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Julieann Worrall Hood

Marlborough
Artist and educator Julieann Worrall Hood's mixed media drawings and sculptures weave together the synergies and spaces between sensory experience, memory and imagination.
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Julieann Worrall Hood's mixed media drawings, tapestries, soundscapes and sculptures weave together the synergies and spaces between sensory experience, memory and imagination.

‘Much of my work is about home and exile. I find glimpses and whispers of it in the elemental and ephemeral rhythms, patterns and sounds of nature: making connections between migration, materiality, memory and place.


As a child in Birmingham I would rush to the front seat at the top of the double decker school bus to watch the changing cloudscapes. As an art student in Edinburgh I made scribbly sketches of dramatic winter sunsets from Greyfriars Bridge, and of stormy waters, winds and skies from Portobello beach.


 I am curious about the elasticity of time, shifting perception and the plurality of memory. I gather sensory experiences through plein air drawings, that become graphic scores for layered soundscapes, the rhythm for eccentrically woven iron tapestries and sculpted tokens made out of cow parsley, concrete and butterfly wings. Making tactile music with marks, with solid and ephemeral materials, immersive and kinetic installations.


Since my student days in the Tapestry Department at Edinburgh College of Art, drawing, sculpture and weaving have underpinned everything.  As artist-in-residence at the V&A I discovered that my method of tapestry is known as eccentric weaving. Eccentric weaving is basically what I do - be it with ideas, drawn lines, sounds, steel or silk.


Since the Covid Lockdowns I have once more found solace in ‘skying’, as Constable called it. Catching air and making a tangential network of associations with global environmental and refugee crises. A multi-sensory weaving together of marks, materials, sounds, and stories.’

 

 

Julieann Worrall Hood Bio

Julieann Worrall Hood lives and works in rural Wiltshire.

Public commissions include sculptures in Salisbury, The National Forest (Leicestershire), Cotswold Wildlife Park (Gloucestershire), in Basingstoke, Stratford on Avon and for Denver Museum of Childhood (USA), with corporate commissions for Conran and Chanel in London, Manchester and Dublin.


Julieann often works in partnership with her husband, gardener and poet Nick Hood. Projects include the acclaimed ‘Flowery Meads’ installation in the grounds of the beautiful Watermill Theatre, Newbury and a series of living sculptures for Conkers, the National Forest visitor centre in Leicestershire.


Cross disciplinary collaborations with Kneehigh Theatre Company and the Watermill Theatre have led to numerous indoor and outdoor installations, events, objects, and costumes for performance. She continues to explore shaping sound through the language of sculpture: creating evolving installations in Bath and pieces for Coldplay for international performances in 2019, 2021 and 2022.


As an artist educator, Julieann has devised and led projects in schools, museums, galleries and communities, nationally and internationally. She has held the positions of Head of Education at Roche Court Educational Trust (New Art Centre, Wiltshire) and Contemporary Arts Practice lecturer and subject leader at Bath Spa University, plus many artist-in-residence posts including in Kerala (India), Santarem (Portugal) and at the V&A (London). She has given numerous talks on her work and creative engagement, including at the Berlinische Galerie (Berlin) for the British Council, at the the V&A for the International Museums Education Conference, at the Victoria Art Gallery (Bath), the Crafts Council, NSEAD National Conference, the Being Human Festival and at the Natural History Museum, London.  In December 2022, as a member of the Multisensory Art Project Team, she received the national Marsh Award for Excellence in Visual Arts Engagement for annual projects for children with PMLD (Profound and Multiple Learning Difficulties).


Her work is held in public and private collections and features in Graham McLaren’s  publication Creating Spaces: The History of the Bath Schools of Art & Design (Wunderkammer Press, 2020).

 

 

 

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