Art Materials

Recurrence

I keep coming back to fragments of knit lace retrieved from Herbert Niebling charts. Or they keep coming back to me.

In silk fabric strips:

Lace fragment, silk fabric

 

In hand spun silk and flax, suspended in a web:

Making Time (detail)

 

Revisited later, in fine merino, in a hand made bobbin lace cage:

Ruth Halbert Alight 2013

Alight, 2013. Photo Josh Wells

 

And left in a birch tree at Rud Artist-in-Residence, Dalsland, Sweden:

Fragment, Rud AIR, Sweden, 2014

 

 

Lately, reconsidered in crochet cotton, with mulberry paper.

Paper lace bowl

 

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Plough path

Pieced, dyed, rusted

Partly systematic and partly random, this cloth was part of an assessment last year.  Too hard to find my own words, I liked this from Rebecca Solnit in As Eve Said to the Serpent: On Landscape, Gender, and Art (University of Georgia Press, 2001, p 58)

“the artist as collaborator or midwife for a world that already has meaning and order, rather than an autocratic creator imposing meaning upon an inert, waiting world or making a better one out of nothing.”

Catching up with R

Monogrammed hanky with extra embroidery in progress

Looking for a distraction, and needing to stitch, I delved into the bag of materials and samples from John Parkes’ July workshop (see this link and scroll to the bottom).  I had left the top R pinned, without stitching, as the fine brass pins looked beautiful with the transparent fabrics.  But now I’m going to stitch, both around the reverse appliqué and into the whole cloth.

The hanky was a gift, the red fabric is thick wool cloth salvaged from my old dressing gown and there is also part of a favourite linen shirt and a fraying silk scarf.  The colour and thickness of the red wool argues with the other materials, which feels appropriate right now.