Delicate Stitches: paint

Showing posts with label paint. Show all posts

Thursday, 1 November 2018

Back in the studio...

Dipper
Machine embroidery and fabric paint on cotton. 2018

Over the past couple of weeks I've been able to get back into my studio a bit more and it feels really good to be working there again. We've had quite a stressful few months for various reasons and I haven't had much time to focus on my own practice. I had a look back through my book of knowledge (the notebook that contains all my thoughts, to-do lists, projects, ideas and so on) and I kept seeing 'need more time for my work' so I'm really pleased to finally be able to spend a bit of time on my own practice.

Dipper (detail)
Machine embroidery and fabric paint on cotton. 2018

Mr. Stitches and I try and go for a walk every day as it has so many benefits for both mental and physical well-being and on one of our evening walks last week we saw three dippers together. I often see them along the river but usually only one at a time. I'd been thinking for a while about doing a dipper portrait and seeing them on our walk prompted me to actually get on and do it. I decided it would be a good project to get myself back into working in my studio.

Design drawing

I began by drawing out my dipper, I only make portraits of birds I've seen because it's important to me to observe and then capture a bit of their character rather than just what they look like. I love the way the dipper moves and the way it suddenly disappears underwater, it always seems as if it's been swept away but then it pops up again, fine and unharmed. To create my drawings I do use photographs and reference books as well as any quick sketches I've made whilst watching the bird to supplement my memory of the bird.

Work in progress

I then used my sewing machine to 'draw' my dipper onto fabric. I started with a black outline and then added some hints of other colours. I didn't want to put a background in, as I very rarely do, but I did want my dipper to have something to perch on so I added a rock and some swirling water so it wasn't floating in space. At this point I hadn't decided whether or not I was going to add any applique or paint; I was keen to experiment a bit with paint and in the end this is what I decided to do.

Rook
Machine embroidery and fabric paint on linen. 2016

Often when I use fabric paint I use the paint first and add the embroidery over the top but for this piece I wanted to do the reverse. I made a portrait of a rook a couple of years ago using this technique and I've been thinking about experimenting more with it recently. I wanted the result to be quite watery and for the colours to bleed out into each other and the background. I wanted to do it this way partly to evoke the watery world of the dipper but also to suggest the fragility of the bird and it's environment; our wildlife and environment are under so much pressure and I wanted to comment on this.

Sketches, books and work in progress

From sketch to drawing to finished piece

I really enjoyed making this piece, although at several points I considered abandoning it as it wasn't going quite as I envisaged. I'm pleased with the way the fabric paint has worked and I think this might be an interesting idea to explore further in other pieces. As an added bonus I received a message asking if the piece was for sale after I posted a picture on Facebook. It's always a nice confidence boost when someone wants your work on their wall and I'm delighted that the dipper will be going to a home where it will be appreciated!

Saturday, 4 March 2017

A Textiles Winter at The Heathlands Project

Detail: Winter by The Heathlands Project Textile Group 2016/17

I wrote recently about 'Dr. Who's New Scarf,' one of the projects my Thursday morning Textile group at The Heathlands Project had been working on. They enjoyed working together on this project so much that they decided to work on another group project. The group decided they would like to make a textile hanging to give them a chance to experiment with some different textile processes. We started the project in late November and the chosen theme was winter.

Using our designs to select fabrics

Layering fabrics

Working on black rather than white paper to create designs

As before we started designing on big sheets of paper with everyone working together to share ideas. We decided that we wanted the piece to be about winter but we wanted to be able to display it at any time so we chose to avoid anything too Christmas like. We also decided to chose a colour scheme of cool blues, white, silver and black.

Paper snowflakes to use as stencils for printing

Making stencils for screen printing

Screen printing

We used the hanging as a chance to try some different techniques, including screen printing, working with de-colourant cream, applique and embroidery. Everyone had quite clear ideas about what they wanted to do so we decided that everyone would make an individual panel and that we'd also make a joint panel including elements of everyone's work. We made each panel roughly A3 size so that we had a nice big area to work on.

Design created using de-colourant cream, fabric pastels and stitch

Screen printed design with stitch

Appliqued design

It was really interesting seeing people develop their pieces over a period of several weeks, experimenting with different materials and techniques. Some of the group were quite new to textiles and some very experienced but everyone worked hard and produced some great results. It was helpful for people seeing each other doing different things and I think this inspired the group to be a bit more experimental and try new things rather than all doing the same thing.

Polar Bear panel

Mountain panel

Pattern Panel

When all the patches were finished I stitched them together and added a backing and some hanging loops. Now we just need to find a home for it!

Igloo Panel

House and Snowman panel

Snowflake Panel

The finished hanging

Monday, 23 May 2016

Picturing Places: Response Work

Textile work by diverse artist in response to Cumbrian Art: Picturing Places

One of the projects I've been working on this year with Prism Arts is a response project to one of Tullie House's exhibitions. Entitled Cumbrian Art: Picturing Places the exhibition looks at the museums extensive collection of Cumbrian art and it covers a wide range of Cumbrian landscapes by a variety of artists, past and present.

Sketching ideas out (RT)

Sketching ideas out (MG)

Tullie House asked us to work with them to find and support diverse artists to create response work to the exhibition which would then be shown alongside the exhibition. We worked on a similar style of project a few years ago when I mentored a young diverse artist to create work in response to a Richard Slee exhibition at Tullie House.

Work in progress (HT)

Experimenting (MG)

Experimenting (RT)

Originally the plan for this project had been to make an open call to diverse artists but because we were working within quite a tight time frame we made the decision to select artists. We selected four diverse artists who we thought would be inspired by and benefit from this opportunity. In this context we are using the description diverse artist to describe a person experiencing barriers to accessing the art world such as disability, mental health issues or other health issues.

Work in progress (RT)

Trying out ideas (RT)

Experimenting with different media (MG)

One of the issues with creating response work to an exhibition that is going to be shown at the same time as the exhibition is that it doesn't leave a lot of time to create the work! For this exhibition we were fortunate that as the work was coming from Tullie's collection the artists were able to go and see a selection of the work before the show was hung. The museum staff were very helpful, giving the artists access to particular works and providing information on the pieces and the artists. We also arranged for the response work to go up part way through the exhibition to allow the artists time to create their responses.

Selected and cropped Drawing by HT

Drawing in progress (HT)

Even so, time was the biggest challenge of this project. As I was only working with the artists once a week (indeed one of the artists I barely saw at all, luckily she had a very clear idea of the work she wished to make and worked independently) and there was Easter and holidays to accommodate I felt quite pressured time wise but hopefully the artists did not feel too pressured.

Motorway through the Cumbrian Hills
Acrylic and pastel on canvas (MG)

Detail: Acrylic and pastel on canvas (MG)

Working with the artists themselves was a very rewarding process. They all had such different ideas and ways of approaching the project and it was very inspiring seeing them work. My involvement in producing the work was minimal, they all had such a clear idea of what to do and how they wanted to work that aside from a few technical points and small suggestions I did not need to do much on that side of things. One area where I did have more input was in displaying the work as this is an area where the artists had limited experience. For example, one of the artists and myself made the decision to cut up one of his drawings to make two smaller drawings.

Detail: Cumbria in Thread (RT)

Detail: ...And if it wasn't red?
Thread wraps on card (NC)

For this project I have taken more of a project management role. I've really enjoyed this and whilst it has been quite stressful at times and has been a learning curve it's definitely something I would like to do more of. One of the things I really enjoyed was working with Tullie to get all the technical aspects organised such as copy for the press release and leaflets and when and how to hang the work. I really enjoyed writing the copy and helping the artists to write their statements and seeing the finished printed literature is very satisfying.

Display on our information board about the exhibition

As the artists had all chosen to work with materials and techniques that made use of resources we already had I was left with a reasonable budget for framing. I very much wanted to get the work professionally framed as I think it finishes the work off and displays it to its full advantage. I chose simple, uniform frames for the work so that the focus would be on the work itself and so that when it was hung in the exhibition space the work of the four artists would work as a mini show on it's own whilst still fitting in with the wider exhibition. Timing was again an issue here, I had to make multiple trips to the framers and next time would definitely make sure there was more time for the framing.

Hanging the work

Overall, this has been a really rewarding project to work on. I've learnt a lot and enjoyed being involved in all aspects of the project from idea to display. The show is on until 5th June so there's still time to go and see the exhibition and the work created in response to it.

Saturday, 16 May 2015

Art Gallery Takeover: Anselm Kiefer Museums at Night 2015

Mob Masterpiece!

I've been a bit quiet over here on my blog recently as I have a lot of projects on at the moment, all requiring my time and attention. I've missed keeping this up to date, it's an important part of how I document, reflect and evaluate the work I do. So, here's a brief post about one of the smaller (in terms of time!) projects I've been involved in recently.

A starting point

Tools

Materials

This was my third year being involved with Museums at Night at Tullie House. For the past two years I've run life drawing sessions, first fancy dress life drawing and last year steampunk life drawing but this year I was doing something a bit different; helping to create a mob masterpiece. The current exhibition is the excellent Artists Rooms: Anselm Kiefer show so all the activities were centred around and inspired by his works. There was a dance performance with specially written music in the gallery space and then different creative activities for people in the atrium and community room.

Getting started

Getting stuck in!

More colours

Mob Materpiece was based in the Community Room as we were able to be quite messy in there! Working on a huge canvas (over 2m x 3m) I encouraged people to come and help me create a Kiefer inspired Cumbrian landscape using paint and various collage materials. I started off by sketching out a very basic landscape as I have found that people are often reluctant to work on a totally blank canvas. The idea was that this was just a starting point, my intention being that over the course of the evening the piece would change and evolve into something unique, which it did. I did have to laugh to myself when one person said "why does it have to be so prescriptive, why can't people do what they want?" and I replied "they can, that's the idea" and handed them a brush on a stick.

Progressing

Partly because the canvas was so large, partly because it's an interesting challenge and partly because it helps people loosen up about painting we mostly worked with brushes taped to bamboo canes. This makes fine, detailed work quite difficult but does allow big, expressive marks to be made. I also took along some plant material I'd collected, which one guy used very effectively as a brush/mark making tool, and we also added in tissue paper, raffia, thread and glitter for extra texture as the piece progressed. We mostly used emulsion paint left over from various projects in the gallery which gave us an interesting palette that actually ended up working really well.

Adding some detail

Plant additions

Painting with plants

It was great seeing the piece develop over the evening as different people came and made their mark. Some people just made a few strokes, others got really involved, throwing, drizzling, splattering and using their hands to apply the paint. There was a really fun atmosphere and people were really willing to get stuck in which made the evening fly by! What I found really interesting was how the piece changed so many times during the course of the evening but we've still ended up with quite a landscape-esque piece of work.