Yesterday I was looking at Penny Gold’s blog when I was looking for information about her work…. Self portrait Year 2: Beneath the surface. I realised how valuable her blog is to my research. Previously I had not realised she had this blog and thought there was not much information about this quilt on line. Now I find a blog where the artist writes about her work but also provides links to other writings relating to her work.
Thought I should get in the habit of restarting my own blog with information about what I’m doing, in the hope that down the track my work may also be of interest to others. But at this stage I think it’s just good practice for both writing and thinking.
Photographer who states “I want to make people feel something when they look at my pictures.” This is what I want too.
She uses an analogue camera and film that gives her work a particular colour palette and feel.
I’m thinking my work will attempt to portray feelings with objects rather than with people. Pinhole camera photography means that people are largely obscured or missing because of the ultra long exposures necessary when indoors.
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.
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.
Spider,S (editor) 2018, Art Quilts Unfolding, Schiffer Publishing, USA , p 9
Jean Ray Laury created this quilt in 1956 as part of her Masters Degree in Art at Stanford University.
Interestingly it is familiar interesting objects arranged haphazardly a bit similar in composition to work I have done. 1956 is amazing for a quilt in a masters of art. Wonder how she went. Mentioned in the book as early work in art quilt genre.
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.