Wednesday, 23 September 2020
Monday, 14 September 2020
We have started Christine’s online Poetry of Stitch course, so had our first Zoom tutorial on Friday. One of the group asked about getting stitches straight, and Christine mentioned "auditioning” the thread before stitching it, like this; drawing it out with the top hand to see where you want it to lie
before pinning it to the cloth with your needle in just the place you want the next stitch to be made.
I remember learning this, possibly on a Sophie Long workshop, and realising how helpful it was when stitching regular rows or patterns, as we are here. The first tutorial will be familiar to anyone who has done the Textile Artist Community Stitch Challenge earlier on in lockdown. Use straight stitches to show the same curve drawn repeatedly within a grid of two inch square boxes. I need to define the open edges as well and then it's done
We did the same thing with her as a Zoom tutorial with Sussex Stitchers, so in true Blue Peter style, here’s the one is did earlier - nine boxes rather than four
Tuesday, 8 September 2020
So I think I’m done stitching, keeping it simple. I rather like this deep green silk as a potential frame for the image
I know I am annoyed at the wrinkles in the underlying calico - shoddy preparation. I can’t iron them out any further because that encourages more bubbling in the organza across the sky, the first layer which I couldn’t avoid when Mistyfusing down.
One notion, once the green silk is attached to the embroidery, would be to mount the whole on a box canvas of appropriate size, wrapping the silk round to the back. The key question now is - wide frame or narrow?
Thursday, 27 August 2020
Which is a theme appropriate to working with transparents, which can evoke ...
Layers of landscape - the view from my bedroom in coloured organza cut with a soldering iron and fused to a base layer of calico. Two layers of machine stitching done, just the foreground to work out now. It is intimidating me!
And maybe reveal those layers of habitation
A bit of a test run, to see how the transparents I have been working with might evoke the levels that are concealed, revealed, during an archaeological dig. Still thinking how to do this. I may need to cut the voile into less regular shapes to create a sense of the unfolding of layer upon layer.
My stitching and thinking today accompanied by Low
Tuesday, 18 August 2020
I very often have Mesopotamia in the back of my mind when exploring with Studio 11 experiments - currently in how transparent fabrics can ben coloured and the potential they hold.
An assemblage is a group of objects brought together from a site which typify that site, or a particular period.
This is an assemblage of things old and new which may help me say something about Mesopotamia and history with textiles.
Most recently I created a stencil which which I used with a lamination technique to apply paper to some organza I had coloured as part of the transparent experiments we have been doing. The stencil was based the floor plans of several of the temple layouts at Eridu, the oldest of cities according to the Sumerians, where sweet water was discovered, site of the Abzu. The transparent is laid over some hand dyed fabric from an earlier class I took with Christine, sort of desert’ish. Though now I wonder if I should try something blue beneath it, for water. And whether I might not cut it up and use parts of it in different things, rather than as one piece.
I have been thinking about what skills were key to the development of civilisation in Mesopotamia, and one, of course, is weaving, without which we have neither baskets, nor linen shifts, nor tapestries. So I have been experimenting with the cordage technique, learnt on and Alice Fox workshop at Studio 11 using grass from the garden, fibres from yucca and phormium (New Zealand Flax), and some wool roving I bought, to create “thread” of sorts. The blue is the roving, twisted during a recent Studio 11 zoom session.
I like the way the colours work with this fabric, but the “thread” might also be useful with some of the other recent transparents experiments. Or perhaps I'll twist some more
The fabric is, again from an early workshop, using the wax resist technique to evoke the sort of patterns one finds in for example, pottery with scratched patterns, of rock carvings. Here assembled, to see how they might mingle with some linen thread I bought from “somewhere”.
And here, another assembled group of transparents - fine voile coloured with acrylic inks, walnut ink and rust dyed