Liz Jeary is a gallery represented UK photographer based in the North West, and Dawlish, Devon. Having a love for textures, street, fashion and extreme close-ups, her contemporary and innovative approach to photography and digital imaging produces results that are indicative of her perspective on life.

Liz has a wealth of experience in retail management, freight forwarding, property management and customer services, and recently returned to education to pursue her enjoyment of photography. She graduated in 2014 with a First Class BA Hons Degree (Photography) and a Commendation from The University of Salford. Liz also works as a Freelance Curator and Project Manager for photography and general art exhibitions. Her work has  been published in various international magazines and included in exhibitions.  

Liz’s work involves experimentation with photographs as an object, using the surface as material to be embroidered and sewn. Her “photobroderie” creations are unique to her as she creates the images from her own photographs, prints, and embroiders each one. No one print will be the same as the next.


“Photography, to me, is so much more than a click, an edit, and an image on a screen. It’s a format for communicating thoughts, emotions, commentary, and imagination. It doesn’t just end with pixels on a computer or phone, it continues into a physical object, as in it’s very origin. My enjoyment of this medium comes from the process as a whole but the fulfilment comes from finishing a printed photograph by hand.

My journey into “Photobroderie” started in my final year of a BA (Hons) in Photography & Digital Imaging. I was excelling at all of the set projects, in text and in images, yet I was not satisfied with the work I was producing. It was suggested to me that I consider what photography means to me, so I went back to being 8, armed with my first camera, and recalled the thrill of holding in my hand the physical results of what my eyes had seen. The printed photographs meant the world to me. I started experimenting with printing my images onto different surfaces (eg. Wallpaper) but had mixed results, and although I was hand feeding the papers into the printer, I wanted to be more connected to the process.

Research lead me to the world of physical photograph manipulation, both using film and digital images. Some artists were manipulating film before, during and after exposure. Some artists were making marks and painting on prints. Some artists were embroidering vintage postcards. I’d never been very successful with needle and thread, despite my mother’s attempts to get me to sew, but there was something about the permanence and connection of two historical processes that excited me. My first attempt was a success, so I knew I had found something that felt right for me.

Now I use various embroidery techniques and keep learning new styles through experimentation (and hope). Some images I use are from planned photoshoots that I have developed a concept for, others come from everyday images that I take at my leisure. The photographs and sewing are always my own as I need to create from start to end.”