New Work: 2 new works on the go

Every day I am in the studio I stitch into this work for an hour or so.

After the tree added its wind drawing I am responding by marking the branchlets I see on the ground after the wind.

I am also working on another for the Synesthesia series.

This series is a response to how I feel about the energy of each colour.

I show the energy through line, value and a fibre art technique.

For this colour, it is cut-back applique and free motion machine embroidery.

A check on the values.

 Is there enough contrast or is there too much contrast? 

Are the darks and lights in the right places to give the feel I want?

I am making 24 in this colour series

'Earth Repair' Makes it into the World of Threads Festival 2016

Lesley Turner, 'Earth Repair' 36" x 35"/92 x 89 cm, 2011 - ongoing, embroidered (anonymous) vintage cotton afternoon tea cloth, leaf skeletons, cotton & polyester thread, jute string, wooden branch, MinWax; tree staining, washing, ironing, hand & machine applique, waxing.

This work has been accepted into the World of Threads Festival 2016 in the 'Late in the Season' exhibit in the display area of the Queen Elizabeth Park Community and Cultural Centre in Oakville, Ontario, from Saturday, October 29 to Sunday, November 27th, 2016.

Whippee!

I spent most of the day following the instructions in several emails explaining exactly how to get the work ready for hanging and how to box it up.

I made a box so the work will fit snugly and not move around much while in transit. I made the box with a reuseable cap so it can be reused to return the work. 

The work can not be folded or even rolled because of the many layers of delicate, dried, leaf skeletons stitched to the cloth. 

Inside the box, I made a suspension system to hang the work from the top. 

I sewed together pieces of bubble wrap to make a snug bag to pad the work while it is in the box.

Then there was all of the documentation required. Make a label with details of name and title and secure it to the back of the work. Type up hanging instructions with images. Put my name and email on every piece of packaging and both parts of the box. Include a spare set of hanging devices - just in case. Phew!

Now to wait until the right day to mail the box so it arrives between the 2 dates set for the arrival of work in Oakville. 

Dawne Rudman and Gareth Bate are the organisers, curators, festival originators and all of the other jobs it takes to mount such a large exhibition of work from around the world - 134 artists from 24 different countries. You can see why I am very pleased to have work selected again for this festival.

Dawn and Gareth curate the exhibitions with a system I think is unique to their festival. They put out an international call for artists' most recent work and wait to see what comes in. They look at images of the work while identifying some common themes. Work is selected that fits the chosen themes. That's how I think they work.

Next post I'll tell you why this unassuming work has taken 5 years to make - so far.

Etsy Ravenmadeworks - Mola Pillows

Ravenmadeworks

I have made a series of pillow covers using refreshed vintage molas and put them in my Etsy shop Ravenmade Works.

Molas are the embroidery of the Cuna Indians of Panama. They live on the San Blas Islands on the Atlantic side of Panama.

This well-worn mola (above) is a relatively simple design with strong mirror symmetry, all features of older traditional work.

The back shows the ground fabric has been made from 3 different fabrics pieced together and they have faded at different rates.

The front view of the 3 different red fabrics making up the ground. 

Orange then black fabric were layered on top of the red ground then the 3 layers were basted together. Smaller pieces of different coloured fabric were inserted into specific areas according to the design - see the green and white areas above. 

The design was drawn or traced onto the top most layer then basted with thread along the design lines. The top layer was cut about 1/8" on each side of the line before the cut edges were folded under. The folded edges were hand creased then the edges were hand stitched down. It is an embroidery technique known as reverse applique or cut back applique.

The traditional designs evolved from elaborate body painting and reflected things observed in the environment. 

This mola has inserts of printed cloth most likely acquired by trade or from visitors to the islands.

'Mola' means blouse and they were made in pairs - two identically designed rectangular pieces, one for the front and one for the back of the blouse. The horizontal line denotes the top of the panel, often accentuated with rick rack.

The above mola is more complex in design and detail and has many different inserts suggesting it was made for the tourist market. 

The back shows the density of the hand stitching necessary to execute a more complex design.

The purple strip at the top was likely the fabric the mola was attached to to make the yoke of the blouse.

It was very popular in the 60s and 70s for travellers passing through the island archipelago to buy molas. Women would sell their worn blouses and make new ones to wear. 

Today most mola production is for the tourist market generating valuable income families have become dependent on. Many contemporary molas are made in a wide variety of sizes, are often simpler, as above, or more complex to get higher prices and are brighter in colour. They are incorporated into clothing and home decor items to add value to the product.

Traditional Mola Blouse worn by a San Blas woman.

Small Expressions Show, Tulista Gallery, Sidney

Synesthesia #4 Spring Green

I have just spent the day working in a team to install this year's 'Small Expressions Show' at Tulista Community Arts Centre, Sidney-by-the-Sea, BC. When we left the gallery late this afternoon all of the work  was in place and looked so inviting. It looked like a place to spend a couple of hours absorbing what it means to be creative.

Synesthesia #5 Green

The vibe on the Pacific Northwest coast attracts those who want to express their creativity actively. This is particularly so in the town of Sidney and on the Saanich Penninsula where there are literally hundreds of artists living within a small area working in every media.

Synesthesia # 6 Blue Green

The catch with this exhibition, Small Expressions, is every work has to fit within the limitations of being 12 x 12 x 12 or less. For some artists, this is their norm. For other artists, it is a challenge and often the results are surprising. A different side of their creativity surfaces.

This is my 3rd Small Expressions exhibition. I am continuing to show work from my Synesthesia series. The 3 above images are of the work I have entered this year.

Synesthesia #24 Golden Yellow

I entered the above and 2 below works last year.

Synesthesia is a series expressing how I feel the energy of different colours. They are sensing drawings in fabric and thread. I have made 10 and plan to make 24.

Synesthesia #23 Orange Yellow

Tomorrow we meet at the gallery to put up labels and to do the tweaking and tidy up until everything looks perfect.

The exhibition opens Wednesday March 4th, from 10:00 to 4:00pm. I will do my first shift that morning. Every artist who is able to sits with the show twice over the month. The exhibition closes March 29th. The gallery will be open every day except Mondays.

Synesthesia #22 Yellow-orange

The Small Expressions Show is just one of a great many different exhibitions, activities and programs under the umbrella of the very active Community Arts Council of the Saanich Peninsula (CACSP). CACSP is one of the 90 regional arts councils in British Columbia whose mandate is to nurture an appreciation of all the arts on the Saanich Peninsula.

Synesthesia #7 Aqua Green

I collected up the fabric and made a decision on the value range.

The layers of fabric were stacked lightest to darkest and the energy lines of this colour sewn on the back of the ground.

Then the cutting started.

Several hours later.

It is coming along quite nicely but there is still a lot of cutting back to do.

Cut back applique is one of my favourite techniques because it always has surprises, and some 'oops.'

Synesthesia #23 Orange-yellow #2

I had to make another #23 because a friend bought the 1st one I made.

This time I used the cut-back applique technique.

I like using worn clothing in my work.

My old brown linen pants are just the right colour.

I am waiting for the day when I cut out a piece of fabric from the garment I am wearing because it is just what I am looking for.

Here are the fabrics I selected.

Ooooooow - Goggle's 'auto correct' makes them look off.

This is the 2nd go, I must confess. The first one had to be rejected because I stacked the fabrics in the reverse order. Am I making these mistakes because I didn't stitch much while I was studying and I have to get my brain up and firing in a different way again?

Viola - Synesthesia # 23 Orange-yellow, again.

It is hanging in the Tulista Gallery in Sidney, in the Small Expressions exhibitions, on until the end of March.

'Hands Around the World' in Christ Church Cathedral

In the Christ Church Cathedral, Victoria, there is an exhibition of 11 international textile murals. It is the 'Creative Peace Mural Project which aims to link and celebrate communities around the world'.

This mural was made in Morioka Japan in 2010 as a community project with the makers' hand prints making up the border. The inner panel shows what the people of Morioka decided makes up their history, geography and culture.

  

The project started in Victoria as a millennium project. Since then the project, with the accumulating number of textiles, has traveled to 8 different countries. The completion of each textile is celebrated with a community event involving local dancing, music and culture.

Each panel is made up of 10 vertical panels, 5m x 2m. 'This panel design allows the completed mural to be easily packaged for shipping'. 

The paneled design looks familiar to Victorian's because the textile designer was Carole Sabiston.

Behind the alter in the cathedral is a large work by Carole constructed in her signature panel technique. By working in panels she is able to make the large scaled commissioned work she is well known for.

'The Forest Primeval', 5 x 2' x 10' panels.

Victoria's Christ Church Cathedral is well worth a visit by textile enthusiasts. Most of the ornament inside the building is textile based - they are everywhere and some of them change with church calendar. Elaine Ellison is the Sacristan where it is her job to make sure the right textiles (and the other items) are installed for each  event.

 It is bit of a treasure hunt trying to find all of the banners, panels, hangings, flags, cloths, kneelers etc within the church.

Synesthesia Series

Synesthesia #1 Yellow

Synesthesia #24  Golden Yellow

Synesthesia #23 Orange-yellow

These are the 3 works I am entering into Vancouver Island Surface Design Association's next exhibition, in the Nanaimo Art Gallery, January 2014.
 It is a juried show so my work may not get in.

Here is the series so far - 7 of 24 completed.

Synesthesia #24 - Golden Yellow

Continuing the Synesthesia series.
Collecting up #24 Golden Yellow fabrics and sorting by value.

...and threads. An opportunity to use some of my many gold threads.

But sparkly wasn't right for how I feel about this colour.
So my collection of sparkly gold threads will have to wait their time for another idea.

2013 SDA Exhibition - Kathryn Clark

Foreclosure Quilts
This is the intro members got before viewing Kathryn Clark's work:
"Clark's life as an architect and urban planner influences her work as an artist. As the foreclosure crisis spiraled out of control, this exhibit took its form from foreclosure maps that marked the disintegration of neighborhoods in major U.S. cities."
Many of us had also previously read articles about her work.

'Detroit Foreclosure Quilt' 

But I wasn't prepared for the impact of her work.
The fabric was torn and roughly cut away. Each exposed, raw, red shape documented the upheaval of family homes or businesses.

We had all heard the statistics but Kathryn's quilted cloth mapped out the reality of the situation.

She translated the collected numbers into a story the viewer could relate to.