Can’t use the internet at present but reflecting on my drawings and their original source materials from the natural environment of Heron Island, I think I am going with:
Green blue and brown will be the predominant with pinky orange as highlight.
The above is a starting point. I find that the CMYK numbers help me get proportions right for mixing colours or dyeing.
I don’t think the inks I have with me are true primaries, especially the red but we’ll see how I go creating some chips later.
This little turtle was found struggling towards the water on the beach. Sadly a seagull took him. I looked the colour palette because I was attracted to the blue gray and this colour palette makes me think of dulling down the palette for this collection a bit.
Inspired by an artist
I’ll have to wait until I’m back with internet access to include images and more information but I love the textural and colour elements of Sue’s work and I think it relates well to the direction I seem to be heading for this assignment. She includes lots of fine detail which is very effective and something I feel is often lacking in my work. I tend to rush the work and lose patience with the effort required to create the sort of complex work that I first envision.
https://www.suehotchkis.com/home/617350_rust-rose.html Viewed 21 June 2018
https://www.suehotchkis.com/home/696749_unseen-detail.html Viewed 21 June 2018
Susan works with an aesthetic of decay and the imperfect and is influenced by the Japanese wabi Sabi aesthetic. She is interested in the interaction between the natural and man made and how they both change each other. She also uses text in some of her work, which is something I have also been experimenting with.
I have also been working with degradation and rusting and enjoy the serendipity of results when some of the result is left up to the elements.
This quilt is from a gallery on Betty’s website called macro.
It reflects the features of a macro photo. Lots of detail looked at closely to effectively abstract the imagery but it still retains a familiarity that is recognisable.
http://bbusbyarts.com/macro.html Viewed 21 June 2018
I would like to incorporate some of these elements of semi abstracted imagery sourced from close detail of natural or unnatural objects.
Uses cyanotype and moisture, calling it wet cyanotype. Like my starfish cyanotype. Then she makes art quilts. Need to research and write her up.
Australian quilt artist.
Here she has used traditional appliqué over traditional patchwork to wonderful effect. Something I would like to try.
https://lisawaltonartist.com/portfolio-items/barcelona-sunset-quilt/?portfolioCats=590%2C823%2C591 Viewed 10 July 2018
Reading the above I can see that this is not appliqué but instead is quilted then painted. I saw this in the work of Glad Howard at the Tasmanian art quilt prize and am also interested in incorporating that. I image that quilt lines would contain paint to some extent and maybe even contain thin dye. Am going to try soon.
Textile artist that works in quilts. Seems to focus on colour, texture and abstract pattern to create evocative works.
Balance 30: In Between
33” x 23”
Iron stained silk, whole cloth, machine and hand stitched
http://annjohnston.net/project/balance-30-in-between/ Viewed 10 July 2018
Surface manipulation, stitch and yarn concepts
Preliminary ideas –
1. Grid creasing paper to create the sort of lit grid of the play of light over water ripples that I fairly unsuccessfully tried to draw. Maybe I could cut the tops off the creases to allow more light through. Creases could also be held in place with stitch.
2. Nest shape molded in paper with the use of glue and then fine loose stitching to outline
3. Coral shape drawing cut out as a silhouette and then cut into pieces and reassembled like a mosaic with spaces in between like the cell looking drawings.
4. Create translucent paper with textile medium and gentle colour
5. Shiny paper with Elmer’s school glue.
Moving on to some textile stitch and yarn explorations. Here I have cut silhouettes from paper and reconstituted using Joomchi. Then have stitched on silhouette yarn. This is referencing the layering of the silk organza cyanotype drawing and their silhouettes.
Sock wool yarn used to create a hairy green yarn and a paper manipulation also referencing my seaweed drawing.
I seem to have lost the hours of work I put in putting up all my textile and yarn concepts. OMG I can’t write all that again now. I’ll just put up all the photos and let them speak for themselves at the moment.
If I get time or motivation I’ll go back and write up all these photos like I did the other day but in the meantime I’ll just curse and move on I think.