Sunday, 26 February 2012

Mod6 final chapters

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.
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
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.
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.
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.
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
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.
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
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.
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Monday, 13 February 2012

Chapters 7,8,9,10

CHAPTER 7 QUILL WORK IMAGE 1 SIZE A5 DRINKING STRAW QUILLS Drinking straws painted with acrylic paint. Straws bent over and bound with rayon threads. Stitched together and through on to a tie dyed cotton background. IMAGE 2 SIZE A5 QUILLS Rolled and stitched pink net. rolls of milliners net and piping cord wrapped with green organza ribbon. IMAGE 3 SIZE A5 QUILLS From left to right. Green wool French knitting starched and cut into short lengths. Centre and right hand section quills made from florists cellophane,yellow tissue paper and metallic fabric bonded and stiffened cut into short lengths.
CHAPTER 8 USE OF PLASTIC MATERIALS
IMAGE 4 SIZE 15 INS SQUARE
Black polythene bonded with strips of plastic bags and handles together with plastic garden string.
IMAGE 5
SIZE 20 INS LONG, 10 INS WIDE
Sample in image 4 cut up and re-assembled.
IMAGE 6 SIZE A4 Plastic strips and triangles bonded to black plastic sack.
IMAGE 7 SIZE A5
Orange plastic with writing stitched to plastic metallic fabric edged with knitted casssette tape and over-laid with plastic netting.
IMAGE 8 SIZE 20INS BY 15 INS
Plastic shoe bag with bonded netting and florist's cellophane 'flowers'
IMAGE 9 SIZE 15 INS SQUARE
Black polythene bag painted with acrylic paints, 'combed', then stencilled dragonflies applied.
IMAGE 10 SIZE 24INS BY 14 INS
RESOLVED SAMPLE FUSED AND STITCHED PLASTIC
This sample uses shapes drawn from my ethnic study of Maori Art. The shapes were cut from plastic bags, florist cellophane and heavy tissue and were then bonded and stitched onto a background of white polythene. Plastic drinking straws were cut into sections and stitched across the diamond shapes in an echo of the stitching on Maori wall panels.
CHAPTER 9 BONDED LAYERS
IMAGE 11 MATERIALS ASSEMBLED FOR BONDED SAMPLES
The materials include (from right to left) Painted tissue layers coated with acrylic wax,painted Lutrador, painted cotton organdie, painted Tyvek, Painted and stitched brown paper, painted scrim, painted horticultural fleece, Polyurethene ribbon made into a trellis.
IMAGE 12 SIZE A5
Organza and scim stitched on to tyvek. The tyvek on the back was then heated causing the distortion and bubbling of the attached fabrics.
IMAGE 13 SIZE A5
Painted nylon netting covered with layers of metallic fragments, polyurethe ribbon lace trellis and organza. The layers stitched through with oversized french knots and then steamed into a wave shape.
IMAGE 14 SIZE A 5
Painted and stitched brown paper bonded with scrim fragments on transfer adhesive overlaid with sections of lace made from lengths of metallic thread.
IMAGE 15 SIZE A5
Bonded sample made from painted pelmet vilene overlaid with bonda web, transfoil and tissue. The whole sample was then covered with dilute PVA and dried flat. IMAGE 16 SIZE A5
Bonded sample made as above with the addition of a stencilled embossed emblem.
IMAGE 17 SIZE A5
Sample made as above with the top layers cut back to the original pelmet vilene with a heated tip.
IMAGE 18 SIZE A5
Sample made from setions of samples above with the application of a bonded Tyvek fish
IMAGE 19 SIZE A5
Solid shapes made from sandwiches of bonded organza and metallic fabrics. The shapes were then hand stitched in place on to a ground fabric made from tissue, painted and waxed , overlaid with Lutrador.
IMAGE 20 SIZE 12 INS SQUARE
Bonded translucent layers with dragonflies trapped inside or applied to the top surface. Base fabric is from cotton cloth laid underneath a screen print used previously.
IMAGE 21 SIZE A5
Lutrador and slashed Tyvek ' stitched 'through with strips of horticultural fleece and heated to distort back to the painted cotton organdie background.
IMAGE 22 16 INS SQUARE.
Bonded layers on cotton organdie with fragments of scrim, nylon mesh, painted and waxed brown paper with a ribbon trellis corner. Sample over laid wih lutrador and burned back through the layers.
CHAPTER 10
IMAGE 23 SIZE 15 INS SQUARE.
BONDED AND STITCHED RESOLVED SAMPLE
Returning to my main theme the base for this sample is painted cotton organdie covered with painted bondaweb. The seahorses are worked in transfoil through a stencil with the spines stitched on. Lengths of seaweed were made from strips of horticultural fleece. Shells were made from bonded sandwiches of metallic fabric, bonded on and stitched round with Kantha stitching. Tyvek fishes with bead eyes are trapped beneath scrim nets, stitched through to the background. The whole was then over stiched with long lengths of purple metallic threads, caught down by cross stitches to the background.
RESOLVED SAMPLE BUILDING A TOTEM
For this sample I returned to the work done in Chapter 5 of this module, using the photograph taken in the Norwegian Fijords. The totem sections are linked together with sections cut from the photograph which echo the colours and shapes within each stitched piece of the whole.
IMAGE 24
MATERIALS FOR THE TOTEM
Includes painted scrim, painted Bondaweb, silk paper,organdie
IMAGE 25 SIZE 2 METRES LONG
IMAGES 26 TO 30 INDIVIDUAL TOTEM SHAPES. EACH ONE A4 IN SIZE
TOP TO BOTTOM OF TOTEM Image 26 Painted organdie overlaid with srips of painted horticultural fleece, stitched, gathered and sewn on before being blasted with a heat gun. The sample was then overlaid with painted stiffend scrim from which some thread had been withdrawn. After drying further squares were cut from the scrim to allow more visibility of the underlying layers.
Image 27
Painted pelmet vilene was overlaid by painted strips of horticultural fleece. The strips were stitched length wise down the length of the samples , gathered and heat blasted.
Image 28
The shapes in this sample echo the shapes and colours within the rock face. The cut shapes were stitched through the centre , a wooden stake placed through and the edges fanned out to make a 3D sample.
Image 29
This sample was worked on painted cotton organdie and heavily machine embroidered.
Image 30
This sample was made on a base of painted organdie. The top section of rock faces was made from cut up sections of hand made silk paper with machine embroidery highlights. The curving black band was made from fragments of stiffened scrim cut from the top totem sample. The orange and lemon and grey bottom layer of the rock faces was made from painted bonda web , edged with hand worked french knots. The water was made from bonded layers of organza over tyvek, heat treated to achieve the ripples. The finished sample was highlighted by hand and machine embroidery
Timings
Chapter 7 9 hours
Chapter 8 15 hours
Chapter 9 15 hours
Chapter 10 22 hours
Photography and typing 8 hours.
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