Wednesday, July 29, 2009
When I create my work, I do work with intention and each piece does have a deeper meaning than may be apparent on the surface. My objective is often to create a feeling on the part of the observer, rather than to be a catalyst for thought. I have considered the reality that most people who view my work have no idea of my intention or the meaning I give to the work. Some people will be drawn to my work, and they may not even know why. Maybe they sense the meaning behind it, or maybe they give it their own meaning. And maybe that's even more important - each person finds what they need in it.
Monday, July 27, 2009
Saturday, July 25, 2009
A flower, created with a chamois window cleaner.
A cool breeze, created with a circlular foam brush.
Thursday, July 23, 2009
This piece started with flour paste resist, then I added a layer of textile medium as a resist. It was handpainted, overdyed, and finally discharged with a thermofax.
This piece was created by screening with an oatmeal resist on top of dyed fabric.
This piece had two layers of printing with a flour paste screen and was then overdyed. Finally, it has two layers of discharge.
Tuesday, July 21, 2009
I finished up four more small pieces for my ArtCloth Demonstration on July 18. These pieces are all stretched on a 10" x 10" frame. The piece pictured above, It Is Written, is silk organza, with soy wax resist, screenprinting, discharge, metal leaf and stitching.
Seaweed is from the same cloth as above.
At the Sunrise is a 2-layered piece. The bottom layer is cotton with monoprinting, soy wax resist, handpainting and metal leaf. The top layer is hand-dyed organza.
Stepping Stones also has 2 layers. The bottom layer is a silk/soy blend with multiple layers of screenprinting and metal leaf. The top layer is screenprinted silk.
Saturday, July 18, 2009
When I dyed the cloth, I used a technique that creates a sunburst-like pattern. My intent is to represent the position of the sun for each season. So, the central point for the pattern is highest on the summer cloth and lowest on the winter cloth. You can see it best when looking at the four pieces side by side.
My next step was to begin to identify imagery to place on the cloth. I'll talk about that and show photos of the images I created in another blog post.
Thursday, July 16, 2009
For the past six weeks, my Friday mornings have been spent at the Southwest School of Art and Craft. I'm the instructor for an Independent Projects in Surface Design class. It's a lot of fun. Each person works on their own projects, and I am there for any guidance they may need. Because they all know one another, and have been in classes together before, the group has a strong bond. It's a time to finish projects, experiment with new techniques and just enjoy having a place to dye! Below are a few photos from the class.
This is Jane's sunprinting experiment. Jane painted the fabric with Setacolor and placed a large palm frond on top. The leaf was so large, there was a large white space in the center, so she printed it with a fiber mat that a friend brought back from Mexico. (See below) Everyone in the class wants one now.
Sarah has been spending a lot of time on deconstructed screenprinting. We did it in a workshop this spring, and ever since, she has been producing a lot of cloth with the technique. The piece below is one she created in the spring. She has done a lot of stitching and beading on it (which doesn't show up well in the photo).
Diana has been working on a piece she printed with an oatmeal resist silk screen. She added to it with several layers of printing and her signature "squeegee wipe". The colors are a beautiful blend of yellows, oranges and reds.
Linda got the deconstructed screenprinting bug and has been playing with it as well. Here she is working on a screen to print next week. The whisk brush makes great marks on the screen. She also placed a feather and coconut fibers on it, to create texture when she prints.
Madeleine is a relative newcomer to surface design, so she has been enjoying experimenting with dyeing techniques. She likes combining the dyed fabric with thermofax printing. Below she is contemplating her next step.
Kate has been working on a gorgeous organza scarf. She dyed it using a block and clamp resist and is stenciling a fish design in the blocks. Last week she added a smaller fish in a different color.
Thursday, July 9, 2009
We also worked with color in fabric paints. We painted some color wheels in class, and I have continued to paint them over the past month. For every color on the color wheel, we painted a color wheel showing that color blended into black and then white.
Before I took the class, I wasn't convinced that I would benefit from painting color wheels. I felt pretty comfortable with color before going into the class, because I have always mixed my dyes and paints from primary colors. I was surprised by how valuable I found the color wheels to be. Here are few of my observations.
- Trying to get a color wheel that was as close to the true primaries as possible was difficult. I tried three times before I felt good about my results.
- Mixing a color with white really shows any undertones in a color. And mixing with black can yield some unexpected results. Yellow turned green when black was added.
- It was very helpful to have the experience of painting different values of a color. It is harder than it looks to achieve an even color gradation from light to dark.
Another study we did was to blend complements together. That was very helpful for me, since I typically use more subdued colors. Now I know what colors to mix to achieve a wider range of earthtones. I'd like to repeat these studies, to try to get a smoother blend from one color to the next.The series of four pieces that we have to complete by October are also color studies. I have dyed the fabric for them and will report on my progress each week.
Monday, July 6, 2009
Mandolin, Ilze Dilane
The above pieces are from a series Ilze created, each highlighting a different musical instrument. She uses a very interesting process - they have a 3-dimensional effect, as if they were etched into the surface of the painting. You can see more of her work on her website.
Struttin, Steve Ortman
Steve has recently started painting again, after a long break. He works primarily in acrylic. Photos of his work can be seen on his blog.
These two pieces are both silk, and incorporate a variety of techniques, including dyeing, color discharge, screenprinting, metal leaf lamination and beading. More of my artcloth can be seen on my website.