With its latest exhibition and workshop, The Arts Centre at Dockyard has made yet another foray into the rarer aspects of art.

Professor Anne Morrell, recognised as a world authority in the field of embroidery and researcher in historic and ethnic textiles, and author of several publications on the subject, brings an international perspective to this ancient art with a special exhibition and ongoing workshops at the Centre.

The Fabric Manipulation workshop (February 28 and March 1) should also appeal, she says, to people who teach about culture in general. "For instance, teachers of children from about eight or nine would find this useful. My workshops are not confined to people who are interested in sewing! Everybody is there for a different reason -- but especially to open up and look at new artistic and cultural horizons. People who don't sew at all can get a lot out of this.'' Noting that there still seems to be arguments about what constitutes art and what constitutes craft, Prof. Morrell says, "At Manchester (university), we see our courses on embroidery and textiles as an education for life. The course is such that students are exposed to as much as possible -- mixed media (of which embroidery is a part) and the application of other techniques, such as working in clay, painting, or even sculpture or book illustration.'' She cites one of her former students, Bermuda's Helen Daniel, whose work is featured in her book `Contemporary Embroidery' as an artist who has also found success as a painter and book illustrator.

Entitled `Manchester', the exhibition at Dockyard features work from artists hailing from the area of Manchester -- a famed textile area -- where Prof.

Morrell was appointed as the Metropolitan University's first-ever professor in that discipline. "There are exhibitors, such as Maxine Bristowe and Polly Binns whose work may be said to be on the cutting edge of up and coming artists -- people who are becoming very well established in Europe, but still quite young.'' Her own work and research, however, embraces a far wider geographical area, as she is also an expert in archaeological textiles, ethnic work -- particularly that of the Indian sub-continent. Since 1994, she has been a consultant to The Calico Museum of Textiles in Ahmedabad, India, where she is creating a special gallery.

"I was born and brought up in India, so I suppose you could say my roots are in Indian textiles. In the late 1980's Batsford (publishers) asked me to do a book and most of it, I was able to do, but I went out to India to observe various techniques -- many of which are, unfortunately, fast disappearing as the country develops.'' She recalls that, as a child she went to school in the Niligri Hills. "In that area, I became familiar with the Toda people who wear these wonderful embroidered cloaks and I think that was where I may have developed my love of embroidery and textiles,'' she explains. "Anyway, when I went to art school, I had to select a craft and the memory of that tribe came back to me -- and now, they form an important part of my research work. They are eccentric people and have attracted the attention of many anthropologists!'' Noting that the link of embroidery and fabric manipulation still exists in traditional Indian art, it is most prevalent (mainly in the west of India) where literacy is yet to arrive. "This means that as we study the textiles, we are able to learn the `language' that is imbued there -- actually within the motifs of the stitches, there are things that are to do with folklore and traditional stories. It seems that, as soon as literacy arrives, this form of language disappears.'' After visiting the Calico Museum and sending them a copy of her book, she was invited back to create a special gallery. "I've been working there as a consultant for three years now. The gallery is part of a research section where we are making videos of the old traditions.'' Explaining that embroidery has its roots in such diverse crafts as basket-making, mat-making, weaving and sewing, and most often identified as a means of decorating textiles, Prof. Morrell says it is generally accepted that embroidery began in the area known today as China. "It is thought to have started as a quicker way of achieving intricate, curved lines and shape on a small scale which would take a longer time through weaving.'' While certain stitches can represent abstract concepts -- such as water -- embroidery has become a very flexible medium, with work being dyed before, during or after stitching. The concept of collage, earlier this century, allowed artists to indulge in self-expression through the use of fabrics and textiles.

Paradoxically, interest in those traditions and of embroidery in general is gaining a wider appeal through today's worldwide communications.

The `Manchester' exhibition continues through March 6 and the Fabric Manipulation Workshop takes place at the Arts Centre on February 28 and March 1 from 10 a.m to 4.30 p.m. Please telephone curator Julie Hastings-Smith at 234-2809 for further details.