Sculptures on the Scarp 2019 was held a couple of weekends ago. It rained and rained and rained on install day. It rained on the first day, friends were concerned that my work would be getting wet…Yes, it was, but fabric and buttons are designed to get wet, so I wasn’t too concerned.
What I didn’t consider, was on that final sunny day, as the buttons and fabric dried out in the sunshine, they absorbed some of the colour in the bush. Some of the individual buttons have dyed silvery greys, other hints of rusty tones.On a few of the pieces the thread I used to stitch the buttons has also developed rusty tones. I’m surprised and delighted that plastic buttons and polyester thread has dyed so well.Thanks to Kerrie Argent for all the lovely photos on location. A couple of night time images
The work on show at Sculptures on the Scarp looked amazing. You can see the work of all the Artists Here.
Sitting in a small hexagonal space in the Art Gallery of WA, Eveline Kotai asked us to breathe…and to observe. I had the pleasure of spending the next 50 minutes as she spoke, looking at her artwork that encompassed the walls behind her. The more I looked, the more I saw, the more I felt.Eveline’s work has always had the effect on me that people often talk about when first seeing an original Rothko. It gives me a sense of calm, but full of emotion, hard to describe and quite overwhelming.
She started her artist talk by commenting on the quote at the entrance to the exhibition. That we now spend more time reading the didactic than viewing the work, then often after only a few seconds of our attention we move onto the next work.It’s a really hard thing to do, to sit and simply look. So many distractions; the time allocated to the visit, the people you visit with, your initial attraction to the work…
She talked about how you really need to live with artwork to truly appreciate and understand it. I know of all the artwork I have purchased over the years; the initial attraction has grown this way and there is never a buyer regret as you sometimes have with other purchases.
One work that took my attention at Ruth Halbert and Jane Ziemon’s exhibition Fragmented Memories at Spectrum Project Space at the opening on Friday night is Ruth’s piece In Memoriam.Made from a beautiful piece of wool bought in Scotland for her aunt. The gift was too precious, and her aunt never used it. She gave it to Ruth on her Uni graduation, with the addition of moth holes along the folds. Plant dyed and stitched, this work deserves a longer look.Fragmented Memories is on show until 26 September 2019.
I LOVE Mikaela Castledine’s work in Immortal Stories at Linton and Kay Galleries Subiaco. Whimsical and poignant. The works are delightful. Attending the artist talk and discovering the stories behind each of these works only adds to my appreciation. Stories of her own childhood (that many of us will relate to) and precious stories shared by others are now not lost.Artist talks not only give you an insight to the work, but also an insight to the artist, their ways of working and their thoughts and views on how to live a creative life. To me this is gold!
I was tracking well on my latest piece of work. 2/3 finished and way ahead of the deadline…
Usually work slowly comes together, there is a love/hate relationship at various stages, with corrections and changes as the work develops.
The image in my head simply didn’t translate…the colours, the proportion, the contrast. There was simply no way to fix it.
So I have started over. Having made the decision it is actually quite a relief! I am much happier with the progress.
Below – A new start
Below- The top layer ready to machine stitch
Below – The Middle Layer
Each work I make stimulates more ideas to play and experiment with on the next piece. The more I make, the more I refine the process too. I have been experimenting with a range of backings over the years. Starting with polyester felt, upholstery fabrics and this year recycled denim. The denim made a lovely sturdy work, but proved difficult to hand stitch through. I’ve started doing a lot of hand stitching and the strength required to pull the needle through on each stitch really made my hands ache. I have changed to using old blankets for the last few pieces and find it much more comfortable on my hands.
Below – The backing. My childhood blanket recycled…again!
The backing for this new work was unpicked and sewn back together from a previous dud artwork. The disaster piece was no different. Both proving what not to do!
Since then there’s been a lot of machine stitching, cutting away areas
and lots of hand stitching Colonial KnotsAs I’ve been stitching away, I’ve been listening to more 99% Invisible podcasts – Here is their recent set on clothing. My favourites being Punk and Blue Jeans and Pockets.
Early last spring when nothing much was flowering, I watched the first blooms of the Everlasting Daisies on the median strips in our neighbourhood and on the daily commute taking my son to school. I watched the daisies follow the sun, close their petals against the rain, cloud cover and as the sun sets and open brightly again on sunny days. I documented them as they faded and went to seed. This coincided with my son’s final day of high school. Both with the promise and hope for new beginnings the following year.A year prior, on the last morning of Vicki Mason’s Fibres West class we learnt to make flower like brooches from computer wire. In July as we set up twentyONE+ there was a skip bin full of discarded computer equipment and cables near the gallery as the University was upgrading their technology systems.
Our everlasting love with bright shiny new technology, often quickly discarded is resulting in landfill. Will future generations be planting everlasting daisies made from plastic coated copper wire from computer cables as our environment carries this burden of waste?
My vision was a wearable carpet of everlasting flowers.
Each of the 1000+ flowers in this work have been created using UTP computer cabling.
The blue plastic covering was stripped away, the paired wires were untwisted using a cordless drill, then stretched and dyed pink.The flower shapes were then spray painted in three shades of pinkOver 500m of cabling was used. I tried several materials to create the desired “skirt/train” shape and background for the flowers, eventually settling on chicken wire for the lightness and transparency.The “skirt/train” is clipped to adjustable shoulder straps and connected to large metal rings across the waist. The challenge was to make this comfortable for the model as well as quick and easy to remove. The corset has a side zip as well as adjustable lacing. Through experience in wardrobe I know you need the quick change option of a zip. Recycled buttons from Para Quad were hand dyed yellow for the flower centres and pink for the flower buds.
There were lots of trials for the flower buds.The final version being on an armature from wire, felt and sari silk to cover the shoulder straps.
Aha and AHHHH…These are the words you want to hear from participants in your workshop. That lovely moment when something clicks or they can see a connection to what you are presenting and the type of work they already do…a new way of working, a slight twist, an “of course”… I’ve had all these moments myself at workshops and artist talks. Some of them are defining moments in my work. Often a small, seemingly insignificant part of the whole, has made the difference.
I had the great pleasure of running two half day workshops for WAFTA late last week. Simple Steps to Surface Design was part of a series of Textile Techniques Toolbox workshops to coincide with the launch of “Altered States” WAFTA’s member challenge exhibition. The challenge is to create a small work of art from the surprise contents of a bag of materials. These workshops are designed to inspire and expand possibilities.In my half day workshops we covered screen printing in various forms, gelli printing, stamping, spray stencils, fugitive medium, Dylon and RIT dyeing. A lot to cover in a few hours, just a taster to explore further if it was of interest. The participants made lots of A4 size samples – reference material for future work.I loved seeing my stencils and stamps used in ways I would never have thought of…how each participant explored new possibilities. I loved their delight when something surprised them and they were excited to explore further.
I am really looking forward to seeing all that comes from this.
A recent WAFTA meeting honoured four octogenarian textile artist members – Peggy Buckingham, Judith Pinnell, Joy Knight and Margaret Regan. Peggy, Judith and Joy are all Life Members of WAFTA. Their contributions to textiles in Perth in the 70s, 80s and 90s through teaching, discovering and sharing new techniques have been of great benefit to us all. This is in the days before we could simply look up a technique on google, or be part of a like minded textile group on facebook. They were instrumental in starting textile groups such as WAFTA, 84 Group, FibresWest which are all still going strong today. All four of these ladies have a great passion for what they do and are still making work!
I truly hope I can still be making art in my 80s!
Austin Kleon‘s weekly newletter had a link to Carmen Herrera who is 101 this month and still exhibiting. She sold her first piece of work 81 years ago!
Towards my “Still Making Art” goal, I am currently – along with the rest of the committee, doing a lot of admin work for twentyONE+. The exhibition opening in six weeks! It is starting to all come together and getting exciting.
WAFTA’s Memory and Commemoration exhibition has just finished in Busselton.
My work “Last Post” is the sheer organza piece, far left, Julia Sutton, front Diane Binns.
The latest projects are for OzQuilt Network Australia Wide Five – due too soon and “Brooching the Subject” I have been sun dyeing some silk organza for each project Neither has turned out like my samples, but they are growing on me. (Dreadful photos thanks to very old camera – have since bought a new one!)
The 40 x 40cm size for Australia Wide Five should be easy, although following the path of discovery “how would that work…” I am currently playing with four variations, none of which is developed enough as yet…
And slightly distracted – I made Ruby the sausage a sleeping bag
During the Christmas break we watched lots of cricket, read books and generally lazed about. My husband had a long overdue shirt purge. 20 + shirts, wrong size, outdated style, loved but worn out (for business wear) and a few “what was I thinking”! 12 went straight to the studio. The fabrics are quite lovely, subtle weaves, stripes and pattern.
The sleeves have gone through a “Velvet Black” Dylon dye bath. I am really pleased with resulting silver/grey/black variations due to the fibre content mix and time left in the dye bath.
I threw in a few pieces of silk too.
It’s back to the studio full steam now. Common Threads Wearable Art submission is due before the end of January. I am very pleased relieved my garment is ready to be photographed!
The WAFTA juried exhibition twentyONE+ deadline is the end of February. I have 1.5 of 3 works ready for this. I’m on the committee so have a commitment to ongoing admin work during this time and well into the year. I am looking forward to the entries arriving!
I took a planned week away from Wearable Art to work in my garden, planting a small area where the kids cubby house has recently been removed and weeding, weta soiling, mulching…much needed for our Perth summer.
In the garden I found the Sun Dyeing jars prepared a month earlier. Three jars of purple carrots. I placed silk scraps from previous projects in each, some were stitched with poly cotton thread, some screen printed. The colours are lovely soft purples and the jar with soda ash added is a beautiful silver grey. This jar popped open and the carrots were rather mushy (maybe a little too long in the sun)
Another jar of berries from a neighbours tree stunk out the house when I opened it. I washed the silk several times and still had to leave it outside for days AND rewash before the smell is bearable. Any suggestions for removing bad smells from silk would be appreciated. The jar had been out for near on a year, the colour was honey like. I won’t bother with that again.Coincidentally, Selvage Magazine has an article in the latest issue No.67 “Fragranced Fibres” about the history of perfumed fibres. Fragrance used in the final stages to disguise the foul smelling dye processes, during laundering and in storage chests to reduce insect damage.
I do love this lazy dyeing. I have refilled the jars, added a few more purple carrots, beetroot and avocado pips. There is almost instant colour in the carrots and beetroot jars and nothing in the avocado jar on the right. Clearly doing something wrong here. 🙁These jars with soda ash are on a chair so the puppy (short legged Dachshund) can’t get to them!
With the plan to start working on my wearable art piece again last week, my son Callum had two days of vomiting and then my husband who had just thankfully arrived safely home from Brussels and Italy, developed acute pain, a trip to the emergency dept of the local hospital, they suspect he passed a kidney stone. All plans astray, refocus on the most important thing – my family.
We have had a wet and stormy weekend in Perth. After a few weeks of trialling samples for my latest work, Sunday was the perfect day to stay indoors and get on with it!
Over a month ago I cut out these paper doilies whilst watching TV. Simply cutting, not with any great consideration to the result, just playing. They sat pinned to the design board for a few weeks and then I have trialled printing, stamping, reworking, stitching, redrawing. On Friday I dyed a batch of fabrics to bring the colours to something tonally similar. I used a dylon multipurpose dye as some are silks, some blends of other things.This image doesn’t show the full range of fabrics I dyed. Some were strong pinks and bright greens. The error in photography after the event… A final six motifs were planned and initially printed. A little more refining and stitching and I decided to use the two strongest motifs only. I printed about 100 of these motifs in just over an hour. While I was cleaning up the screens in the laundry, I noticed some colour on this stormy grey day. The last of the leaves of our neighbour’s Chinese Tallow Tree and an orange creeper. The greens in our own backyard were also more vibrant, not washed out by the sun. Then the sun came out…Stunning, glistening, autumn leaves. After the stormy night I am sure there are very few leaves left on the tree now.There was more vivid orange in our lentil soup cooking on the stove as I printed. What a contrast to my fabric choice!
My body of work for the MELD Arts exhibition Hidden Revealed Transformed consists of 14 works. In this first series I have used the cut away technique that appears in many of my canvases. Silks and polyester fabrics have been dyed, printed and stitched.
Rose Coloured Glass
Distant memory is often seen through rose coloured glass. But the truth is often more colourful.
Rose Coloured Glass #7
Rose Coloured Glass #7 is a 61 x 61cm work made from 625 x 1 inch squares, each individually stitched onto the canvas.