Assignment two- Stitching: Placed and spaced. Sketchbook

Starting to think about my final series of three works. 

These are the three works I think I’ll be using to inform my first textile works. The features I am looking at are the embossing and the dense red textural colour in the first, the net overlay with something visible beneath and the kimono shape in the second, and the drape and linear marks of the third.


Don’t know what this has come from. It was just lying on the ground in the middle of the road. There is a fair bit of discarded material on the ground here. Brian called our walk “going shopping for free art supplies”.

Thinking aheadĀ 

Considering the need for some base textile to work on. I am living remote at present and only have undyed textiles that I brought with me, and some dye.

So before I think about manipulating the textile, I first have to consider what colours I would like to use in my base textiles. At this stage I’m not sure where I will be going with my textile works, but I can’t ignore my surroundings. I am draw to the distinctive colours of the outback, the red of the earth, the green of the plant growth and the blue of the sky.  

It’s going to be pretty hard to choose textile for my base because I don’t have much available  and I understand that I am making links always back to my drawings or my stitch works so possibly I should be using my cream/ white fabrics undyed as paper is undyed.  Actually reading the brief again I see that I should only be referencing colour in a limited way and relating it to the colours in my drawings.

Still I’m going to have some fun dyeing some fabric to use at some stage anyway in the colours of the outback.  I want to extend my work ultimately and apply what I’ve learnt to a body of work relating to my time here. 

Here I am trying to match the colour of the sky with dye on paper

Developed and composed samples (2.4) Sketchbook entry


I have chosen embossing and Joomchi as the more successful of my paper manipulations and couching and visible running stitch  and loose thread as more successful of the stitch techniques. 

These compositions are pretty literal translations of my drawing but I did consider composition in the original drawings.

I want to use repetitive directional line to show the movement evident in the original yellow drawing and develop that drawing with the added dimension of texture and paper manipulation to make it a more complex drawing with greater depth. 

With the patch drawing I want to represent the mending quality of the central square and I plan to start with continuous line through couching and then go to running stitch with the same thread and even some loose thread to emphasis the mending quality.

Drawing with stitch onto paper Part Two (2.3)

Here I have used the paper I deemed as soft and stitched with soft fluffy yarn in an attempt to create an irregular soft outline as in the plant negative space drawing. The irregular outline comes from the diffusion of watercolour through the paper and I have attempted to recreate this look with yarn arranged in knots rather than a linear arrangement. If I had more time this would have benefited from knots all over the background leaving only an outlined negative spaced drawing of the plant as in the watercolour drawing.

 

This stitch drawing is meant to reference the flowing overlapping lines of the kimono drawing. To this end I have doubled the thread and left the ends free. 

For this stitch drawing I have added fine lines of very lightweight machine thread in red to overlay the embedded collage and reference the random wispy lines of the red collage.

Here I am using the slits cut in the paper as a guide for my stitching. They were not originally cut for this purpose but the in exact way I have cut them makes for pleasing irregularity. 


The curly line of my grass drawing are shown here in curly yarn on raffia embedded paper. I have couched the yarn down only loosely to allow it to have some level of free rein to it’s curl. This yard has been knitted dyed and unpicked, hence the curl. 

 

Here I have used the embossing as a guide to fill in a geometric square but repeatedly using the same holes in different directions to build up a solid woven surface.

Similarly here I have used weaving but for this one I actually wove the stitches rather than just overlaying layers as above. 


In this paper I was thinking of the line that forms at the joining edge of two patches of watercolour. 

I used this to guide me in putting stitches up to a line and along a line. 

Various weights of thread highlight the contours in this work, attempting to give a sense of depth and movement towards the middle. 

This one comes from the same source drawing and this time I am using the direction of line to suggest depth towards the centre.

The solid wide yarn which ripples on the surface relates to the thick layers of dark ink in my source drawing. 

And finally little repetitive red marks in various scales and placements that are determined by the underlying structure of the surface. By not making any marks on the white collaged lines, I am hoping to suggest a space behind these in which the ‘T’ s exist.