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City Sunset

Almost all the pieces in the Meltdown series are reworked from earlier fabric work, I don’t throw much away. I try to avoid polyester but for shine it does get into the mix. Rayon (viscose) thread and cloth can be shiny and I use that where I can, although rayon sewing thread is usually thinner and therefore weaker than cotton or polyester, I don’t know why that is. Silk is best but pure colour scraps can be hard to find. Viscose in clothing is often silky and now frequently used for fast-fashion clothing, also used in place of cotton, it was developed in the 19thC as a substitute for silk but has many other uses. Being made from wood pulp it’s potentially an organic fabric but the manufacturing process is intense and involves a number of chemicals. As with bamboo fabric – also viscose – there may be potential for a more environmentally friendly manufacturing process.

There’s a long way to go in creating truly eco-friendly fabrics but hopefully manufactures will be motivated by the prospect of reducing costs as well as saving the planet. Recycling of viscose clothing is low at present, a large amount go to landfill.

City Sunset, Mixed textiles, 20x20cm, 2024.

I was not planning to name the smaller pieces but this one seemed to name itself. All these works are for sale, at a range of modest prices direct from me or via Artigo, Gloucester Road, Bristol.

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art

More in the Meltdown series

A larger-than-most piece in this series and one I’m happy with, scraps of fabric embellished and stitched, repeatedly. All the work in this series is heavily and repeatedly cut during the making, so as to expose layers of cloth and stitch. The deep box frame came with a rather wide mat/mount so I had a new one made barely 2cm wide. The black box seems to work well with these heavily textured pieces.

East Wind, Mixed textiles, 35 x 35 cm, 2024

As usual the pic doesn’t show the metallic threads or fabrics, or the stitch detail, much higher pixel count is needed for that. I was thinking about the convention in western visual art to read the work from upper left to lower right and how to try and challenge that in a small way. Keeping an idea in mind helps me focus on what I want the work to look like although I might not have a fully formed mental picture of the final result. The whole series could be described as abstract expressionism I think, if one needs labels, made trying to keep the emotion through colour to the fore. The East is Red (somewhat topical again) was in my mind while I was working on it.

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art

Meltdown series on sale

Artigo, a lovely art gallery and shop on Gloucester Road, Bristol has a full set of my toy and model kits on sale and has a display of working samples which I’m told by proprietor Diego are popular with children and entertain them while adults are shopping.

Diego has kindly agreed to display for sale some of the textile art pieces I have loosely designated the Meltdown series. These are mostly quite small, colourful and heavily textured, I have named the larger pieces.

Artigo, 20.02.24

I’ve mounted these works in box frame without glass, as with impasto painting the texture is lost under glass. I used different sizes of mat at the front of the box frames (cut by Craftworks, Gloucester Rd, Bristol).

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art

Sarah Ross-Thompson

Inspiration can come from anywhere as we all know, I found a little this morning in the pics posted on Facebook by Sarah Ross-Thompson, a Fine Art Printmaker, specialising in colourful landscape collagraphs. She modestly says, “oh I would never claim to be a photographer. Just a point and press on the iPad.”

Pictures by Sarah Ross-Thompson, printmaker extraordinaire, find her on Facebook

I have many scraps of nunofelt made years ago, mostly used for doll costumes and seeing Sarah’s snaps inspired me to stitch and embellish some of them. Just getting started.

A scrap of old nunofelt