PAD London – Tapestries, Tufting and a Good Sweater!
An afternoon exploring contemporary textile art, collectible design and a little gallery etiquette at PAD London.
Today I was off to PAD London (Pavilion of Art and Design), held in Berkeley Square. Described as the UK's exclusive fair dedicated to 20th-century and contemporary design, this year's event brought together 67 international galleries from 18 countries, showcasing 125 years of collectible design, historical pieces and contemporary studio works.
It all sounded like a good way to spend a Sunday afternoon without leaving London!
I visited last year and was blown away by some of the contemporary tapestries on show, so I was hopeful of discovering something equally exciting this time around.
Tickets are on the pricey side, although when you consider the prices of some of the artworks, the admission fee must seem little more than the price of a cup of coffee to some customers!
A little déjà vu
I started with a quick recce around the fair, making a mental note of the galleries displaying textile wall hangings before returning for a closer look.
I was slightly disappointed to come across some familiar pieces from last year, including a tapestry by Alexander Calder and work by Alfhild Sarah Kulper, although the gallery assured me that only Kulper's mirror had been exhibited previously.
Handwoven wool tapestry, manufactured by Ateliers Pinton Frères, France. Edition 6 of 6. 219 × 127 cm.
Calder's work is instantly recognisable, and it's always interesting to see how an artist's visual language translates into tapestry. However, having seen it before, I was keen to discover something new.
Josef Albers
At Mathivet Galerie, I came across a tapestry from Josef Albers' iconic Homage to the Square series, woven in 1971 by an Aubusson workshop.
Although created over 50 years ago, it was new to me, and I found it fascinating to see Albers' exploration of colour relationships translated into woven form. It also made me think that perhaps creating a more subtle tapestry would be an interesting exercise to try at some point.
I'm always interested in who actually wove these tapestries. While the designs are attributed to well-known artists, it's the skill of the weavers and specialist studios that brings them to life. A painting might take weeks or months to complete, but translating a design into a handwoven tapestry can take many months, sometimes considerably longer. Yes, the artist's design is important, but so is the craftsmanship involved in interpreting it in wool and thread. I do feel the weavers deserve more recognition for their contribution, rather than everything being attributed solely to the artist whose name is on the label.
The piece had already sold, but the price remained private, which was slightly frustrating. I appreciate that these are high-value collectible works, but I would still love to know what people are paying for them!
Contemporary tapestry – Sussy Cazalet and Misha Kahn
At Tristan Hoare, I spotted a tapestry by Sussy Cazalet, whose work I had come across at PAD in 2025.
From memory, she has her tapestries woven in India, and I would be interested to learn more about the collaboration between artist and weaver. It's particularly interesting to see work being produced today, when many of the other tapestries on display were woven several decades ago.
Handwoven wool and silk tapestry. 229 × 122 cm. Edition 2 of 5.
Over at Friedman Benda Gallery, an entire wall was filled by another contemporary artist's work – Misha Kahn's The Slippery Feel of Inevitability, a large-scale tapestry created in 2016.
Woven by a South African tapestry studio, its scale and surrealist design made it difficult to ignore.
Hand-carded, spun and dyed mohair and poly-cotton. 270 × 372 cm. Edition 1 of 3. Price on application.
It's always interesting to see how contemporary artists work with traditional tapestry techniques, particularly when the weaving is undertaken by specialist studios. As someone who works with textiles, I'm as interested in the making as I am in the finished piece.
A connection to Magdalena Abakanowicz
Another piece caught my eye because I initially thought it was by Magdalena Abakanowicz, whose pioneering textile works have long been influential in the world of fibre art.
On closer inspection, it was by Meggie Dirks, who had studied under and collaborated with Abakanowicz in the 1970s.
The handwoven tapestry used hemp and sisal, materials that immediately brought to mind Abakanowicz's sculptural approach to textiles.
Hemp and sisal.
I particularly enjoy seeing these earlier experimental textile works alongside contemporary pieces. They remind us that artists have been pushing the boundaries of weaving, fibre and sculpture for decades.
Making the most of a tree!
One of the more unexpected textile installations was at Maison Parisienne, where striking green rope sculptures were wrapped around a tree.
PAD is held in a large marquee in Berkeley Square, so several mature trees become part of the exhibition space.
I couldn't resist asking the gallery whether they had been delighted to find themselves with a tree on their stand, allowing them to display an existing sculpture, or whether the work had been created especially for the space.
It was the latter!
The installation was by French textile sculptor Aude Franjou, represented by Maison Parisienne. I had seen her work earlier this year during London Craft Week at Sarah Myerscough Gallery in London.
I love the idea of textiles interacting with an existing structure rather than simply hanging on a wall. It's certainly a concept I could see myself exploring and adapting within my own work.
Tufting, embroidery and the possibilities of carving
I was also particularly interested in the tufted and embroidered wool pieces by Alfhild Sarah Kulper.
These works incorporated hanging threads, with areas of the tufted wool carved away to create different levels, textures and depths. The carving highlighted specific areas of the composition and added another dimension to the surface.
Tufted and embroidered wool. 155 × 190 × 7 cm. Edition of 5.
This was especially interesting to me because I have experimented with carving into my own tufted pieces, although not to quite this extent.
Seeing how Kulper has combined tufting, embroidery, loose threads and carved surfaces has given me plenty to think about. There is definitely more to explore here, particularly in how different pile heights and surface treatments can create depth and movement.
And that, for me, is one of the real pleasures of visiting fairs like PAD. Even if the work itself is far beyond my budget, the techniques and ideas can spark something new in my own practice.
A little gallery etiquette – or perhaps it's just me?
One thing I did notice this year was that some of the gallery attendants weren't particularly enthusiastic about engaging with visitors.
Perhaps it was because it was the final day of the fair and everyone was exhausted. I imagine exhibiting at PAD comes with a hefty price tag, not to mention the long days.
Or perhaps I simply don't look like someone about to drop £30,000–£60,000 on a tapestry?
And there was me wearing my good sweater!!
I often found myself having to approach gallery staff to ask about the work, and on a few occasions I was simply directed to their website.
As someone genuinely interested in the artists, techniques and processes, I found this a little disappointing. Surely part of the pleasure of exhibiting at an art and design fair is having conversations about the work?
To be fair, several galleries were much more forthcoming and offered to send additional information. They took my details, so let's see whether anything arrives before I finish writing this blog!
And just as I was standing in the marquee drafting these notes, trying not to forget everything I'd seen, I received a friendly hello from Initio Arts & Design Gallery, Paris.
They were showing an 18th-century textile piece – embroidery, to be precise, rather than tapestry – and were happy to chat about the work and its history, which was fascinating.
So they deserve a special mention for being the friendliest gallery on the block!
Leaving with ideas rather than artworks
Did PAD London live up to my expectations this year?
Perhaps not quite to the same extent as last year, although that was my first visit, so everything was new to me. I had hoped to discover more contemporary textile pieces that I hadn't seen before, and I was a little surprised by some of the repeated work.
However, there were still plenty of things to catch my attention.
Aude Franjou's sculptural use of rope and Alfhild Sarah Kulper's carved tufted surfaces were particular highlights, both offering ideas that connect with techniques I am already exploring in my own textile practice.
I may not have left Berkeley Square with a £30,000 tapestry under my arm (my Visa card certainly wouldn't have thanked me!), but I did leave with a few new ideas, some questions about materials and processes, and renewed enthusiasm to experiment.
And, of course, my good sweater got an outing!
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