Artist Series: Carolyn Quan x Rare Patterns Fabric Collab

We're so excited to share our first ever artist collaboration with Australian artist & designer Carolyn Quan.

I’ve been a long time fan of Carolyn's work as a textile designer and artist, so when she began painting expressive florals as fine art pieces I was really drawn to the colour and movement in her work. It has so much emotion, and her use of colour is really striking - the brights and neons with the contrasting black and white.

As an accomplished textile designer I knew she would share the vision to create repeat patterns from her canvas artworks. Her styles is feminine, yet unapologetically bold. 

We spoke with Carolyn's about her background and process. 

Can you tell us a bit about your journey as an artist and textile designer?

My creative journey has taken a few interesting turns! I actually spent over a decade working as a 2D artist in the gaming industry before deciding I needed a change. Since I loved sewing as a kid, I decided to go back to study and enrolled in an online fashion design course in 2016. 

That led to my first official textile design role with an Australian swimwear brand, where I wore every hat imaginable! From designing prints and compiling line books to assisting on photoshoots and handling social media graphics. From there, I worked for different companies across designer, wholesale, and retail brands before transitioning into freelancing. For two years, I created custom prints for fashion labels and sold exclusive designs through print studios for apparel and homewares.

Some of Carolyn's past freelance textile design work. Image credit:@carolynquan.art

While I loved the creative freedom, running a full-time freelance business took a heavy toll, and I eventually hit burnout. Seeking stability and a healthier work-life balance, I returned to gaming, but this time as an Art Director. Working remotely gives me the flexibility to manage my team, hang out with my dogs, and quietly nurture my true passion on the side.

Today, my focus has shifted from commercial textiles to fine art. Drawing on my background in florals (which were always best-sellers in the fashion print design space), I now paint abstract botanical pieces in acrylics. Painting flowers has become a deeply healing, therapeutic process for me; it's a way to explore colour and paint raw emotion. I recently rebranded my website to focus purely on my original canvas paintings and fine art prints, and I’m thoroughly loving where this new path is taking me.

How would you describe your style or the themes you're drawn to in your artwork?

I describe my style as bold, expressive abstract botanicals. During my time as a textile designer, I took a watercolour course and really fell in love with painting florals. However, I eventually found watercolour to be a bit too dainty and light for me. Switching to acrylics unlocked a whole new level of expressiveness for my hand. Now, my work features thick impasto techniques, bright colours, rich layers, and lots of texture. It’s a little bit messy and chaotic, but I embrace that… because let's face it, life can be a bit messy, right?

While my focus on florals originally stemmed from my background in fashion and women's wear, it has evolved into a beautiful metaphor for the current "blooming" period of my life. I used to be a much darker, guarded person with a lot of emotional walls built up. Now that I’m in my 40s, I’m finding myself stepping into a different space. I’m learning to be softer, more patient, and more compassionate. I'm learning to let go and to truly lean into vulnerability.

Ultimately, my art explores joy, softness as a form of strength, and a celebration of womanhood. It’s about pouring soul onto the canvas and finding beauty in the messiness.

'Peony Study II'. Original art on canvas. Image credit: Carolyn Quan

How has your style evolved?

When I first made the switch to acrylics, I was still painting like a watercolourist! It took me about a year and a half to unlearn those old habits and develop a style that felt genuinely mine. Beyond changing mediums, I also had to break out of the commercial mindset I built during my fashion days. I was no longer creating for a specific product, a garment, or target market. I am now painting for me.

That shift allowed my work to become freer, messier, and far more expressive. Instead of focusing on getting every minute detail of a petal or leaf right, I focus on capturing the overall feeling of a bloom. When I’m painting, I’m not just reproducing a flower; I'm translating its vibe, shapes, and emotional energy onto the canvas using rich colours and heavy texture.

What does a typical day (or project) look like for you in the studio

Since my studio time is limited, I always start by checking in with my energy levels to see where I’m at that day. I have Fridays off from my day job, so I dedicate my Fridays and weekends to painting.

A typical project begins with research. I’ll look at colour palettes, browse Pinterest for different floral references, and usually put together a mood board before I start a new series. Before I even touch a canvas, I paint several small studies on paper. This helps me loosen up and test out random ideas until something lands. If one of those small studies really speaks to me. Maybe I love the colour combination, a specific brushstroke, or the overall composition. I’ll use it as the foundation for a larger canvas piece.

This process doesn't happen overnight. I might spend several weeks just researching and planning before I start the actual painting, and a single piece can take anywhere from a few days to a month to complete.

Because I no longer rely on my art as my sole income, I have the incredible freedom to just have fun and let the work evolve organically. I don't rush the process. My art comes purely from the heart now. It’s not a reaction to market trends, and I'm no longer trying to force a piece to be commercially viable. Some might say that’s a mistake (commercially speaking), but for me, it’s no longer about the sale. It’s about pure expression and creating work that serves as a true reflection of exactly what I’m going through in my life at that moment.


Walk us through how one of your artworks goes from an idea to a finished piece of artwork

Every piece starts with an initial spark or feeling, which I then take into the research phase. I spend time looking at colour palettes and hunting for interesting floral references, usually compiling everything into a mood board to set the tone for a new piece or collection.

Before I ever touch a large canvas, I start small. I paint several quick studies on paper just to loosen up my hand and test out random ideas. It’s a very experimental phase where I just let things flow until something lands. Once I have a handful of these studies, I review them to see what catches my eye. It might be a specific colour combination I love, a really interesting brushstroke, or a composition that just works.

When I find a study with that magic, I use it as the foundation to replicate the vibe on a larger canvas. From there, the artwork takes on a life of its own. It’s not a fast process; I might spend weeks just planning and sketching, and the actual painting can take anywhere from a few days to a month. Because I’m not rushing to meet a commercial deadline, I just let the art evolve on the canvas until it feels completely true to whatever I'm experiencing at that time in my life.

Where do you find inspiration? Is there any particular source that shows up often in your work?

My sources of inspiration are pretty random and often come from my day-to-day life. For example, I might be plant shopping with my partner at a nursery or a plant fair (he loves collecting cacti), and I'll spot a striking colour, an interesting shape, or a unique bloom that catches my eye. Other times, it’s as simple as painting a beautiful bouquet my partner bought me for a birthday or anniversary.

On days when I don't have fresh flowers in front of me, I'll turn to Pinterest or draw inspiration from a museum visit or an exhibition that sparked an idea. I've found that I really can't paint from nothing. I’ve tried starting without a reference, concept, or story, and the piece always ends up feeling a bit flat. Now, I try to just be patient and open to the universe. I let ideas come to me by staying curious, observing, and simply admiring the beauty in everyday life.

As for particular sources that show up often, I do have my favourites. You'll definitely see roses, peonies, and proteas popping up in my work again and again!


What's the biggest difference between creating a standalone artwork and creating something that's meant to become a repeat pattern?

I'd say the biggest difference is that you're no longer thinking about how the edges connect as a repeat… which is incredibly freeing, but it completely changes how you approach composition!

With a standalone piece, you have to make the artwork work within the defined limits of the canvas. You need a strong focal point, and you want to guide the viewer's eye around the piece without it getting stuck in one area. In contrast, with a repeat pattern, the goal is to keep the eye constantly wandering. You have to make sure it's completely seamless so people don't actually notice where the repeat happens.

It took a lot of work to unlearn my textile habits and really hone my composition skills for canvas. I had to retrain my brain not to paint in that tossed, scattered layout typical of surface design, and instead focus on the borders of the square or rectangle in front of me. I've definitely had paintings where the composition just didn't work because I hadn't planned it out enough!

Another major difference is the medium. Because I'm working with physical paint now rather than working digitally, once I put the paint down, it’s there. Obviously, I can paint over it if I need to, but I can't just select a flower and move it like I could on a computer. It requires you to just commit to your choices.

What made you say yes to a fabric licensing collaboration, and what excited you most about seeing your artwork translated onto fabric?

When you reached out, I was beyond excited! First, as a fellow Australian textile designer, I’ve known you and admired your work for a while. Because we both come from the same industry background, there was an immediate, natural connection. Working with a small, independent studio run by a fellow creator (rather than a giant fast-fashion company), makes the entire process feel so much more personal and meaningful.

After stepping away from fashion due to burnout, I’ll admit I felt a bit disillusioned with the industry for a while. But collaborating with you has completely re-sparked my creativity. It opened my eyes to how my work can live beyond the canvas and take on a whole new life as textiles.

Seeing my current "artistic handwriting" translated onto fabric, which is so vastly different from the commercial prints I used to create, has been amazing. I actually received the fabric samples recently, and seeing them in person is an incredible feeling I can barely put into words!

Can you tell us about the specific artworks featured in this collection - what's the story or inspiration behind them?

The Spaces in Between This piece marks a pivotal turning point in my artistic process. It actually started as pure abstract chaos. A mess of random colours, scribbles, and smeared paint on the canvas. Rather than painting flowers directly, I decided to paint the negative space around them, eventually adding just a few extra petals and leaves to pull the composition together. Training my brain to paint the "spaces in between" completely changed my approach, giving the work a far more intriguing, abstract look. Negative painting has become a signature technique for me ever since.

Painterly Peonies This piece was all about exploring softness, depth, and organic movement. I wanted to play with delicate layers to capture the sweeping, gentle feel of pink peony petals.

Bountiful Joy uses a similar negative-painting approach, but with a heavy focus on the raw textures of petals and leaves rather than defined floral motifs. Because of those bold, graphic shapes, we decided to make this a large-scale print. Printed on linen, it reads less as a traditional floral and more as a striking, textured abstract, which is super exciting to see on fabric.

Punk Petals This piece holds a very special place in my heart because it was born out of a raw, emotional moment. Last year, I received some shocking health news that ultimately led to surgery and a long healing journey (I'm doing much better now!). When I first heard the diagnosis, I was shocked, angry, and scared. I walked into my studio with a total "fuck it" attitude… a feeling that if life can throw unexpected health scares at you out of nowhere, you might as well paint with complete abandon.
I painted Punk Petals with a rebellious, fiery energy. You can see it in the sharp, angular, slightly aggressive brushstrokes. It was an incredible therapeutic release, and although it was created quickly and has a rough edge, I think that roughness is what makes it so beautiful. Translated into a seamless repeat on fabric, that electric energy really shines through.

Carolyn Quan x Rare Patterns Fabric collaboration (Clockwise from top left: The Spaces In Between; Painterly Peonies; Bountiful Joy; Punk Petals). Prints on linen shop the collection here.

Was there anything challenging or unexpected about adapting your artwork for repeat on fabric?

None of these paintings was originally created with a repeat in mind. They were just standalone artwork until Michelle reached out!

Technically, adapting them wasn't too daunting. Thanks to my decade in gaming and my background in surface design, my Photoshop skills are second nature. The real shift was simply re-engaging that specific design brain: stepping back to evaluate scale, end use, and how the art would translate onto draped fabric.

It ended up being a surprisingly nostalgic and comforting experience. I hadn't built a repeat pattern since stepping back from freelance design, and I forgot how soothing I find that puzzle-like process. It wasn't about overcoming major hurdles; it was just a delightful exercise in taking existing painted motifs and arranging them so the spacing felt balanced, harmonious, and beautiful across yardage.

Rare Patterns Fabric collaboration fashion mockups showing how Carolyn's fabrics can be used. 

What was the collaboration process like working with a small, independent fabric studio versus other projects you've worked on?

It felt so personal, relaxed, and genuine. Like two creative friends collaborating on a passion project rather than a transactional corporate deal. There was an immediate sense of mutual trust and respect.

In fast fashion or big corporate environments, art is often treated as a disposable commodity. Large companies rarely care who created a design or bother to credit the artist; their focus is strictly on commercial viability and high margins. Dealing with demanding clients who dictated every design decision was actually the main reason I stopped freelancing in the first place. It completely soured the experience for me.

Working with a small, independent, local studio was the polar opposite. I was given full creative freedom to present my work as it is, without anyone telling me how I should paint or demanding changes to fit a corporate mandate. Being able to bring my authentic art to the table with someone who truly respects the craft made this whole collaboration an absolute joy. 

Now that it's coming to life as fabric, what do you hope people will make with it?

First of all, the fabric quality is incredible! The linen samples I received are so soft, lightweight, and breathable. It’s the kind of textile you can truly live in and wear with pride.

Because my artwork is all about celebrating colour and joy, I hope people experience that same sense of fun during the making process. I’d love to see makers turn these prints into real statement pieces… think dramatic, fluffy sleeves on a fun summer dress, effortless super-wide-leg pants, or even a matching two-piece summer set (I think I might actually have to sew one of those for myself!).

Ultimately, I just hope people find pure happiness while sewing with this fabric and wearing their creations. I can't wait to see what everyone makes, so please tag me in your projects.

Where can people find more of your work?

You can find my work on Instagram at @carolynquan.art or directly on my website at carolynquan.art

I’m based in Sydney, and through my site, I offer original canvas paintings as well as fine art giclée prints on paper and stretched canvas. I also take commissions if you'd like me to paint your favourite blooms.

If you join my mailing list, you'll also get 10% off your first artwork purchase and 2 free printable floral artworks.

What's next for you?

As for what's next, I’m focused on continuing to paint from the heart, explore new botanical collections, and stay open to meaningful, aligned creative projects. If anyone is interested in collaborating, I would love to hear from you! Feel free to reach out through my website or message me on Instagram!

Anything else you’d like to add…

Just a massive thank you to Michelle for bringing my artwork to life on fabric! This collaboration has been such a joyful, refreshing milestone for me. To everyone picking up a piece of this yardage: enjoy every stitch, don't be afraid to make something bold, and make sure to tag us so we can celebrate your creations!

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It has been such a joy working with Carolyn to bring these artworks to life on fabric! A huge thank you to Carolyn who is such a pleasure to work with, and is just so talented. Be sure to check out her original artwork and prints available on her website. 
We hope you love them as much as we do, shop the limited fabric collection here.