The Glitter Of Gold On Black

February 26th, 2022

I’ve always loved the glitter of gold and the preciousness of this metal associated with glamour, prestige, and wealth. While I was still in early primary/grade school, Mum transformed a plain, black, very fine wool knit top with 3/4 sleeves and scooped neck, into a very glamourous evening top by outlining diamond shapes around the neckline with gold sequins, and then filling in those in the shapes with tiny gold-coppery seed beads. It was stunningly elegant, and she wore it at night for many years. My geologist husband has spent much of his professional life searching for and finding economic gold bearing mineral deposits. Our wedding rings and some special jewellery pieces are gold, and some of my favourite shoes down the years have been gold:

Immediately after we married, we moved to the Eastern Goldfields of West Australia, to the southern end of the mining city of Kalgoorlie-Boulder, where gold has been mined continuously since it was first discovered there in 1893. It was so rich it quickly became known as The Golden Mile and attracted people from around the world. Since the late 1980s that rich zone just east of the cities has been mined in a vast open pit project ~3.5km x ~600m depth. Where we used to live and various historic mines that operated for many decades on that mineral rich zone operated have all been swallowed up in this vast hole, the Kalgoorlie Super Pit. But up until that project began, people used to go out after a good rain to fossick for gold in amongst the mine dumps very close to town, and for those with sharp eyesight and patience, finger-nail sized flakes and nuggets the size of a matchhead and smaller could be found glinting on the still damp soil. It’s true that once you get your eye in and see a matchhead sized piece of gold shining against that background, it’s as bright and obvious as a lighthouse beacon. That’s pretty exciting, and then it’s easy to understand how people get ‘gold fever’.

One nice sunny morning in 1985, probably, and certainly pre-mobile phone days, Mike dropped me off for a few hours’ fossicking out on an open area between the slime dumps, planning to return to collect me around mid day. After an hour so so, some people arrived nearby and began shooting at something – rabbits? tin cans? That flat barren landscape had suddenly become a shooting range! and I wasn’t sure whether to stand up and wave my arms to make myself obvious (a warning or a better target?) or curl into what might look like a rock from a distance. As I’m here to tell this tale, either I did the rock thing or lay down flat with my fingers crossed; and after what seemed like several anxious hours (but was probably only half an hour) they moved off and all was quiet again. Somewhere in storage we have a matchbox containing litle flakes and tiny nuggets we’ve both found.

So, you see, I have a thing about gold, and periodically feel a call to work with black and metallic gold together. I recently finished this small square piece to meet a particular call for entry:

Untitled, 2022, 40cm.sq.

but it’s only the latest in a series of black and gold works, including these:

Light gold hand applique on black, work in progress, completed 2021. ~190cm x 90cm
Timetracks 1, 2006 100cm x 109cm (gold leather on black.)
Timetracks 1, 2006, close detail – hand stitched.
Timetracks 15, 2009. 225cm x 125cm. Mixed media.
Timetracks 15m, close detail: black cotton, gold lame, nylon organza, burned.

One Teacher Can Be So Influential

February 18th, 2022

I’m hoping to finish this mosaic-pavement kind of construction referred to in the previous post on Jessica Hardy’s Stitch club workshop – only about 25 more little pieces to be sewn on ! and then a border or edge – and I’ve now decided on what to do.

In addition though, in the last 10 days I’ve been following more ideas that emerged after Jessica’s workshop, but because of a maddening domain problem, haven’t been able to access my blog, until today when at last all is well.

I’m currently spending a few minutes, or half and hour most days in another of those daily creativity exercise thingies with SAQA, similar to but shorter than last year’s 100 days one. This runs Jan 20th – Mar 20th. I haven’t had a particular theme this time, just showing a little of whatever I’ve been doing, including experimenting with some ideas from that workshop, like the ones pictured below. They’re made using fabric or Mylar, snippets of these things and threads, sandwiched between layers of plastic which are then ironed to capture the bits and pieces.

Among the earliest results with this technique, are threads plus a square of Mylar (L) and fabric (R) sandwiched between layers, which were ironed over between Teflon sheets. The Mylar one buckled and lost it’s sheen with the heat, but a later sample in which I ironed around the edges only, preserved the beautiful mirror like surface. Their simplicity is satisfying.

The next two images are based on the traditional patchwork block A Square in A Square, surrounded by snippets of fabric and threads:

Gold lame, frayed threads and tiny snippets, ~6cm.sq.
Fabric squares in the background (L) and foreground (R) Is there a ‘right’ side?
Each unit ~5-6cm

Using one of my favourite repeat units/blocks, I did this orange neon fabric square in a square with orange threads in the background. It’s ~6.5cm sq.

Crumb Quilt With a Twist

February 10th, 2022

Following on from a terrific workshop I’ve been doing in The Stitch Club with Jessica Grady, I used one of the ideas I picked up in that to use for my offering for the annual SAQA Benefit Auction quilt, which I normally make in this quiet early part of the new year. Of course, until the pandemic burns out things will continue to be a bit quiet, but anyway I’m striking while the iron’s hot.

Jessica’s workshop was on making our own embellishments, which she lumps together in her umbrella term ‘sequins’, though they don’t necessarily glitter – we made them from bits of rubbish really – discarded packaging materials, plastic, printed material, different fabric scraps particularly lace, and bits of party glitter fabric, buttons, thin sheet metals and in my case, mylar tea bag sachets, and capturing ‘things, snippets, bits and pieces’ between heated layers of bubble wrap, all quite fascinating and had us all checking the contents of our recycling bins with fresh eyes. Though for the most part I have not needed to buy any materials for these Stitch Club workshops, it was nice to have a good variety of useful stuff I could gather in just a few minutes’ rummaging in my sewing room and stash.

One of the other students did a lovely kind of mosaic-pavement layout from pieces of glossy finished fine card, and hand sewed all the pieces down in a kind of pavement, a mosaic, of hand applique using bright embroidery threads. It struck me this would be an interesting thing to try with fabric scraps and snippets from my copious scrap bags – so I did a little sample to capture that idea, and then a few days later set about seriously using it. It is fairly time consuming – so far in about 7-8 hours’ stitching I’ve covered perhaps 40% of the surface area by stitching on each piece with straight stitches, finishing with a french knot in the centre before tying off at the back, using the neon green thread of which I still have copious quantities. The border or edge treatment is still challenging me…

Essentially this is quilting by applique, and leads to this very interesting back!! It’s clear though that whether I use a thin batting or not, there will need to be a piece of fabric on the back of the quilt with some minimal quilting of some kind holding the front and back layers together.

These lines are of both stitches and snipped off ends – it’s a gorgeous pattern.

Not-Quite Grids

January 29th, 2022

A few days ago I cut a stencil from the several metres 180cm wide piece of neon orange nylon I have, and used white to print on a piece of faded black:

A 40cm sq. stencil hand cut form neon orange nylon, with a white print on faded black.

I intend to add ‘something’ and work it up into a 40sq.cm piece, which is a nice size for the smaller works I’m currently interested in making. At the same time, I hand painted some squares of gold paint onto another piece of black – a slightly disappointing outcome, but who knows what might come from it, and painted some gold squares onto some plain light grey:

I am thinking of quilted or mixed media textile works, and possibly one might be useful as a base in the upcoming Stitch Club workshop with Jessica Grady over this week and next. From what I can see of her work, at first glance most of them look like exciting party platters – lots of brightly coloured bits of stuff – but her work is compiled of lots of material embellishments made from various selected and discarded materials, reminding me somewhat of the more formally arranged mandalas of Susan Lenz who both retrieves discarded objects and at times actively breaks down into component parts something complicated like a piano, in which there are so many repeat parts. I haven’t watched Jessica’s tutorial video yet, but I do know we’re going to be making our own embellishments and can already see that has a lot of potential… for now, or sometime.

Before I tackle that workshop, though, I want to finish the 40cm piece I’m currently working on. I fused lemon citrus coloured shapes onto light grey, hand stitched the edges with some of the neon-lemon-green thread (of which I still have about 1400m) layered it, finely hand quilted around each of those shapes with toning grey, and am currently auditioning how I’m going to quilt cross the grey areas:

Above – I like the 5 pointed stars in the top panel, but will save them for another more suitable work, as the texture overwhelms the shapes and their textures.
I think this needs lines of flow, for the shapes to sit on/in front of, and my decision is between
* the top line (rayon, fine and very shiny)
* second line the polyester machine sewing thread (fine but not shiny)
* lowest line – the same heavy duty nylon that I used around the edges for the stars (top)

Pandemic Pattern Goes To QuiltCon22

January 26th, 2022
Pandemic Pattern , 2020. 72cm x 94cm h
Pandemic Pattern, close detail.

Another of my quilts is going somewhere I’ve never been, and I’m pleased to announce that “Pandemic Pattern” is one of five works chosen from the Quilt National 21 collection to be displayed at this year’s Modern Quilt Guild show, QuiltCon, at the Phoenix Convention Centre from February 16th – 20th (full information https://www.quiltcon.com/about-quiltcon/ )  

The Quilt National booth is #214, so if you’re going to that event, do stop by and hi to the Dairy Barn people there; give “Pandemic Pattern” a smile, and, if you can get away with it, a gentle pat with love from me. 

In October this year, “Pandemic Pattern” will be on exhibition at the San Jose Museum of Quilts and Textiles, October 16, 2022 – January 8, 2023. I’ll mention this again, obviously, closer to that time.

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