Not sure what to call this or write about it.
Sadly when I thought about the theme ‘Our Place-Connection with the community’ I realised that I have very little in the way of community connections. Prior to retirement I interacted with the general community through work, but since retirement my main interactions have been retail. I am a member of a few groups but tend to be very inactive. So my quilt is intended to reflect my current role as consumer.
Anticipation on the drive to the shops. Browsing amongst objects I could survive without. Sixteen numbers facilitate a purchase. Conversation as we wait for those numbers to fly into the ether. Home to try and find a spot. Connecting through consumption.
Not sure I really like this much. Might just title it and not bother too much with a statement. I’ll see.
Didn’t really think through the formal elements and choice of design with this quilt. Just knocked it out. Theme didn’t inspire me.
Sixteen numbers that both link and bind. Cutting through differences to reach across oceans and into homes.
This really sounds like crap. Maybe I’ll try a haiku.
Cutting through differences
Reaching into homes
Adding some extra context to the proposal. Toby mentioned adding in textile forms more generally. I assume he meant not just quilts.
This work is sort of quilt-like but ticks a number of boxes visually but also thematically.
arrhythmia 2014, 206 cm x 168 cm x 10 cm by Chung-Im Kim
Zilber E 2015, crafted: objects in flux, MFA Publications, Museum of Fine Arts, Boston, USA, pp 78-81
Chung-Im Kim has created this textile object using printed felt. It appears in book called crafted: objects in flux by Emily Zilber (2015). This book highlights artists who work at the boundary of art and craft and use both traditional and cutting edge craft techniques to create their work. In this case Kim has manipulated imagery from her own echocardiograph and then printed this on felt and irregularly assembled the prints into a whole that reflects the disorganisation of an irregular heart rhythm. This use of personal imagery of a detail of the artist’s life elicits the type of connection with the viewer to which I aspire.
Planning to enter Distance and Diversity – The SAQA regional exhibition.
Size is 60 cm width x 40 cm.
Thinking about doing 8 cm square blocks with sashing. 6 x 4 landscape.
Will try and illustrate the creation of diversity over time as in evolution.
This is a grayscale scan of my cyantype nautilus shell photogram.
Using this I will try and evolve the image through repetition and other interventions until I have different images.
Will make four evolutionary paths, first column of four will all be the same image, with cyanotype alone and all the cotton sateen fabric. Then I will scan the resultant images and reprint each making an intervention and so on.
This is the first transparency image which will be used for all of the first column of four. Have edited the levels to range from 90-180 leaving the centre at 1.0.
Will be consistent and edited the repeated scans in the same way.
This is the original cyanotype on fabric. I wish I could include this but space doesn’t allow.
The idea is that column one will all be the same and then I’ll gradually introduce interventions in the way mutations occur over time and with repetition. The thing is really that I am documenting corruptions and will likely end up with a lesser final image, as opposed to what I am trying to show which is diversity in a positive light. I really don’t know what will happen so I guess that is part of the fun.
1. Artefact in the repeated scanning and the printing process. This will be equal across the whole work.
2. Type of fabric used. – Cotton sateen, tussah silk, silk wool, raw silk, homespun. Four of these. Probably leave out tussah silk.
3. Colour – think I will add colour in the form of yellow, red, blue but I’ll probably leave the cyanotype too?
I keep on going with trying new things but not sure how best to arrange.
I’m really not sure that I enjoy the overlays. To some extent it’s two good photos spoiled.
Wondering now about pairing an inside thing like an insect or bottom of wine glass or sanitiser photogram with a pinhole through the window photo without the overlay.
Would look something like this but done in most likely cyanotype. Outside pic could be cyanotype and inside maybe coloured solarfast. Although I am really wondering whether to ditch all the solarfast for this project and just do cyanotype because it gives better imagery. Like Gerrard says it’s cleaner.
If I was to do this though, how would the whole quilt be arranged? Nine diptychs would look very landscape
Could do three by six diptychs and that would be a square 🙂 Of course that is 36 prints. 72 inch square quilt with no sashing. So that is actually alright but a lot of work in a week. At least I wouldn’t actually have to sew it. Could do that later.
Still trying to work out what photosensitive chemical best. Cyanotype or solarfast.
Here I have bleached cyanotype with washing powder – tried to control the amount and then I have used one tea bag only to tone the print. Definitely warms it up but it is not as pink as that looks. Other options are a harder bleach and tannin which will give a brown and white print.
I could do my wine glasses/flies etc in the same toning or I could use solarfast with muted colour. i could use red wine for some of the tannin toning and maybe I could also use different teas. Manipulating the colour with home materials like washing powder, tea and wine seems like a good plan. Also could use vinegar and peroxide. Perhaps I should look for a cyanotype artist and research toning a bit more. So far I’m just using what I learned at the two day workshop at Gold St Studios a couple of years ago. I did Van Dyke brown while I was there too and do have chemical for that. They can also mix with cyanotype. Trouble is it’s all a bit late for that now but something to consider in Honours.
Here I have paired the fly with the outside scene. I have dulled down the fly because it’s too bright green solarfast but I can repeat the print and treat it the same as the left hand print to more completely match colour. This is the sort of pairing of imagery I imaged but not necessarily these too as a pair. It’s late to add this much work but I think I can do it. With the objects I can flip around and reverse if I like I can also use scans of small objects which give amazing detail. Could also still do some small object lumens. Have time for that.
Just mocked this up in photoshop from a negative to show another example. Will have to flip around configuration to stop me having a column of outside and a column of inside.
Obviously not using the same photos but this would have to be the arrangement 3 diptychs across and 6 down.
http://www.jeanraylaury.com/quilts.htm Viewed 14 October 2020. Image reference
Lucked upon this contemporary artist making quilts with cyanotype via a Surface Design journal article from 2006.
<https://www.tafibrown.com/Pages/Gallery2.html> Viewed 4 October 2020
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.
This is an abstract from a masters exigesis by Sue Jackson.
Exploring the Interface negotiates the boundaries between the often‐disparate practices of art and
craft. The interface, as the point of interplay between these practices, is offered as a metaphor for
the negotiation of the physical and psychical boundaries of self. This project asks how these
practices can be navigated and if the interface can signify the spaces of one’s emotional and
corporeal identities. It also questions how the maternal relationship and feminine and domestic
archetypes contribute to the construction of gender.
The project aims to extend the traditional use of domestic craft while honouring the semiotic
potential of its feminine associations. I endeavour to create an expressive device from mute craft
materials and techniques using the language of the object and the poetics of metaphor. I seek to
evoke memory and the senses by activating the gallery space in a series of narrative dramas that
play out inside domestic constructs.
My artwork takes the form of a series of installations using various materials ranging from those
traditionally associated with domestic craft to more ephemeral organic matter. Handcrafted
objects reside with ready‐mades while garments and domestic artefacts nestle amongst furniture.
The project commenced with an investigation of various hierarchies pertaining to gender and
practice. An exploration of traditional craft materials and techniques led to innovative
approaches and a consideration of the maternal legacies of the craft tradition. The amassing of
craft materials and objects suggested a wealth of memories, histories and untold narratives. The
expressive potential of the craft object was explored and what emerged was the performative
function of the artwork as a means of activating senses, memory and space.
Artists who extend craft beyond traditional application, including Judy Chicago, Fiona Hall,
Freddie Robins, Anne Farren and Dave Cole, have influenced experimentation with the expressive
potential of materials and techniques. The maternal relationship is explored through the work of
Barbara Hanrahan, Lindsay Obermeyer and Kay Lawrence. Artworks by Anne Wilson, Jana
Sterbak and Magdelena Abakanowicz inform body‐specific work that focuses on corporeal
elements of gender. Mnemonic artworks by Louise Bourgeois, Tracey Emin, Magdalena Bors and
Doris Salcedo provide a reference for memory, narrative and domestic based installations.
Exploring the Interface focuses on negotiating various boundaries as a metaphor for the
construction and deconstruction of ideas of self. The work takes up a symbolic position swaying
between the physical and psychical spaces of subjectivity. Inner and outer domains manifest in
narrative constructs that inspire and are inspired by memory and lived experience.
Jackson SM 2011, ‘Exploring the Interface: Negotiating the Boundaries between Art and Craft’, MFA, University of Tasmania, Hobart, viewed 28 September 2020, <https://eprints.utas.edu.au/12477/1/Jackson.pdf> pviii
I have been looking for a website or recent work by Sue Jackson and couldn’t find anything much to follow this up with.
This publication explores the parallel between the interface of art and craft and the interface of physical and psychic. It’s not really what I was after but I am really looking for some idea about the question I can pose for my honours and also other artists that may be working in the area of quilts as fine art. I’ll probably look up some of the crafty artists she mentions 🙂
Once I know the question I’ll be able to focus on writing up the proposal. I guess what I want to do is make a body of work that is quilts. My criteria really is that I would like to make articles that eventually have the potential to get used up. But I also want to make work that is read as art. Basically I want them to be able to be repurposed as a household article once their time being revered on the wall is done. :). It also gives me something to do with all my art that fails to be recognised as worthy of exhibition. I have my entry in the art quilt show as a bathmat on the floor and I love it. Second year print project quilt is being used as an ironing mat. Lots of my quilts get used as tablecloths and rugs in front of the tv or extra warmth at night. But I’m not content with that. I would like to make artworks that are visual and appreciated as art and not combined with function initially. Function is my way of recycling art. Because let’s face it. There is a lot of art in the world and unless we start making it a bit ephemeral it will visually choke us. That is already happening with all the visual imagery that bombards us everyday.
So maybe my question should be ‘what is the extent and nature of the barriers to quilts being viewed as art, and exploring the artists pushing against those barriers’. The question sounds a bit clunky but maybe it’s a start.
Sue de Vanny didn’t get in to the Archibald with her mixed media painting. Not sure that it really is a quilt but I have written to ask her and see if she has tried to enter any quilts in art prizes.
Viewed 19 September 2020
Reference above looks a bit dodgy so I’ll tell you this is a screen shot from Sue De Vanny’s Post to Studio Art Quilt Associates facebook page. It is detail of her portrait of quilter Jenny Bowker.