“Between the devil and the deep blue sea!” is a special work to me for different reasons. It was my first experience ever working with textile, and it was my first major artwork that I made and exhibited in Australia. I moved to Australia in 2011 and lived in Perth for 5 years before I moved to Melbourne in 2016. I didn’t have a chance to make many artworks when I was living in Perth and it was mainly because I needed to work full time in order to afford the living costs. Melbourne was totally different though. I moved to Melbourne after I was awarded Australian Postgraduate Award (APA) to study my PhD at RMIT University. This was a fantastic opportunity for me, not only because it helped me financially, but also because it gave me the opportunity to develop my practice and research experience. Being new in Australia and Melbourne though, I needed to familiarise myself with the art community in Australia and find ways that I can introduce myself and present my art. I knew that exhibiting in Australia will be challenging and I thought I can start with looking for opportunities like group shows and awards. The Wangaratta Contemporary Textile Award was the very first one that I applied for and it was definitely a great starting point for me. It gave me the confidence to look for other opportunities and that my decision for working with the material and methods that I had no previous working experience with, was a right one. Between the devil and the deep blue sea! is about a dilemma. A dilemma where on one side there is all the memories of the past, home, family, and friends. Everything that was once a life and now is only a memory. There is the threat of death, terrorism and violence and there is no hope for a better future. On the other side, there is a better chance for staying alive, but there is nothing clear about the future. Where you go and what you will be called; A terrorist? Or someone that is there to take the jobs and money!? We are watching the news and seeing tragic accidents happening all over the world every day, but what makes us indifferent to the suffering of others was something that I became interested to learn more about it. From the beginning of my project, I was interested in discovering more about the notion of indifference and that came from my own position as an observer. I am an Iranian living in Australia. On the one hand, I am observing wars and conflicts in the Middle-East from a distance and on the other hand, from not much a distance! I am living in Australia with a great distance from the Middle-East in terms of the geographical distance and the differences in socio-political situations. On the other hand, and despite Iran’s current safe situation, there is no guarantee for a stable peace in the future. Being not here nor there, I am an observer who won’t be in peace in peaceful Australia, and can’t feel the depth of the pain for people living in war-torn countries such as Syria and Iraq. The indifference phenomena can be studied from different disciplines, however, there can not be a simple and unique explanation for its cause. Regardless of different explanations for the causes of the indifference, what I am most interested in is to explore the ways I can show the “indifference” itself. For this, I seek to focus on my simple interpretation of the phenomena, which in my mind is “seeing tragedy, not tragic.” In other words, whether the indifference is caused by information overload, or distance from the sufferer for example, people don’t feel the pain and can’t understand the conditions others in pain are experiencing. Based on this explanation, the focus of my artworks is to depict and highlight the contradiction between the pain and the indifference. In my art practice, I often use colourful and attractive materials in combination with a visual language that reference to the aftermath of tragic events of wars, to provide a symbolic representation of indifference in the form of an artwork. This is my artistic approach in explaining the notion of “indifference”, that can illustrate my ideas around “seeing tragedy, not tragic”. to give voice to my own concerns and position as an Iranian artist, I am interested in utilising visual elements from traditional arts of Persia and the Middle-East. In selecting rugs and fabrics that I use in my artworks, the weaving quality is not my concern. Moving beyond this, I am looking for features which express and underpin concepts such as antiquity, resistance, simplicity, and peace which sit in stark contrast to the terrorising and militant image of Middle Eastern people portrayed by the mainstream media. Nowruz (Persian New Year) 21 March marks the Persian New Year and the first day of spring in Iranian calendar. It’s the time of the year when all Iranians and many other Farsi speaking nationalities (Afghans, Tajiks, etc.) celebrate together. My wife and I are planning a trip to Iran for the new year holidays and it would be our first time to celebrate the new year with family and friends in Iran since 2011. It is believed that Nowruz has a long history of around 3,000 years and is rooted in Zoroastrianism, an ancient Persian religion that predates both Christianity and Islam. Every year Iranians celebrate this very special event at different times and it’s because the exact time of the new year depends on the exact calculation of when the length of the day and the night are equal. There are many things about the Persian new year to be excited about and sitting around the Haft-Seen table (7sin) with family is with no doubt the most exciting one. Haft-Seen is a set of seven symbolic elements beginning with ‘S’ in Farsi that Iranians arrange them together to decorate a table that family sit around and celebrate the beginning of the new year. The most common items found in Haft-seen decoration are: Sabzeh: Wheat, barley, mung bean or lentil sprouts growing in a dish, Samanu: Sweet pudding made from wheat germ, Senjed: Dried Persian olive. Seer: Garlic Seeb: Apple Somāq: Sumac Serkeh: Vinegar Sekkeh: Coin that symbolise health, wealth, abundance, etc.Wangaratta Art Gallery Collection, Acquired with the assistance of Robert Salzer Foundation.A used Persian Rug that has had a motif of two heads and an explosion hand-stitched onto it.mohsen meysami, textile, rug

White cotton cutwork child's dress, hand stitched. Back opening with drawstring neck and waist.children's clothing, embroidery, cutwork, 19th century, lace

The leather bag is a Pay Cash Bag. It was used to transfer cash between the the railway stations of Grassdale and Merino.This Pay Cash Bag is an example of the connection between people in the remote areas of Victoria. The railway system was used to transfer people, goods and cash between districts in western Victoria. Pay Cash Bag; a rectangular leather bag with rounded bottom corners, stitched, with brass peg for securing opening. Has stitched leather rectangle nameplate with hand written inscription.Handwritten; “GRASSDALE PAY CASH BAG” “To be returned to MERINO when empty”flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, cash bag, merino railway station, rural banking, finances, grassdale railway station

A school sampler from the 1930's, demonstrating a mastery of numerable sewing skills: Buttonholes- both bound;6 bound buttonholes. Button loop fastening 17 rouleau loops. Seams: Plain flat seam, machine stitched-part neatened by hand, and part neatened by machine. An overlapped flat seam-machine stitched. Fasteners: Press-studs (3) Buttons (4) shanked and f;flat. Metal hook-and-eyes (3), one eye hand stitched, all attached in buttonhole stitch. Pockets: (2) Machine stitched. Collar: (1) Rounded ''Peter Pan"" collar, with bound placket opening, one pearl button, and hand stitched loop. Facings (3). One square, one round, one Vshaped. Pintucks: 4 machine stitched pintucks.textiles, domestic, school needlework sampler 1930's

'Corio' brand hand knitting wool, produced in Geelong, Australia. The weight of 25 grammes indicates a date of manufacture after 1966.Three balls of 'Corio' brand woollen hand knitting yarn, produced in Geelong, Australia.Corio / 8 PLY / WOOLLEN / HAND KNITTING / YARN / MADE IN / GEELONG, AUSTRALIA. / 25 GRAMMES NET AT STANDARD CONDITIONShandicrafts

Wandin Thomas Sebire JP (1867-1960) learnt boot-making as a young man. In a small workshop on his property in Sebire Avenue, Wandin he made boots for family, friends & neighbours. He also repaired boots & made other small leather articles. Bootmaking is a complex process requiring a variety of tools. The leather is cut to shape, glazed & burnished (polished) with heated irons. The pieces are stretched onto, & nailed to, a wooden last to form the boot. Once attached to the insole, the boot is finished on a metal last. Uppers are stitched with waxed thread through holes made with an awl. Heels comprise pieces nailed together & neatened with a heel shave. Metal plates, short nails or hob nails driven into the sole & heel, often in a pattern, improved durability.Handmade Waxed Thread attached to pig bristles, for boot stitching .bootmaking tools, thread waxers, threads

Velvet jacket, black background with design of red and gold flowers outlined in gold thread. Five black buttons down the front. Lined with black polyester fabric.Stitches Items Australiacostume, female

History of quilt unknown.Quilt, covered in a brown and floral patterned cotton fabric, machine and hand stitched with black knitted insert.quilting history, running stitch group, running stitch collection, quilting - history

Worn by Pastor Steinicker (?)White leather gloves with press stud fastenings at wrist, three reinforced lines stitched on back of hand.RH '7 3/4' inside wrist, LH '301118' inside wrist, evidence of a tag removed LH inside wristcostume, male, gloves, leather, steinicker, lutheran

This is a field wallet that belonged to Rolf Crawley. He was an engineer, surveyor and architect in private practice in Warrnambool and also the engineer for the Shire of Warrnambool from 1935 to 1968. His grandfather, father and uncle were also engineers, working in that capacity or as the Shire Secretary for the Shire of Warrnambool, with the Crawley family recording a total of 132 years service to the Shire. The Shire of Warrnambool existed from 1863 to 1994. The wallet came into the possession of Michael Hand who took over the private surveying business of Rolf Crawley in Warrnambool. The Warrnambool and District Historical Society acquired the wallet, along with several ledgers and other Crawley memorabilia from the estate of Michael Hand. This wallet is of interest as it was owned and used by Rolf Crawley when he was doing field work in connection with his surveying and engineering jobs either in private practice or as the Shire of Warrnambool engineer in the 20th century. This is a brown leather wallet in two sections that fold over and close with a flap or tongue that inserts into a strip of leather stitched into the cover. The two sections have extra pieces of leather that are stitched on to make compartments. These contain three pieces of thick card folded over. These cards have rough notes and figures handwritten on them. Inside the wallet is a hand-printed name. The wallet is much scuffed and stained. ‘Rolf L. Crawley L. S. Shire Hall Warrnambool’rolf crawley, warrnambool, shire of warrnambool

Compiled by Gudrun Frank for use in Camp 3 school.Grade 1 reader. Text. Hand stitched and bound in hard card cover, dark brown cloth spine, typed script and originally hand illustrated.Lesebuch Meta und Erikagudrun frank, camp 3 school, internment schools, grade 1 reader, camp 3 internees, camp 3 german internees, german templers, hildergard kazenwader, fritz kazenwader

Lady's hat made from light pink straw like synthetic fabric with a matching pink ribbon around the crown. The band is tied in a bow with a decorative silver clasp stitched onto the band. Hand stitching presents as the hat being hand made. Black chin elasticattached.hat, millinery

Gloves are part of a collection of garments donated by Bette Jones an Hist. Society memberNavy blue elbow length gloves hand stitched, with three darts on top side. Material was known as suedettecostume accessories, glove accessories

From the Betty Jones collection. Doily would have been used during the 1900's as a decorative itemSmall round white hand-crocheted doily with white damask centre. Crochet is attached to centre with feather stitchdomestic items, ornaments / decorative

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. This item is unique, handmade and has a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of social and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history and women’s history. A cream coloured, hand stitched cotton dip-waist belt from the Edwardian era, with metal fastening clasps. hamilton-smith, hamilton-smith collection, ellwood, wodonga, clothing, handmade, edwardian, historical clothing, belt, dip-waist belt

A silk scarf souvenir from Egypt. It was embroidered with military symbols. The date is unknown. The connection with Legacy is not known. The founders of Legacy were all returned servicemen who returned from overseas service in World War One so would be familiar with similar sentimental souvenirs that were purchased in Egypt and sent home to loved ones.A record of a type of souvenir made to commemorate the Australia Commonwealth Forces. Founding Legatees would have been familiar with Egyptian souvenirs from World War 1.Purple scarf, possibly silk, hand stitched with military forces symbol, text and floral motifs. Gold braid trim possibly machine stitched at a later date. See similar items 00182, 00183.Embroidered with 'Australian Commoolth (sic) Military Forces'.souvenir, world war one

Comic-book style promotion featuring students completing the two-year Advanced Diploma of Arts (Graphic Design) course at University of Ballarat, 2007. Inside front cover features student names and photographs, plus "character" names. Pages feature student folio pieces. 16pp saddle-stitched full colour offset throughout.Promotional catalogue for graduating students of the University of Ballarat (TAFE), Advanced Diploma of Arts (Graphic Design). 16pp saddle-stitched booklet, full colour offset throughout.diploma of graphic design (2 years), university of ballarat, federation university, graphic design, tafe, advanced diploma, arts academy, camp street campus

Clothing. Men's cream coloured cotton formal dress shirt. Stiffened bib front (27 cm X 38 cm) with pleats and pin tucks. Centre front placket (35 cm) with 7 cm button holed tab at lower end. Front opening fastened with three buttons and button holes (two buttons missing). Double button holes on 2 cm stand up collar. Body of shirt gathered into yoke at centre back. Long straight sleeves with 7 cm stiffened cuff with button holes for cuff links.Tag inside back neck. Coat of Arms, ''Fdad' Aluisio Napoli'' Red hand stitched laundry mark.costume, male, men's cream coloured dress shirt

Square art quilt with tones of brown and cream.reverse side: Pamela Fitzsimons 2004 / SILK + WOOL DYED WITH EUCALYPTUS LEAVES / HAND STITCHED WITH SILK THREADhandicrafts quilting textile, national wool museum, fitzsimons, ms pamela, geelong, victoria, handicrafts, quilting, textile

Camisole. Wide boat shaped neckline. Short flared sleeves, cut on the bias. Sleeves sewn in to give a rolled effect to the seam. Linen. All hand stitched. (JH) Mended in a beautiful hand stitched manner. 8 metal eyelets for tying in front. Much mended, Delicate, (Beautiful).costume, female, underwear

This beautiful hand-cut crystal vase was made in Poland by Violetta Crystal Glassworks. Its design is decorative and functional. It reflects vases produced in the late 19th and early 20th century when hand-cut lead Crystalware was popular in England. The lead content in the glass makes the glass softer and easier to hand-cut. The crystal clear glass sparkles in the light. Crystalware was kept for special occasions such as weddings and religious events. The Violetta Crystal Glassworks was founded in 1864 by Franz Losky, at the district of in Stronie Śląskie. Its original name was Oransko-Nassawska Glassworks, then later named Oranienhütte. The Glassworks came under Poland's rule after World War II. In 1950 it was subject to the Central Board of the Glass Industry and Precious Ceramics, with its seat in Sosnowiec, and the Glassworks was called United Glassworks of the Lower Silesia Region – State Crystal Glassworks in Stronie Śląskie.In 1953 it began exporting its products. In 1970 the name was changed to Violetta Crystal Glassworks in the Polish district of Stronie Śląskie. The firm became the major exporter of Polish glass. From 1992, structural changes in the company resulted in the loss of production, which stopped altogether in May, 2008. Minex CEI SA bought the plant in 2011 and operated it until the end of 2018.This hand-cut lead crystal vase design reflects that of vases produced in the late-19th and early-20th centuries. It is representative of decorative domestic items used during that era, particularly for important and special occasions such as weddings and religious events. Crystalware was cherished for its beauty. The vase is also significant for its association with the renowned Violetta Crystal Glassworks established in 1864 by Franz Losky, which was at one time the greatest exporter of hand-cut crystal made in Poland.Vase; clear hand-cut glass, 24 per cent lead crystal. The vase is wide at the top with a scalloped edge. It tapers inwards to a round foot. A clear rectangular label with gold text is attached. It is branded Violetta hand-cut crystal, made in Poland. On the label: "MADE IN POLAND" "Violetta" "Hand cut 24 % lead crystal" "(R)" within a circleflagstaff hill maritime village, shipwreck coast, flagstaff hill, warrnambool, flagstaff hill museum and village, domestic object, decorative object, functional object, vase, crystal vase, cut glass vase, hand-cut glass, violetta, violetta glassworks, polish glassworks, made in poland, vase with scalloped edge, crystal glassworks, franz losky, oransko-nassawska glassworks, oranienhütte, stronie śląskie, hand-cut crystal, crystalware

Knitted fabric is made with a single yarn or sets of yarns moving in only one direction. Whether done by hand or by machine, the process is the same. The knitting needle loops the yarn through itself to make a chain of stitches. These chains, or rows, are connected to produce the knitted cloth. There are two types of commercial knitting machine. A flat-bed has its needles, one for each loop, arranged in a straight line to produce a flat fabric. A circular machine has its needles arranged on a rotating circle. The cloth forms as a tube which can be made into seamless clothing. Griswold bench-type sock knitting machine hand operated by turning the handle.sock knitting machine, textile industry, wool, fashion, clothing

An item of Local significance for women in use of decorating their Domestic life in the mid 1920's. Usually these items were constructed with the use of their own handicrafts. The 'Sunday Best' status helped to present a civilised look to the one day of No work and Church in a family's weekly life.A lady's linen, hand embroidered full apron. Orange Flowers(Button hole stitch), green leaves (satin stitch) Featherstitch on pockets and edges of the garment.1 Tie is missing meaning that the apron cannot be worn.embroidery, hand, domestic, linen, silk, crafted, apron, sunday best, stranded, ties

John Gartner was a fine printer and publisher, an author, a noted philatelist, and also collector of Australian banknotes and coins. He was born on 16 July 1914 and was largely self-educated, leaving school at fourteen for work following the death of his father. Gartner developed a strong interest in the history of typography and printing and was apprenticed at the Advocate where his father had been a linotype operator. Aged 17, Gartner bought a hand press and some fonts of type, and in 1937 acquired a platen press from which he set and printed his private press books, published under the imprint of The Hawthorn Press. Gartner had a strong collection of Australian bookplates. He also looked at the work of artists overseas and commissioned personal plates. He subsequently built an international collection with preference for artists who printed from wood. His initial searches were in Belgium and Holland.(http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-84/t1-g-t7.html) Print shows an open book with the word ELIDE on the left hand page and a picture of a seated man framed by a circle on the right hand page. An engraving tool and wood block are in the foreground. Foliage protrudes from behind the book. W 90/31 in bottom right hand cornerkeith wingrove memorial trust, bookplate, australian bookplate design awards

Lady's hat made from cream coloured straw like synthetic fabric with a matching cream ribbon around the crown. The band is tied in a bow with a decorative faux pearl clasp stitched onto the band. Hand stitching presents as the hat being hand made. Black chin elastic attached.hat, millinery

Child's dress forming part of knitted woolen layette. Cream wool hand knitted.Cream knitted child's dress Short puff sleeves Patterned and plain stitches Ribbon decoration knitting, wool, child's dress

THE JACKET This jacket has been tailored to flatter the wearer’s figure. It also has elements that keep it in good shape and condition, preserve it from soiling and give it a longer life: - the hooks and eyes that join the jacket to the skirt allow the outfit to be made in two pieces but fit close to the body without exposing undergarments - the seams for the metal stays have been cut and stitched to allow maximum movement of the wearer and still keep a trim figure - the discreet breast pocket allows the wearer to keep a handkerchief, coins or other small items close at hand - the lining includes removable padded shields to absorb underarm perspiration - the lining has two cotton loops attached for hanging up to air and freshen it - new cuffs have been attached over the original sleeves that have buttonholes but no buttons. The buttons may have been used to replace missing buttons on the front of the jacket or perhaps to repair worn cuffs The amber coloured satin jacket is fully lined, has turned-back cuffs, a band collar, and looped, coffee-coloured braid trim. A row of closely spaced, round bronze buttons with a floral motif form a decorative closure most of the way down the front of the jacket, below which are metal hooks and eyes that finish at the waist. Underneath the cuffs there is a closely fitted cuff with a row of three button holes but no buttons. The jacket lining has vertical metal stays spaced around the midriff, sides and back. There is an absorbent, removable pad hand-stitched to the underarm section of each sleeve opening. A small satin pocket is stitched discreetly onto the lining above the chest on the right-hand side. There are also two cotton loops sewn onto the lining. Several small metal rings are sewn at intervals around the inside of the waist A satin bow from the same fabric is attached at the centre back of the jacket at waist level. antique satin jacket, colonial evening jacket, ladies evening jacket, 19th century ladies satin jacket, evening outfit