Jacqui Fink
The Work of Holding VII: Held, Not Hidden
Hand-worked textile soft sculpture
An exploration of tension, endurance and the emotional labour of carrying what cannot be resolved.
Constructed through a process of knitting, knotting, stitching and repeated manipulation, each work in the series emerges through acts of accumulation and persistence. Dense knitted forms are twisted into complex structures before being bound, reinforced and reworked through the addition of felted wool strands. The resulting forms retain a sense of tension, resistance and movement, reflecting the physical demands of their making.
The series considers emotional states that resist easy resolution: grief, frustration, fear, anger, uncertainty and love. Rather than seeking to untangle these experiences, the works acknowledge them as conditions that must sometimes be carried. Through repetitive acts of making, the process becomes a way of remaining present with difficult emotions until they can be held.
Organic, irregular and deeply tactile, the forms suggest bodies, burdens, gestures and emotional states without settling into a fixed interpretation. Each work exists as a unique variation within an ongoing investigation into endurance, adaptation and the transformative potential of sustained creative practice.
Unique original artwork.
The Work of Holding is an ongoing series exploring the quiet, often invisible labour of emotional endurance — the ways we learn to carry what cannot be put down, and the forms that sustain us in the carrying. Each work stands alone as a complete statement and may be lived with independently.
This work is Part VII of the series. If you are drawn to more than one work, enquiries regarding the acquisition of multiple works are warmly welcome.
Composition:
100% felted merino wool, cotton thread.
Year: 2026
Dimensions:
23cm wide x 18cm deep x 70cm high
Weight:
1.5kg
Unframed, ready to hang.
Each work is designed to be displayed as a wall-mounted sculptural form. The open construction of the piece allows it to be suspended from a concealed support, creating the impression that it hovers slightly away from the wall.
Suitable installation methods may include a wall-mounted rod, hook or other secure fixing appropriate to the weight of the artwork and the wall surface. Once installed, the support is largely obscured by the form itself, allowing the work to retain its intended sense of levity and presence.
This work is supplied with a Certificate of Authenticity.
You can read more about the personal story that inspired this artwork in the Artist's Notes: The Work of Holding Series.
You can read the Exhibition Statement for Cartography of Survival here.
Postage
Each original work is shipped complimentary within Australia, fully insured and packaged with the care that a unique artwork deserves.
International shipping is available to selected regions. Freight costs for original works are partially subsidised — we absorb a portion of the true cost of international carriage so that geography is not a barrier to collecting.
Collectors based in North America are warmly invited to contact us prior to purchase to discuss shipping arrangements and receive a personalised quotation.
I am a contemporary textile artist whose practice explores the relationship between material, emotion and adaptation. Working primarily with wool through processes of knitting, knotting, binding, stitching and construction, I create sculptural textile forms that investigate the ways people respond to experiences that challenge their sense of stability, identity and belonging.
My work is deeply informed by the repetitive nature of making. Through accumulation, labour and sustained engagement with materials, I explore how physical processes can become vehicles for reflection, endurance and transformation. Many of the forms that emerge in my practice begin intuitively, revealing their meaning only over time. As a result, making often functions as a form of inquiry—allowing ideas, emotions and experiences to take shape before they can be fully understood in language.
While the work frequently draws upon personal experience, it is not concerned with autobiography alone. Instead, I use material processes to investigate broader questions about care, resilience, vulnerability, connection and repair. The resulting forms occupy a space between abstraction and embodiment, suggesting emotional states, relationships and psychological landscapes without prescribing a singular interpretation.
At the centre of my practice is a belief in the capacity of making to hold complexity. Through textile processes that are both physically demanding and deeply repetitive, I seek to create works that acknowledge contradiction, endurance and the ongoing nature of adaptation. Rather than offering resolution, the work invites contemplation of the ways people continue to carry, rebuild and respond to the challenges that shape their lives.
Care
The Natural Resilience of Wool as an Interior Application
Your Jac Fink Original is handcrafted from premium merino wool, a fibre with remarkable natural longevity. Due to the inherent structure of the wool fibres and a high natural lanolin content, the fibres inherently repel dirt, dust and stains. As a result, these pieces require very little active maintenance. Wool is also a naturally fire retardant material.
Routine Dusting & Cleaning
The frequency of dusting and cleaning your artwork will ultimately be governed by the environment in which the artwork is hung. Routine dusting is advised to prevent the build up of dust and dirt, as both may, if not managed, discolour the wool over time.
To remove any settled dust or environmental particles, the artwork can be gently vacuumed. No specialised brush is needed — in fact, it is best not to use any attachments. The open, bare end of the vacuum nozzle or wand is ideal, as anything abrasive applied to the artwork may cause pilling.
Before starting, ensure the open nozzle of the vacuum is clean. Then gently run the nozzle along the woollen fibres. For stubborn areas, press the nozzle down on the affected area until the particles are removed. Work in gentle, smooth passes from the top of the hanging downward.
Standard Spot Cleaning
If required, spot clean any affected area by applying a small amount of wool wash on a smooth damp cloth and dabbing the affected area until the mark lifts. Lukewarm water is best. Avoid rubbing the area, as friction may cause pilling. Dab away any leftover soap residue with a fresh section of the damp cloth, then pat the area dry with a soft absorbent towel to remove any excess moisture. Allow to air dry.
Stain Removal
For any accidental liquid spills, such as red wine or coffee, the quick and generous application of soda water is generally effective. The effervescence helps lift the pigment out of the fibres before it sets. Use a soft dry cloth to press and absorb the liquid. Avoid rubbing the area. Always avoid rubbing or scrubbing the wool, as friction may cause the fibres to pill. If any shadow of the stain remains after the soda water dries, repeat the standard spot cleaning process as set out above.
Sunlight Exposure
Avoid hanging your textile artwork in areas that receive prolonged, intense, direct sunlight. Over time, UV rays can cause the wool to fade or change colour.
Humidity & Moisture
Whilst wool is highly resistant to mould, it is best to display your textile artwork in a dry, well-ventilated indoor environment. Avoid damp areas such as bathrooms or rooms with high humidity.
Avoid hanging the artwork directly against cold or exterior walls as condensation can trap moisture behind the artwork. Your textile artwork is best hung away from the wall to allow for proper airflow. Particularly in areas with high humidity, this will help prevent the build up of moisture between the wall and the artwork.
Storage
If you ever need to relocate, move or store the artwork for an extended period, protect it using these steps:
- Ensure the artwork is completely dry before packing.
- Lay the piece flat on a clean cotton cloth large enough to completely cover the artwork once wrapped. Gently roll the artwork with the cloth — or wrap if small — from one end to the other. It is important that the artwork is completely covered by the cloth and the cloth is secured in place. Do not use plastic wraps or airtight bags, as wool needs to breathe and plastic can trap moisture.
- Store the artwork in a cool, dry place. For long-term storage, place natural deterrents such as cedar balls or lavender sachets nearby to help protect the wool from moths and other insects.
Installation
Load Bearing
Your artwork can be hung from the ceiling or attached to a wall, subject to the load bearing capability of either area being appropriate. Each product listing specifies the hanging weight of the artwork. Please check this against the load bearing capacity of the relevant area in your home before hanging the artwork. Installation, and the safety of it, is the responsibility of the purchaser.
Hanging & Placement
Your Jac Fink Original is three-dimensional and highly textural in design. I recommend that the artwork be hung in a manner which allows it to hang away from the wall. This will give the artwork sufficient space to fall and rest naturally.
Each product listing provides information about the suggested hardware for hanging the respective artwork.
