Raw Edge Hand Applique

November 26th, 2020

I see the threaded needle as a mark making tool I can use with various materials and media to produce art with unexpected, improvisational effects as opposed to an element of precise technical excellence. We’re all influenced by what we see – and many artists I admire are using hand stitches in their art as mark making in addition to constructional functions.

A year ago I made this small quilt, Regeneration 2, currently on show in the Australia Wide Seven exhibition at Belconnen Arts Centre, Canberra, until December 18th. The 40 selected 40sq. cm quilts in that collection will travel between venues in Australia and New Zealand until the end of 2022.

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Regeneration 2 2020, 40cm x 40cm. Raw edge hand applique
Regeneration 2, detail.

If you look at the detail of this small piece, I wouldn’t hold it against you if you commented out loud that it looks rather amateurish. Those raw irregular edges and hanging bits of thread are a world away from finely executed traditional hand applique, which I can do, of course. I’ve done plenty of cross stitch, pulled and drawn thread work, hardanger and other traditional embroideries, all quite exacting, and I love them all. I own and take pleasure in using household linens worked by my grandmothers, and other lovely antique hand stitched linens by unknown stitchers that I’ve collected. I love them all, but I just don’t work that way – which is what I’ve always said about traditional quilts.

I have certainly been influenced by the surge in popularity of hand stitch and the growth of the Slow Stitch movement over the last decade. For the last year my surface design has centred on hand stitch, which is why I’ve enjoyed the TextileArtist.org Stitch Club workshops I’ve been taking over the past few months.

Very Fine Leather

November 25th, 2020

I’m interested in exploring unusual materials in my textile art, and recently mentioned frog leather, six ‘hides’ of which a Uruguayan quilting friend gave me quite a few years ago. I didn’t know what to do with it, and heck, until then I didn’t even know you could tan frog skins. But clearly Graciela felt I would find it interesting to work with, and I’ve hung onto them for years waiting for inspiration to strike.

Frog ‘hides’ shown with a 15.25cm / 6″ rulethey’re not large!

Recently I was rummaging in the box that holds various bits of leather and found the frog skins in their ziploc bag, plus a lovely soft small hide with a gold-dusted finish I’d totally forgotten and now I am thinking of how I’ll use it in a pandemic pattern. I thought if I could get more frog skins I could now consider something major with them, too, and I emailed Graciela to ask if she could put me in touch with the maker. Sadly, the maker has stopped producing it and that business has gone.

Before her own retirment, Graciela’s business included repairing and making leather goods, and she mentioned she had many scraps of very, very fine leathers and suedes left by someone who used to custom make garments for her clients. The photo she sent of her bin of scraps spoke of volume and colour, so of course I went around for a visit at the earliest opportunity and came home with a large shopping bag of various blacks and greys, reds, oranges, magenta, and some lovely earth tones.

We hadn’t met face to face since late last year, months before the pandemic hit, so had a good catch up while we picked out the colours I was especially interested in, both laughing when I commented “It feels just like skin!” Sifting through those bits was very sensual.

Reds, magenta and orange against dark greyish greeny brown fabric
Red, orange and magenta against a couple of hand dyed red fabrics
Frog leather is very thin
Frog leathers above left, alongside some of the suedes and leathers in earth tones. Though not quite as thin as the frog leather, these latest pieces are still very thin

I made Pandemic Pattern by hand appliquing small strips of raw edged fabric, in a mosaic pattern inspired by the horrible sights we’ve all seen of rows of freshly dug graves. It’s since occurred to me the next one(s) in the series could be other pandemic-related shapes plus hand stitch. Being non-fraying, leather will be easier to work with, and I’ve worked out an efficient easy and fairly fast method of machining them into place. Once the hand stitch has gone into those holes in the leather, that stitching is pulled out – a total breeze using Gutermann Skala top and bottom. I have more than enough material to set out the pandemic patterns I’m thinking about for the series I have in mind.

Sewing Room Archeology

November 21st, 2020

If you sew or make quilts or other textile art, I’m sure within easy reach of your sewing machine you have an odds and ends tray, box or perhaps even a side drawer, where you keep a group of essentials including a small pack of kleenex tissues, a backup pair of old glasses in their protective case, a couple of thimbles, pencil sharprener and eraser, assorted scissors and some used but still ‘useful’ blades (if only I could find that blade sharpening tool … )

In my odds and ends tray the other day, I found a strip of clear vinyl about 10cm x 3cm labelled Katie Lane Quilts Thread Wrap, and it was a timely find, because I could immediately smoothe it around a small reel of metallic thread I’d finished using. Metallic threads so easily fall off their reels becoming ‘untidy’ very quickly, and untangling it invariably wastes more thread than you’d like to. Wrapping that strip around that reel reminded me that I used to have a bunch of those thread wrap strips somewhere, and I hadn’t seen any of them in ages.

This morning for some reason I picked up a neat little tin storage box my daughter gave me several years ago:

It’s been sitting on the shelf beneath my cutting table on the window side in the direct morning sunlight for ages, for most of the time I’ve had it, and as I looked ruefully at the faded colour, I realised it had some stuff in it, so opening it was like unwrapping a birthday present, and equally exciting!

L – 45mm rotary cutter blade sharpening tool C– thread wraps, showing how they’re used R – buttons – what can I say?

There were things that I must have ‘tidied away’ sometime… and right on the top were the couple of packs of those thread wrap strips I’d been wondering about only the other day. They’re clear vinyl, printed with the logo Katie Lane Quilts, and being about 10cm x 3cm, I realised I could also cut them in half, and for larger reels or cones could partially wrap and then place another wrap over the gap with the same effect – these things are so much more brilliant than I realised when I was dazzled enough to impulse buy them, years ago, on a trip up to the USA. I now have some fine clear vinyl sheeting in my studio, and on checking this morning, I can tell you that works just fine, too. I googled all around the brand and the thread wrap thing, and could find no mention of them, so I must have just been lucky finding it in a trial marketing thing or something. Brilliant idea though, works well, and a bit surprising they’re not a (quilter’s) household name.

Moving on through this archeaological find, there were quite a few buttons, individual and in sets, but I also found that rotary blade sharpening tool I just knew I had. In addition, I found 2 complete packs plus a few 45mm rotary cutter blades (at least 30) and with them retailing at about US$5/blade, I seem to have a serious investment in spare, new blades. This is very reassuring, as the pandemic could go on for a long while yet.

Browsing With Pinterest

November 16th, 2020

As we all know, Pinterest gathers together images that their algorithm flags as things that may interest each of us, given our previous searches and pins. As I scroll down their latest selections I’m always on the watch for patterns that people are making with stitch. Indeed one of my Pinterest boards is titled ‘Contemporary Stitch’ and the introduction to it reads “These are pins of stitch as art – “ and it’s where I pin interesting images of what people are doing with hand stitch – one of my long term loves.

So this image caught my eye and my reaction was (a) Oooh, lovely colours, and (b) Nice stitch patterning … but as I followed the embedded link I found this was not stitch but painting.

Painting class samples, Laura Horn, https://www.laurahornart.com/blog/2018/9/11/so-much-more-than-a-new-class. (Reproduced with permission)

They’re examples illustrating a then-new online painting class Australian artist, Laura Horn was announcing However, they could have been stitching texture patterns, right at home in the art of Dorothy Caldwell Christine Mauersberger, Rieko Koga and others whose fibre art I admire. I have found stitch filler patterning in other painters like Agnes Martin , Liam Murphy, and many contemporary Aboriginal painters. To me dots=french knots, short lines=straight stitches, and longer lines=couching, maybe – all of which there are plenty in this photo.

Hand Stitched Raw Edge Applique

November 15th, 2020

Following on from my previous post on sampling breakthroughs, another bit of progress relates to the applique of leather, which can be tough to sew through; but I do want to use leather shapes in the large work I’m just starting.   About 10+ years ago I made a number of pieces in the Tracks Series in which I hand basted leather shapes from the reverse side, catching part way into the layer of leather, so though attached, the stitches were not seen from the front.  It was hard work then, and my hands are a bit arthritic now, so I wouldn’t dream of doing what I did back then.

Left: gold leather with various sewing machine marks and patterns left with an unthreaded bluntish needle, producing a linear surface texture  Right: these leather shapes are all hand stitched into the reverse side of the leather from behind, so that no stitches are visible from the front.

I love french knots, especially stemmed ones, and here are a couple of examples: one from earlier this year as a Stitch Club workshop project (Haf Weighton) and the other from 2006, Timetracks 2.   Considering I was already having hand problems, finding leather becoming harder to work with, I can only wonder that I didn’t think of this before.  But now I’m concentrating far more than I ever did on hand stitch, so perhaps it’s not so surprising after all.

L – a get-well message medallion with stemmed french knots border which I didn’t realise until later looks very COVID themed 🙂     R – detail of gold leather appliqued by stemmed frenchknots in very fine thread.

What I realised yesterday:

  • that I can machine applique the leather shapes I want on this piece using a long/basting stitch or whatever else I choose by way of stitch pattern
  • I can then sew the stemmed french knots, straight stitches or even a bead, using the holes in the stitching which will be removed when that’s all done
  • and voila! a hand appliqued leather shape! (left, below)

 

L- appliqued scrap leather – top 3 french knots, middle 2 straight stitches bottom 3 stemmed french knots and the last 3 holes left vacant in the leather after the machine stitched were removed.       R- nylon organza+MistyFuse with stitched edging possiblities.

I think the bonded nylon organza will be good for the ghostly figures I have in mind – the edges are oversewn with gold here, but something in a less brassy gold, or silver-grey metallic might be more appropriate – back to a little more sample making.

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