Posts Tagged ‘hand stitch’

Second Thoughts

Friday, August 22nd, 2014

Sunburnt Textures Embr copy 2

“Sunburnt Textures” is a title piece from my first solo exhibition 1987, shortly after which my textile art came under the influence of quilt making.   The design area is about 30cm x 45cm, of paint+stitch+found objects on white canvas, mounted on a stretcher bar.

In march this year I worked on a power point presentation about my textile art to use at two guest speaking events in Australia in May.  I found myself carefully considering this and other older works with fresh eyes after many years. The very old slide was a bit cleaned up around the irregular edges with PS to use as a background to the title “A Journey Through Landscape”

Also at that time I submitted an entry proposal for the  “Golden Textures” exhibition 2015, and included this sketch below.  The entry was accepted.  I planned to carry it out in gold stitchery on a darkish fabric, approx 1.3mh x 1mw, and brave or mad I knew it would take a long time.

Sunburnt Textures sketch quilt blog copy

Also in late April, I submitted entries for the Australia Wide 4 Exhibition opening Adelaide October this year – and this is a detail of one of the two I had chosen:

Sunburnt Textures 3 detail copy

At 40cm square, and clearly on the same theme,  it became a sort of test piece for the Golden Textures entry. (this detail is about  10cm sq).   I’ve always loved hand stitch but the trees in this one are free machine embroidery. Well, the gold thread worked OK as you can see, but for a 1.3m x 1m piece it would take me many months of stitching as the metallic thread fairly quickly shredded, meaning needles had to be changed often.  I realized that on  that larger scale with the time I had available, it was not going to be possible, and so I changed my Golden Textures proposal, so that now, over 3/4 finished it is black stitch on a background of a less intense ochre-red/brown silk which glows beautifully….sometimes second thoughts are better.

 

 

 

 

Stitch Plus Shape

Tuesday, March 4th, 2014

kintsugi meets textile mending web

Top – Sample from today – some fused shapes with a variety of edge treatments, and including some metallic stitches.

LL – from a poor quality photo but an adequate aide memoire – of a section of kuba cloth we saw in a Colombian museum.

LR – detail of a hand quilted wall quilt,  2010, using the traditional squares with squares motif non-traditionally.

To me they’re related, and link to the ethic of mending something valuable; on which theme I recently discoverd the beautiful Japanese craft of mending broken ceramics – kintsugi 

Holes, Continued

Sunday, March 2nd, 2014

As I’ve said before, they have been on my mind for years.

holes in leather 2006 samples

This couple of samples was cropped from a pic I took of several samples back in 2006.  Hand cut black leather and punched gold leather – I know I had some big plan for this but the constant use of a leather punch leads to tired hands and arms, and I dropped the plan.    A change of scale, though, and change of material… well there’s a lot of potential for both ideas.

hole and lace

And these sample snippets are from this afternoon’s experiments – grey nylon organza bonded onto the cream canvas – sure, the pic’s a bit dull but I know what it means.  Down in the LH side are some triangular shapes bonded on of course but then hand stitched in various ways with several threads including metallic.  I keep thinking of how people only repair precious objects, and ‘mending’ is a frequently used motif these days in mixed media and textile works – but I hope I can use ‘mending’ in a non cliché way – I’m working on it.

 

square with holes

I don’t think it’s just the bold contrast why I like this little sample- approx. 4cm x 4cm suede leather piece, with a smaller square cut and rotated – those holes are smallest done by the leather punch I have.  There’s no way I could do something  with masses of these squares of leather – oh for a laser cutter here!  But, perhaps another material … this idea has lingered in my mind since 2006, too.

 

From Idea to Form

Monday, February 17th, 2014

sandlace2blog

On how I transform something from an idea into some form, this pic says much.   I have always thought any ‘line’ can be a cut, a seam or a line of stitches.   So using a pic I’ve taken of some pattern,  and using some form of my very, very basic, tech tools –  in  this case PE11  (Photoshop Elements 11) – I will choose to resize, manipulate, re-draw, change colours, whatever .  Those photo-editing programs are wonderful, but as I say I just go ‘basic’, more or less one or two steps up from the lead pencil and simple diagrams+lists  I’ve always done.  Here I have collaged a sample with part of a sand pattern photo on which I drew with PE11 to show how my brain takes an image to a form via fabric and thread.

I was recently asked where my ideas come from.  All over the place ! is my  answer.   Right now ‘holes’ and ‘lace – widest interpretation of’ are on my mind as I am focus less on The Quilt itself, and more on wherever exploration takes me with mixed media and stitch.  Since the late ’70’s the wheel has turned a full circle, I think.

Sandlace – First Samples

Tuesday, November 12th, 2013

sandlace sample 1

Well, although I could go on for a long time in PSE, drawing lines on photos of sand ripples to explore the idea of holes making a lace pattern based on the brights and darks, once I began to think of it as ‘sandlace’,  it seemed time to pick up needle and thread and start working with the idea !!

My first sample, the grey and cream in the upper right corner, below, was of the cream, bonded on one side, holes cut out and the edge shaped, then ironed on to the grey background.  Although I did a little stitching, and I liked it, it also seemed too flat, too ‘neat and careful’, I felt.

sandlace 5_samples

The grey and brown on the left is also heat bonded, and really, the small cut-outs feel too small to do much about – so I am just leaving that as is.  Which is what making samples is all about – its certainly not about finishing anything off, unless you specially want to, of course.

The third sample I did was cream, sewn to grey and then cut out after the orange stitches, which worked well – can you tell I’m keen on the florescent thread?  And, the dark grey stitching is actually attaching the whole thing to one of those painted stretched canvases I have around, its 20cm sq. – and I have several 30cm sq, so I will mount them as I do them, because that worked well, too.  On larger pieces there will be room for several French knots or other textural stitches if I want them.

 

 

 

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