collaborating with traditional local artisans and supporting the use of local materials, be she in England or India. Teresa is a recipiant of the scholarship for woven textiles from The Crafts Council and in 2015 won both the Heritage Building and Environment Award and Retail Design Award of the Year at the NAS Design partnership awards in London. Her work was a central feature at our booth for the international art fair FOG 2023.Teresa's textile practice is rooted in a philosophy which prioritises the honesty of construction. Through her craft she explores the possibilities of human connection in a divisive world and her work is a response in part to the history and development of sustainable non-generic design in opposition to technology-led production. Her richly tactile tapestries are made using fibres ranging from wool and washi paper to puddled iron, and are hand-dyed using natural materials including Myrobalan plum, lichen and sweet chestnuts.
“The story of the Myrobalan plum is central to my enquiry. I use the dye extensively. The plum dried in the sun and ground with a stone will, when boiled in water, achieve the vibrant green and yellows you see in my textiles. That same plum when left to soak in a rusty iron tin, with strips of old metal, wire, nails and fixings becomes dark and murky. When boiled in an iron pot with yarn, the blackened water will achieve greys through to black...
The scope of my Himalayan textile practice has widened through this exploration of the effect of sun, fire and water, as well as the contrast between a simple plum affiliated with timber and one transformed by an association with metal. This narrative has led from the utilitarian and decorative to abstract textile installations, that explore materiality, function, fire and water." -
WORKS
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Installation Shots
