This is the documentation page for our six month installation project, now seeking new exhibition opportunities beyond 2026.

Our story is published in the July 2026 edition of Garland Magazine and titled Cucoloris.

​Jayne Newgreen is a textile artist based in the Pyrenees Region of Victoria, on Dja Dja Wurrung Country. Working with recycled and natural fibres on a loom, she brings a photographer’s eye for light, texture and composition to weaving. Her work balances beauty with disruption, exploring themes of memory, environment and contemporary life. Visit jaynenewgreen.com.au and follow @jaynenewgreen.textileartist

Tiffany Titshall lives on Dja Dja Wurrung country. Completing Honours in Printmaking at Monash University in 1995, her work is held in the Art Gallery of Ballarat. Best known for charcoal works on paper and image-making in any medium, her concepts tackle myth, relic, ritual, tree portraits, and the natural world in which she lives and wanders. Visit tiffanytitshall.com and follow @tiffanytitshall

The work is seeking exhibition opportunities and sales to appropriate collection spaces. Contact [email protected] and [email protected]

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Working notes & documentation: BOUND Ballarat Craft + Design Week 2026

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 Tiffany Titshall - Examples of work

Limbo​, 2025
acrylic, ink & pencil on paper

The Guardian, 2018
​charcoal & ink on primed paper

Cold Discovery, 2024
ink, pastel, oil & charcoal on primed Saunders Waterford 300gsm

Night Moves, 2017
private collection
​charcoal & ink on primed paper

Echo in the Hollow, 2023
ink & charcoal on primed Saunders Waterford 300gsm

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Pleasure Garden #4, 2017
private collection
charcoal & ink on paper

BELINDA MICHAEL & TIFFANY TITSHALL
What Is Done Cannot Be Undone, 2020/21
earthenware with slip, local clay, oxides, overglaze, sgraffito, once fired & enamel media

Blood Flow, 2018
charcoal and ink on primed paper

Shadow, 2023
ink & charcoal on primed Saunders Waterford 300gsm

The Inland Seas, 2024
ink & charcoal on primed
Saunders Waterford 300gsm

Meniscus​​, 2018
private collection
​charcoal & ink on primed paper

Jayne Newgreen - Examples of work

Japan Blue Three Ways, 2025

Icons I & II, 2025

Conservatory, 2025

Forever Blue, 2024

Shimmer, 2024

Image references

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.

Image references

Other examples of layers of white before charcoal and a hand developed glass plate image of a window. Thinking about light through things.

Ballarat imagery

Images taken in Ballarat relating to the moon. 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 went on a night walk following the moon as women and asked people where they last saw it!

Cucoloris & moon

Jayne - cucoloris shadow / moonrise

Light forms

Lights - just a few examples.

Image research from travels

Textile, scale, mobile installs, light, projection, and works on paper. Randomly arranged art references I have collected. Includes Neville French moon jar, watercolour collage, baskets at Melbourne Now, magic lantern at CAM, Eva Selva at Venice in 2024, textile at Ballarat, artist books at Albury library, Albert Namatjira trees at Bendigo, Joshua Yeldham in Naarm, Louise Bourgeois textile landscapes and peep hole drawing with threads at NSW Art Gallery, Daniel Boyd large pixelated works, paper textile artworks on paper prize Mornington, textile quilt Portugal, paintings on metal/screen stands Nicholas Thompson Gallery Collingwood. Also textile at Art Gallery Ballarat.

Notes following Webinar attendance and discussion

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.

• 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, our 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.

Tiff, a memory:

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 Landvogt, textile map work.
https://www.instagram.com/p/DENyIW4zfbk/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==

Dianne Fogwell
Louise Bourgeois
Danielle Brustman light - floor to ceiling

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

Application form entries

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APPLICANT DETAILS

primary contact name
Tiffany Titshall
organisation
none
email
Tiffany Titshall = [email protected]
Jayne Newgreen = [email protected]
-
_
names
Tiffany Titshall
​Jayne Newgreen
Locations
Evansford and Majorca /Dja Dja Wurrung

BIOS

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 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 [a non navigable page shared with our application].  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

​https://www.tiffanytitshall.com/
documentation of process https://www.tiffanytitshall.com/bound.html
https://www.designsyren.com.au/
https://www.instagram.com/tiffanytitshall/?hl=en

https://www.instagram.com/jaynenewgreen.textileartist/?hl=en

DECLARATION

agree to participate in training

Eligibility

We both work in Ballarat, exhibit and sell and other work.

BC+DW Professional Development Workshop 1

Held at the beautiful and inspiring workspace Centre for Rare and Forgotten Trades in Ballarat. Provided with resource link, hub link and several worksheets to work through for planning. Submitted to Google Docs.

Tiff orders new limited edition Giclee prints as tests for the shop aspect of the event.

Tiff testing colours and sketching concepts.

First test pieces by Tiff, December 2025

Tiff test pieces. 

​Planning 3 ways with paper, no acrylic/ 3 coats acrylic/ 6 coats acrylic / wash / draw

Breaking themes down to a list of words

light
moon
path
ground
shadow
branch
earth
walk
​memory

Pausing for Christmas 2025

Walked past Mining Exchange for inspo and saw some great shadow through the window at home.

December 25 - 30, 2025

Notes by Tiff.

Considering and discussing the beauty of ephemeral floating banners and scrolls. Made notes about the use of multiple 76x56cm Saunders Waterford 300gsm papers for uniformity, transportability, assemblage flexibility, scalable components.

Upon testing this paper did not yield to a long scroll form and it is the paper that produces the best textural drawing results for my work. If a scroll was to be used it would need an attractive drape and that would be better suited to reproducing the drawing on lighter paper or fabric or if working on canvas.

Jayne sent an example via instagram - someone cutting and weaving papers. Could the same images I create be photographed, printed on lighter paper and cut to repeat the image in a different form?

Thought about a set of panels 4 pieces wide and maybe 8 in length with quality eyelets installed into corners of each which also allows sections of weaving to be linked to the imagery and easy assemblage.

Sketch of trees on one side and night sky and moon on the other? Refer other Instagram images we shared.

Took notes on paper, acrylic, wash layers methods.

First image was an initial pen doodle of different forms and ideas.

​Materials: Textile, paper, projection. ripped paper, wool, washes.

Ultimately working on suitable drawings feels like the best use of time. They can then be copied/printed/cut/projected, etc.

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Images through my hat on the deck at Christmas. As with Jayne's pin hole shed images that appear like a camera roll.

Another thought that came at Christmas was to do with the planets and moons. Perhaps the idea of two spinning cylinders with one static directional light in the woven cylinder that shines onto a spinning image.

Early Jan, 2026

Paper trials.
​
Small drawing samples used 6 coats gesso and more layers of ink which tends to corrupt the surface if too much water is used. Some had 3 coats gesso and then added white afterwards for highlights.

Notes, Workshop 2, Jan, 2026

Written 21 Jan, 2026.

​Discussed what is achievable and whether documenting work onto fabric or prints will be necessary.

Consider the time taken for a drawing and feasibility.

If hoops are used there are chains above the hoops. If we use hoop could we acquire it?

Structure may be necessary with weaving - such as wire.

There is some wind in the venue.

How to pitch to Justin: Be individual, clear, intentional. Problem/solution.

Music or sound element?

Our project is intended to evoke memory and joy in the moment by providing a space using moonlight, sense of walking the path of a forest at night. To value the environment, put the digital world down, its not really photographable in its nuance. Sense of peace, being in the moment and grounding.

A cucoloris brings light to life.

​Use anchoring words. List further above.
​night/moon/pathways/trees/shadow

Skills audit - planning tool.

We came out pretty well with that. We have the core craft, technical, budgeting and planning skills. We think spacial install aspect needs more thought. Storytelling skills are there but ability to pitch short to the point in person is not as natural and takes planning.

We think we will need exhibition install input, obviously, and audience engagement expertise is most beneficial. Help with the whole user experience aspect of the show and with electrical aspects. In terms of resources time is the most difficult where we know we could deliver something greater with a longer lead time.

Discussed the finer detail of hanging my drawings: fencing materiel, eyelets, Spotlight and Lefflers, sail making fixings, clips, suspender clips. It is not a make or break aspect. I love the idea of eyelets aesthetically as an element of the work but it is not as strong as clips and they can easily be suspended using bulldog clips if nothing else. Discussed metal/wire stiffening for structure for some of Jayne's weaving.

Copyright

We discussed equal share of all elements of the project.

Prototyping

Plan a maquette and also full sized section samples - meaning me trialling a full scale drawing etc.
​Need to know weight, hang method and result, scalability, form, overall effect. Have tested materials and colours. By using components we are prepared for the next step of form. Tested and rejected some options. Maquette to be made asap.

Documentation

Have experience but probably have not bothered to learn current social media film filters, techniques, tricks.

It is hard to document at same time as make and plan. Sometimes timelapse may be useful. Have photographed notes, diagrams, etc. Documenting methods and why they are used or not used.

​Try recording a screen scroll from this page etc. Storing files here and in Google docs.

Credit, Intellectual property and Legacy Planning Guide

We discussed the idea of breaking apart or disintegrating. We liked the idea of selling the whole piece to an institution, or part donating or preferably touring. Transforming, entering prizes and shows, etc. Also design and lighting aspect - production.

Notes, drawing 1, Jan 21, 2026

21/1/2026

Development of 4 panel drawings.

4 sheets paper. Gesso coated 4 times on front first. Slightly watered down. 2 coats gesso on reverse side.

Indigo wash on reverse side with paper on towels. Used spray bottle to spray paper. Then used large brush to paint indigo ink onto the sprayed paper. Horizontal lines. Then swapped papers around to suit the best look. Then turned over to create wash on front which was same technique but vertical and allowed some white areas poking through as seen in pics.

Used Sennelier Willow to layout the 4 panel composition first, Then home made charcoal and compressed charcoal, eraser, fingers etc.

Plan to try some with the cyan/black, Magenta/yellow combo as in moonlight with warm elements or flashes of.

It was a very hot day when the paper washes were done. sprayed water, washed with ink with just a few squeezes of spray in it and then sprayed a little over some to add effects.

My paper offcuts go into Jayne's weaving. perhaps her scrap goes into my hang?

Have also worked out AS indigo colour formula if need. Have used AS indigo in the first one but have not been able to get hold of another bottle yet. Formula is cyan (pthalo blue), blue violet (a pure colour), and lamp black (a pure colour).

Woven Cucoloris - photo reference 

Weaving tests - material, technique & style

Project budget notes

Tiff's budget notes

Receipts

• Kmart photos printed for drawing $22
• Seniors Art Supplies packet paper $128.20
• Castlemaine Art Supplies AS Ultramarine ink $14.70
• Gesso Eckersleys $69.83

To purchase approx

• more paper ( 2 packets makes 5 drops so need 3 packets total for starters) 2 x packets more = $260
• ink - indigo AS, rest is probably own inks but may need some = $60
• photos = $20
• eyelets?
• eyelet tool?
• chain or clips etc
• pointy erasers etc $40
• other charcoal or pencil $40
• light fitting ?
• profile shots
• copy photography ?
• brushes (probably don't require)
• print on fabric (may not require)
• fixative (will need a few bottles) ?
• Image Science paper & plastic for print products (can price)
• Poster factory for print products (can price)
• 2mm steel cab;le
• cable clamps
• modified bulldog clips
• drill bit
• spray paint for clips
• lights, lighting
• warp
• textile
• light shade paper
• light shade frames
• fabric test
• fabric printing

These were just rough notes at the time to give a sense of what a project like this or any exhibition project can cost in materials and time. This does not count Jayne's time and materials or all of the materials. This gives the sense of the value of such a project and how to tackle funding in future.

Tiff Bound hours 
This record was kept as an example of what it takes to build a project like this, even as one of two artists in a collaboration with the support of most materials covered and installation and curatorial support. A six month project from idea to installation and interaction with industry and public.

Application phase 4 x webinars + 8 prep = 12 (noted out of interest)
Workshop 1 = 3 hours
Check in 1 = 1 hour
Meetings with Jayne x 2 at hers  + 1 at mine = 6 hours

Studio time:
6-9th Dec = 18
18 Dec = profile shots (3)
29 Dec - 1 Jan = 22
8-10 Jan = 12 (tests, washes on first drawing)
Workshop 2. 13 Jan = 4
14 Jan = 7 (first drawing)
20-22 Jan = 14 + drive to Buninyong to meet Justin (drawing, website)
27-30th Jan studio = 33
3rd Feb studio (maquette and drawings) = 4 + mining exchange visit 3 = 7
4-6th Feb studio, maquette, drawings filming with Klapper = 19
8-13th Feb starting Sun admin, drawing 3 = 37
16-19th Feb Monday finished drawing 3, start drawing 4, web, workshop, install planning = 20
2nd March worked on first panel drawing 4 = 8
9-13th March, drawing 4, workshop, paper hang tests, admin = 35
16-20th March, fin drawing 4, started drawing 5, tried full set hang, meeting re logistics, weave plan, Bound check-in, postcard and shop plans and costs, researched lampshade paper suppliers, prepared paper for Jayne's weaving, researched lampshade rings, invoicing materials, social media. = 33
23rd march 9am trimming of large shade frame, quote for lamp ring, finished drawing 5.
24 March started late? 10am started preparing papers for drawing 6. worked until 6pm.
25 March visit from Maddison Clay Collective 9am-6pm or so. worked on collating artworks for shop, web page for showing the works to Maddison and made my first lampshade.
26 March Thurs, discussed shop items further with Maddison, made timelapse of ink washes on back of drawing 6. organised insurance. Explored and took ironbark tree photos Eglinton. 10am-5/evening research!
27th March wash on front of drawing 6. = 3
28th March socials prep = 2
29th March got sick!
1st April some blog admin = 2

Resolved drawing 6 wont finish until end of following week around 11th April. No need to make others after that but would like to! 
2,3,7,8,10,13,14,15,16,20,21,22,23,24 April all of these days at least 5 hours from starting and finishing drawing 6 to admin to shop packaging, graphic design of postcards and business cards, communicating and meeting about logistics, light testing, planning moon walking events with Amy, etc! Lampshade making was a half day for the large shade. = 70 approx hours

Total for project was 379 hours plus install week, which was three days midday until midnight and two weekends.
​Completion and delivery of a whole art project like this = around 450 hours. What is the artist's hourly value? There is a lack of official information regarding the hourly value of a visual artist working on a project from making the work by hand to administration, marketing, research and planning but the hourly rate is valued at between $50-120.

As a cost study this means a project like this is worth over 20k per artist for their time. Usually flat project fees apply because this is not funded. Asking around many artists would say that producing and framing work for one exhibition can cost similar.

Notes re form and hang Jan 21, 2026

Paper components are approx 760mm high x 560mm wide and 300gsm with gesso both sides (in terms of weight)
Gaps between paper could be up to 100mm.
Also allows airflow if wind comes in!

Drawing
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Sets of 4 panels high by 3 panels wide?
1680 wide plus 200mm for gaps = 1880 wide imagery with tall trees.
4 panels high = 3040 plus 3 gaps = 3340mm high which seems a decent height to create some sense of awe?
It is also doable, manageable in panels as discussed. Takes about 1 week (often stretches to more) to create one set of four.

The panels would have trees on one side and just indigo wash on the reverse side.
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Have discussed hanging from a hoop with weaving going over the hoop with light above and using the diam of the hoop we worked out we might need 40 or more drawing panels but I think we can create a pretty significant effect with two of these sets of 12 panels and that is doable in the timeframe. Perhaps more but to allow for other tasks and contingencies this is my suggestion, depending upon Justin's thoughts.

Weaving

Incorporates ripped paper remnants from drawings, vertical lines and loose horizontals around 60cm width at any length.

Talking about weave, looking up at trees and night sky reminded me of this zinc etching I made when I was 20.

Workshop prompt to write 'elevator pitch'

Cucoloris

‘no-one’s lost who finds the moon’

A Cucoloris brings light to life using patterns to cast shadow. In our installation it sets the scene of a night lit by the moon (our light) through treetops down long textured  branches and grounded to our local earth. Jayne's woven textile - using thread and paper discards from drawings - takes the place of the cucoloris. Lit from above, the texture dapples and falls onto Tiffany's deep indigo wash and hand-drawn charcoal box gum forest. The images are made of bound together panels hanging and swaying beneath the weave.

In creating this installation we wish to convey a sense of peace and place, setting the viewer within and in the moment in a space that cannot be replicated in the digital world. Perhaps a place where the phone can be pocketed and memory of childhood walks and contemplative moments exists. The sound of life in the bush on a warm night or music invoking hope such as Somewhere over the Rainbow, or  Kev Carmody's song Moonstruck. The omnipresence of the moon connects us all to memory, family, and place, wherever we are.

Stop, slow down, walk, listen, remember, and be.

light / moon / path / ground / shadow / branch / tree / earth / walk / memory

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Cucoloris / Bound 

‘no-one’s lost who finds the moon’

A cucoloris is a device that makes light come to life. 

In this work, woven textile becomes the cucoloris, transforming light into moonlight filtering through trees. 

The light and shadows dance upon hand-drawn paper works in ink and charcoal, depicting the moonlit native bushland we both live on and explore together.

It’s a collaboration between weaving and drawing, bound by a connection to nature and a sense of place - an invitation to immerse in the moonlight for memory, comfort, and connection to people across time and space.

Stop, slow down, walk, listen, remember, connect, and be.  

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Elevator Pitch.... 

Cucoloris. No-one’s lost who finds the moon.

A cucoloris brings light to life, using patterns to cast shadow. In our installation, Jayne’s woven textile - made from thread and paper discards - becomes the cucoloris, letting moonlight fall through treetops, down textured branches, and onto Tiffany’s deep indigo wash and hand-drawn charcoal box gum forest.

Bound panels sway beneath the weave, creating a path of light, shadow, and texture that sets the viewer in the moment, grounded to earth, memory, and place.

Step inside, pocket your phone, walk, listen, remember.
​
Stop. Slow down. Be.

Woven experimentations Feb 3, 2026

As I weave I am contemplating Tiffany's charcoal drawings, tone, the moonlight, chiaroscuro, dark shadows, our walks together, talking about trees. I am limiting my palette and playing with techniques, not just in response to Tiff's works, but to create something visually and texturally interesting and pleasing to look at, to bring about those thoughts and feelings of being at peace in nature, of curiosity and wonder.  I work with a restricted palette, to define the mood and the work, to create consistency which eases the mind amongst the random, ever changing laying down of threads, trying not to over think it and be natural, like the natural world I am responding to also, To go with the flow.  Slow down, breath and just be in the moment as I weave.  

Walk Through, Mining Exchange, Ballarat Feb 3, 2026

Walking through the space, experiencing the scale, and Justin's ideas on how the space will be partitioned and how visitors will navigate through it.

Imagining our artwork in the space, how it will sit, be seen, and be experienced. How the elements will come together, what thoughts and feelings will people take away from our, and the entire experience.  

Considerations of the space, its potential, and its limitations.  How our piece will sit between, or after others, as the final experience, or tucked in between.  

Friday Feb 6, 2026. Klapper Films.

A hot evening when we met at Jayne's home and studio to chat to Justin about our plans with maquette/diorama and weaving and drawing samples and completed drawings. This allowed Justin to really see the vision and its potential successes and faults and make suggestions about the strength of the collaboration versus individual works and how to install in the space in an exciting and meaningful way. We played with light through weaving onto drawings and discussed the way light makes the collaboration.

We also discussed and came to potential conclusions about the space, walking into the space, where our space will be, arrangements of loom, weaving, drawings, and light shades as prototypes as the 'takeaway'. We all agreed that this documentation should be displayed for viewers.

Then Ghee interviewed us about our collaboration and filmed us working at details and in amongst the trees. Portraits were also taken and a 30 second film is the planned outcome.

It was a beautiful setting and I felt grateful to be part of also recording Jayne's space before she and Christopher move house, as it has an atmosphere that resonates with the work. And they have been there for over a decade!

Posted Sunday Feb 8, 2026

Art Spectrum indigo used for washes on the reverse side of my drawings. Images of the finished first set of four drawings assembled and trialling different hanging systems. Thinking about spacial measurements, gaps, height, and impact.

Discussed eyelets and metal or string, magnets, bulldog clips, long hessian tape sewn or clipped. At present the use of fold back clips is the plan. Paper is around 300 grams per piece and the clip must be tight. Possibly a hole drilled in each clip to join to the one above. There would also need to be a method from the hoop which is probably too thick for a clip.

Images below of the second set of four panels, of an ironbark tree. Washes use cyan mixed with lamp black and magenta mixed with yellow. Charcoal used is willow and home made. Very little compressed charcoal, except on the base. Gesso used was Liquitex watered down - 4 coats front, 2 coats reverse. Indigo washes on reverse were stronger than in the first one. Squirted paper and squirted water in the bucket a little.

Lampshade concept, Feb

Lampshade cluster with two tiered shades showing imagery on the external tier and weaving on the inner tier. This is the planned prototype takeaway at the end of the install scene. Tiff went on an op shop hunt for lampshade frames and sought advice from Maryanne of The Lampist, Melbourne. Lampshade lining was acquired and we are planning to trial works printed on rice paper or fabric.

Further development of the lampshade concept, March, April.

Sun Feb 8, 2026. Notes for us and Justin.

Jayne outlines some strategy for making the cucoloris light effective and the space useable.

Tiff's notes Feb 16, 2026

Last Thursday I bought some 2 mm wire cable to trial for hanging the works as it is strong, non invasive in size, and we like the industrial feel of it. In the studio I am trialling hanging it from my ceiling using cable clamps and a new bulldog clip system where each clip only takes the weight of a section of paper.

Jayne made some modifications to the layout plan and also wrote a brief for a lighting expert. We plan to read from that brief at the workshop tomorrow and then go through any points on the worksheet that are not covered and also ask the others about solutions to some interactive issues.

The lighting concept also has to be modified to suit the physics of distance and light.

Jayne has the diorama/maquette to modify for tomorrow. She also photographed my first two drawing last week for printing on fabric and paper for lamp shade trials. We need to get onto this asap and meanwhile I am trying to get ahead with drawings as ideally I would like a total of six sets - 6 drops of 4 panels. for impact. Today I looked at my work from a ladder and two drops has some impact so lets see what it requires.

Drawing number 4 was started on Sunday last week. This time just two coats of gesso each side. Indigo wash on reverse side. Tried to make it less symmetrical for this one for a shifting sky. On the front I mixed some of the magenta/golden yellow ochre mix (an orange colour) with gesso and used that to mark out the trees giving it a third coat in those areas. Then added some of the orange ink as a wash in some places.

This drawing took maybe 5.5 days in total. Sun, Mon, Tues, Wed, an hour or so Thurs, most of Friday, some of Monday.

Drawing 3 shown on the table next to drawing 1 from ladder to get an idea.

Screen grabs from Klapper films and composite social media posts.

Notes, Feb 19, for Justin

By Tiff.

I thought the last workshop was very inspiring and it is all starting to look exciting!

​I have uploaded some pics and video to show progress with my hanging system (using an old drawing that is not precious). We like 2mm cable and its industrial feel but also its strength and non invasive appearance. So we have been trialling systems using bulldog clips. Cable means the clips don't take all the weight from the top and the whole hang has more flexibility in wind. Videoed with my aircon fan on high. Tried a system discussed with Jayne but it ended up having some issues, which potentially caused damage in the install process (because of the threading and holding in place requiring more than one person) so Cal (my husband) has made small holes in the clips to allow cable clamps to sit inside. Have researched cable rigging and gallery systems and just could not find a cable clamp that was also a suitable clip. This method requires Cal to make a template/jig and put holes in 90 clips..so to be sure I happen to be working with a few installers all of next week at Central Goldfields Gallery - Richard and Tony - Ballarat installers and a couple of others. So this is my chance to show them and ask their thoughts.

Have started drawing set 4 but off to art fair tonight, working this weekend and all next week on install of Honk at Central Goldfields so this one might stall a little (couple of days installing a group show in ballarat the following week too but I should get it done that week), then the last two drawing sets should be done well by 20th March and I can concentrate on lights. But, I do need to make time to deal with printing for lights before then. Over the next week I will find time for plans and communications, just may not get any drawing done. Good time to stop and consider things I suppose.

Other elements on my mind to chat about are the glossy blacks in Jayne's warps which we all discussed, hanging aids for Jayne's work including cable elements also and the lighting quote and hoops and install considerations. I will look at cable clamps in Melbourne tomorrow if I find a supplier.

Budget - I have not completed yet but have listed all my materials so far using Angela's worksheet.

Also wondering what mentoring would be of benefit for us with Angela.

The Poster Factory pic just shows cable clamps with hooks suitable for hanging one piece from above.

Feb workshop presentations.

Lighting quote brief written by Jayne:

Lighting Requirement (as we see it, open to advice):  A light source which is focusable and shapable (barn doors) and strong enough to spill light onto the drawings through the weaving at a distance of about 7-10 meters.  

A lighting friends suggested an EK Shark - but very open to your recomendation. 

The light will be directed onto, and through hand woven cloth, and transmit through this ‘open weave’ cloth to shine onto original artworks, charcoal depictions of trees. 

Testing Phase:  We would like to hire the light ahead of time for testing in the space - this can be done ASAP

Concept Summary: 

‘no-one’s lost who finds the moon’

Cucoloris (like gobo) 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 works with 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 will weave a cucoloris and light will shine through this woven cloth to create another layer on Tiff’s drawing.  

Viewer Experience:  The viewer will walk into the space, and see a weaving loom, with cloth spilling out onto the floor and up into the sky attached to a 3meter diameter hoop, alongside further woven pieces of cloth hanging from the hoop (6x 56cm wide pieces).  A LIGHT above the entrance will light the woven cloth, but more importantly transmit through the woven cloth, acting as a cuculoris to spill softly focussed dappled light on to Tiffanys charcoal drawings.  This light will ‘dance’ on the drawings, as the woven cloth will sway gently in the ‘breeze’ - mimicking the look and feel of moonlight shining through gently swaying tree top leaves onto a scene of the bush before the viewer.  

Installation Layout:  see picture attached.  

Scale / Space:  The space is a rhombus (see plan attached) - 12m  length, 5.5m wide, 8m high to rails, total ceiling height is approx 16m  Further measurements can be obtained and supplied upon request.  

Drawing size:  56cm wide x 76cm high each.  Hung 4 high by 6 wide.  

Weaving size:  56cm wide x 320cm high. 

Hoops: Weaving and Drawings will be hung from hoops 3 meters diameter.  

Note:  We are 1 of 5 collaboration groups creating installations in the Exhibition. The total space will be divided by 2.4m high dividing walls and top windows of the space will be blacked out.  


Further information: Our full work in progress documentation can be found at this unlisted website:  https://www.tiffanytitshall.com/bound.html

Drawing 4 and looking at sets

​Notes drawings:  Drawing 4 was two coats gesso each side, indigo, orange (magenta/golden ochre) wash on front and some of the cyan and black also all added while wet. Then the orange mixed with gesso in sections on front as each was drawn. Fixative works better when given more time.

Drawing 5, 2 coats gesso each side, indigo wash on back, yellow added to orange gesso for front before blue washes. Cyan/violet/ etc added in layers in sections. Some indigo wash? It created much stronger blacks in the charcoal - perhaps due to the lurid background but probably does not go with the others when lined up. It is shown in a set of images further below and did not match the others.

Researching fixings

Some social media and random inspiration in March

Thoughts when viewing the red moon, March 3, 2026

A total lunar eclipse occurred on March 2026 creating a 'blood moon' appearance. It was a beautiful evening to walk outside and be under the sky and tall trees around us. I realised in the 24 years or so we have lived here, perhaps we stopped halfway. Those days before our phones when we lived in the remnants of our old school-house with an outside dunny and holes in the tin roof. We spent long summer evenings sitting out the back staring at the sky. Then we rebuilt and made a cozy home and our phones became constant companions. We forgot to sit outside and just stare and be.

Looking at the red moon and sky I thought about my ancestors and how they had all gone since those days. I like to feel like they are in the stars or at least represented in stars and old trees above me at night. It helps to make sense of the context of a lifetime and the constant presence of these brightly lit rocks and ageing plants. That we are a small part of something bigger and enveloping.

I saw satellites zooming by and was reminded again of how our navigation of the world has changed as we colonise the stars.

Rural moon, Ballarat moon, our grounding rock hanging in the sky.

Drawings 4 & 3, workshop

Drawing 4, a mockup using Freeform to see how they look together, charcoal, some of drawing 3, and the trial hanging system being tested over time. I think this was the last workshop with Justin explaining the layout.

Drawing 5

Drawing 5 again used 2 coats of gesso each side but used a different metgod of layering and far brighter colours. The result is luscious but not suited to the set!

March 18, 2026

Jayne brought over a test weave trialling her weaving responses to my tree drawings with cucoloris tree shapes in mind. We were also able to hang my fourth drawing using a rough prototype of our hanging system.

Weaving trials in March

Weaving Tests and observation of what the look like as cucoloris compared to shadows of real leaves.  

A few snippets of preparation for the retail aspect of BC+DW

Social media posts relating to Bound

Posters and works by fellow collaborators. A select few.

Fabricating the light

Thanks to Caleb Cluff for the reshaping and welding work on our recycled shade frame.

April full moon, Tiff

The first image was sent to me by a friend Damien and represents the cucoloris so well. Around those few days of the full moon I went looking for more tree inspiration for the final drawing and felt I could start again as there was so much inspiration and deeper seeing into the light and shadow.

Wrote to Kev Carmody

To let him know how his song has inspired our work, and received a reply! 

Threading up and starting to weave

Threading up the warp for the main weave

A special moment, trialling the light (around April 11)

Justin worked out the way the light for our cucoloris could be suspended in the exhibition space. Then Jayne tested the large light in her paddock using a generator to work out distances from the weave and the drawing for the best effect.

Amy Tsilemanis came on board as our spectacular walking artist and facilitator to gost a ticketed event during Bound. Together we gathered at my house to triall the light with Jaynes first few metres of weave!

Finishing the final drawing (6, of which 5 are used)

 Mid April - Many more meters of Weaving  

Packing for the exhibition install and EXIT Retail

More planning - meander in blue with Amy T

Final testing of the light with Justin in TV studio hub

Last days of preparation

Postcards and cards for the Ballarat Clay Collective gift shop, making of lampshades and packing drawings and installation props.

Last two weeks of media and socials

Images from posts about some of the other collaborators. Image of large banner at front of Mining Exchange. Radio interview. SOme website listings.

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Creative City Ballarat posters

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Installation of the core program information decals, Bound at Mining Exchange guide, whole program brochure, our wall panel.

Launch night photos by Klapper films.

A selection of photos of Bound launch night, May 1, 2026. The rest are kept on our shared G drive.

Promotional footage by Klapper Films.

Cucoloris, no one's lost who finds the moon. Moon walk activation. A meander in blue by Amy Tsilemanis followed by a Q&A.

​Q&A - hosted by Amy Tsilemanis and recorded by Belinda May for Voice FM. My version of her recording is best listened to after the 2 minute mark.

See Amy's blog post about our Moonlight Meanders.

> Moonlight Meanders

A walk under the moonlight while drawing squiggles on paper washes, culminating in the presence of the installation at The Mining Exchange, Ballarat.

Tiff's iphone shots of most of the installs in Bound, setup and with visitors.

Ballarat Clay Collective: Exit Retail.

Social media mentions.

Make Good Things Happen, a podcast by Angela D'Alton & Renee Baker

n this special season finale episode of Make Good Things Happen, Angela and Renée unpack the inaugural Ballarat Craft and Design Week and the collaborative exhibition Bound.

Listen in for a special mention of our work, Cucoloris.

Install photography by Jayne Newgreen.

Garland Magazine

We were invited to contribute an article to Garland Magazine. Garland is richly written and visualised online with a circle of subscribers around the world.

Garland is a partner of World Crafts Council – Australia, a national entity of the World Crafts Council – Asia Pacific.

"We are 1049 thinkers and makers and thinker-makers from 90 countries across the wider world. We represent many different cultures, religions, genders and experiences. These enrich our appreciation of the role that objects play in bringing important stories into our lives. As a gatekeeper, Kevin Murray welcomes stories from real makers while keeping out the weeds of advertising.
​
Among us are Perennials, who have made many contributions through writing and making to this garden of creativity.
We believe in the principle of custodianship. We are here for a purpose beyond self-interest. The purpose is to keep stories alive, with hands, hearts and minds.
Make stories, not war. "

Our story is published in the July 2026 edition and titled Cucoloris.

Thanks ♡

Caleb Cluff - metal shade and clip fabrication from recycled materials & endless support.
Justin Weyers & Picture Thinking - Creative Director, installation, ideas & magic.
Angela D'Alton of Make Good Things Happen - Professional Development, support & mentorship.
Amy Tsilemanis - Moonlight Meanders activation & art collaboration, Q&A interviewer, also magic.
Creative City Ballarat - Bound, Ballarat Craft + Design Week opportunity.
Tara Poole - Creative City Ballarat.
​Kiri Smart - support, legendary status, & a bed!
Jayne Newgreen - half of this collaboration can be reached here!