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Showing posts with label hand stitching. Show all posts
Showing posts with label hand stitching. Show all posts

Saturday, October 8, 2016

'Earth Repair' - the Beginings

'Earth Repair' began as a response to what I considered to be an emergency situation.
March 11, 2011 - quoting from my journal -
'Emergency. It has been a long winter here on the island. The deer are hungry. They are eating the bark on my precious Indian Plum. I need to care for this tree. The deer have free choice in the rest of the forest - even my emerging spring bulbs but my Indian Plum is not part of their buffet.

I am placing sacrificial tea cloths over the wounds to protect them. First, I lost my needle - I felt vulnerable and inadequate - I couldn't do what I needed to do because I had lost my valuable tool. Flashback to an earlier time when women depended on their needlework skills to survive. A lost needle was potentially a loss of livelihood translating to an increased risk of not being able to adequately care for her family.

I ran inside to get another needle after I had given up searching in the deep layers of moss and decaying leaves. When I returned with another needle I found my first one hanging by a thread - ties in with that vulnerable feeling again.

I was having trouble holding the cloth in place and sewing at the same time which had lead to the loss of the original needle. Then I heard a distant ambulance siren reminding me this is a triage situation.
Another run inside to get my wooden-based pin cushion, given to me by my mother. A reminder of how important life skills are passed from one generation to the next.
I was now performing the required surgery as I pushed a couple of pins into the bark to temporarily hold the edges of the cloth as I sutured it in place.'

The 'Earth Repair' cloth with embroidery wrought by and unknown hand.

Sutured in place around the wound to stop the deer from eating more of the bark. 
I have since read the Saanich First Nations people make a bark tea as a purgative and a spring tonic. Perhaps that is all the deer were doing because they had upset stomachs after having to eat plants not usually in their diet.

Continuing from my journal entry - 'The tea cloth continues to function - to protect wood and in doing so sacrifices itself to the elements - it was raining as I secured the cloths in place.
Inside the home, the cloth would be used to present food - outside it is now protecting the bark so the tree can get its food....
The cloth has been taken from the horizontal to the vertical plane. Does it still read as a table cloth? It has been taken from a smooth flat object to a wrinkled curved form. Does it still read as a cloth?'
These were musings for the development of work while I was studying for a BA (Hons) in Embroidered Textiles. After 6 years of study, my graduation exhibition work was related to my thoughts and actions on this Day of the Emergency.

Wednesday, October 5, 2016

'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.



Sunday, July 24, 2016

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.



Thursday, July 21, 2016

Vancouver Island Surface Design Association's 'Current Threads 2016' exhibition at Tulista Gallery, Sidney


Laura Feeleus 'Heartfelt'

VISDA's annual exhibition is on at CACSP's Tulista Gallery in Sidney.

Works by Lori Mudrie, Terry Phillips, Donna-Fay Digance

The exhibition is on until Sunday 4:00 pm July 31st.

Works by Barb McCaffery, Margie Preninger

There will be an Artists' Reception on Saturday 2 to 4 pm July 23rd.

Works by Bryony Dunsmore, Sarah McLaren, Jo Ann Allen

Many of the artists will be in attendance. It will be a great opportunity to talk to them about their work. 

Works by Sarah Mclaren, Morag Orr-Stevens,

As this is an annual event for VISDA we are already working on our 2017 exhibition.

Jo Ann Allan 'Song of the Earth' 

Any work a member finishes between now and the date of the next exhibition is eligible to be shown.
We are working on several exciting ideas for next year's venue.


Tuesday, June 14, 2016

More Gatherers Stand 'At the Edge of the Forest'

Eleanor Hannan

Jean Cockburn

Jennifer Love

Judi McLeod
Judi was the official photographer of the Gathering. She did a fabulous job capturing the atmosphere and the action of every event. Thanks, Judi. 

Katie Stein Sather

Lily Thorne


Patt Wilson


Bryony Dunsmore


Gloria S Daly
Gloria was the recipient of the “Award of Excellence” in memory of Mary Frances Fox. Mary Frances Fox was an SDA Ontario Representative and textile artist who inspired the original concept for this exhibition.
There will be one last opportunity to see 'Edge of the Forest'


July 9 – August 21, 2016, Fibreworks Gallery, Sunshine Coast, BC



Friday, June 10, 2016

Gatherers Stand With Their 'Edge of the Forest' Works

Lesley Turner

Shamina Senaratne

Terry Phillips

Connie Chapman

Deborah Dumka

Donna-Fay Digance

Judy Alexander

Laura Feeleus

To find out more about any of the works visit the 'Edge of the Forest' website  here
Thanks to Judi McLeod for masterfully taking presentable portraits under gallery lighting.


Thursday, May 19, 2016

Backyard Project and Work in the Studio

Ron and Nordic Fencing team leader, Mat, plan the location of the deer fence along the south boundary.

Nathan is digging trenches for irrigation pipes.

The main pipe will be located under the path going around the pergola and arbor. If there is ever a problem with the pipe it can be dug up without disturbing any garden beds.

Meanwhile, I am collecting leaf skeletons from under the tulip trees.

The damp conditions are ideal for the soft parts of the leaf to rot away leaving the leaf skeleton in tact.

After washing and laying the leaves out to dry...

...I am sewing them onto an embroidered afternoon tea cloth that spent a year or so outside wrapped around a tree trunk. I have been adding leaves to this cloth for the past couple of years. The repair of the decayed cloth with darned leaves speaks of how leaves fall to nourish and repair the soil, the skin of the earth. I will keep adding to the cloth for another season or so to demonstrate how soil building is a long term continual process.
The work is called, 'Earth Repair.'

The hyacinths are blooming in the studio bed. There is such a lovely smell as I come and go from the Green Shed.
Now that the winter rains have eased we can continue with the Backyard Project tasks

Monday, March 28, 2016

Nyonya Wedding Dresses and Bridal Chambers In Pinang Peranakan Mansion, Penang, Malaysia

1900's Marital bed
Gold painted and lacquered wood with embroidered silk panels.


Bridal Garments

Later marital bed.

Silk embroidered bridal over-garment.


Marital Bed 1900's to 1920's

Detail of gold work embroidery on silk satin trimmed with rabbit fur and silk fringe.

Bridal Dress 1920's

Bridal Dress 1930's to 1940's
Each of these rooms in the mansion was set up to display what the bride wore and where she slept over 3 different eras from the 1900's to the 1950's. These rooms were also filled with lavish collections of Venitian glass, mother of pearl furniture, ornaments from around the world and opulent jewellery.
I could have stayed for a couple of hours but our guide was eager to show us treasures in the rest of this beautifully restored mansion.