Friday, September 25, 2009

Artists' Study

The works of both Kandinsky and Van Gough
are full of texture and colour and rythmn. There is a tactile quality here that is common to the work on canvas and paper and fibre/textile. Van Gough in particular evokes the desire to reach out and touch, much the same as most textile art. There is also a balance of light and dark, tone, tint, shade and hue.

The molas have a more limited colour scheme, as they are restricted by the number of layers that can be used. With each layer being a different colour there are a limited number of combinations, but spectacular results are still possible.

My own personal belief that work done on canvas and paper is actually fibre art is probably not consistent with conventional thought.

Van Gough, "Starry Night"

Kandinsky, "Black Strokes"


Mola Making, by Charlotte Patera, ISBN 0-8329-0272-1
!Molas! by Kate Mathews, ISBN 1-57990-020-8

Herta Puls brought to the attention of the art world the exquisite work of the Kuna Indians in the San Blas Islands near the Panama Canal. She has written several books on the subject. She is also an associate member of the Textile Study Group, as is my tutor, Sian Martin.

A "mola" is actually a blouse with the fabric stitched layered using a method reverse applique. It is possible that the traditional designs were originally used as designs for body painting, but when clothing was introduced, the same designs were used. Today, modern life influences the designs that are used, even to include words and advertising images. There may be from two to seven layers of fabric in a mola. In the multi layered molas, several layers may be cut through to bring different colours into the design. In the next few months, I plan on producing a mola, which I will display on this blog.

Of interest, at one of this summer's festivals at Victoria Park, in London Ontario, there was a booth displaying some exquisite molas, one of which was quite large. I spoke with the people there, and Herta Puls name was mentioned with great admiration and respect.

Kandinsky The Language of the Eye, by Paul Overy, SBN 236 17770 2


Wassily Kandinsky Concerning the Spiritual In Art ,
translated by M T H Sadler, ISBN 0-486 23411-8

The Blue Rider, translated by Hans Konrad Roethel.

Kandinsky's art shows a great love affair with colour. "Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul." This and his first impression and reaction to of Monet's "Haystacks" Moved him further to the art we most know him for... his pictorial interpretation of "inner beauty".

I see these works as stitched.... appliques mostly, as many of his painting have clearly defined edges that work well in this method. His line drawings (in black paint) remind me of stitched lines... running stitch, stem or outline stitch, or couching. Other paintings appear to be painted fabric embellished with stitching. In particular, his Black Strokes, (1913) Circle and Square (1943) bring embroidery and stitching to mind.

Van Gough , by Judy Ellen Sund, ISBN 10 07148084X

Van Gough is one of my favourite artists. He uses colour and brush strokes boldly and fluidly. His Starry Night, Starry Night Over the Rhone, and Cafe Terrace at Night all depict stars with a luminous halo, The Brush strokes in all of these would be well represented with straight stitches, either running, seed,long and short. In some areas, a painted ground would be best, and the stitching on top.

Tuesday, September 8, 2009

Chapter 11, Growth and disintegration

In the first image, numbers 1 through6, the designs are done in torn paper. In the second image, the designs are done in paper that is folded and worn away by rubbing on fine sandpaper (8, 11, 17, 18), stabbed (12), bitten (9), dampened and rubbed with fingertips (7,13), crumpled, straightened out, re-crumpled (15), folded and cut (16).

Here (images 1, 3, 4, 5, 6, ) the design is disintegrated with scissors (cut). Images (2, 7, 8, 9,12, 13, 15), the design is frayed or cut and frayed, cut so that the actual design all but disappears, and (11), the images is formed from waste threads, and trimmed to shape.

These images show disintegration through size, becoming increasingly smaller until the last in that series is stitched in cross stitch with ribbon.

Images 5 through 16 are done with stitch (except for #8, which is needle felted). The stitched designs are increasingly disintegrated with heavier or denser stitching.
#17 is a combination.... it is the negative of #3, with the centre of the design stitched in ribbon

Below is the paper mock up for the resolved piece. Each is 3 1/2" square. In the stitched pieces, the disintegration is different for each... stitched in different ways, beaded, layered netting. The insides are studded with star shaped sequins. The pieces will now be mounted and form a star themselves, as "Pockets for Fallen Stars". Once this is done, I will photograph the unit and display it on this blog.

Friday, July 17, 2009

After Summer Workshop, June 2009

Here are some pictures of Sian, Eleanor, Leslie and I on the shores of Lake Erie, Ontario,
where we are having a lovely break together before Sian goes home.

Friday, July 3, 2009

Chapter 10: Inlay Applique

Fabric is bonded on the top of the felt to the left. On the right, cotton is bonded on the bottom of the felt, and snippets of fabric are bonded on top with a layer of net to hold them securely

I couldn't resist trying the plaited faggotting. Needs some practise, but it is a lovely stitch!

More complexity could be added to the counterchange example with either a layer of transparent fabric or a layer of suface stitching as shown at the bottom of the page. This layer overlaps the adjoining quadrants. Could be interesting!

Friday, June 12, 2009

Chapter 8 : Complex Designs

I rather thought that these did not scan particularly well with the stuffing in... perhaps I overstuffed them!
Interesting combining the machine and hand stitching.

Wednesday, April 29, 2009

Translating the layered designs into embroidery

For the first 6 images, I used the same fabrics, but in different order. Rather interesting effects ... they would be attractive used together in a quilt.
I found it heavy going on the fingers using a hoop, so there is a bit of rippling. (I have developed impressive callouses on my fingertips!)

Sunday, April 5, 2009

Bonded Fabric Designs

I have numbered each sample and they are shown in numerical order.
I have taken advantage of negative pieces of bonded fabrics and used them in the designs.
Cottons, silks, synthetics, tissue paper, bonded-bits-on-fabric, and painted Heat-n-Bond have all been used in the samples.