Wondering if pinhole would give a bigger depth of field so I took a couple of pinholes through wine glasses. Did give some interesting images but didn’t translate very well into transparencies.
I’m not unhappy with this image but it has lost the detail of the photo. Not helped by inverting the colours from intended. I’m going to end up with a whole lot of 12 inch blocks and I may end up just combining what I consider the best ones.
I then went on and did a cyanotype of a wineglass pic, not a pinhole. I notice that I sort of get the pinhole soft focus effect anyway even without the pinhole so maybe the pinhole is a bit redundant. It doesn’t give a full range of sharpness like I was hoping but more a full range of subtle blur. 🙂
The cyanotype however is much better than the solarfast for actually seeing what is going on in the images.
Finally I am inching closer to finding artists that are doing similar work to me.
Sandra Sider uses cyanotype to print fabric and then use this fabric to make quilts. She is involved with SAQA and also works as a curator for the Texas Quilt Museum. She is editor of a SAQA book – Art Quilts Unfolding – which I had meant to buy a couple of years ago and have now bought.
Viewed 5 October 2020
If you look carefully at this work you can see that it is comprised of cyanotype printed on coloured fabrics and combined with commercially printed fabric and finally stitched with large visible stitches. Sounds like she must also make a transparency from a digital photo. So all very similar to some of the work I have been doing.
She also has a book called exploring your artistic voice in contemporary quilt art and I’ve bought that too.
This artist is starting to get close and is certainly using experimental printing on to cloth to make quilts. Not sure about her thematic but she has certainly pursued a art career with academic art study as well.
Her site looks like it might not have been added to since 2007 which is a shame.
She is in the SAQA juried artists but again nothing recent. The SAQA juried artists would be somewhere I might find a few more contemporary artists doing experimental printing of fabric prior to making a quilt.
Still thinking about possibilities. I understand it has to be narrow and now trying to work backwards from what I’m actually doing towards what my proposal could be about. I’m wondering if I make my topic about the barriers to quilting being accepted as art, then I will have to spend a lot of time discussing a more political/ feminist perspective that I am not as interested in. I’m much more interested in physical experimentation to create imagery. Also the artists I reference will be in regard to pushing the envelope with quilts, which is fine but I would also like to be aligned with more process oriented artists. So maybe my question should be more about the process and fabric manipulation. I can still include quilts I guess, but maybe focus it more on the fabric processes than the discussions about the place of quilts. I’m thinking that I’ll more easily find artists pushing the boundaries with fabric manipulation that I will find pushing the envelope with quilts. If I can somehow combine the two then even better but I don’t want to spend a lot of time around political themes or feminist themes.
So working backwards the body of work I’d like to produce would be:
Quilts as the format, likely abstract. No pictorial but also not traditional. Piecing that adds content or meaning. Not formal applique but layering. Building up a work over time. Selecting fabric from my experiments that work to evoke emotion. Leaning towards sublime and formalism, so likely large scale, small details, colour contrasts. Mark Rothko, Gerhard Richter. Struggle to think of quilt artists doing what I want but they will be there. Often they become more mixed media with use of paints that take away from the quiltyness.
Colin in Sculpture was talking about avoiding taste and making sure that it conveys meaning.
Manipulating fabric especially over time like rusting, solarfast, lumen prints, photographic techniques, cyanotype, dyeing. Experimentation and serendipity.
Emotive or personal content
Use of purposeful stitch
My quilts will be functional objects still. I don’t want to include anything that means they can’t be washed.
So how to combine this all in one question?
I’m going to first try and worry about the fabric manipulation side and then discuss the quilt as the best medium for displaying, assembling and adding further meaning to the work.