That blue

Well after many years of liking indigo dyed cloth from many cultures in a vague unfocussed sort of way, I recently realised I like it very much, that it definitely spoke to me, but that I know absolutely nothing about it. This, to me, is a wonderful situation to be in.

For several years now I have painted and printed my fabric, usually calico, with acrylic paints. When I first started with textiles this was an accessible way to produce your own fabric and I do like the abstract expressionist look you can achieve, so I won’t be giving it up. I’ve never dyed fabric, but students in my classes often bring  glorious fabric dyed during other workshops. Indigo is special in that not only does it produce the most glorious range of blues it also goes with every other colour so well, a quality exploited daily by millions of jean wearing humans. So I have some ideas brewing for mixed pieces, as it is such an inclusive colour.

So I was reading the latest issue of Embroidery, found myself absorbed in the book reviews, spotted the Jenny Balfour-Paul book Indigo, and managed to resist buying it for about two days. But it’s that time of year when to offset the niggling inadequacies of life you need something to revitalise and invigorate yourself, so I bought it, and also one or two other books also reviewed in that dangerous magazine. They haven’t arrived yet, I’m not sure why, perhaps they’re being printed by hand, in a sort of Kindle backlash.

The Indigo book is published by the British Museum, and it is excellent, not a how-to book, but a book that covers all aspects of the subject of indigo, with many illustrations. So as soon as I can, when I have read up more on how to do it, the old indigo vat will be established somewhere in the Redfern encampment, and undoubtedly many strange blue rags will be hung on the line, and once again the neighbours will be bemused by the state of our washing.

Gathering resources

Now these images are not particularly amazing but they are very necessary for the development of some new work which is on my mind, although as usual I have things to finish before I start it.

The work is for the SiX and Friends exhibitions entitled Orientation. [see blog on left]

I am planning to make a book with spare and delicate textile illustrations, with some text, and it seems to be evolving, in my head so far, as a seasonal record of plants and trees that stand out when I am out walking or in the garden. It’s all absolutely suburban at the moment, but as I go out and about as the year moves on I daresay this will change. I will use a selection of botanical subjects from each season, and it is going to be called ‘Floating Gardens.’  I am hoping to make a hanging textile piece to go with it too.

I was wondering where ‘Floating Gardens’ had come from; I do like to work to a title, and I want this work to be contemplative and ethereal, so the title seemed perfect. I have seen in the past couple of years two Japanese print exhibitions, one the woodblock prints of Hiroshige and the other of prints by Utamaro. I decided to read up a little about them as I had a suspicion that they had something to do with my title, and indeed these artists were amongst a group of artists whose work, called Ukiyo-E,  was based on the ‘floating world’ of the new 17th century metroplolitan centres of Japan, and also the Japanese love of the natural world. It’s a complex and compelling idea which is described well in www.viewingjapaneseprints.net. So there we are, an oriental link fished from the brain fug.

Here are are few winter images so far.

Snowdrops in our garden. I liked the rather overwhelming iris leaves dividing the space so emphatically; I’ll probably use that in the design of the piece of work in some way. None of these images were planned; I do like to use images that surprise and intrigue me. The pebbles and twigs in the spaces add detail too, which may mean another piece of work, since I want to keep these illustrations minimal and spare. I may let a couple of wilder ones creep in though, who knows.

This is the way small creatures see the world from ground level.

Our aralia [Fatsia japonica] with its wonderful strange winter flowers. I particularly like the stems of the plant too, and it’s also Japanese, not that I chose it because of its origins, but the cotoneaster below is Chinese in origin, both of which are pleasingly adjacent to the theme.

Another view of the plant, with this flower stem losing its heads and starting to look elegantly spare.

Cotoneaster horizontalis, perfect for me, bright berries on bare twigs, and lots of quirky angles and bends.

This small tree attracted me firstly on a dull December day; its small round yellow leaves were blowing around, and indeed were still on the tree as it’s been so mild, in plant terms at least. When I went back to photograph it in early January the weather was amazingly sunny and the leaves looked much greener and fresher, but in the book they will be washed out yellow. I don’t know what it is, I need to do a little surfing.

Beyond Dark Spaces revisited

Well over a year ago I started  a large piece called Beyond Dark Spaces, based on a mix of a jungle theme with elements of Baroque architecture. I’m not sure why I let it sit under my table for a year, but I need a large piece for an exhibition and don’t have time to start another due to other projects, so out it came and I am quite excited about it all over again. I’ve decided to add some  organza shapes in black, grey and white to  introduce, hopefully, a look of fractured light on its surface. This will mean quite a lot more stitching on each of the nine pieces; here are a few images of work in progress. I still haven’t decided how to finish and mount the pieces; it will be one large piece made from these components. I would like to introduce some other elements such as plastics or metals, but I’ll see what the work decides.

Some of the pieces on the table. Each is about 60 x 45 cm.

The same thing but at a cheeky angle.

A close up showing the shadowy organzas. Some are very cheap from the rag market here in Birmingham, and some are silk, not so cheap. When they are on the piece they don’t look that different, but the silk is more pleasant to use.

A flying lizard and his shadow. I have written some text for this piece, which I may incorporate, when I can actually find it.

Gold

I’ve been finishing Gold, another of my Thrift and Alchemy pieces, in the studio this week.  When I started the recycling project I was going to do one piece, and a small one at that. This typically grew to one largish piece and then White Noise was developed too, as I wanted to do work in different colours, tones and moods. They were very definitely materials – led, which is what makes using recycled materials so interesting. One is warm earth colours and gold, the other white and black. I feel the need to make a piece in vibrant pure colour now; plastic bags could be particularly useful for this, although they are mostly fairly unpleasant to stitch.

Unlike White Noise, which is just being finished in artist’s book form, Gold will be wall mounted as it will be exhibited in a couple of places. I still want to keep the pieces separate, rather than as one large piece though, for easier storage, and so I can use it as a teaching aid too.

Here are some of the nine pieces on the table waiting for their edges to be painted. They are all machine and hand stitched, and mounted on canvas.

The edges of the canvas were then painted with this mix of gold bronzing powder, acrylic matt medium and acrylic resin sand medium for a gritty look.

Here are some of them, painted and drying. The next and hopefully final job is to mount them on some old foam board I have. Recycled projects can go on and on, I’ve found, as you try to use what you have which can involve more work, rather than rush out and buy a quick solution; in this case it would be ready stretched canvases.

All the pieces are now my website; here are a couple of the individual parts.

Plastic, paper, photographs, bits of ceramic flower pots, porcelain pieces, paint, natural materials, old Chinese newspaper and thread. 30cm 30cm.

Re- used fabric, paper, photographs, plastic lid,beads, paint and thread.

White Noise on my website

I’ve put all my White Noise images on my website in Gallery Four. This is part of my Thrift and Alchemy project, which involves using recycled, upcycled, found objects and basically stuff that I’ve had for a while and have found a use for in this project. White Noise will be an artist’s book, well it practically is already, I just need to bind it and perhaps add a little text.

The other Thrift and Alchemy project is Gold, which will be a hanging. Both will be at the Festival of Quilts, and Gold will be at Worcester Cathedral too, in May.

I would love to do more work on this theme, especially as I have collected a lot of material, not least a large amount of broken ceramic pieces and a collection of natural objects, such as bark, seed pods, leaves etc, never mind all the paper, plastic and well, so much stuff!

I’ll be teaching a course at the RBSA Gallery here in Birmingham in February, and have agreed to teach another in Worcester in 2013. I’ll try to do more work to use some of the exciting materials I have, but at some point in the future may have to stop due to potential future storage issues. It is very satisfying to work in this way though, I’ve rather gone off just using fabric.

Here are four  images of the finished pieces.

Unquiet Night

Solstice

Fragment/Vein

Regenerate

As it’s a sunny day I’ve decided to indulge in a little photographic amble. On a recent suburban walk I spotted a small tree with little round bright yellow leaves still clinging on to it, and later some good silver birch bark which I intend to use as reference material in my Orientation pieces. [See SiX and Friends in sidebar]

All images copyright Stephanie Redfern 2012.

Resolutions

I don’t bother with New Year’s resolutions as I think there’s enough pressure in life without setting any more unrealistic goals. That said, I do need to lose weight and finish a lot of projects, from work to clearing out the garage. Everything takes so much longer than you expect it to, so at least one thing I will try to keep in mind is, well, that. I’ve been reading a few pieces about a no goals approach to life recently, no, not football, but just being gentler with yourself. It’s certainly true that in the past I have set goals, made astonishingly comprehensive lists and worked like a dervish. I simply ended up either unwell, mildly depressed and never satisfied with what I had achieved. I also stopped enjoying working, which as an artist is a non starter. So, in the midst of great family upheavals let’s see if the gentle approach works. It’s that or gin.

I have finished a couple of smaller pieces over the break, which was good as they have been going on for quite a while. I’m also looking at ways to simplify processes with other work I have in progress or planned. These often consist of many small decisions or actions, and the main challenge is keeping your wits about you, which can happen more easily if you don’t overload life, and go out for a good walk every day. I do this but this windy weather has destroyed two umbrellas in the last two weeks, but I think that counts as de- cluttering.

This is ‘Summer courtyard, Florence’.  Painted fabrics, applique, machine and hand stitch, 60cm x 40cm. It will be framed and glazed.

This is ‘Plum’, the same processes as above. This one has been sitting around for ages; I don’t think I liked it very much, but I do now, it’s very delicate. It’s also 60cm x 40cm, and will be framed and glazed.

Happy New Year, and whether you decide upon the resolution or no resolution approach, at least carpe diem,quam minimum credula postero.

Two pools, Autumn; and Christmas outings.

My pre Christmas outings have been very enjoyable this year, several occasions of meeting with friends, some of whom I haven’t seen for ages. I’ve also had a couple of quiet, simple visits just to two National Trust properties we go to a lot, as they are fairly close to home. I use NT visits as therapy, in many different ways, and always feel better after a visit.

My two favourites are Baddesley Clinton, a moated manor house in Warwickshire, and Hanbury Hall in Worcestershire is another . We went on Sunday, to hear carols in the Great Hall. It was a stunning frosty day too, with beautiful skies. I enjoy the weeks before Christmas more than the actual day, especially if I can put in place some quiet contemplative days; much better than shopping at this time of year.

The little bridge across the moat leading to the house at Baddesley Clinton.

The way into the house is through this courtyard. I’m easy to please, they have opened up the housekeeper’s room and butler’s pantry, I was thrilled.

This is Hanbury Hall.

Here we have part of the formal garden. All that box to clip, my back seizes up just looking at it. Father Christmas was working hard entertaining many children in the far building. For the rest of the year apparently he’s a volunteer steward there, who would have guessed that?

And from the gardens, sunset over the Malvern Hills.

This is Two pools, Autumn, a piece I made with the  fabric and paper I painted in a demonstration at the most recent workshop I taught, at Avoncroft Arts Centre in Worcestershire. It’s about 75 cm x 35 cm.

A close up. I’ve kept the stitching very plain and simple on this piece, as the fabrics were doing most of the work and I wanted to maintain a sense of space.

Well that’s all until after Christmas, so have a good one everybody! Sx

Thoughts on pattern and Li.

I posted on the SiX and Friends blog about a possible direction for my work for the Orientation exhibitions which will take place next year and in 2013. We are working with a broad theme of ‘the Orient’.

I had bought a Wooden book called ‘Li, dynamic form in nature’, as in many ways my principal interests in terms of subject matter are the natural world and patterns. Li is a term taken from the Chinese where it has been used for a very long time, having been expanded from its origins  to the level of a general concept to represent the patterns and principals, and the connection between all things, through which the natural universe expresses itself. It’s a complex philosophy. I am very interested in science and rational explanations but Li suggests, with accuracy, that there is much in the universe that is a continual creative process that cannot be predicted. Like Chaos Theory I imagine, and possibly the search for the elusive Higgs-Boson particle.It’s quite a subject, but I am enjoying it on the pattern level mainly, in that it’s an oriental philosophy that I can combine with my fascination with  pattern.

Wooden books are interesting little volumes on a range of esoteric, philosophical and scientific themes. They’re all available from Amazon etc and even real book shops.

So I dug out some truly old drawings and designs I did 27 years ago, at college, mainly to remind myself for how long I have thought about pattern in nature. Such pattern has featured in my work over the years, but I am hoping to take it a little further. These pieces don’t actually show comparative patterns, which Li pinpoints, but I remembered and like the colours and graphic crispness which I may try to produce in whatever textile work I make. These are more to do with pattern transference, and the designs were for my ceramic pieces, and did appear on some pots and triangular dishes.

This design sheet was inspired by some Japanese purses and inro I had seen. I may use some of these triangular and four sided shapes in my textile pieces.

Eclectica at Ineke’s barn.

It was my first visit today to Ineke Berlyn’s renovated barn, conveniently situated not far from me, by car. Eclectica, the textile group I am in are now meeting here  monthly. It is a lovely workshop, with a welcoming and creative atmosphere. Ineke and John live here and we had a tour of their living quarters too, which are also gorgeous. Several of us are considering going to live with them; we haven’t told them yet though.

We had a great meeting with much talking and some work, and Ineke joined us for our Christmas lunch. We usually go to a restaurant but self catering was much more fun and relaxing.

We have exhibitions next year at Sewing for Pleasure at the NEC in Birmingham, Quilts and Embroidery in Uttoxeter, and Worcester Cathedral. I’m teaching some workshops at the barn too, which I’m looking forward to, especially in such a fantastic space.

Here we have Kate, Sarah, Janet, Barbara and Marion.

A general view of part of the workshop with Ineke’s work displayed.

Another view showing the printing/painting table.

June on the left chatting to Rita, whom I seem to not have included in any of these pictures. Sorry Rita.Some of June’s lovely little textile landscapes.

Janet was doing some fine work on organza and dissolving fabric.

Here’s Barbara, who travels from Suffolk, doing some creative development.

Kate is a Festival of Quilts prizewinner. Here she is working on a piece for our Worcester Cathedral exhibition, based upon the fan vaulted ceiling in a side chapel of the Cathedral.

I took my Thrift and Alchemy piece Gold to show the group. The pieces aren’t in the correct places and it’s not yet finished and mounted, but it will be in our Worcester show, hopefully with White Noise, the other T & A piece.

This is the hand of Sarah, painting some fabric with walnut dye and metallic dye.

And we don’t have Rita in the blog, but here is some of her walnut dyed cloth. I’m particularly keen on this dye, I’ve never used it, but have spotted several people using it in various workshops. It’s a gorgeous rich brown, which this doesn’t show that well.

Minimal

A minimal post here, only one image, and it’s rather plain too. I’ve decided I was hanging on to a couple of projects that I had started some time ago, and that I had lost enthusiasm for them. One was the garden pieces I had thought of using for the Orientated shows, but they weren’t inspiring me enough to really want to do them; they were started the year before last. And as all textile artists know you need deep down enthusiasm, as this is real labour intensive work.

The other was the potentially large Flowerpecker piece. I hope this may be a book at some point instead, but I have a queue of books in my head and I’ll do the one that excites me first. As I’m still finishing the recycled work I’m not sure what that will be.

So I took all the gubbins off the walls, which left the room quite minimal-ish and a little echo-y. I imagine something will go on them soon, but I’m not sure what. A couple of the previously mentioned under the table projects were consolidated or dumped too. I’ve been having a de-cluttering sort of year, and now it’s moved into the work space. I must say it does feel good.

I taught the group at Avoncroft Arts Centre again yesterday, and so stupidly forgot to take any pictures of their great work. I suspect this was because I was doing too much talking. Hopefully when they finish their pieces I will receive e mails and can feature the work.

I have blogged on the SiXand Friends blog too, about time I did, I’ve been leaving the others to do all the work.

I was so tempted to draw all over the walls though.