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12 pieces by Sallie Tyszko
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Beith Sithe
Dawn, the lagoon
Kyles Flodda
Le Chiele
The Sanderling
Three Island Stones
Woman of Stone
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Sallie Tyszko Applied Art
Sallie worked from her small cottage in Oldshoremore, near Cape Wrath for 21 years moving in 1997 to a croft in Ross-shire. Sallie Tyszko weaves tapestries on big floor looms. Strong, powerful ones, full of colours and texture. Sinuous lines thread across landscapes. Luminous mohair undulates through the waves of seascapes. Rocks informed by chunky hand-spun enjoy the juxtaposition with delicately hand-dyed skies. They are unique. Irreplaceable. Heirlooms. It is her passion and raison d’être. The tapestries sell through exhibitions and her open workshop. Commissions are also undertaken.
Sallie studied weaving and design Art under Joanne Sommerville, Cumbria, Noelle Boise, Argyll and Angie MacGregor, Wick.
Selected Commissions/collections:
Large commission, Raigmore Hospital, Inverness
5 for Loch Fyne Restaurants.
3 Large tapestries for private customers
Sallie undertakes commission of any size for public buildings and for private customers from 18”x 20” to 20ft x 40ft and in price from £250 to £20,000.

Single Exhibitions:
Eden Court Gallery, Invern The Stirling Smith; July – Augustess
Group Exhibitions:
1993 - Eden Court Art Gallery, Inverness
The Feis, Strathdon, Aberdeen
The Warehouse Gallery, Banff

1994 - Gallery 41, Edinburgh
Alloa Museum & Art Gallery, (Solo Exhibition)
The Stable Gallery, Roxburgh

1995 - The Watershed Gallery, Inverness

1996 - Highland Festival, Touring Exhibition
Gallery 41, Edinburgh
Inverewe Gardens, Poolewe
‘Frontiers’, Royal Mile, Edinburgh
Opening of own workshop, Oldshoremore

1997 -Browns Gallery, Tain
The Shore Gallery, Ullapool

1998 - Browns Gallery, Tain
Timespan Gallery, Helmsdale
Highland Festival, Touring Exhibition
Kilmorack Gallery, Beauly
1999 -Selected by SAAC, Edinburgh
Kilmorack Gallery, Beauly
Art TM, Inverness
Crafts in Residence,
Made in Scotland, Beauly
2001 - An Tuireann, Skye; March –April
Birch” Touring Exhibition;
The Stirling Smith;
Green House Gallery, Castle Douglas;
Work on Show, Britoil, Aberdeen
CD Cover for Jeep Solid
Marie Curie, Museum

2002 - Bridgend Gallery, Aberdeen
Kilmorack Gallery, Beauly
Larks Gallary, Ballater.
5 for Loch Fyne Restaurants
3 Large tapestries for private customers
2003 - Open new workshop, Muir of Ord

2004 - Kilmorack Gallery April – June
Images Gallery – Stein, Skye
Unlimited Colour – Ullapool
Just Art – Fochabers

2005 - Art from Farms – Bristol.
Lyth Art Centre –Caithness
Mall Galleries --London

Artist's Statement:
I have lived in the Highlands of Scotland most of my life, working in the field of textile art as a tapestry artist since 1989.Having always worked in textiles, and fabric design, it was natural curiosity and progression to pursue this theme to its roots, then to evolve my own projects from my understanding and love of both the Highlands and textile art. The legends give me a mermaid, the colour of a sea at dawn, the veins of a leaf, a shade, and a shape. This is my passion and raison d’etre, to be a minuet part of this creativity. Sometimes the tapestries come straight out of my heart and mind; just working at the loom they somehow flow in colours and shapes by themselves. Sometimes I do watercolours in the hills, by the sea, on the islands. These are then enlarged to fit the size of the wall hanging as a “cartoon” or guide. Each warp thread is then inked to show the outline of a bird, the curve of a hill, etc. The wool and mohair is clipped from the on-farm Friesland sheep and the Angora goats, who produce the lustrous, shimmering mohair. Then it’s hand-spun and individually and specifically hand-dyed for each tapestry. A snatch of cow hair from Dawnie and Rosie provide lovely red-golds and mottled greys.The warp for the tapestries is usually cotton, but for a transparent background, 50lb breaking strain fishing line is used.The weft can be innovative: jute, lace, strips of velvet and chiffon, silk and satin, sequins, plastic and metal. I use fishermen’s net mending needles as bobbins to carry the weft, which I discovered while living in the fishing village of Kinlochbervie. Two 8-shaft looms, a James Lockie and a Lervad are used for weaving. Embroidery, crochet, plaiting and soumak are methods added to weaving to achieve the perfection I seek continuously. Most tapestries are mounted on driftwood gleaned meticulously from the seashore, and painstakingly assembled for each particular piece of textile art.Joanna Summerville in Cumbria, Noelle Boise, Argyll and Angie Macgregor, Wick, trained me.
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