Archives

The March of the Sprout

I have promised to stop calling this Sprout,  the same way that the Big Beastie is supposed to known as Middle Moor. Yeh, that worked.

I have sprouted away this week to good purpose. The tipping point is past, and it is now that manic downhill race to completion, exhilarating  and getting faster and faster but so easy to lose concentration and end up flat on your face.

From bones and structure this week has been about clothing and fleshing, some so subtle that it barely shows, other parts have made dramatic impact. It is now about detail, balancing formal elements and making sure the image reads in the way I want.  Spot the difference a week can make? (8) I think you have to be here to see them.


Main areas done would be the sky – inked as promised and fairly gloomy – it is Yorkshire in a soggy January.  And the road way.  This isn’t yet complete – but it reads better with the texture  and the sudden flashes of colour,  but both will be damped down to get that contrast in surface  quality to the undergrowth that I want.  I did try straighter lines of couching but it felt false , and gradually added more and more fluff and contrast. So it may look ambiguous – one friend saw it as a river – but ….. And the pink? Rather like the pink  ( a piece of sari silk)  it does make me question the state of my eyesight – the reds and saturated colours are all so close to the front.  I think more contrast in the verge. Navy or purple?

And the sky? Not impressed.  I like the cloudiness and the subdued tones but the physical surface is so flat and matt. I may feel the need to stitch, possibly quilt just to give it some life.  Quilting is likely anyway – I have not used stablisers so there is a fair amount of  ripple.  The calico has done well coping with the uneven weight and drag of the stitching but if it is going to hang it could do with a bit of support. This did begin as a good rectangle, cut on the grain, but that is distant memory.

And so the saga of Sprout continues. I do intend to have the imagery finished by the end of the week – I think about another 3 or 4 hours of concentrated stitching, with lots of pressing and pondering (coffee breaks).  Achievable? The to do list is nearly in single figures- the time of sprout is passing….  and I have a series of other deadlines to meet.

 

Don’t forget workshops/tutorial times available  on Wed evening and Friday mornings – check the Want to try  tab.

Advertisements

The Most Difficult bit…. and workshop call

I am an experienced and  effective tutor of art and textiles as well as exhibiting artist. I am.  I have spaces in  Wednesday evening and  Friday morning  classes –  all levels and stages of experience and aspiration are welcome to come to play and enjoy creative textiles. Please contact either through email (on right) or the comments if interested. There will be coffee and tea, but I have already eaten the biscuit stash, (marketing not a strong point).   I thought I would get this out of the way before anyone reads the rest of it……

 

Well the Fairly Large Beastie with Sprouts  is steaming along,  nearly all of the base sewing is done and some places have multiple layers of work on them. This is where it gets difficult – there is a huge investment of time and effort in there and it is going from the experimental building phase to the consolidation phase.  Now I have to weld it all together, make those early decisions good and work upon the thing as a whole.

The stitching on the hills is the point of no return – so far a light varigated and a dull mid blue on the far left slopes. Still don’t like it – too flat and contrived. The treeline has  more stitch in it, working in blocks of hatching like the original sketch – might leave the trees behind as they are – very crude and sketchy.

The right is better – closer to the experimental rough work – but I still have to be brave and commit to working on the road way.  There are just too many niggly decisions attached to all the areas.  What I want is to  take alot of that green paint out – it flattens and homogenises now that I’m trying for subtle.

IMG_20190120_095817707

I may be drastic, it may be bold, or it may be stupid: tell you afterwards.  The inking option is about to be realised. This is a bit derring do – sink or swim- in my best tradition.

 

Always was going to play with wet colour  in the top half – blooms and runs of  ink/stain washed and scrubbed into the fabric. Its time has come – the stark flatness of the calico is distracting  and killing the subtle stitching done in the tree line.     Will this be tightly controlled and considered? Of course not, what a daft question. It is going to be -do it and pray, then do some more, have a coffee, start thinking about bleach, rinse off in the shower and worry about the how and where of drying later.   It is a cold, dank and damp day so not happening outside – this will be attacked  flat on the biggest table and apologise to the carpet afterwards ( I think of the splashes and drips as honourable  battle scars).    I just hope I  have some inky stuff hiding upstairs. Should press it and de-whisker it first. Why is everything so complicated?

Probably not my brightest  idea.  Definitely not, but I can not bear working on something that is going flat and predictable on me. Deciding not to use big, blank spaces in the composition – which twit advised that?  Umm, me.

Please do not call round today – it may be dangerous.

Oops.

Machine embroidery workshops and progress!

I have a series of dates avialable upto mid March  for learners and enthusiasts to come and play in my workroom, a chance to get started or to develop  your own ideas.  There is a basic programme but it  is there to be cherry picked or ignored as desired!  I am offering 2 hour sessions  on a Wednesday evening and Friday morning once a fortnight.  Details are on the website.

As for the new Biggish Beastie – Well, did you really expect me to pay any attention to myself? To follow my own guidelines and expectations?  Silliness.

Could not get my head together so sidestepped the problem to find fresh anxieties and questions to avoid.

This was where we left  it – rough patches of fabric, woll stitching, just beginning to map out the major areas and hint at textures. So found the blankness too big, and processes too slow.  Bring out to paint! Lay down some background, make it so I can see what is to happen rather than having to image it all the time.

This was thin acrylic with textile medium and worked in layers to build a bit of surface –  all so high tech –  printing off  scraps of cellophane and combing. It can not be thick because of the stitching to follow and is only the supporting act, not the main attraction.

The first layer of crosshatch stitching has started to weld the conifers together and wandering lines have begun to describe the scale and nature of the belts of vegetation and hedge lines.   There is still far more work ahead than behind but the structure is established . How much of this will be evident at the end? Very little, I expect, but I have more confidence in it now, it is less fluffy ideas and more directed intentions. Does this mean I know how it will look? Of course not? As ideas come together they will have to adapt and compromise untill they fit together, but this is the start of the real dialogue.

img_20190106_095710824Next steps? – Probably map out the treeline and foreground. Start on the empty space in the right bottom corner, but keep the interplay of spaces and concentrations of colour and texture going and build on them.

It needs ironing again. Already.

cOLOUR bACKWARDS

I know it is a bit of an obsession, but….  and it is giving me a head ache just trying to be coherent and wonderfully together over that old bugbear – COLOUR, and structured working practice.

IMG_20180713_143732604

So which approach is the most effective?  Is what I am currently doing working –  umm….

are past approaches better? umm…..   Define ‘better’.

OK, harmonies are meant to work well together, but without contrast become bland or flat.   Using low saturation complex colours reads as beige.  Beige has a tendency to read as grey or to disappear. Multiple broken colours tend to eat each other.   Rayon threads rely on light levels and quality of light to read as true colours.  What works small does not work big.  And that is just the start.

So start with a ground. Let this show through a little and it can make subtle differences lifting or squashing colours, make shading, and all  without multiple  thread changes. It can also help with transitions between colour areas.  Saturated base colours throw everything else off kilter, pale yellow is easy to overpower, but it does make it more exciting.

So create a base of  either coloured fabric or applied  fabric pieces. Or how about tapestry wool which can give a more complex, finer areas of colour to work over.  Does this make it sound easy? Yes.  Can’t be that easy in my little world.

IMG_20190101_133011611

And this is the idea at present, big bit of work to be the next making.  Looks just like the sketch! At the moment it is merely one lump of old patterned silk to be the base for the forground scrub and some rough stitched tapestry wool as the base for a stand of conifers.  The fabric is to argue with the following colours and to give a coherence, the yarn is to work  with, providing  harmonies and depths of colour and texture. The next layers will be machined – but what?  mid tone hues to get the colour established?  Shadow colours to start creating depth in the foreground? Should it be more neutral colours to work out tonal ranges and contrasts?  Or will it be the usual erratic and dabbling approach, as in ‘all of the above, and then some’?  It is so big that I may have time and space to try all of them, repeatedly.

I think I need to find a fancy name for my working method that will it make it seem more deliberate and artistically worthy.  An ‘ism’ perhaps.

If the witterings haven’t put you off- remember I have several  come and try opportunities  very soon. Take a look at the workshops page on the website or on the other pages on this site….

 

Happy Christmas

middlesbhut I have definitely survived the Mid-winter Hut in the Middle of Middlesborough  experience but it has taken quite a while to organise the house back to some semblence of order.  Now most things are sorted – all now have some where to go and somewhere for me look when I can’t find them.

It was good to  see a selection of old and new work together, to see the constant and also progressive elements, and to see how a new audience respond. They were not looking for art, not looking for textiles, I was in their patch rather than them coming into mine, and the response was either blank, disbelief or real enthusiasm, one guy went and fetched his friends and then his family to have a look! (Didn’t buy anything though,  still waiting for my millionaire to roll up).  Can’t really compete with the Reindeer Parade or hot street food.

So I have put all of this year’s efforts up at home, just to see where I have got to,  and…. it doesn’t fit. I need a bigger wall, in fact 2 bigger walls. The snapshots do not include the larger pieces or the last winter walks offering.   Very surprised. Rather smug.  Bit confused. My perception of  the last months seems askew, the pictorial is as strong as the abstract.  Some of the tangents  do seem less tangenty.  Since I stopped doing the pure  process based things  the 2 extremes are working together, a bit forced in the hybrid pieces but more comfortably in the newer bits – like the Winter Walks.  And as for the basics – use of stitch, use of colour and surface , they are dotting about all over the place.  Perhaps  the separation was a good thing, it let the ideas about how I should work get tested out and now I am reverting more to how it is natural for me to work without over thinking.fBrammerWinterWalk

One thing is certain, this is a cyclic trend. I have to test, to try, to ask. And don’t always see the answers immediately.  Above is Winter Walks, I think it is finished now, even quilted it a little. It has come quite a long way from the mangled thing shown last post. Next post I think should be his life history.

Think is definitely time for Christmas. Hope you all have a thoroughly enjoyable festive season and  recover quickly from the New Year celebrations.

ps new workshops are listed on my website and the frantextiles facebook page, plus some sale items.

November update

I have yet to get to core of blogging – really should be blogging more when busy not leave it unblogged.  Oops.

The exhibition at the Chapel went well, most enjoyable, sold a couple of pieces, nattered alot  and met a lot of people.  That feels like ancient history now. The existance of an artist seems to be very complex, there is no single timeline, no single goal or agenda.  It is the time of year when I want to hibernate, or at least eat crumpets ( with ginger jam) (or even marmite).

I am trying to focus on getting work together for an open call  and for Open Studios  while trying to get little things made for my selling days in the Christmas market – ha hah- low wattage lightbulb moment-  use the offcuts and samples  to make badges  etc.  I reaaly don’t want to go down the crafty maker route – I am a thwarted perfectionist- the role doesn’t sit comfortably. So the badgey things are quirks and favours, a little daft, a bit me and  very not precise. Spot the ones that were originally trying out ways of showing reflections of autumn leaves,  frosty rough ground and landscape as colour.And the birds- I think I was having a Rococo moment.  The mini trees are try outs for some transfer designs.   At the moment I may like them more than the ‘proper’ work….

and as for the main piece still part done-  feel like leaving it in baby bio overnight to see what grows.  Need to find the sharp tweezers and get the extra strong colour threads out.

Fractured

I set myself a task of reworking ( repurposing?)  an experimental piece I found lurking in the deepest, darkest cupboard. It must be at least  be of an age to be taking exams and leaving school for an exciting future – well, it got me and my rotary cutter.

Carrying on with this compromised landscape theme of imposed divisions, patterns and shapes being distorted by having to fit onto an imperfect surface, it seemed appropriate to play over the top of this discarded piece.

It was sliced and diced totally arbitrarily into 3″ish pieces and patterns and lines from the current sketchbook worked over the top.  The images are from Great Fryupdale and Rosedale on the North York Moors.(and yes, they are real names).P1180246  The level of  aesthetic consideration and planning was kept to a minimum – after all most landscapes are the result of practical and  pragmatic  decisions.  Some I think have worked well – they retain an element of landscape, others are more abstract, some have all the charm of  the Vale of York on a cold and soggy  Sunday. At this scale the stitching often feels crude and working over the mixed layers  of flimsy synthetic sheers and net  was a bit of a nightmare – no wonder I shifted onto heavier fabrics.

These are going to be presented as greeting  cards rather than get reassembled, so may achieve that exciting future after all, as they spread far and wide.

Please check the workshops page or website for the next classes – the next, Colour, is fully booked but there are spaces after that.

Do make a space in your diary for the York Textile Artists exhibition  in November, and I have taken an opportunity to stand in a hut in the middle of Middlesborough 2 Sundays in December  selling my wares, so please come along if you can.