In my textile practice, designing takes place during the interaction between three main characters: concept (the driving force), medium and tool. In supporting roles: colour, texture, contrast, proportion, function, line, balance and form further develop, and at times frustrate the process, before the final execution of a work. No amount of forward planning can eliminate the need to design during the actual making, when often the most crucial decisions are made.

The inspiration for this woven work is the fallow fields and turned earth of the Australian landscape in the hold of a drought, waiting for better times. The practice of leaving land to fallow for a season is disappearing in the Western world. However nature can force us to endure fallow times.

Original design drawings were adapted to allow for angles and scale dictated by the choice of yarns and my working tool of choice: a harness loom. Supplementary weave structures determine the textures and patterns used to reflect fields and earth.

These works were designed with a domestic setting in mind. Each piece can stand on its own, or alternatively, can be combined with others in different configurations to suit a particular interior space.

Monique van Nieuwland was born in the Netherlands and migrated to Australia in 1982. Since obtaining her BA Visual Arts at the ANU School of Art in 1988, she has been a practising artist, exhibiting in numerous group exhibitions and working on commissions. Van Nieuwland has worked as a community artist for at least 10 years, mostly within health institutions. This community art work was the impetus for her M.Phil at the ANU (2004), “The shroud as a contemporary textile art phenomenon in the Western world”. Van Nieuwland is currently working as the Technical Officer in the Textiles Workshop at the ANU School of Art.

Selected exhibitions includes: 16th Tamworth Fibre/Textile Biennial: a matter of time, traveling Australia (2004-06), Death the Last Taboo, Australia Museum; Intersections - Arts, Health, Science and Medical Technology, Sydney College of Fine Art (2003). Living Until You Die, Convention Centre ACT, The Rembrandt Connection, Malthouse, Melbourne (1997), Self/Edge, ACT and Bangkok (1995), Tussen Tafel en Bed - Vezelobjecten, Galerie de Ploegh, The Netherlands (1990), 8th Tamworth Fibre Textile Biennial (1988).

Collections includes: Ararat Gallery, private collections in Australia, Great Britain, Netherlands and New Zealand. Selected commissions: Viewing Cloths “Vaarwel”, Breaside Hospital (1998) “Letting Go”, Nepean Hospital (2004).

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