Over the past six months four Highland makers – Jennifer Cantwell, Caroline Dear, Patricia Niemann and Nick Ross – have been mentored through HI-Arts ‘Making Progress’ scheme which supports established makers to develop new and experimental work.

Their ideas, techniques and materials are the inspiration for this Highland Council exhibition of innovative objects from the Crafts Council and Highland Council collections.

Observed Incident, 2002. Tapestry, two joined embroidered panels, one panel (Panel A) depicting a woman looking out from behind a curtain and the second panel (Panel B) depicting four police men. Cotton canvas is stretched over a wooden frame. The canvas has been given a wash of thin acrylic paint to set out the main areas. This stitching all done by hand. Collection: T172 (Photo: Heini Schneebeli)

There is a mystery contained within each of the objects in this exhibition. Thoughts, ideas and materials have been twisted and turned to create amazing, unusual, unsettling, surprising, amusing and unexpected objects. Trails of connections exist just waiting to be discovered.

A bizarre looking cormorant by Nicola Henley made from dyed, painted and embroidered calico echoes the new textiles by Forres based textile artist Jennifer Cantwell who is experimentally combining textiles with the sound of birdsong. An unexpected Perspex and polyester resin brooch of a seagull on a goalpost by Rosalind Perry continues the bird theme while the boundaries of textiles are pushed in Guinevere’s Veil by Pamela Woodhead with multi-coloured squares of woven Lurex metallic yarns woven on hand frames bonded with pigmented resins.

Tom Dixon, Chair `S', 1988. Traditional rush weaving over welded tubular steel frame. Collection: W84. (Photo: Nick Moss)

Observed Incident by Audrey Walker brings tapestry into the present day with two joined hand embroidered panels, one depicting a woman looking out from behind a curtain and the second depicting four policemen. A shaggy shocking lime green wool bag by Hikaru Noguchi expresses her joie de vivre while a jacket and t-shirt by Susie Freeman fuses clothes with medical artwork.

Room Temperature 2007, Photo-etched sterling silver sheet, acrylic liner, glass thermometer; hand folded and manipulated silver sheet, photo-etched by Lin Cheung, Collection: M79 (Photo: John Hammond)

Crossing over textiles and into the work of Caroline Dear is the use of techniques. Working in natural fibre, Caroline is exploring the function and purpose of ‘twisted’ ropes using a variety of plant materials from her home in Skye. Her exploratory use of natural materials is reflected in the iconic ‘S’ chair by Tom Dixon where rushes are woven using traditional techniques over a contemporary tubular steel frame. The versatility of natural materials appears again in the beautiful basquetry disc threaded with stones on wires by contemporary basketmaker Dail Behennah.

In the wilds of Caithness jeweller Patricia Niemann, who is inspired by body adornment, uses metal, hot glass, textiles and found objects in her work which is often gothic and unusual with an element of humour. This sense of surprise and shock threads its way through the jewellery in the exhibition. The disconcerting group of 14 pieces which combine to create Ballet to Remember by Maria Militsi featured in the BBC’s popular A History of the World in 100 Objects. Inspired by the 1944 book of ballet poses ‘Ballet to Remember’ the artist has grafted ballet shoes onto found or second hand objects, such as old surgical instruments and the shell of a Siemens mobile phone with flower sticker. A room temperature by Lin Cheung, made from a glass thermometer with photo-etched silver, uses Fahrenheit and Celsius measurements to define emotions and feelings.

Maria Militsi, Ballet to Remember, 2009/10. Materials: used objects (found on the street or sourced from ebay, second-hand shops and antique markets), silver 18ct gold details, lost wax casting. (Photo - Nick Moss)

Ring sets are the trademark of internationally renowned jeweller Wendy Ramshaw and the set of four ‘pillar rings’ is one of her early designs with spire-shaped bezels inspired by the space age and urban development of the late sixties. A necklace by Katy Hackney is created from shock cord with ‘beads’ hand carved from laminated cellulose acetate.

Jane Adam has an international reputation for her unique jewellery, and her brooch, neckpiece, bangle and earrings, influenced by natural objects, are made from an anodised aluminium sheet, blockprinted and dyed then milled to stretch and craze it.

The material of found objects re-cycled into something new creates a path through the exhibition. Cut, beaten and soldered tin, plastic and a cheese grater have been re-cycled by Lucy Casson to create the colourful and playful 32 figure chess set. Her world of creatures reflects her observations of people and her love of kitchen utensils.

Lucy Casson, Chess Set with 32 figures, 2003 Recycled tin, cut, beaten, soldered Recycled plastic and nylon Recycled cheese grater. Collection: M75. (Photo: Heini Schneebeli)

This imaginative twist on how we view products reflects the work of Inverness product designer Nick Ross who has developed a single chair in several ways to express different concepts. It is also perfectly expressed in the quirky Currant Drying Shed with candle powered drying system by Hazel Jones who designs objects for jobs that in reality do not need to be done.

There is a cross over in techniques between metal and textiles in the two towers by Jean Davey Winter, one made of thin brass sheets and the other from sheets of canvas, both on high steel legs. The selection of furniture is completed with marquetry by Peter Niczewski who creates three dimensional forms on a completely flat surface. His panel made from dyed veneers, mainly sycamore, deceptively depicts a letter rack with newspaper, envelope and postcard.

Every object in this exhibition is here for a reason. Rather like reading a detective novel there is a hidden story just waiting to be enjoyed. The challenge for every visitor is to uncover what it is.

Tina Rose, May 2011

Turned and Twisted was on display at Inverness Museum and Art Gallery until 2 July 2011.