Community Arts

Exhibition

Individual Commissions

Theatre & Performance

Outlook

Anna's practical outlook to the requirements of costume and individual dressing is merged with creative expression and sensitivity to her clients. Attention to detail is maintained within the scope of budget, text, group or individuals' needs.

Community Arts

Offering alternative pathways of applying skills to a wide variety of groups, these range from children to the elderly, with varying degrees of capability. Textile related skills are re-interpreted to suit an individual or group's needs - all are able to participate and learn on different levels.

2006 Training in shoe making, London College of Fashion
2006 Made interactive costume and held movement workshops in conjunction with Eduard Bersudsky's Sharmanka, Callender House

2005 Visiting lecturer, Queen Margaret College
2005 Wardrobe mistress, Shebangrassandra, Spirit Aid, Glasgow

2004-2007 Residency at Armadale and Bathgate Academy
2004 Residency at Boclair Academy, Bears Den
2004 The Big Shop, The Puppet Lab
2004 Make an Exhibition of Yourself, Artlink Central

2001 Clackmannanshire Day Hospital, Alloa
2001 Boness Hospital, Textile Project (elderly patients) Artlink Central

2000 Gioia, Hawkhill Day Centre
2000 Callender Primary School, Artlink Central
2000 Logie Stroke Club, Lip Service Project, Artlink Central
2000 Queen Margaret College, Creative Costume, Visiting lecturer

1999-2004 Gioia, co-founder with Chrissie Hall

1999 Under the Duvet, The Names Project

1998 Sketching Without a Safety Net, Artlink
1998 Edinburgh College of Art, lecturing latex and fibreglass casting
1998 Metacorpus, Techniques and Manipulation
1998 Aviemore Comunity Centre, Te Pooka Performance Company
1998 Metacorpus, St. Brides Centre
1998 Beltane and Sammhuin festivals, Edinburgh

1997 Edinburgh Community Trust, Part Time seamstress

Exhibition

Costume and textiles have been explored both three-dimensionally and through documentation. Primarily, costume has been presented in a static, sculptural format. Recent exhibitions explore the potential for audience participation with an interactive element.

2005 Hybrids, solo show; Comme des Garcons, London

2004, 2005 Metacorpus, Invisible fields, internationally touring
2004 Make an exhibition of yourself, Macrobert, Stirling; Collaboration with primary children and Artlink Central

2002 Body Sculpture, Wakefield, Yorkshire
2002 Please Dress solo show; Emphasis on access for people of varying abilities, The Arches, Glasgow

2000 Metacorpus, New St. Exhibition Space
2000 Metacorpus, Cyberia Cafe
2000 Coming to our Senses, national tour with Craftspace Touring
2000 Metacorpus performance of Sound and Suspension, based on the function of hearing

1999 Lip Service, Talbot Rice, Edinburgh; Collaboration with stroke patients and Artlink Central
1999, 2000 Metacorpus, artistic director and costume design, Sound and Suspension
1999, 2000 Metacorpus costume created for workshops led by Brian Hartley

1997 Mit Haupt und Haar, The Hygiene Museum, Dresden
1997 Formed Metacorpus, Artistic Director and Costume Designer, Animated Body Appendages
1997 The Virgin Queen (Elizabeth l) The Presidential Palace, Malta

1996 Awarded bursary to travel to Italy and research renaissance and futuristic costume
1996 Water dissolvable costume for a collaborative piece with Jo Howlett and Tam Dean Burn

Individual Commissions

These take into consideration a clients dressing needs and desires. Each piece is tailored around the individual, from fastening to material suitability whilst applying skills such as embroidery, pleating, silicone encasement and smocking.

2006 kilt skirt for Talon
2006 Wedding and bridesmaids' dresses

2004 Gentlemans' honeycomb jacket for bee and butterfly ball

2003 Tailored waterproof for lady with restricted movement
2003 Corset, wedding dress and bolero
2003 Premature babies' christening gown

2002 Bias cut 1930's wedding dress

2001 Bias cut 1930's wedding dress

1999 Elizabethan inspired wedding dress

1998 Tailored suit for gentleman with unique body shape
1998 Edwardian hobble skirt wedding dress, reworking 1920's dress

1997 Bias cut wedding dress
1997-2000 Victorian corset commissions

Theatre & Performance

Text and budget largely steer theatre work - a great proportion of this is for touring purposes, therefore requiring highly durable construction. Consideration is given to audience through academic interpretation whether a costume has humorous potential or strong character association.

Performance costume is considered with relation to enhancing or restricting movement for the performer and subsequently expressing a specific concept through form and texture.

2006 Hansel and Gretel, Hopscotch Theatre
2006 I want to be an Inventor, Hopscotch Theatre

2005 The Wizard of Oz, Hopscotch Theatre
2005 Robert Burns, Hopscotch Theatre
2005 The Vikings, Hopscotch Theatre
2005 Bonnie Prince Charlie, Hopscotch Theatre

2004 Victorian stories, Hopscotch Theatre
2004 Tam O'Shanter, Hopscotch Theatre
2004 Mary Queen of Scots, Hopscotch Theatre

2003 Pantomime Sleeping Beauty, Hopscotch Theatre
2003 Sweet Fanny Adams in Eden, Stellar Quines Theatre Company
2003 Tam O'Shanter, The Arches Theatre Company
2003 St. Margaret, Hopscotch Theatre

2002 Mermaid Cinderella, The Arches Theatre Company
2002 Alice in Wonderland, Hopscotch Theatre Company
2002 Loch Lomond Summer Sketches, The Arches Theatre Company.
2002 Ancient Egyptians, Hopscotch Theatre

2001 Pantomime Puss in Boots, Hopscotch Theatre
2001 Opera Galactica, Universal Arts

2001 Robert Burns, Hopscotch Theatre

1999 Maccabbi Games, Scottish Youth Theatre
1999 The Stuarts, Hopscotch Theatre Company

1998 Under Milk Wood, The Arches Theatre Company
1998 Macbeth, The Brunton Theatre

1997-2001 Costume Assistant,The Brunton Theatre
Wig Making, Scottish Opera.

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