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

1000 Posts - Art Deco Posts are the Most Popular

Here is another luscious Madeleine Vionnet creation.
In celebration of my 1000th post, I am looking back at the most popular posts, the ones that have been viewed the most often.

The most popular post by far was 'Madeleine Vionnet and Art Deco' Here

The 2nd most often viewed post is also related to my Art Deco studies - 'Art Deco Art on the Figure' here.

A Coco Chanel dress from the Art Deco era.

A detail shows the rich velvet with burn-outs on a silk ground.

The 5th most viewed post was also on the subject of Art Deco fashion, 'Art Deco in England' here

It was a bit of a trick post title because it is about my having sent a module of work to England to be assessed, during my long-distant degree studies. The unit of work focused on an analysis of the Art Deco period.

Here is a beautiful, Art Deco period dress by UK-born designer Edward Molyneux. This dress can be seen in the Metropolitan Museum.

Conclusions - Art Deco lovers do lots of internet searches. Or, there is a lot of interest in the Art Deco period.

Colour Studies in the Green Shed Studio

Backyard Project posts have dominated my blog lately and you may be wondering if I am ever in my studio. 

To answer the question - Yes. I am working on a big project that will culminate in at least 2 exhibitions.

'Colour: A Personal Response' is a project I am working on with fibre artist Sarah McLaren.

It involves doing colour studies in paint and fabric.

I am making large paintings of 24 different colours.

Apart from a Jane Davies workshop, see blog post here  I am not trained in painting so I am just feeling my way. My intention with these paintings is very clear and it is keeping me at it for many hours. I am beginning to pick up a feel for moving the paint around. I am also even more conscious of Malcolm Gladwell's 10,000 hours rule.

Carol Soderlund Workshop - 'TRUE COLORS: Developing a Personal Palette'

Carol's samples of dyed fabric using different sets of primary colours.

In the fall I attended a Carol Soderlund workshop at the Pacific Northwest Art School.

'TRUE COLORS: Developing a Personal Palette'

Building a reference for my chosen personal palette.

Early in the week, I met one-on-one with Carol for my Palette Chat where I showed her my chosen palette. While looking at Carol's sample binders with over 80 different colour families she helped me pick a selection of primary colours to work with over the rest of the week.

The 1st class exercise was a group one where we each dyed a set of samples using different primaries. These were cut up  and shared so everyone had small samples for their own binder.

The Big Squeeze Dye Technique

This was one of my favourite techniques Carol showed us. 

It is a very quick way to get a range of values while shifting the hue.

Lovely results from another student using another simple dyeing technique.

This other technique also produced a shift in value and hue while using only 3 primary colour dyes.

Here are my samples. I also incorporated folding the fabric to produce a pattern.

Using this technique one could produce a lot of more randomly dyed, multi-coloured fabric easily and with minimal washout.

My Dye Table

Not only did I learn so much more about colour over the week I also came away with an understanding of many more dyeing techniques. I now know how to dye fabric in a specific colour palette for any future bodies of work.

Thank you Carol for another exceptional workshop

Carol will be back at Pacific Northwest Art School next year, September 9 - 13, 2017 to teach 'In the Thick of It,' a workshop about ways to use thickened Procion MX dyes on fabric.

Cryosphere - Hydrosphere completed and out there

Cryosphere II - Hydrosphere, 80"h x 50"w, machine sewing, dry felting, stuffing; nylon, polyester, net, cotton, beads, glitter, Timtex, cotton and rayon thread.

An exploration of the way water changes its molecular structure each time it shifts from a frozen state to a solid-state and back again. It is a process known as a phase change and is unique to the water molecule. 

Stuffed icicles of frozen water with bead-filled ends.

Attaching all icicles and flowing water panels together.

Attachment to the hanging device

While visiting hardware stores, fishing stores, pharmacies, a haberdashery and chandleries I bought clip-rings, lure swivels, silicon hair ties, tapes of hooks and eyes and nylon cord. I worked with them all to find a hanging device that would allow the panels to hang freely, hang straight and reposition themselves after being moved.

I settled on the tapes of hooks and eyes.

I bounced ideas off Ron, my resident problem-solver. He made a solid wooden frame to hang the work from.

All packed and ready to go with one and a half hours to spare - just enough time for a shower before I have to leave for the gallery. 

At the gallery attaching the hooks to the eyes.

Velcro to hold on the pelmets. An eye screw and carribenna type attachment to hold the wire to suspend the work from an overhead beam.

Cryosphere - Hydrosphere was my entry in the recent Vancouver Island Surface Design Association's annual exhibition 'Current Threads 2016' installed at the CACSP's Tulista Gallery.

Yukon Cryosphere II, Hydrosphere - Work Continues

Working with slippery synthetic sheers I can't keep the large pieces of fabric under control. Solution - hang them on the wall and take down as needed.

My current problem is to find a method for making a soft material appear hard. 

I have made tapered tubes. They need weights in the bottom to keep all lines vertical, the way water falls and freezes.  I considered lead fishing weights but couldn't find any small enough and they would all have to be painted white.

Solution - Beads. I cleaned out my white bead stash then scoured all thrift stores in a 20-mile radius. I sorted them by size and made 3 different soup mixes.

The beads are successfully doing the job of weighing down the points but now the tubes don't look substantial enough. I have decided to stuff each tube with fine interfacing. It took a long time and was hard on my hands.

To give my hands a break I started making the flowing water panels - cheesecloth dry-felted onto flat sheer tubes.

I am laying out the flowing water panels to see if I had enough of them and enough variety in length and width.

In the meantime, in the back of my mind, I am working on how to hang these individual tubes and panels. Percolation time, again.

Work In Progress - Cryosphere II, Hydrosphere

I have the idea for my Yukon panels in Articulation's 'Provinces' exhibition. 

I want to show the phase change when water hardens then melts.

I have settled on the colour scheme - white (not yellow-white), silver and cerulean blue.

I haul out from my stash all of the light to sheer fabrics in those colours.

I collect up all of the threads, papers, and embellishments in those colours. 

I draft up a pattern for the size of the panels and cut it out in Tyvek.

Pinning the different sheers on the wall gives me an idea of their transparency and drape.

It is looking distinctly bridal in the studio.

Sampling, sampling, sampling.

I am sewing on different layered fabric sandwiches searching for the look I have in mind. 

The burning and melting station is set up.

I test all of the fabrics and sandwiches with a heat gun and a burning tool.

I don't want brown so anything with cotton in it is put away.

I have settled on the colours and fabrics now I need to sample to find a technique that best expresses the idea. I have made lots of drawings and compiled many lists in my workbook.

Now is the 'percolation' phase. It takes time for the ideas to sort themselves out. I record these ideas in my workbook and continue sampling until the way forward is clear.

VISDA 'Current Threads 2016' Artists with their Work

Judi MacLeod 'White Lady,' white linen, manipulated white cotton, hand and machine stitched

Judi led the this year's Current Threads exhibition committee. She led the hanging and compiled the artist statement binder among many other tasks.

A close up of 'White Lady' because my poor photography didn't really show any of the texture.

Committee member Sarah McLaren with her 'Van Gogh in Yellow,' cotton, silk, tulle, organdy; edge turned machine applique, free motion embroidery.

Sarah organised an elegant afternoon tea on the gallery verandah during the artist reception.

Committee member Dale MacEwan beside her work 'Nature's Patterns' (bottom - Karen Selk's work on top).'

Dale manipulated and printed on cotton 2 of her rock pattern photos then machine stitched into them.

Among the many tasks Dale worked on were registration and the show sitting schedule.

Many thanks to this year's Current Threads exhibition committee for doing an excellent job showcasing VISDA members work so well.

During the artist reception, I managed to catch 2 other artists with their work.

Susan Duffield 'Ragged End of Life' - stitched textile fragments mounted on painted canvas.

Louise Slobodan 

Top - 'Ancient Pathways' - a collagraph printed on rust printed muslin with stitching. 

Below - 'Arbutus Landscape' - Photographs printed on rust-print cotton with hand and machine stitching.

The exhibition is on for another week. I would recommend you visit if you are in the area.

Art Nouveau and Art Deco - On the Lookout for Art Styles While Travelling

After flying across the Pacific from New Zealand we endured a 10-hour layover in San Francisco. We occupied ourselves with: finding a short term hotel room - no such place; a shower - closed for renovations; a place to sleep - the meditation/prayer room but that didn't last long because the dark quiet room was intoxicating when in a jet-lagged state and lying on the floor, as opposed to sitting cross-legged, was forbidden.

The many exhibitions within the airport were a welcome distraction and kept us moving.

Curtain panel, c. 1900 - 1910, USA, cotton

The SFO Museum was established by the Airport Commission in 1980 to humanise the airport environment, share some of the unique cultural life of San Francisco, to provide educational services for the travelling public, and to keep jet-lagged people occupied.

Centrepiece, 1900, Loetz, Austria, glass, bronze

We didn't find all 25 galleries but what we did find certainly worked for a while to distract from our basic needs for sleep, personal hygiene attention, and moving the body. 

Jardiniere, 1903, Austria, bronze

When I travel I am always on the lookout for expressions of different art styles in architecture, interior design, and artworks. I am particularly interested in the more recent styles that encompassed more than 2D paintings and sculptures.

The rebellious Arts and Crafts movement at the end of the 19th century in Europe morphing into the Art Nouveau period was the beginning of taking 'art' off the walls and plinths for Europeans.

The motifs on this jardiniere are typical of the period - dragonflies and plants, particularly the stems and leaves caught up in the hair of languid women. 

What do you think of the women with their mouths open forming the feet of the dish?

Octopus Chatelaine c. 1900, William B. Kerr & Co., Newark, New Jersey, silver

I had not noticed the octopus motif being used before but with its curvilinear legs it would have been seen as having great design potential if more designers of the time had been familiar with sea life.

Art Deco shop front in Ngatea, New Zealand

My favourite art style is Art Deco, a style that flourished not only in Europe between the world wars but it was the first style that spread around the world. It may have been halted in Europe once WWII started but it continued to develop elsewhere. I love to find Art Deco gems in unexpected places.

It was the first style to unify people rather than separate them. Art Deco concepts were freeing providing a spring point for many different cultures to interpret.

Another reason why I find the Art deco style so fascinating is that it was the first style that permeated all material culture at all economic levels, from grand hotels to this modest shop front (above), from costly wood inlaid furniture to a mass produced milk jug. Everyone could identify with and express themselves through the style.