Having departed from commercial restraints, I am now exploring without restrictions, the knit structure, as if almost for the first time. Investigating the process is my focus, from creating yarns of various qualities and materials to experimenting with knitting tools and construction techniques…..and most of all, enjoying the journey

LIZLiz graduated from the NCAD in Fashion & Textiles in 1978 and worked as a commercial freelance fashion knitwear designer up to 2000. She had always been involved in education, on a part time basis and more recently she has been a knit tutor at Limerick School of Art & Design for over 10 years. She is also a founder member of Cork Textiles Network CTN.

Her current work is experimental and directed more towards ‘fine art’ textiles, she is also passionate about sharing her knowledge and experience and has developed very successful ‘interactive knitting’ experience with the public in the Feature Area at recent Knitting & Stitching shows in the RDS in Dublin and elsewhere.

Using mainly 100% wool fibres and yarns and incorporating other techniques such as felt making and shibori has allowed Liz to develop a unique series of work titled Eggmoney.

Liz is also developing a series of varied textile workshops in her studio at Gortnabinny, drawing again from her vast experience and knowledge in this area of knitted textiles. Ongoing Information on these workshops is available on her Facebook page – just knitting with liz spillane.


Drawing from years of experience of working with wood, the title ‘inwood anything’ reflects my ambition to focus on designing and making all the furniture and fittings for the house together with developing my turned pieces.

OLIVER-1Using only local native timber which has been felled by storm or for safety reasons, Oliver makes the initial cutting using a variety of milling techniques, the Logosol sawmill, a Saw Miser mill or the Alaskan saw mill, depending on the end usage of the piece of wood.

Some exceptional trees will influence the process, design and end product.

The pieces are then dried, either by air drying over a long period, 2 to 3 years or kiln dried for shorter period, in his purpose built sauna kiln.

Oliver’s preferred lathe is now his VB36 on which he turns most of his work, especially large platters and bowls and which he has customised to cater for his large sculptural pieces.

Other processes such as, steam bending and laminating are also use in his work.