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Some years back, I wandered the thread aisle of a local craft store, mentally ticking off the colour palettes I had already accumulated. However, amidst a small selection of discounted spools, I noticed a missing shade in my assortment - a rich creamy cotton hue labelled 'biscuit' on the barcoded packaging. Intrigued, I bought three spools. Later, I went back and purchased a few more, fearing I might run out of this newfound favourite shade.


An image of spools of cream coloured spools of thread against a white background used by Australian textile artist Megan Kennedy

At the time, I found the colour profoundly compelling, and for a long while I chalked it up to being a punchier neutral - sort of gold, sort of white, but with weight. It was flexible, shifting alongside other tones. But it also held its own texturally and with depth. In my mind it was an aggressive colour, accommodating but consuming. It was intense and graceful, demanding and adaptive.


Anyway, yesterday I was stitching with a friend, and we were discussing our preferred working colour pallet. When queried about the Biscuit, I thought a little while. While white is virtuous, this brand of off-white is soiled, narrative, dynamic, utilitarian and encompassing. But up until that point, it was simply the colour to stake a claim. Then my friend suggested associations with childhood, could my affinity have begun with sunrise filtered through curtains back home? Or sand on the beach at an early family holiday? Neither of these struck a fruitful connection - but my childhood Teddy Bear, appropriately named Honey Brown, is biscuit coloured. And that was it. His worn fur is the exact shade of my favourite spools.


It was then that I realised that my previous aggressive assertions with the colour were unfounded, and that all this time I have been applying this thread not through the hostile staking of a claim, but through the act of finding and establishing comfort. It's a soft colour, a colour that reaches far back to a profound transitional object that I still treasure. My application is far gentler than I had assumed. In my seeking of refuge from mental turmoil, I was turning to a source of comfort, not my presumed boldness or claim.

I've been making little brooches for myself, a wearable art project intended to test my textile skills at a small scale. Recently I posted a few brooches to Etsy for purchase - they can be found here.


A minimalist black and white quilted brooch with bold black thread and an organic formal quality made by Australian textile artist Megan Kennedy. The brooch is pinned to a textural red shirt and is available on Megan's Etsy.
An expressive punk diy star shaped brooch with colourful beading and a fluffy collaged texture made by Australian textile artist Megan Kennedy. The brooch is pinned to a textural red shirt and is available on Megan's Etsy.

Brooches are a beautiful and expressive way to adorn clothing and accessories, but making them has also helped ease my mind when working on larger textile projects were logistically prohibitive. I'm glad to be able to share them on such a diverse platform.


A black and white photograph of artist Megan Kennedy soaking a peice of textile cloth in seawater at Merimbula, Australia

A black and white photograph of artist Megan Kennedy soaking a peice of textile cloth in seawater at Merimbula, Australia

Whenever I go on a trip to the beach, I bring a textile scrap to soak in the sea terminus. This weekend we went to Merimbula, located on the Far South Coast or Sapphire Coast of New South Wales. There, we frequent Main Beach, where whales can be sighted offshore headed south to Antarctica with their young.


Living in a land-locked city, a trip to the sea is an occasion. We travel through the flatlands, down Brown Mountain to meet the shore - about a 3 hr drive. The water was choppy in the bay, I rolled my jeans to submerge my peice of cloth in the foam, a process photographed by my partner. Soon after, I stitched the scrap down (still salty and damp) onto a new white ground for a project titled Gain. This project is about making space for explorative and diaristic making, a large-scale hanging populated with memory and occupation. Textiles are very much a part of memory making, and this cloth will always remind me of our trips to the bay.


A photograph in black and white of artist Megan Kennedy holding a cloth damp with sea water

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