Posts Tagged ‘inspiration’

Life’s Background Influences an Artist’s Voice

Sunday, April 26th, 2026

My arts degree (liberal arts in USA) majored in geography and ancient civilisations, and included a year of political science and two of english literature. I added a post graduate Diploma of Education, and thus equipped, stepped out into what I expected to be a lengthy and rewarding career teaching highschool level english and social studies.

I didn’t forsee what effect marrying an exploration geologist would have on that plan, but suffice to say it greatly shortened my brilliant teaching career. Mining booms always collapse or fade as conditions change; companies merge or disappear, jobs dry up and people move around seeking work. Our lives were no exception, and this rhythm recycled several times. Indeed at one time in 1975 we even lived for 5 months in a tent camp six hours’ drive east of Darwin, out on the edge of Arnhem Land, up towards the coast on what is now gazetted as Kakadu National Park, then known as simply the Alligator River flood plains. Our future was always less under our control than any of our family or non-mining industry friends ever experienced, and there were times when we really envied the stability and predictability in their lives. We know some of our friends would have loved to have some of what we had in Life – an example being the letter from the son of one of Mike’s oldest friends Terry, who passed away last week. Tom commented about his father – “For what it’s worth, his recollection of both of you always seemed to be drenched in a sense of adventure and the exotic.”

When we were young, in the 70s and early 80s, without question the wives and families moved with the mining person, (which were rarely female in those years) That often caused problems in families and relationships; but one advantage was that all mining centres, large and small, gained regular infusions of people with fresh ideas who joined in community organisations and sports clubs as the best ways to get to know the locals, and contribute to their adopted or temporary community. Looking back to what I call our tent period, 1975 and 1976, up in the NT, West of Darwin on the edge of Arnhem Land, the exploration camp Mike headed was housed in large marquee type tents, A diesel powered generatorran from 7am to 10pm to work fans, provide light, enable water to be pumped up from the creek, run the fridges, freezer and washing machine, and most importantly power the two-way radio to the Darwin base (which every adult in camp had to learn how to use, of course)  I can’t access photos from that time, but believe me, this post in my second blog https://pickledgizzards.com/tednrays-barramundi/  and other posts there will give you some idea of how ‘exotic’ our lives were at times 😉  Today mining professionals very often fly in/fly out to remote work sites, and many of their families stay behind in larger centres, benefitting from better housing, educational, medical and other facilities; but that can be tough on everyone, too. Moving around at various companies’ expense took us all to places that other people have to pay big money to travel to.

“Purnululu 8” 2018. ~190cm x 80cm

We’ve lived in and travelled across a variety of landscapes in Outback Australia, the United States and here in South America, and it’s hardly surprising that my art includes landscape inspired shapes, patterns, colours and textures.

In the last decade there have been shifts in the balances of economic power and political infuence developed in the post WWII years, impacted by the effects of the Covid pandemic, and the actions of certain political leaders’ agendas contributed to instability in this mix The results today is that the many international agreements on aid for economic development and health; of trade and defence agreements that used to form a large, fairly stable network of structures governing international relationships have buckled under recent pressures. The effects on us all is stressful, and there’s a sense that the systems are broken. In my art, this influence is coming out in increasingly skewed grid designs, with a series titled Out of Order

This little piece, 8 x 10in, is “Out of Order 5” ; sold last weekend in the SAQA Conference Spotlight Auction. Pieces go to the successful bidder framed by white matt board in cellophane covering.

In Planning Mode for 2025 :-)

Monday, December 30th, 2024

We’re in that odd, calm few days between Christmas and New Year which I love if I’m at home, as we are this year, with plenty of time for reviewing and reflecting at a personal level.

Several fellow SAQA artists were recently pondering how they keep whatever records they do – titles, dimensions, dates of completion, buyers, wales records, exhibition records, artist statements and more items I’d never bother with – like keeping working drawings and patterns made and used – none of which really apply to my way of working. I don’t usually fully document the working of each art quilt, but sometimes blog with ideas and pics, or samples, sometimes, in addition to diagrams in my blank notebook, perhaps a list of possible titles there, too, as I work through each piece. Several mentioned using Excel data sheets for each work – I used to keep an index card file which is still inaccessible in the filing cabinet in storage.

It all set me thinking that my records and the minimal planning I do could be a bit more organised, which could describe my sewing room, too – and in each case, everything relevant is there, but not necessarily 100% ‘tidy’. I think back on how wonderful has been my own progression from the end of the one table in the tiny first house we lived in, to a table and work area in a guest room (that had to be packed up and cleared away for visitors several times a year) to an actual cupboard of my own with a fold out work table and powerpoint for my machine, to finally an actual room completely my own in a house with too many bedrooms (nest emptying) which I’ve essentially acquired in every move since the late 80s, and I’ve always been grateful for it, even if there’s never been a wet space, and storage is not ideal – and all that does have an influence on what I do.

As this quiet period began, I offered guidance to someone who was wondering how to write an artist statement for their quilt to enter it somewhere, and thought it could be a good idea to set up a document file containing progress images, lists of word associations, synonyms, a quote etc, that might suggest an eventual title and make the writing of a statement for the work much easier once it was done.

I seem to have taken this a step further this morning, in actually planning a couple of works ahead of calls I will want to enter this coming year, especially ArtQuiltAustralia 25, and Quilt National 25. I thought about my recent work, and noting at the top of this planning doc “Make works the same size eg 95h x 130w, that if accepted will roll in FedEx tube. These new works need to reflect my current focus on texture and grids of a kind…”, but this statement in no way binds me to stick to that plan 🙂

Back in 2021 I did a SAQA 100 day challenge (the link takes you to a blog post I wrote about it) and one of the samples I made in that challenge was a small 3.25inch sample in fused fabric and stitch, inspired by an intriguing image I saw on Pinterest of a painting by an unidentified Australian Aboriginal artist, and part of that interpretation I used it as the header for my FB Fabric Artist page.

3.25sq.in sample, 2021, adhesive bonding web, hand stitch.

I’d like to follow that idea further, as I did earlier this year

detail, Green Dimension 2, 2024, largest circle ~5cm diameter.

Other bullet points on the planning doc include ideas about stitched squares, with this sample from the same 100 day challenge, beginning my experimentation with them….

3.25sq.in sample: orange stitched motifs on grey fabric.

And I’ve also got ‘holes’ and ‘grids’ on my mind, too, so they’re involved in the planning process. On Pinterest I save images of holes and grids both of which, for different reasons, I find thought provoking.

Inspirations From The Earth’s Crust

Monday, March 11th, 2024

This is the most dramatic picture that leapt off my computer screen this week. I just can’t stop smiling at it. No one knows for sure how it was formed, and discussion online ranges between it somehow being deliberately split by some unknown ancient civilisation and a product of erosional processes. When you think of it, if you cropped the photo it would look like just another vertical cliff face somewhere, but the photo in full begs the question ‘how come this bit of vertical cliff was left behind after such an extensive erosion process in that area?’ I’m very interested in both fields, neither extreme seems convincing, and the answer doesn’t matter much to me, so I’m not theorising here. I’m just intrigued by the drama of these two massive blocks of stone appearing to be balanced on relatively small pedestals or plinths.

The Al Naslaa rock, Saudi Arabia, (source Wikipedia)

We all live on the Earth’s crust of course, but not everyone has more than a passing interest in the familiar features of the landscape around them, and I’d suggest ‘the weather’ occupies more time per day in human minds. Also, most people live their whole lives in the area in which they were born and raised, without direct experience of other parts of the Earth with different mega shapes and textures. My early interest in physical geography probably began with the different sunday drives and school holiday road trips that our parents took us on as we grew up in the Australian state of Tasmania. In our childhoods we learned about the economic activities in various areas, they took us to see things like a power station under construction. We travelled on trains – air travel was rare and expensive. My parents knew people who lived on sheep farms, ran diaries, apple orchards and fished commercially. Dad’s best mate ran a furniture factory so we learned a bit about wood and forests during our travels. Dad’s brother was an industrial chemist who was involved in a paper mill which I did see in operation long ago. A friend of his took ours and another family underground in a silver lead zinc mine he managed. Tasmania is pretty rugged, with mountains and plateaus in the centre, and the western side of the island has particuarly inaccessible hardwood forest covered mountains and steep sided river valleys. Moving to the Eastern Goldfields of Western Australia with my exploration geologist husband was my first encounter with very flat expansive semi desert regions and the sparse vegetation that results from low rainfall. It was one part of the huge culture shock of the totally new experience of living in a goldmining city, Kalgoorlie. Mike’s work in 70s and 80s took us the other parts of the Australian Outback, each with distinctively different landscape types, and our love of camping and road trips took us through more really remote parts that mobile phone coverage has rendered less ‘remote’ these days. When we were young, far Outback tourism was too difficult for most people outside mining and pastoral companies to undertake, but these days modern fourwheel drive vehicles and highly sophisticated camping gear enable many to undertake trips to places that we were fortunate to experience nerly fifty years ago courtesy of some of Mike’s employers, and what I call our Tent Period took us to the Northern Territory to live in a tent camp, in an area that has since been gazetted Kakadu National Park. In the 80s we spent 6+ years in Denver CO and visited many of the most famous national parks and monuments in the United States, many of which are based on extraordinary geological features. In further travels in Egypt, France, England, New Zealand, Chile, Southern Argentina Uruguay and The Falkland Islands, either employment or recreational tourism related, physical geography has always been interesting to me.

My geologist husband ‘sees’ the lines and shapes of and landscape as the surface results of the powerful tectonic forces acting beneath the Earth’s crust. I ‘see’ the lines and shapes of plains, mountains, lakes, valleys and mesas as results of the eternal erosion and deposition cycles through wind, water and temperature variation, and sometimes as a result of human activity, as in these next pics. Digging into the Earth’s crust to extract minerals is one of the most interesting human activities, and has always been tied to our family’s economic well being. So it’s hardly surprising that has been an inspiration to my art on several occasions –

An opencut mine in paint and stitch. It is just possible to see small trees and possibly buildings or heaframes on the distant surface. c.1987 Approx. 18″ x 24″
“On The Golden Mile” 1987, approx. 16 x 24in. Paint+ hand stitch.
“Hannan’s Reward” 1993. 100cm x 140cm Machine pieced and quilted.

We see/read the same view of the Earth’s surface in different ways, and I have always found landscapes a rich source of inspiration for my embroidery and contemporary quilt designs.

Another Discovery

Saturday, October 27th, 2018

 Mirage 1, 2005.    75 x 100cm                     Oscuro, 2002.   122cm  x 100cm.

 

These two small wall quilts date from early 2002.   Looking through archived images this morning I found the one on the right, and though I remembered it, and occasionally come across it in the deepest recesses of my storage area.  For a while I couldn’t remember what on earth I called it, but eventually I did, and I now believe the illustrated catalogue to be complete.  The key word is ‘believe’, leaving some wiggle room for another discovery.

Mirage 1 was really just a sample to see how fine I could go with a wavy line approach, and gently waving lines like these have characterised my technique ever since.  It’s no great art work, but a little piece I love and usually take to any technical workshop that includes freehand piecing.  I had just been inspired by the new appearance of very finely pieced works by well known Australian artist and friend, Margery Goodall, which has since become a signature element in her textile art.  The title reflects the shimmering quality of a mirage.

Oscuro also has little artistic merit, but is another piece I needed to make.  The arcs of colour which began appearing in my work several years before seemed appropriate for those unforgettable images of rolling, falling, clouds of smoke, ash, all manner of debris, that filled our minds following New York’s Twin Towers attack in 2001.  The barely visible machine quilted pattern is of same-colour grey arcs over the entire quilt.  Oscuro is spanish for dark.

Ancient History in Sheer Layers

Wednesday, September 26th, 2018

This Egypt themed work has never been ‘lost’ because I bump into it every now and then.  I don’t  remember giving it any name, it isn’t listed in my catalogue but I will rectify that, I’ve never shown it, nor did it lead on to a new body of work that I thought at the time it would; though I knew I didn’t want to make a set of ‘Egypt’ quilts.  I think it is an expression of awe I felt the whole time we were visiting a place that had fascinated me since I was a young child, and having put that into fabric, I left it.

 

We visited the country about ten years ago, before the Arab Spring upheavals, and of course layers and layers of human activity and history confront at every turn, carved and painted onto thousands of mural walls, monument bases, stelae and temple columns, and used to decorate all manner of objects both useful and not so useful for sale to the throngs of tourists who have not yet gone back to the pre-revolutionary numbers.  I’m certain this layers of history thing prompted my choice to use nylon organza to give a blurry sense of the passage of distant times – check the left side of the photo below.  Some pyramids, the sphinx and Tutankhamun’s iconic headdress are lurex fabrics cut to shape with marker pen details added.

Recently someone asked what fellow artists recommended for stabilising some kind of organiza for free machine quilting.  My sheer Egypt piece came to mind, and I recommended that maintain the sheer quality and avoid slippage between the layers, that she might hand baste and then freely quilt/embroider without either foot or hoop.  It’s a decade since I made this work, and so I think that’s how I handled it!  but it’s hard to tell from the photo or the actual (crumpled) work pulled from the cupboard.  As I often do, I found it a bit wondrous to see something I’ve not paid any real attention to for ages.  There’s a lot about this work I really like.

My regular readers know I’ve recently been thinking about influences from landscape in my work, the tracks left by Man, and natural patterns of all kinds in landscape.  Here’s a great pic, taken in the Black Desert SSW of Cairo, showing a network of tracks in the ancient desert landscape.

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All images and text are © Alison Schwabe
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