Another in this series of textile pieces, not quite how I intended but almost finished and ready to frame. the contrast around the yellow isn’t as strong as I would like but further stitching over already quite dense and layered fabric and stitch will probably mean more broken sewing machine needles.
Although most of the fabrics are plain colours I also use white and colour it in-situ, sometimes also colour white thread the same way.
Affinity: Photo 2, Designer 2, Publisher 2.
I have written here before about Affinity apps – now selling for £160 for all three or £68 each – and how useful I have found them, (I have no connection to Affinity or Serif, the parent company) and in a world were many Mac apps seem to be getting worse it’s good that Serif are still producing useful upgrades for all three.
The subscription payment system used by Adobe, Corel and many others means that we pay for ever for a product which barely changes which may be great for the makers of Illustrator, CorelDraw &c. but which drain art and other school coffers year after year.
There are still a few niggles with the Affinity suite – no trace function for instance – but the layout, speed, almost seamless suite integration and excellent functionality more than compensate for any shortcomings.
A couple of weeks ago Affinity was taken over by Canva (a widely used online design house) and they have pledged: “We will provide Affinity free for schools & nonprofits (NFPs)”. This can only be good news, hopefully finally breaking the subscription stranglehold of Adobe etc. Canva are also pledged to invest.
I don’t know anything about Canva other than they are now a huge company but the product seems ok. and very popular.
I finally got round to putting the Hare – made last year – into the garden, the heavy rain of the last two months has eased and the ground is a little less muddy. Now awaiting some flowers. Not much chance of frost now, there has been very little this winter in southern or western England, but some of the most popular of annual climbers such as Black-Eyed Susan, sweet peas and nasturtiums like it to be a little warmer before being poked into the cold earth.
I finished off the hare with several coats of diluted pva, about three water to one glue, allowing it to dry between coats. I’m hoping this will extend the life for a few years, nothing will stop the elements for ever of course. I can’t quite remember all the various fibres, most of them came from Musgrove Willows in Somerset, others from garden centres and craft places, collected over years, includes wool, string, rope, willow and many more. Musgrove have an interesting website gallery
Another machine embroidery and embellish piece, scraps of fabric, mostly natural cotton and silk but with some poly for the shine, this is rather more whimsical than most of my offerings, the bee seems to be popular but the wings need a bit more work.
I’ve been finding the dust from the machine embellishing process to be annoying, even using a mask it seems to get in the throat. I now have a small air filter machine that sits on the desk, it seems to help. I also vacuum every few minutes and make sure to wash hands often. The dust is very fine, it gathers around the embellishing needles and guard but also manages to spread around the work area.
Now and then the UK charity shops are just amazing. I was browsing them this rainy morning in Bristol and found, in one shop four huge cotton scarfs in plain colours for just £2 each. Another one was just demanding to be used for doll-making, plaits and braids ready-made. All in good condition, as new. Now I’m reluctant to cut them!
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.
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.
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.
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.
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.
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).
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.”
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 bit of work-in-progress, embellishing a piece of nuno-felt made long ago onto a slightly quilted white base with strips of variously coloured fabrics sandwiched in between, some stitch next. I suppose I could just as easily call it tornado or cyclone.
I rarely use more than two needles in the embellisher, if all five are used they seem to interact with each other and quickly break, perhaps I am impatient. These needles are currently £2 each or more and they do break easily, practice does help.
This piece is also using a piece of old nuno-felt work, overlayed with scraps and lots of stitch, embellished, cut away – repeatedly.
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