My Favourite Stitched Square Motif, 3

November 15th, 2023

Square grids and squares themselves represent order and calm, predictability. So the disrupted pattern in each of these ~30cm grid studies reflects my concern at the current state of the world. Since the invasion of Ukraine 18 months ago, we’ve heard much about the “Rules Based Order” concept that motivated and underpinned the world’s recovery following World War II. I myself think the notion of ‘world peace’ is a bit of a myth, as realistically speaking, I doubt there’s ever been a time of absolute peace since the Dawn of Time.

Being a year 1 Baby Boomer, one of my earliest memories of events outside my own family is the morning in June 1952 when Mum announced that the king had died, and Princess Elizabeth had become Queen Elizabeth the second. (it would be a few years before I knew anything about the first) My next memory of a world shaking event was the The Suez Crisis of 1956. My home state of Tasmania has always been known as The Apple Isle, on account of the quantity of high quality apples produced there since first settlment in 1803. When I was a child, huge quantities of them were shipped to UK and Europe during the northern hemisphere off-season for locally grown fresh fruit. In 1956, in response to other events in the Middle East, the Egyptian government suddenly seized control of the Suez Canal. Many ships containing Tasmanian fruit were stuck in the canal for months while their precious cargos just rotted, resulting in a massive economic hit to the Tasmanian apple growing industry. Within a few years the government was paying orchardists to dig up their trees and and plant something else. Fruit is still grown there, and as cider has become more popular apples are still important, but that event forced the diversification of Tasmanian agricutlure, which, in retrospect was probably a good thing.

My childhood was regularly punctuated by other big news stories of regional spats, anti-colonial uprisings, wars and dangerous dictatorships athe MIddle East, Africa, SE Asia and Eastern Europe and South America, much of which was part of, or accompanied by, the long drawn out Cold War between the Communist East and The Capitalist West comprising Europe, N. America and their allies. I was 15 when that idealogical clash rose to that crisis known as the Cuban Missile Crisis of 1963. I clearly remember our parents intently focusing on the scary evening news, and how some fellow students were crying in the playground when I arrived at school one morning. The whole world felt very dangerous for a while – just as it does now, sixty years later.

The working title for these initial studies is ‘rules based disorder’ …

There’s more to be done on each of these, and I’ll probably make more, as I love making fibreart with grid layouts, but today I just needed to post these ‘studies’ in progress, partly to help my mind consider how motifs in grids are linking up with my feelings about the current state of the world.

Some Things Change, Others No So Much

November 11th, 2023

While penning a newsletter this week for Ozquilt, an association for art quilt makers in the Australian-New Zealand corner of the world (of which I’ve been a member for ever) I looked back at some of my very earliest blog posts in 2005.

Today, the internet is littered with abandoned blogs, and yet some who began blogging then continue to write them even as their original angle or purpose might have shifted a bit, as mine has. My regular readers know that my blog has become more of an artist’s diary in content and less of a travelogue than when I began writing it. Of course, that could have something to do with travelling less, too 😉 In the last decade social media have multiplied and spread, so that today even Facebook and Instagram are showing signs of being past their peaks, and certainly blogs have lost some of the importance they had 15 years ago. Perhaps both writers and readers can’t be bothered to look past pictures and captions for a longer read.

While I still write and post on my blog, my overall online presence has changed a bit, too. I have been on Facebook for years, but only recently set up an artist page there in addition to my more general one. Last year I started posting on Instagram which is all about pictures and less about information in written form. It may be true, as younger people now say, that FB is more for older people. I haven’t yet taken to the colour-and-movement on Tik Tok, and if I ever do go there, the influencers will have probably all moved on… whatever. The thing with social media is that you can spend hours just looking, making videos and so on, but the posts are not necessarily coherent and sequential, and often not in the least bit informative. Being a natural teacher and lover of sharing information and opinions as I do, a blog format is perfect for me. Reading back over some of my earlier posts revealed that I could have written some of them just yesterday. I prefer to think that demonstrates consistent opinion-forming, not that I’m an old stuck-in-the-mud!

I recently had a conversation with a friend here about some of the most iconic Uruguayan artists, and of course the beloved Jose Gurvich came up. He was gifted in many media, including painting, ceramics, drawing and printmaking, and we’ve just made plans for next weekend to vist the Museo Gurvich, in the Old City, dedicated to his life’s work. On Friday May 13th 2005 I posted about this quilt, made shortly after seeing an important exhibition of Gurvich’s ceramics.

“Arbol de la Vida” 2005, ~130 x 100cm. Strongly influenced by a wonderful exhibition I had recently seen of the ceramic works of Jose Gurvich.

My work is almost never pictorial, and I haven’t made anything in that style since… but I made it for an invitation to exhibit in a display with a particular theme, which is something I almost never do now. Today, I follow my own themes or my vision, make the work and then select calls for entries that I think suit whatever I’m making or have already made.

Reading on through that 2005 post, in which I positively enthused about working late, or even frantically working through the night to meet some deadline or other showed that has really changed! I now have a fairly well developed sense of what I can achieve in a given time, and as I begin something, I self-impose a deadline to allow days or even weeks before any deadline. It might be aging, or perhaps a delayed onset of wisdom, but despite the many last minute triumphs including some notably glorious ones, I now hate the pressure of doing things in a rush at the last minute. I’ve always preferred working to larger sizes like 100cm+ that to many younger artquilt makers would seem impossibly large, but I love a large project and the challenges that presents, and to produce one takes time, without rushing against the clock.

My Favourite Stitched Square Motif, 2

November 9th, 2023

If you have time, it’s always good to let your ideas and explorations settle a bit, while you focus on something else. Remember how in previous post I said I’d take a walk to consider all this? My time away from my studio was rather longer than I expected, though.

All at once, the next morning, with the cleaning lady busily and noisily vacuuming upstairs, the drains maintenance serviceman turned up and at the same time an architect came round to consult on something we’re considering doing to the house. Yesterday’s diversions included a service techie from the cable company to restore the signal to our upstairs tv, which it took him some time to discover apparently resulted from some problem in the line coming to the house. Relief that the inability to get the tv working properly was not due to either of us losing our marbles! We have tv again, but completely fixing the weak signal problem requires another tech team to come, at a time yet to be arranged.

So, I’ve had plenty of time to consider my love affair with this square+stitching.

Detail “Fused 9Patch”, 3/4″ silk squares stitched with tapestry-weight neon polyester thread.

Recapping, these are my earliest interpretations, stitch doodlings of an idea inspired by the works of pioneer generative artist, Vera Molnar, one example of which is –

SANS TITRE, 1989, by Vera Molnar

I’ve used it a lot, but looking back at what I’ve been doing this past couple of weeks, I now realise as I focused on the actual squares (applique? hologram fabric? other fabric? stamped shapes?…) the stitching itself got neater and neater, in the process losing some of the lively, wild quality my earliest doodles had.

Here’s something I did a couple of weeks back, fiddling with an idea of ‘square nests’ – part of a larger concept I won’t go into here. It’s a pretty regular grid of stamped squares and every block is stitched with the same pattern – a rather boring result, but I may add many more lines to it, or to some of the squares at least, but I certainly won’t abandon it:

And this is the back – showing that (a) I use serious knots to start and finish! and (b) I don’t always use the steps in the same orderand am now wondering if I should consider working something from the back, so to speak.

My Favourite Stitched Square Motif

November 5th, 2023

I am keen on grid layouts featuring repeated units, the essence of traditional geometric patchwork, with which I had a brief involvement 1989-90 before venturing to designing my own original quilted fibre art. Some time in 2020 I focused on an image of squares and lines by Vera Molnar, widely recognised as a foremost pioneer of computer algorithm aided art known as generative art On seeing this image, I realised a square of paint or applique plus stitch could be a wonderful repeat unit for my textile art, and did the following two samples –

These turned out to be the beginning of an obsession really, and more or less in the order of their development, the following samples show how I’ve explored that idea in stitch+different materials. As I’ve written elsewhere, technique and materials can come together in unexpected and inspiring ways as a result of good teaching to students prepared to experiment to explore potential of what was learned. I myself am a keen experimenter, a maker of samples to see what happens when I follow an idea.

2020 SAQA Spotlight auction, 6″ x 8″, 3/4″ squares, polyester.
Detail “Fused 9Patch”, 3/4″ silk squares stitched with tapestry-weight neon polyester thread.
Auditioning of different square-on-squares designs on ~1″ squares hologram fabric.
Stencilled ~1.5″ squares with fabric stacks.
3/4″ inch holograpm fabric squares, different stitch auditions.
Further auditions, and the simple ones, on the ~1″red stamped squares work best.

Who knows wherethis is leading…. I feel almost ready t just jump in and start a major work incorpoprating some of this – stacks, holographic fabric, perhaps some stencilling…. and think I’ll go for a walk to think about all this.

Several Pleasant Surprises …

October 29th, 2023

I’ve mentioned a couple of times before not being able to fully cross reference images that weren’t listed in my master list ‘catalogue’ – and vice versa. But this has turned out to be a bumper week for surprises.

First, when I emptied out the contents of a decaying plastic bag that had been literally sitting on a shelf undisturbed for years, and which I thought it held just a few offcuts and samples, I pulled out this little quilt I’d totally forgotten I ever made, and which I’d failed to enter on my master list:

Tidelines 13, 2012 80cm square. Whole cloth, stencilled, machine quilted. perhaps I should have ironed or steamed it before photographing, but this is literally how it was when I pulled it off the shelf!

and next I pulled out another two which I really thought were in storage in Australia, and that I don’t remember bringing over here!

Sunburnt Textures 3 1997, 70cmh x 100cmw Freehand cut, machine pieced and quilted in the ditch. Hand stitched.
Forgotten Title” was in a 1994 exhibition in Sydney, Australia. Improvisational patchwork, machine pieced and quilted.

But the biggest surprise of all was when I contacted Dianne Finnegan in Sydney who headed the selectors team for the Colours Of Australia 1994 exhibition, asking if she could tell me what I had called that piece above, and she sent back an image of a quilt I apparently called Bushfire Weather from the catalogue for Art Quilts of Australia 2000 that I really don’t remember making, but it undeniably has my signature all over it :-

“Bushfire Weather” 1999, 100cmh x 120cmw. Improvisational machine piecing, machine quilted with triple needle stitching. (catalogue page by Dianne Finnegan, and I’m still not sure who took the orignal image)

That clears up a bit of the confusion on that master list I referred to at the start of this post as I couldn’t find an image to go with that title – and most of my slides and records of entering shows, catalogues, etc are in my filing cabinet – all safely in storage. Stuff in storage is at times the bane of my existence – a long story I’ll not go into here. But I must have a slide somewhere there because we had to enter juried exhibitions by submitting 35mm slides until about 15 years ago. But for the moment, this will have to do for the record.

And, looking at it, I wonder how on earth I could have forgotten about it, and how I’ve no idea where it is, whether it sold or came back after the exhibibition…. So let me just say I really like this work and am so glad some record of its existence has been restored to me!!

The first paragraph statement is exactly as I would have written it today. The second paragraph is a nice little bio for the time.
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