Everyone has the right to take part in the government of his country, directly or through freely chosen representatives. Everyone has the right of equal access to public service in his country. The will of the people shall be the basis of the authority of government; this will shall be expressed in periodic and genuine elections which shall be by universal and equal suffrage and shall be held by secret vote or by equivalent free voting procedures.
This artist’s block originally featured stitching over the nations’ flags. Two of the flags of these Muslim-majority nations feature prayerful script. At MoAD’s request, the stitching was unpicked, as a mark of respect for religious beliefs. The artist agreed to make this change rather than have her block covered.
About my work
At the core of my artwork is an exploration of feminine narratives in aesthetics, media, history and personal experiences. Of particular interest is how my chosen subjects or artistic mediums relate to and impact women’s issues and social equality.
I initially resisted using textiles. Artists who work with textiles have struggled to achieve recognition because cloth has long been associated with domesticity and womanhood. Now I believe the use of textiles and craft methodology confronts these embedded preconceptions. Contemporary art reinvents itself by looking outside its own area for inspiration—be it politics, science or technology.
- Eva Angel
I grew up on a farm and before I could talk, I was using marks to try to capture my world. It was obvious that I had artistic ‘talent’ but, alas, I wasn’t allowed to develop these skills until later in life. I became a full time professional artist in 2002.
Initially a painter and printmaker, with work exhibited both locally and internationally, in 2004 I was commissioned to produce several pieces of environmental art.
A recession in 2007 closed many galleries and I was forced to reconsider my work. I have continued to develop my techniques, and drawing and the use of colour remain the foundation for all my work. Close contact with several older people prompted me to revisit the old skills based around stitch. The fragments of materials are layered and mark the passing of time, with the rituals of making (drawing, cutting, gathering materials, sewing, printing) acting as part of the narrative of the work.
My work grows out of a daily venture into the landscape, regardless of the weather As a result I feel hefted to the land like the sheep on the fells. I return to particular landscapes time and time again. Through this persistent revisiting of the subject, I eventually perceive the essential nature of the place, which then informs my work. I use mixed media, textiles, print and outdoor interventions. The latter are a particular favourite; I call them ‘Memory Shadows’. They play with the notion of the shadows of people passing, in time and space.