Fusing, hand stitch punched leather, marker pens- various. Porous borders ….
With arrows, stars, words and comments, this is a typical sketchbook page. They’re always in pencil, but I re-did this one for you in pen to get a clearer scan. I understand my own handwriting and abbreviations in this aide memoire, and even if it doesn’t mean much to you I’m happy to share these marks as part of my process. You’re welcome to anything else you glean of the ideas they encapsulate 🙂 There is much reference to several previous works or things I’ve been working with in sample form.
I regret that my hand writing has deteriorated, partly age-related 🙂 but even more a sign of the times. It is the nearest I ever come to journal keeping, but of course it is definitely not that. I really don’t know how the beautiful artist journal keepers keep it up 🙂 This morning I was casually googling around holes, sheers, grids and marks, when a couple of ideas struck. Not wanting to lose a second, and with the sketchbook upstairs as usual, I took a sheet of waste paper from the printer and jotted them down. I’m a diagram person, and when epiphany strikes like that a simple diagram+words, stars and arrows captures it. One just might solve a nagging problem to do with using sheers that has long bothered me, and I must let Rosemary Claus-Gray know ….
Since shoulder joint surgery 4 weeks ago, I haven’t been able to do any quilting or sewing, but rehab’s going well, and it won’t be long before I am making some new work. First up will be finishing off one of the pieces for the Golden Textures exhibition in Wangaratta next February. I posted about this piece here . It’s about 3/4 done, and I hope my ‘hand’ doesn’t show up in stitch differences – my handwriting is far from recognizable at this stage! But every day brings new improvements so we’ll see.
The detail from a piece I did some years back includes many of the elements that I’m looking at combining – holes of course, glitter, needle woven stitchery and grid – one of the most enduring elements in my quilts. During this week I have looked at several artists whose works paintings, installations and sculptures are in linear or grid formats, and I have found my work has something in common with each of them: Alan Shields, Chuck Close, Carl Andre, Guillermo Kuitka, James Sienna, Julie S Graham, Sol LeWitt, Sean Scully and Agnes Martin, whose work I had known of for many years. Looking at images of their work and reading about each has given me some inspiration and urged me to think about my next moves. Roll on the day I can draw diagrams, use my cutter and scissors, sew at my machine, wield my iron, and make up some of my ideas.
So at one time you can see I was pretty full on with the leather punch – and a few years ago looked into buying a secondhand laser cutter, but various real considerations and practicalities finally prevailed, and I didn’t go ahead with it. I think I’d have had to do a lot of trophy engraving to pay for it …. Well, I like the organic, hand-cut look, anyway 🙂
My last post included a little square within a square, with holes. I found when using the ‘what if?’ principle that the leather punch would go through fabric, a pleasing little thing, and so I did another little square-within-a-square – I bonded it to paper – another pleasing little thing. It’s io nthe top row – don’t take any notice of the brown next to it, that’s just the benchtop.
OK this is just a sample, but I am pleased with the landscape texture quality of it. Bonding and free machine embroidery, cotton, bronze leather and shot nylon organza, and I forgot this when working with it, so the upper blobs are oriented differently to the piece with the cutouts, and whichever way you look at it the colour is different but related – interesting. Maybe useful some time.