Textile artist Aran Illingworth combines machine and hand stitching with appliqué to create her stitched portraits. They provide a window into the world of those forgotten by society and struggling in impoverished conditions

Madonna And Children

Photographed by Kevin Mead (ArtVanGo)

Remember Me

Photographed by Kevin Mead (ArtVanGo)

Man And His Best Friend

Photographed by Kevin Mead (ArtVanGo)

Tell us a little about your textiles background and how your would describe your work…

My formal training in applied art occurred relatively recently, at the University of Hertfordshire up to 2010, and it was here that I eventually found my vocation for producing stitched portraits and figurative textile panels. This occurred right at the end of my time there, after years spent experimenting with other techniques, approaches and media. Studying there gave me the time, space, guidance and experience to find my own voice as an artist. However, the formative experiences which led eventually to this point of departure go back much further, through my time working as a nurse in the UK, leading back eventually to my childhood in Malaysia.

My original interest in textiles was learned from my mother, who was expert in a wide range of techniques such as sewing and crochet work. My underlying passion for art and textiles was originally kindled at that time, but it then lay dormant for many years. As you may imagine, leaving nursing and going back to education to pick up the threads of my interest in art was really fulfilling after having waited so many years to get started.

Indian heritage has many aspects and depths, and these include a very widespread preference for vibrant colours and startling contrasts in the use of textiles in clothing and other applications. But there is more – folk embroidery as well as the kind of fine art textiles found in temples and other public buildings. You can see some of these elements directly in my work – for instance, in the use of an Indian green Kantha quilt as the backing for ‘I’m A Big Girl Now’ in my current exhibition. India has a tradition of representing the human face and figure going back literally thousands of years, and this is an ever-present influence permeating and informing my artistic choices.