Applique with Janet

In yesterday's workshop Janet suggested needle turning onto a stabiliser backing. This way I can make several items and decide on placing later on, which is a good way of working for me.

It's also the first time I've experimented with needle writing, which I found very difficult but rewarding. Earlier this year I saw Rosalind Wyatt demonstrating at Art in Action and, as I watched her stitching old letters onto cloth, I was struck by how she managed to retain the character of the original handwriting...I think I'm going to be stuck at the printing stage for a while!

Regular Pattern vs Random Marks

We experimented with different printing methods in the last class with Janet. One of my more effective efforts was the potato print above, using ordinary printing ink onto an onion-skin-dyed hanky. But... It hasn't inspired me to add any stitching.

I used another piece of onion-dyed calico to clean the potato block between colours and mop up any mess with the result that it inspired lots of machine stitching: 

I added a couple of squares of potato printed linen on the bottom right to add texture, used a piece of old blouse for stability and really enjoyed letting my machine wander at will. I then applied it to the old table cloth, with a further layer of very fine tea-dyed hanky, fusing it all down kantha style. I like the contrast between the rough feel of the machine stitching and the softer, more flowing hand stitching.

I had another go at printing in a regular pattern with better stitching success:

Shop bought stamp on the last remnant of an old linen skirt, free-machine stitched. I still prefer the more chaotic effect though...

Burning Down

Janet suggested burning a house as well as the archway for a better effect. Now the arch needs to be burnt more...

I like how it looks on the table cloth -

 - not sure I'm ready to burn into that yet!

Pulling it Together

Had an inspirational day at the Journey workshop this week. Janet helped us think about how to use our samples as a route to a finished piece. She gently encouraged me not to get too attached to what I have done so far, but to incorporate the techniques from the pieces I like into a new design.

Due to Janet's vast store of ideas, I've changed direction slightly and have now got 2 paths to follow: a sort of family-story-cloth starting with some gifted linen...

...which will be gradually added to over time.

I've made a start by dipping it in coffee and sewing an archway...

...and may put this in the middle

 - stitched by my daughter -

cut out but kept ragged edged.

The second idea stays with the 'Garden of Forking Paths' but involves making a series of holey stacking bowls or vessels that can be turned and swapped around. So the challenge now is to make something that has a drapey feel while being stiff enough to hold its shape...

Dyeing a Tree

At the last workshop with Janet we experimented with dye powder, discharge, resist and bleaching techniques. One of my more interesting results was achieved purely by accident however, when wiping up the mess!

Balancing Colour

Ongoing exercise in balancing colour with fabric and stitch.

Mostly linen with silk thread.

Beating in the Colour

Natural calico pleated with leaf, bashed with a hammer, singed and plunged in water.

I like that the leaf shape is broken up but that it is clear where the veins continue. The water marking on the right hand side adds a subtle dimension.

I'm looking forward to experimenting with coloured flowers next and trying out more ideas from India Flint's book 'Eco Colour'. I like her idea of making small pockets that can be carried around to pick up colour when travelling. She suggests buttoning them onto clothing to create a changeable outfit and novel souvenir. I may be adding a hammer to my handbag...

Smocking

According to the latest edition of Selvedge, smocks used to be the most practical garments for farm workers to wear, being strong and protective. With the advent of mechanisation they became too dangerous as they would be impossible to get out of machinery before human limbs followed! I like the textures that smocking achieves - the ripples, shadows and stretchiness. I've practised with only two of the traditional stitches here but there may be scope for using other stitches to create a symbolic element. I used calico dyed with juniper berries.

Cutting, Layering and Burning

The white linen was folded and cut like a paper snow flake. Threads were pulled out and layered between gold and grey sheers. The sandwich was then burned with a joss stick, to which the sheers responded beautifully.

I like the organic nature of the burnt holes, but the cut linen holes, particularly the horizontal ones are too stark and obvious.

pleating and burning

This heavy calico was died in a saffron bath on the window sill, pleated and secured in a fan shape before being singed with a match. I'm not sure how this would form part of a larger piece of work, but I like the effect. I like that the burnt edges hint at having a story to tell.

Weaving and Stitching

This is my first experiment using different fabrics including silks, linen, upholstery and sheer, cut up, woven together and fixed with hand stitching onto a silk backing. I am pleased with the cross emerging as a symbol together with the colour red. The red circles were already stamped on the sheer fabric - I like the way they balance the composition.

Human Markings

I like the idea of multiple realities, of being able to communicate across time and between parallel space-times. I’ve been wondering how I might be able to express this idea with textiles. I’m wondering how layering different textiles would work on developing this theme. Would I use see-through material with similar but different embroidery worked on them, so that you could just see through to worlds beyond? Or would the layers be solid and only visible by lifting up a ‘portal’ through to the adjoining world? Would there be clues between layers, a trope repeated as a guide through the universe?

I am currently taking part in Janet Clare's workshop where we were encouraged to put a mood board together. Mine, above, draws inspiration from Gizella K Warburton, Nigel Peake's 'Maps' book, Judy Buxton, Kurt Schwitters , Paul Feiler and John Piper.

I will be experimenting with multiple realities and textiles over the next few months. You are welcome to join me.