I can not help doing this. It is such an innocent word but the impact is immense, exciting, frustrating, time consuming and annoying. All at the same time.
This is supposed to be a focussed time – the Open Studios is getting close, lots to do and probably a lot more that I haven’t realised yet. But get a bit of scrap old oil painting and a piece of intriguing sheer fabric and off on a tangent I go. The painting remnant was sliced, laid under the sheer and a tree stitched through them both. Why? Umm….
The sheer is shot, showing bright blue and rust, sometimes nearly not there and at others very much there and opaque. It began carefully lined up on the grain, tacked flat, but stay that way as the tree was sewn. To say this was a pig to do is a positive spin. By the time we got to the twigs it was completely warped and twisted, but this showed off the sheer , by not stretching it flat and allowing it to hang unevenly the shifts of colour in the sheer are fascinating. Parts disappear, others glow, the tree changes as the light changes.
The question will be is this something that can be developed into a useable technique? I do have a few paintings that are waiting for salvation and more of the sheer in other colour ways. Does the slicing help beyond making the piece flexible? Could I just bunch and ruche it for a similar impression of the light and colour shifts? Stitching on the painted canvas proved limited – the bulk of layers of dense stitching built up to dangerous levels very quickly – several needles later….. the heavier needles cut the canvas and also dragged white cloth up through the painted surface. So several things to ponder.
Not even sure that I like it!!
On another tangent – Renaissance Unchained on BBCiplayer – hairy interchangeable Marys, shot silks and naughty Renaissance buttons…and Plague Churches..