Warp and Wool, 2017

Hard ground etching in Sepia on somerset paper.

Signed, dated and numbered in the margin.

29.7 x 21 cm.

Edition of 30.

Contact Collectionair for details about the artwork:

For this second collection of limited edition prints, Collectionair has joined forces with FIBRA Residency to create a portfolio of 10 works by emerging contemporary artists, each print also sold individually.


About Fibra Residency

Fibra examines the questions: ‘What role does artisanal textile work have at the heart of a community? How do globalisation and freedom of movement change our perceptions in relation to traditions? Does it affect the preservation of crafts and the sustainability of these practices?

Fibra is an itinerant and research project created by Mia Pfeifer with a focus on exploring and examine the importance of textile traditions in local communities. We invite a selection of UK-based artists whose practices are concerned with an experimental and fine art approach to fibres, understanding textiles as a metaphor for knitting ideas, concepts, interlacing traditions to our everyday lives. They are invited to reflect on the questions at the heart of our project and to integrate this into their work.

We will be collaborating with two indigenous communities based in Colombia, for whom the preservation of ancient skills in the working of fibres has been passed from generation to generation. Most of Colombia’s rural communities and tribes consider natural fibres to be the core, indispensable element of their social structure. The spectrum of everyday uses includes wearable fabrics such as carrier bags either for personal items or for agricultural produce, as hunting traps, and in the domestic space, amongst other uses. These objects are carriers of the communities’ myths and beliefs. The very structure and process of textiles have an intrinsic relationship to cultural customs and the social fabric of these communities

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  • All artworks are sold unframed unless stated otherwise.
Desktop bea


Bea Bonafini approaches her work as a mise-en-scène of objects fluidly passing between mediums and references. Testing the notion of comfort, her installations operate on the boundary between functionality and the aesthetic, seductively suggesting intimacy and reflection through the production of colourful and sensuous objects and environments. Images and material are extracted from a painterly genre that absolutely embraces décor, while stretching familiar forms to make welcoming spaces suddenly feel uneasy, as if one is being consumed by rich decorative surfaces and layers of history. 

Slipping between infusions of domestic and sacred, antiquity and playfulness, softness and conflict, the materiality jumbles a fragmented Art History into an interior language of dysfunctional calm and familiarity. Comfort that slips into discomfort. A subtle eroticism andigestion of textures, pattern, design and style. A dense scenery of fragments, pointillist shapes, slotting forms and materials.

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