Tiffany Titshall, potential examples of work. Choose 5. Maybe also a vessel collab piece???
|
Echo in the Hollow, 2023
ink & charcoal on primed Saunders Waterford 300gsm diptych 2 x 76 x 56 cm unframed |
Shadow, 2023
ink & charcoal on primed Saunders Waterford 300gsm diptych 2 x 56 x 76cm unframed |
The Inland Seas, 2024
ink & charcoal on primed Saunders Waterford 300gsm 76 x 56 cm unframed |
?
|
The Guardian, 2018
charcoal & ink on primed paper 655 x 650mm framed |
Blood Flow, 2018
charcoal and ink on primed paper 1025 x 660mm unframed |
Cold Discovery, 2024
ink, pastel, oil & charcoal on primed Saunders Waterford 300gsm 76 x 56 cm unframed |
Tiff's photo reference - will use something from these for long drawing/2 sided. Includes some silly iphone moon shots for the feel. The red moon I also filmed bubbling away like a tiny red light orb.
Other examples of layers of white before charcoal and a hand developed glass plate image of a window.
Images taken in Ballarat. Interior trades hall, night moon and lights - one used on an album cover for Brian O'Dwyer - from a hill in Ballarat. Some composites by Amy Tsilemanis when we did a night walk following the moon as women and asked people where they last saw it!
Jayne - cucoloris shadow
Lights
Randomly organised art reference including Neville French moon jar, watercolour colage, baskets at Melbourne Now, magic lantern at CAM, Eva Selva at Venice, textile at Ballarat, artist books at Albury, Albert Namatjira trees at Bendigo, Joshua Yeldham, Louise Bourgeois textile landscapes and peep hole drawing with threads, Daniel Boyd large pixelated works, paper textile artworks on paper prize Mornington, textile quilt Portugal, paintings on metal/screen stands Nicholas Thompson Gallery.
Craft and Design week 2026
BC+DW
BOUND
https://www.creativeballarat.com.au/craft-design-week-2026
Bound Collaboration.
Main themes highlighted.
textile, memory, resource, materiality (light being made material?), and connection.
Selected on uniqueness, quality, and user experience plus the potential ongoing nature of the project.
List of other elements they are interested in which I wrote from listening to Webinar.
Assessment: concept and technical excellence make up 50 percent.
Words pertaining to us and our potential collaboration.
Place and content: Central Vic, Dja Dja Wurrung, greybox, preservation, texture, erosion, water, dust, geography, moon path, trees, land forms/geography, birds. Moon path to Ballarat - unesco creative city - crafts & folk art. Box tree, bark, movement, moonlight.
Words pertaining to materials and practice.
Words pertaining to outcome form.
Can be potential functional manufacturable product OR ephemeral.
Perhaps is both.
Shows awareness of environmental considerations.
Combines environment and science with broader ephemeral, poetic aspects of light.
User experience.
Through light and experience of being in the space prompted by story to mine personal memory?
Our theme.
bound by moonlight
CUCOLORIS
Conceptual and storytelling thoughts.
I see the movement of light from where I lie to where Jayne lies when the moon is full - the arch it takes and the shadows it makes.
drawing, paper collage, light, weaving, diorama
ceiling to floor light trunks
ceiling to floor light forms that cast shadows
ceiling to floor banner drawing with two sides
is it a light and a screen
mining exchange - take advantage of height
box tree bark texture, experience here and deep observation
maps, neon, moon paths, memory, screens, silhouettes, looking through, walking around, looking at, casting light, casting shadows, reflections
limbo image with the black/grey wash and ghostly white could make a good subtle treed image and on the reverse side could be a bare landscape with mountainous horizon and moon with hole for light.
we can also use drawing projected, or parts of drawings ripped and included in weaving
Moonstruck by Kev Carmody.
When the western sky’s ablaze
And the sun lays down to rest
When the curlew starts to cry
And the birds fly home to roost
When the full moon begins to rise
Satin moon beams on my face
Beauty of the night goes far beyond
Far beyond both time and place
Chorus
No-one’s lost who finds the moon
Or the sweetness of the wattle’s bloom
Rebirth with the rain in spring
Or the dingo’s howl on the autumn wind
Spirit of the moon here calls me home
Spirit of the moon here guides me home
Moon it draws me to the scrub
Night voices raised in song
Past the water lilies bloom
In that tranquil billabong
Walkin’ on the shadowed leaves
That are reflected by the moon
To the rocks and hills an’ caves
Where the dingo’s pups are born
Stars ablazin’ across the sky
In the brilliance of the Milky Way
I’m surrounded by the beauty
Of every night and every day
Walkin’ towards that morning moon set
Caress of moonlight on my skin
Knowin’ that freedom of not carin’
Of why I’m goin’ or where I’ve been
https://en.wikipedia.org/wiki/Cucoloris
Jayne:
Really loving the idea of me weaving a cucoloris which when combined with a light source “the moon” interacts and creates another layer to your work.
Wondering if we could produce a conceptual installation artwork, and a functional lamp shade/s following the same concept.
Just watching the shadows from the wattles play on the stone walls the gentle movement brings such peace, as opposed to hard slow moving or static shadows of a man made building for instance.
Tiff:
Yes absolutely. I feel it’s a conceptual light or diorama setting which is also a functional model for a light. I completely felt like it had that potential to be both. Had this idea about it which also includes a reverse side on the drawing.
Moon as guiding light without being literal - the use of light and shadow, following the moon light or shadow. Night shadows.
When I was very small one night the family were walking in the bush and suddenly I would not budge to walk any further. My grandmother always told me about this as I did not remember being perhaps only 2yrs. The moon was out so they said look at the moon and she taught me to say ‘I see the moon, the moon sees me, god bless the moon, god bless me’; then I was happy and walked in wonder. I don’t think you have to be religious to love the spiritual and grounding sense of that saying.
Recently I was on a rooftop in Naples. The moon was big and bright over the bay with Mount Vesuvius in the background. That famous sight. Wherever we are in the world the moon can be in our view and we can be cast with its light and shadow. So if we ever wonder where we belong or who we are, or should be, the same moon and stars can guide us home.
When growing up in the suburbs I would sometimes follow the moon past streets and along the bay but it was never until I lived in central Victoria that I knew where the moon would be depending on its phase of light and shadow.
Other references.
making a woven stiff form by using a baloon and glue
https://www.instagram.com/reel/DOHB9p9jrZ0/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==
A light-screen-ceiling of lit panels with imagery
https://www.instagram.com/p/DP2gpkLjxrw/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==
Kathy textile artist map work
https://www.instagram.com/p/DENyIW4zfbk/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==
Dianne Fogwell
Louise Bourgeouis
Danielle Brustman light - floor to celing
Tiff uses Creative Cables for lighting components designing at home (have high ceilings to try things out) - see here - www.creative-cables.com.au/content/28-our-catalogue
BC+DW
BOUND
https://www.creativeballarat.com.au/craft-design-week-2026
Bound Collaboration.
Main themes highlighted.
textile, memory, resource, materiality (light being made material?), and connection.
Selected on uniqueness, quality, and user experience plus the potential ongoing nature of the project.
List of other elements they are interested in which I wrote from listening to Webinar.
- cultural referencing
- raw materials
- storytelling
- restorative
- environment, sustainability, climate change
- sustainability
- connection to place, community, producers
- new using old techniques and skills but developing something new
- impact on natural world
- working beyond technique to why and meaning, merging ideas and techniques - as in concept.
- design thinking
- curiosity
- craft
- thread
- exhibition ready experience
Assessment: concept and technical excellence make up 50 percent.
Words pertaining to us and our potential collaboration.
Place and content: Central Vic, Dja Dja Wurrung, greybox, preservation, texture, erosion, water, dust, geography, moon path, trees, land forms/geography, birds. Moon path to Ballarat - unesco creative city - crafts & folk art. Box tree, bark, movement, moonlight.
Words pertaining to materials and practice.
- weaving (Jayne)
- drawing (Tiff)
- wool (GOR woollen mill Isabel, a part of the collab or as supplier ? )
- charcoal (made on property from gum tree refuse)
- photography and projection also a combined practice or profession, light.
Words pertaining to outcome form.
- sculptural, drawing, light, shadow, textile
- room divider
- screen
- light screen in frame stand
- light
- light, shadow, drawing, space and story of memory as experience
Can be potential functional manufacturable product OR ephemeral.
Perhaps is both.
Shows awareness of environmental considerations.
Combines environment and science with broader ephemeral, poetic aspects of light.
User experience.
Through light and experience of being in the space prompted by story to mine personal memory?
Our theme.
bound by moonlight
CUCOLORIS
Conceptual and storytelling thoughts.
I see the movement of light from where I lie to where Jayne lies when the moon is full - the arch it takes and the shadows it makes.
drawing, paper collage, light, weaving, diorama
ceiling to floor light trunks
ceiling to floor light forms that cast shadows
ceiling to floor banner drawing with two sides
is it a light and a screen
mining exchange - take advantage of height
box tree bark texture, experience here and deep observation
maps, neon, moon paths, memory, screens, silhouettes, looking through, walking around, looking at, casting light, casting shadows, reflections
limbo image with the black/grey wash and ghostly white could make a good subtle treed image and on the reverse side could be a bare landscape with mountainous horizon and moon with hole for light.
we can also use drawing projected, or parts of drawings ripped and included in weaving
Moonstruck by Kev Carmody.
When the western sky’s ablaze
And the sun lays down to rest
When the curlew starts to cry
And the birds fly home to roost
When the full moon begins to rise
Satin moon beams on my face
Beauty of the night goes far beyond
Far beyond both time and place
Chorus
No-one’s lost who finds the moon
Or the sweetness of the wattle’s bloom
Rebirth with the rain in spring
Or the dingo’s howl on the autumn wind
Spirit of the moon here calls me home
Spirit of the moon here guides me home
Moon it draws me to the scrub
Night voices raised in song
Past the water lilies bloom
In that tranquil billabong
Walkin’ on the shadowed leaves
That are reflected by the moon
To the rocks and hills an’ caves
Where the dingo’s pups are born
Stars ablazin’ across the sky
In the brilliance of the Milky Way
I’m surrounded by the beauty
Of every night and every day
Walkin’ towards that morning moon set
Caress of moonlight on my skin
Knowin’ that freedom of not carin’
Of why I’m goin’ or where I’ve been
https://en.wikipedia.org/wiki/Cucoloris
Jayne:
Really loving the idea of me weaving a cucoloris which when combined with a light source “the moon” interacts and creates another layer to your work.
Wondering if we could produce a conceptual installation artwork, and a functional lamp shade/s following the same concept.
Just watching the shadows from the wattles play on the stone walls the gentle movement brings such peace, as opposed to hard slow moving or static shadows of a man made building for instance.
Tiff:
Yes absolutely. I feel it’s a conceptual light or diorama setting which is also a functional model for a light. I completely felt like it had that potential to be both. Had this idea about it which also includes a reverse side on the drawing.
Moon as guiding light without being literal - the use of light and shadow, following the moon light or shadow. Night shadows.
When I was very small one night the family were walking in the bush and suddenly I would not budge to walk any further. My grandmother always told me about this as I did not remember being perhaps only 2yrs. The moon was out so they said look at the moon and she taught me to say ‘I see the moon, the moon sees me, god bless the moon, god bless me’; then I was happy and walked in wonder. I don’t think you have to be religious to love the spiritual and grounding sense of that saying.
Recently I was on a rooftop in Naples. The moon was big and bright over the bay with Mount Vesuvius in the background. That famous sight. Wherever we are in the world the moon can be in our view and we can be cast with its light and shadow. So if we ever wonder where we belong or who we are, or should be, the same moon and stars can guide us home.
When growing up in the suburbs I would sometimes follow the moon past streets and along the bay but it was never until I lived in central Victoria that I knew where the moon would be depending on its phase of light and shadow.
Other references.
making a woven stiff form by using a baloon and glue
https://www.instagram.com/reel/DOHB9p9jrZ0/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==
A light-screen-ceiling of lit panels with imagery
https://www.instagram.com/p/DP2gpkLjxrw/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==
Kathy textile artist map work
https://www.instagram.com/p/DENyIW4zfbk/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==
Dianne Fogwell
Louise Bourgeouis
Danielle Brustman light - floor to celing
Tiff uses Creative Cables for lighting components designing at home (have high ceilings to try things out) - see here - www.creative-cables.com.au/content/28-our-catalogue
APPLICANT DETAILS
primary contact name
?
organisation - none
Tiffany Titshall = [email protected]
phone
Tiff 0417655997
postal
Tiff 37 William Street Majorca VIC 3465
names
Jayne Newgreen and Tiffany Titshall
Locations
BIO (have included pertinent details to this project, including that it was well documented - has youtube video on web page)
Tiffany Titshall
Tiffany Titshall was born in Melbourne and has lived in a gothic manse–turned returned servicemen’s club in St Kilda, as well as on a dry hilltop in a former schoolhouse in Majorca, Victoria (both places named after islands).
Titshall has exhibited in many exhibitions and projects locally and across metropolitan Melbourne since completing an Honours degree in Printmaking at Monash University in 1995. Solo exhibitions of her work have been presented at the Central Goldfields Art Gallery (CGAG) in Maryborough in 2013 and 2023–24, and at the Biennale of Australian Art in Ballarat in 2018. The Chosen Vessel—a work exploring feminism on the goldfields—was a two-and-a-half-year collaboration with locally-based ceramicist Belinda Michael.
Beginning in 2019, the project evolved through the COVID lockdowns and culminated in an exhibition at Federation University’s Post Office Gallery in Ballarat in the summer of 2022–23. It was a challenging and deeply rewarding process that was as much about practice, mistakes, and learning as it was about storytelling, connection to place, culture, and a presented outcome. The project is well documented here: https://www.tiffanytitshall.com/the-chosen-vessel.html.
The Art Gallery of Ballarat acquired a work from this exhibition, which was later featured in In the Company of Morris, curated by Louise Tegart. Another work from the collaboration was shortlisted for the inaugural Infuse Art Prize at Ross Creek Gallery.
Titshall’s work has been acquired by the Central Goldfields Art Gallery and the Art Gallery of Ballarat, and is held in numerous private collections.
She lives and works in her studio on Dja Dja Wurrung Country in central Victoria, exhibits regularly in Ballarat, and also works as a freelance graphic designer.
“I usually work in high-contrast charcoal and ink on heavy cotton paper. My themes range from myths, inner worlds, tree portraits, relics, and rituals, to the natural world in which I live and wander—reflecting on both environmental care and the personal symbolism it evokes. Often, when a body of work is finished, an alternative internal or external meaning lies beneath. Sometimes, years later, another narrative is revealed. Creating can be an act of serendipity, and we continue because we all want to know what comes next.”
Jayne Newgreen
Jayne Newgreen is a textile artist living and working on Dja Dja Wurrung Country in regional Victoria. She came to weaving following a career in photography, drawn by a desire for a more tactile, embodied connection to material. The slow rhythm of the loom, the repetition of thread crossing thread, and the intimacy of hand-based making form the foundation of her practice.
Jayne works primarily with repurposed, reclaimed, and locally sourced fibres. She embraces the nuance and irregularity inherent in material, allowing texture and imperfection to guide the work. Her weaving explores themes of memory, place, identity, and sustainability - considering what stories materials carry and how they can be reactivated through making.
Her work has been exhibited in Social Threads (Naarm Textile Biennale), where she presented two pieces: one woven entirely from VHS video tape and another woven from reclaimed denim forming a portrait of two music icons. Additional exhibitions include Celebration of SAORI (2024 & 2025), Incognito, Craft Lab 25, and the Australian Sheep and Wool Show, where her work presented on the runway.
For Jayne, weaving is a practice of enquiry and expression, a way of honouring and creating stories embedded in cloth, and a means of connecting deeply to material, place, and people.
COLLABORATION PROPOSAL
TITLE
Cucoloris
Summary of your idea - describe your concept. what you plan to create, and how your collaboration will work.
‘no-one’s lost who finds the moon’
Cucoloris is the word for a device used in film, theatre, and photography to create patterned shadows to texturise light and give it the depth required to convey a real scene in storytelling. Jayne Newgreen works with saori woven textile and has a professional background in studio photography which influences her interest in texturising light and the ephemeral qualities of threads. Tiffany Titshall works in charcoal and ink, drawing scenes that often convey deep shadow, high contrasts, or nuanced washes and dappled light.
We simultaneously came up with the concept of creating some kind of light form as the ultimate outcome of our collaboration. A conceptual installation which allows a functional light shade to follow the same concept.
Jayne wants to weave a cucoloris to use light and shadow to create another layer on Tiff’s drawing, making light material, ultimately creating a light fixture that casts itself onto a drawing in some way. We have discussed the connections between our landscapes in the textures of the grey box tree and the path of the full moonlight from one of us to the other across the land and sky. We want the light to symbolise the moon and see what shadows we can cast, creating a gentle movement which perhaps could be designed to bring a feeling of peace as part of its purpose?
We feel that some sort of light diorama can be both an exhibition experience and a potential functional object. Something that can be designed as a light.
How does your proposal respond to the 2026 theme Bound? consider ideas of connection, textile, memory, resource, and materiality
We have talked about our childhood memories of songs and poems about the moon and how being within its view connects us to family and place.
We want the audience to be able to exist inside a space where light forms lines and shadows of the viscera of branches across from a light source symbolising the moon (but not necessarily moon-shaped) and onto a drawing which already holds depth, texture, and shadow with trees. We have also researched other potential forms, including light trunks, ceiling to floor light forms that cast shadows, dioramas on Tiff’s recent trip to Naples and as childhood memory, and thought about paper form including double or multi sided drawings. We have talked about mapping, pathways, moon paths, light screens, silhouettes, sculptural drawings, woven objects, looking through, casting light, and casting shadows. We have thought about images that change in different light or from different viewpoints. We can also use drawings projected or parts of drawings ripped and woven.
We like the theme of walking the path of the moon at night and the memories it evokes. How it connects us to place, especially with the big skies and understanding of its path living where we do. It was not until we lived in rural areas away from street lamps that perhaps we realised how the moon can cast shadows at night or that gum leaves shimmer in the dim light. We would like stories and memories either interwoven or imagined by us or the viewer to somehow be evident in the outcome. We are open to process, discovery and change and very curious to try things out.
We have also spoken with GOR woollen mills about locally-spun wool and we have our own produced charcoal produced by Tiff’s husband. We wish to create something new using the ancient arts of weaving and drawing and the harness of light.
Environmentally we want to care for the resources and the process creating something material and ephemeral and highlight the lands around Ballarat and the feeling of being within the space and slow observation of our surroundings.
Describe the collaborative process - how will you work together? what skills, techniques. or perspectives are being combined?
We met at an environmental garden talk many years ago, then again involving a farmers' market. We collaborated to bring together an exhibition of Tiff's late mother's artworks, and separately exhibited Tiff's own works a number of times on the walls of Jayne's provedore in Talbot. We have worked together many times since for the purpose of studio photography of Tiff's artworks.
We regularly walk together in nature, sharing observations of the landscape around us as we go, musing over artistic ideas, concepts, future works and what we are currently working on in our respective studios. On these walks we have floated the idea of a collaboration many times more recently, and when this BCDW opportunity popped up - we knew the time for us was now.
We work together well, with mutual respect for each other, our time, skills, and shared interests and passions. Conversations are had via messenger, observations shared, email for longer dialogue and link sharing, we have collaborated on laying out our process so far on this webpage. Our physical proximity is a blessing, in that we can regularly come together in person, welcoming one another into our homes and our studio spaces.
We are both curious to try and explore concepts and methods without a rigid outcome in mind. We are also both interested in the ephemeral aspects of the exhibition experience and the design and practical aspects of creating a product to send further out into the world. We compliment each other with different skills and crossovers of interest in shadow and light and our environment. We are both driven by curiosity, connection to our ancestors and memory, and continual learning and development. One of us has professional experience in photography and all aspects of commercial studio photography as well as saori weaving, installing, exhibiting and marketing events, the other has experience in drawing, painting, exhibiting, photography, design, and marketing events also. Together we are both curious to find solutions to problems.
What will the audience experience? will there be interactivity, storytelling, demonstrations, or other forms of engagement?
We feel it would be both an ephemeral experiential installation for audiences to temporarily exist within and perhaps even contemplate quietly, celebrating some introversion in an extroverted space? We also think we could weave some poetic storytelling into the presentation in written form. The work will involve light and movement and changing views and require some deep observation or even meditation?
How will this collaboration support your professional growth? include any mentoring, skill development, or network expansion you believe you would need?
We both feel that we benefit from working with each other. One of us has been involved in craft lab previously and has many professional skills and the other has been involved in exhibiting in Ballarat and both are seeking a lot more opportunities to celebrate, be celebrated, nurtured, provided with a platform and encouraged to share content with an audience. We are aware of the benefits of participation in growing networks. We love the idea of working with the team of design week and would particularly benefit from skill development in the area of exhibition presentation and manufacturing, also to be introduced to a lighting manufacturer or expert. Mentoring in terms of commercial, public display, learning about how to connect with audiences and bouncing off others to be inspired to bring the best out in ourselves would also be of benefit. Sometimes working creatively can be isolating and projects like this can bring us out of our shells and lead to so much growth, both giving and receiving.
What is the potential legacy of this work? could it become a product, tour, or ongoing partnership?
We think the work could be exhibited anywhere and could also become a lighting product.
SUPPORTING MATERIALS
five images of work each (less than 10mg each) - choose
CV/professional skills - update this and website
links - website, instagram
DECLARATION
agree to participate in training
Eligibility
as agreed with Tara that I exhibit and sell as in work in Ballarat