Archive for the ‘General’ Category

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.

 

 

 

 

An Ancient Site With Impact

Saturday, July 19th, 2014

Muisca Solar Obsdrvatory blog

Muisca Solar Observatory 3 blog

Muisca Solar Observatory 2 blog

At a not-very-well-publicised site, Parque Arqueologico de Monquira,  near the historic colonial town of Villa de Leyva, Colombia, we spent quite some time wandering among the henge-like  stones, menhirs, erected at what is thought to be the site of an ancient solar observatory, known as the Observatorio Solar Muisca, after the pre-Columbian peoples who lived there.  It is about 4 km from Villa de Leiva, is the Parque Arqueológico de Monquirá, otherwise known as El Infiernito.  This is one of the most important Muisca religious sites in the country and features the only solar observatory in Colombia as well, as a dolmen burial site:

Muisca Solar observatory 4 blogy

The site was discovered by the Spanish who baulked at the enormous stone penises and proclaimed that the Muisca would be banished to hell, hence the name ‘El Infiernito’ (hell). The burial sites have been extensively damaged by grave robbers, and the stone used by local campesinos to build their homes.   What remains has been studied and maintained since the 1960s by archaeologist Eliecer Silva Célis, with the support of the Universidad Pedagógica y Tecnológica de Colombia.”

Such sites always really thrill me, being a connection to people way back in the mists of time – the Egyptian pyramids, Stonehenge and Obiri Rock, even the relatively recent Bayeux Tapestry all had enormous impacts, too… even dining seafood at a waterfront restaurant in Barcelona focused my thoughts on the amazing concept of continual inhabitation of that area by people since Neolithic times in Europe, perhaps 6,500 years ago.

Revisiting Older Works, or ‘What Was I Thinking?’

Friday, June 13th, 2014

Earlier this year, an article about my four Quilt National quilts appeared here  http://quiltnationalartists.com/journey-landscape-alison-schwabe/  and it seemed a good place to start a broader study for a powerpoint presentation I was asked to give to a  meeting of Ozquilt in Perth WA last month  (May 2014).  It was suggested I might talk on inspirations, themes and my processes.  Naturally, revisiting mixed media work and quilt making done over 35+ years led to  the rediscovery of many works I’d pushed to the back of my memory – some for very good reasons indeed!  Here’s a pair of works made 7 years apart on the theme of water as a major force of nature shaping landscape:

floodwaters #2

Still Waters #2,  1993.   That year we were living in the USA, and early summer  floods occurred all down the mighty Mississippi River valley, leaving thousands of people flooded out, destroying many homes and much infrastructure.  There were many dramatic and harrowing stories in the media, all of which prompted this piece.  Now, the ‘What Was I Thinking?’ bit may be obvious to you, but didn’t occur to me at the time: floodwaters, whether seeping or pouring over a tiled floor are not clear and sparkly!  I still have this piece, and now put it in the category of ‘not a great one’ but a work I had to make, nevertheless.

 

 

Flood,  2000  125cm x 110cm    This flood piece got the swirling muddy waters right – because by this time I was more focused the powerful force of water in/on landscape.  I don’t think this is an especially wonderful a quilt, either, and hardly surprises me it is still ‘In Artist’s Collection’   Again, it had to be made, probably so I could move on.  The murky green main fabric is quilted with freehand water current lines, though they’re hard to see in the clear nylon thread I used in the twin top stitch needle.  Although I have revealed something about this work, it still amazes me that I actually made this one – another ‘What Was I thinking?’ piece.

 

 

From The Series Of The Same Name Comes Ebb&Flow – #24.

Wednesday, June 11th, 2014

Ebb & Flow 24 web

Ebb & Flow 24,  2014. 

A bit erosional in character.  Despite some real differences with others preceeding it, this one defnitely belongs in this series much more so than I felt while making it.

There has been a bit of discussion on the SAQA and Quiltart lists about working in a series, what might be the importance of working in a series, how you go about it, what are the guidelines to working in a series, how do you set up a series., even some asking ‘Should I be working in a series do you think?’    Some people get so analytical over this stuff that I don’t think needs much analysis; while others write books and teach courses on working this way.   Everyone knows when the work of another artist, contemporary or historic, falls into a series(s)    Working in a series is nothing new, nor does it guarantee that your work will be accepted or acclaimed if you do!  But everyone knows a series when they see one – it could be loosely described as a group of art works linked by some theme or technical factor that underlies or defines a cohesive body of work.  From personal experience I know that to be involved in one is enriching and satisfying.  I don’t seem to plan mine as in set out a plan, they just lead from one to another, and I just find myself in one after 2 or 3 related pieces.  I continue with a theme until I feel I’m done with it.  One or two I feel I’m finished with (Colour Memories)  others not so at all even though I may not be working in that group just now  (Ancient Expressions) : I reserve the right to say something more some time!

How thrilling was the announcement the other day that the Rembrandt portrait at Buckland Abbey in Devon UK has been shown to be a self portrait dating back to 1625 when he was in mid 20’s.  Until very recently it had always been thought to be in his style but done by one of his students.  It’s suddenly worth a heck of a lot of more money in nominal terms – but, of course, the abbey will never offer it for sale! But the larger amount is relevant for insurance purposes; and confirmation of the C17 Rembrandt selfie will bring a large increase in visitor numbers and revenue, I imagine.   Anyway, Rembrandt painted over 40 self portraits, quite a series you’ll agree – and many other artists painted the Old Master, too, so there are a lot of images of him – we must have a pretty good idea of what he looked like in pre-photography days.

My First Art Purchase

Tuesday, June 3rd, 2014

First art purchase

In either 1956 or 1957, so aged about 7 or 8, I was given fifteen shillings, 15/-  to spend at the annual school fete, and for the first time I could wander around all on my own and choose what to spend my money on.  That amount of money was probably equivalent to about 5  Saturday afternoons at the movies in those days, so was a very decent amount to spend on baker’s toast, toffee apples, handwork stall items, pin the tail on the donkey and all the other now-old fashioned attractions that raised funds for the Parents and Friends Association of the School.

After I’d checked out all the stalls I went back to the one displaying perhaps 60 or 80, maybe more, enchanting little water colour paintings like this one above, in 15cm x 20cm frames, all priced at 11/6.   I knew I just had to have one, despite that it would take a large chunk of my pocket money; and it took me quite a while to settle on this one which I’ve adored ever since, still in its original frame and glass – which isn’t bad for a little painting that has travelled widely and frequently in the 60 years I’ve owned it….  Apparently the art teachers had gone out and painted all these little landscapes, which were then framed by one of the parents who ran a picture framing gallery – prolly offcuts and glass oddments from his paying jobs – it was a very busy shop.  The subject is  the Western Tiers, up behind Deloraine, Tasmania – a view that was very familiar to me then and which I still find so dramatic today whenever I visit and hurtle along the Bass Highway out that way.  How lovely it was to enjoy it on my  recent visit to Perth,  where I took this picture.

Down the years I have acquired many other pictures, usually jointly with my dearly beloved, and mostly chosen because I/we love them – plus we have inherited several really nice artworks.  This may be the smallest one we have, but for me it will always be very special.

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