King's lynn embroiderers guild Exhibition (2)

9. A display, 'My Textile Journey' by Sheila Cetti to demonstrate how her work has developed over the years from traditional patchworking through to Art , quilts, hangings and fibre bowls.

10 Splash by Linda Turner. This item shows the action of water when an object is dropped into it, something which is as old as time. Here the materials and techniques used are very much of our own time. Organzas are layered with various threads over water soluble stabilisers, held with free motion machine stitching, dissolved and burned.

11. A number of 3D items from the display table including slippers, needle cases , caskets, books and design material.

12 A machine embroidered panel by Rachael King entitled 'Starting Point'as an example of her early style.

13 An overview of part of exhibition hall.

King's Lynn EG Exhibition

1.The display of Gold work mirrors

2. The Goldwork mirror by Helen Pease Voted 'Best in Show

3. Interior of St Margaret's church. Silk ribbon overlaid by metallic mesh. Top section formed by using machine embroidery lace patterns over fragmants of silk and sheers. Mounted on a raw silk background and framed within an arch made from  from painted bondaweb over silk, padded and quilted.

4 The Arches of St Margaret's Church using cotton and sheer fabrics with wadding Trapunto and Quilting. Note the shadowy figures of monks outlined in each of the arches.

5. The arches and stained glass of  the Interior of ST Margaret's church worked in felt, sheer fabrics, hand painting with hand and machine stitch.

6. The Interior of St. Margaret's church worked on acrylic felt with applied layers of chiffon, bondaweb and transfoils, bonded and heat treated . The sections were then burnt back using a soldering iron to reveal the differing layers.

7. The interior of St Margaret's church worked on painted calico, paper , plastic and merino fibres.The stained glass was made from merino fibres stitched onto plastic; collograph print onto brown paper which was padded and stitched.

8. The Group of pictures with a print of the original painting

Woodland Pictures

WOODLAND PICTURES.

Having completed my City and Guilds Diploma in Creative embroidery and ,having had a rest from Textiles, I began to think about a new body of work. Inspired by the woodland scenes on Galle glass and Moorcroft Pottery designs I worked on anumber of sketches. From thes I produced a calico and vilene ' mock up' of a woodland scene

 





 

 

BACKGROUND

I began by painting the general background colours on to bondaweb and then ironed this on to the calico.

 

 

THREADS

I began to assemble threads and coloured organza in the coulours of Autumn woodlands.

 

 

TREES.

I experimented with fabrics for Tree shapes and eventually settled on layers of milliners net overlaid by sections of painted bondaweb from the background fabric.These sections were pulled into shape and stitched around the edge with machine stitching.

ASSEMBLY AND FINISHING

A curving path was made from crinkled organza. The bottom section was further defined by stitching narrow lines to indicate tree trunks receding ino the background and the formed net large tree trunks were placed on the composition. Shoots of grass were hand stitched and placed at the bottom of the large tree trunks. The tree canopy  was formed by stitching a variety of threads through orgaza layers fused on with bondaweb.  A setting sun emblem was constructed from flattend silk rod, orgaza and painted bondaweb while further distant tree tops were placed at the top right.

 

 

 

SURFACE DECORATION

In an echo of Galle etced glass and moorcroft pottery construction all the main elements were strongly outlined with close stitched black zigzag lines. The tree canopy was then further edged by long and short stitch worked by hand in a variety of metallic and silk threads. The outlines of the individual tree shapes were worked in a fancy fringed yarn, couched down through all the  layers.

The large tree trunks were further embellished by hand embroidered lichens and additional hand embroidery was used to give added definition to a number of features. The finished work is titled

 

WOODLAND AUTUMN SUNSET.

 

 

AN ALTERNATIVE VIEW

Having completed the Woodland Autumn Sunset picture I decided to employ the same techniques in a different colourway to give a different effect. This will be entitled

 

WOODLAND WINTER DAWN

 

Authentication

Mod6 final chapters

Final assessment piece.

NORFOLK BROADS JACKET IN CONTEXT.

IMAGE 1

COLLAGE OF NORFOLK IMAGES WITH JACKET

DRAGONFLY

FLIGHT OF GEESE

REED BEDS IN SUMMER AND AUTUMN.

IMAGE 2

NORFOLK LANDSCAPES , AERIAL VIEWS.

Showing design influences of meandering waterways, open stretches of water, reed beds and vegetation.

IMAGES 3,4 AND 5 JACKET PHOTOGRAPHED IN CONTEXT

FRONT VIEW AGAINST REED BEDS AND TREE LINE

SUNLIT FRONT VIEW

REAR VIEW AGINST WATER.IMAGE 6 PORCUPINE QUILL BOX (family heirloom)

Made by native Americans

IMAGE 7 QUILLING SAMPLER

CHAPTER 12 STUDY OF THREE CONTEMPORARY TEXTILE ARTISTS

ARTIST 1. FRANCOISE TELLIER LOUMAGNE

FRANCOISE TELLIER LOUMAGNE PICTURE GALLERY

IMAGE 8.

To demonstrate her working method of using a number of techiniques to accomplish a particular feature , this is my sample of a flower head worked in beads, French knots and Turkey knots cut and brushed.

IMAGES 9 AND 1O

The next two images demonstrate two of her contrasting styles of working. The first being a monochrome collection of grasses and shadows while the second is dense ' needle painting' in vibrant colours.

IMAGES 11 AND 12

The first image shows her sample ofpebbles on a beach worked in soluble fabric, cut back to reveal holes etc. Pebbles are padded and worked in chenille . The second image demonstrates her method of using knitting to achieve a variety of colours and textures of pebbles.

IMAGES 13 ,14 AND 15

All show different methods of achieving patterns of raindrops in either embroidery on solluble fabrics, transparent layers of net et and , finally, in felting, over stitched with embroidery threads

ARTIST 2 JANE LEMON

JANE LEMON PICTURE GALLERY

IMAGE 16 GEORGE HERBERT INSPIRED FRONTAL

IMAGES 17-25OF THE PRISONERS OF CONSCIENCE EXHIBITION AT SALISBURY CATHEDRAL

Figure detail

Characteristic twisted thorns motif and working with padded leather

Letters

IMAGE 26

SAMPLE OF HER TRADITIONAL GOLDWORK Exeter Cathedral

It is perhaps possible to see in this sample , in contrast with the latest work above, the progression in design and working methods over a long career.

ARTIST 3 JACQUIE BINNS

I chose this artist to give some direct comparisons between the work of two ecclesiastical specialists.

JACQUIE BINNS GALLERY

IMAGE 27 ST ALBANS COPE

IMAGE 28 LION BANNER

Showing characteristic ruching and metallic backgounds.

IMAGES 29-31 THE ST PAUL'S COPE

IMAGE 32 THE BATH TRYPTYCH

IMAGE 33 THE WARWICK CHAPEL

IMAGE 34 THE SEASONAL ALTAR FRONTALS

IMAGES 35-4O THE ARCHANGEL SET

SOME POINTS OF SIMILARITY AND DIFFERENCE BETWEEN THE THREE CHOSEN ARTISTS.

In considering the differing techniques and materials of the three artists it is possible to make direct comparisons. For Francoise expression and movement take precedence over fine stitch work while for Jane Lemon a mastery of stitch detail is paramount. Jacquie Binns has highly developed fine art skills and uses figurative, impressionistic and abstract designs. Francoise Tellier Looumagne perhaps uses the greatest range of materials , including ultra modern and recycled materials while the other tow artists tend to specialise in more traditiona, high value products. Similarly, Francoise reworks the same themes in a number of different techniques--- embroidery, felting and knitting, while the other two artists tend to stay within the embroidery specialism. Jane Lemon's work demonstrates a comprehensive knowledge of materials and their historical perspectives and both her work and that of Jacquie Binns is underpinned by a wide research base , especially in aspects of the Liturgy. The table below shows other points of comparison.

BIBLIOGRAPHY

The Art of Felting. The Art of Knitting and the Art of Embroidery all by Francoise Tellier Loumagne.

Metal thread embroidery Jane Lemon

Personal conversations with Jacquie Binns

Exhibition material from Salisbury Cathedral

Web sites for Francoise Tellier Loumagne and Jacquie Binns

Exhibitions Attended during this module

Textiles in Focus Cottenham , Cambridge. The Quaker Tapestries exhibition at Ely Cathedral

Vermeer Exhibition Cambridge, Fitzwilliam Museum

Day school by Lynda Monk : Creative surfaces.

Time taken Approx 30 hours per textile artist research etc.

Photography , typing etc 8 hours.