Well I have used the Wonderfil, and I have not used Wonderfil. Was there a real difference? Did the work suddenly shine seductively in the afternoon sunlight? Was the work enhanced?
I took a selection to an art event at Sledmere House on Sunday, set it all out and waited. And waited. And waited. Lots of very flattering comments, ego definitely swelled, lots of interest, some very knowledgeable visitors and plenty of enthusiasm. But no one rushed impetuously across the room crying ” ooooh what a lovely lustre! ”
Folk wanted to understand how the images were built, and insisted on telling me how long they must have taken, but most common was are they really stitched? Not actually asked why? but…..
So either they were so well used and integrated that they looked so right that comment was not necessary, or, they had sunk without trace. I am finding this difficult to judge. I am still finding the degree of lustre stops me seeing the colours with clarity. See what I mean? This should be zinging with acidy greens, yellows, pale purple. Spot the difference between this and the mostly cotton threads on this one- I think I will have to find a different approach to using these threads. Umm.
At the moment I am thinking of them as an indulgence, and a greedy one . I need them to be in the spool box, potential and limitations understood, waiting to be used.
So thought shift – how about this as a start point? As part of the sunlight in the garden series? Use them for the light, contrast against the deeper colours of the matt threads working the shadows. Probably need a warm, strong ground colour to lift them. Oh er, that could be this week sorted then!