Solidarity

Just saw a writing about an artists work which mentioned solidarity – solidarity with others in similar circumstances. Thought this might be a good word for me. And wanted to get it down so I didn’t forget.

Other words I’ve been thinking about:

Comfort

Recognition

Confession

Guilt

Regret

Loss

Reciprocal

Ease

Still don’t have a word for the feeling of not being alone in your problems. Maybe solidarity is close to this.

Trying to work out a quilt pattern to go with the text never happy again. I’m remembering a time when a psychologist asked me what I was afraid of in regard to Daniel I guess and that was my answer. That I would never be able to be happy again because he would always reject me and my self esteem and happiness was so tightly bound to him. In that same session he asked me to think back to a time when I was really sad about Dan. And at that time I thought of being in a room in Canberra and Dan refused to see me so I went all the way to Canberra and didn’t see him at all. I was thinking of using a photo of a hotel room with a suitcase and a single towel, but looking at the pattern I was developing above I started thinking about a repetitive symbolic photogram. Trying to increase the depth of tone in the photo image to match the tone in commercial fabric and make the whole thing a bit more lush, rich, both comfortable and painful and more immediate and tactile. The current solarfast photos look pretty muted and distant and don’t speak to the comfort side that I am also going for. I’m moving back to red brown shades and if I either dyed fabric first or after or if I used two layers of solarfast and a photogram, I might be able to get a richer colour. Photograms from direct objects are good because they are much more high contrast and I can expose for long periods and get richer colour around the photogram.

Will have to investigate meaning embedded in objects and symbolism of objects.

Tester wasp

Was thinking about ways to have the image blend better with the quilting and thought I’d try quilting first then printing.

Should have used a better image and planned the quilting to gel with the image.

Did partially work in that the thread did dye with image but the texture is still very prominent. Since my images are really photos I would prefer a flatter look although I still want it to be a quilt.

Things I did learn is that when I bleached away the cyanotype the solarfast was there underneath.

I have put back the image with Yorkshire tea.

Starting Honours proposal

Topic:

Main elements that I would like to include are fabric as substrate, cyanotype and solarfast as medium via alternative photography, quilts as presentation format. So that just leaves topic – small personal stories or details.

Reasons for fabric – comfort, intimate, suitable for small personal narratives, accessible, resilient

Reasons for cyanotype/solarfast – ability to transfer detail to fabric. Direct marking process that nonetheless also incorporates serendipity. Has the ability to transform the everyday and also be manipulated by interaction with everyday materials.

Topic – Small personal stories or details – sometimes painful – evoke emotion but also recognition in the viewer and through this a connection.

Quilt as presentation – Accessible and both symbolic of comfort and capable of providing physical comfort. Also with a long history of narrative and insight into details of life. Resilient and flexible in that it can be enjoyed in a number of scenarios – as functional object as well as art.

Starting Draft:

Susan Lacey

At this stage I would like to keep options open to be considered for Research (Studio) stream.

I would be happy with a placement within Printmaking or Drawing but would probably lean towards Printmaking. I would also be involving Photography but I did not go through to third year with Photography.

Outline of Project:

My intention is to create a body of work in quilt format. This work would give insights into personal stories and details using the media of light sensitive dyes and alternative photography techniques on the substrate of fabric. I will expand on previous work with photograms of objects and intimate pinhole photographs, to create works that are intended to connect with the viewer on an emotive, visceral level. They will reveal small personal stories or intimate details of life and my hope is that this will create a feeling of connection and recognition for the viewer.

Resolution:

For this project I will continue my experimentation with alternative photographic techniques and their application to printing imagery on fabric. I will use objects to make direct photograms on fabric or photograms on photographic paper which is then transferred to fabric using the intermediary of a transparency. Similarly I am interested in pinhole photography and the transfer of this imagery to fabric. Both of these techniques are quite direct processes in that they apply only light to a surface over time without a lens, and in this way create an image more directly related to the environment both temporally and physically.

Finally the work will be assembled in quilt format, to increase accessibility, intimacy and a tactile dimension to the work. There is also the option here to add further mark making in the form of stitch.

Significance:

I am hoping that this project will define and focus work I have been doing with textiles over the last few years. I am interested in the personal in regard to quilts and would like to investigate means of making connection with the viewer, in that there is recognition of their own stories in mine. Working in this way around personal stories also links well with my interest in the power of artistic work to heal. A lot of my personal themes are sad in a small way, but the creation process itself is meditative and soothing. My plan to use cyanotype flows first from the search for permanent dye that could be used to print imagery on fabric in a resilient and detailed way. I have since discovered that there are multiple additional ways that cyanotype images can be manipulated on the fabric to further infuse meaning into the work. Using fabric as my substrate has been a long term goal, in keeping with my initial motivation towards art education which was to learn to print on fabric to use in quilts, when I enrolled in TasTafe in 2013. Quilts remain a medium that evokes comfort and intimacy, but are also very resilient, tactile, and even functional if desired.

This work was part of a collaborative Entrepot exhibition with Carolyn Shearer in 2018 called Elemental Remains. It illustrates some of the potential of the action of light on cyanotype as it interacts with the environment. This was left in place over a significant period of time and the imagery has formed around the earth and plants and dampness in that environment.
Warm Iron was my final work in Drawing at the end of my BFA in 2018. It uses cyanotype and toning in combination with photograms. The imagery is sourced from personal items and at times there is the addition of text in an attempt to enhance meaning.
Snow from the the Beach is a small A3 size work for Tasmanian Textures travelling show. It illustrates the possibilities of toning and bleaching cyanotype with household materials.
Fragments of Calm is a very large collaborative work with Carolyn Shearer and is shown here installed in Moonah Arts Centre foyer for our exhibition in 2019. It focused on the meditative quality of stitching and was worked over three months with a patch illustrating personal details about each day.
Carolyn and I then went on and did another smaller collaborative quilt work that used cyanotype in conjunction with drawing, this time documenting a further month.
Ukulele in Blue is a large quilt work exclusively using cyanotype and created from direct photograms of my ukulele. It was exhibited in the Modern Quilt Show in 2019.
Beneath a Maternal Armoury started as the drop sheet for a crocheted work called A Maternal Armoury that was dyed with cyanotype. The resultant photogram was then toned and the quilt stitched with line and text. Created in 2019
This quilt was created for Beyond the Mirror SAQA exhibition in 2019, but was not juried in to this. I have used a photograph to create an image on organza that is then laid over the top of the work and stitched down.
The Big De-Clutter Quilt Project shows SolarFast photograms of items from my house destined to be discarded. It is shown here at the Island Quilts exhibition in 2019
This is one page of my Instagram feed showing 15 of the 100 patches created for the 100 day project on Instagram. SolarFast photographic imagery on fabric mostly of household objects and made during 2020 over a 100 day period.
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Galileo Study was created in 2020 as a small photographic study of our Galileo Thermometer which was then printed on fabric with SolarFast and stitched.
Installation view of my three final works for Painting 2B 2020. From left – Nathan, On and On She Goes, Step Right up. Works use a combination of SolarFast and cyanotype and are a personal self portrait and a more playful look at domestic objects.
Tea and Sanitiser was completed in 2020 as my final photography work in Photography 2 B. Pinhole photographs looking out of my house are printed on fabric and juxtaposed with photograms of objects from the interior of the house chosen as they have some relevance to lockdown. They have then been bleached and toned with the intention of creating a rather bleak and desolate look at life in the time of COVID.

These works are roughly chronological since 2018 and I hope show some evolution towards the type of work I plan for Honours and the elements I would like to include.

Context:

Quilt companions: Presenting quilts as art but also acknowledging the extra tactile dimension and history. Using quilts to connect and say something personal.

Thomas Knauer, Joseph Cunningham, Casey York.

Alternative photography companions: Using more direct methods to use the light around us to produce imagery over time. Experimenting with ways of creating hands-on personal imagery.

Mike Ware, Ellie Young,

Thematic companions: Personal and intimate glimpses of another’s life. Emotive.

Don’t have anyone for this yet, but I guess really I should be looking for artists bringing all three together

Quilt and alternative photography: Sandra Sider

Quilting:

My project draws on elements of the techniques of quilting and of alternative photography and thematically is associated with the everyday, memory, emotion and the personal with a view to evoking feelings of recognition and connection in the viewer.

I have been drawn back to the quilt format by the work of Thomas Knauer, who has written a book ‘Why we Quilt: Contemporary Makers Speak Out”. His work does not relate to mine thematically, in that he creates quilts often with a political message. He does however move the quilt off the bed, and more into the art sphere, whilst still using traditional and more contemporary quilting techniques. Others in this book such as Joe Cunningham and Casey York, are also using quilting as their medium to create art, that they relate back to elements in art history. These artists seek to convey meaning through quilts and evoke feelings through work that moves beyond a decorative design.

Reference: Knauer T 2019, Why We Quilt, Storey Publishing, USA

Alternative photography :

Both Mike Ware and Christopher James have worked extensively with alternative photographic processes and explored the chemistry of cyanotype in depth. I would like to look at just the one little corner that encompasses cyanotype and Solarfast printing on fabric and research this in depth in relation to different effects that can be achieved with the basic chemicals and their interactions with other domestic chemicals. Lots of information to help and inspire me can be found in Christopher James’ book – The Book of Alternative Photographic Processes.

Reference: James C 2016, The Book of Alternative Photographic Processes, Cengage Learning, Boston,MA, USA

Pinholes and photograms:

Eric Renner has produced evocative and exciting pinhole photographs in many cases using found materials or domestic objects to make his cameras. Sadly he has died this year but thankfully his work lives on in his book, ‘Pinhole Photography: Rediscovering a Historic Technique.

Reference: Renner E 1995, Pinhole Photography: Rediscovering a Historic Technique, Focal Press, Newton, MA, USA

Justin Quinnell’s photograph created on a paper negative in a tin can over 6 months has stayed with me in its simplicity and sense of time passing. He continues to push the envelope of pinhole photography and provide ongoing inspiration in pinhole image making.

https://justinquinnell.wixsite.com/pinholegallery?lightbox=image_17nn Viewed 7 Nov 2020

As far as the thematic of small personal and emotive stories that evoke recognition and connection, I am struggling a bit with this to find artists with this context.

Studio Art Quilt Associates is a global organisation for the promotion of art quilts, of which I am a member. There are many artists as members here that I can work alongside to create evocative quilts with meaning

Similarly OzQuilt Network is an Australian art quilting group to which I belong. Artists like Neroli Henderson are raising the profile of quilting as art and creating evocative works.

Penny Gold’s Self-portrait Year 2: Beneath the Surface, shown at QuiltCon in 2015, is an example of the type of emotive work I seek. My work would not be as purely conceptual as this, and not as intensely emotive but my recognition in this work, of the need to confess and the muddying of your identity with your child’s, connects me to the artist and resonates with me and the type of work I would like to create.

Self-portrait Year 2: Beneath the Surface, Penny Gold 2014 https://whileshenaps.com/2016/05/i-am-a-woman-whose-child-is-dead-quilt.html?mc_cid=780b9dec2f&mc_eid=d8f8a9ff20 Viewed 8 Nov 2020

Sandra Sider is bringing cyanotype and quilts together in her ongoing work.

Bottom’s up by Sandra Sider for the SAQA exhibition, Redirecting the Ordinary in 2014 https://www.saqa.com/art/browse-collection/bottoms Viewed 8 Nov 2020

Sandra’s work is the closest in technique and medium to mine although differs thematically.

I feel the context for my work most firmly sits in the realm of the art quilter. I am aware that there is a leaning towards taking a feminist perspective when presenting fabric and stitch works but this is not my interest. Quilts also have a history of political messaging but this too is not what I would be looking at including.

My works will be attempting to convey emotive and personal stories and I feel that the quilt medium with its history of protection and solace, is the one most appropriate for this work.

Working hard without much journaling.

Have been working very hard on printing and toning my final works so that they could be then photographed for submission.

I have decided to use cyanotype exclusively and tone with tea and wine to get colour. I was really surprised at the range that resulted and excited to refine this.

I have made 12 diptychs and arranged them in a three by four grid.

The idea is that each image through the window is then matched with an object from inside. The pair are then toned equally with the same tea or wine. Have rushed this a bit at the end and would have liked to have the time to make this into a physical quilt which I will ultimately do.

Need to get my statement done:

Quick analysis:

Form and composition – more distant outside view pinholes are paired with a close photogram of an inside object. A lot of objects are to some extent related to lockdown which is what I was intending. The views are all from my windows.

Line – I have tried to link the line in the view photo with line in the object but that was a bit difficult.

Colour – muted organic pink/green/brown/blue. Slightly faded appearance hopefully suggesting the faded nature of life experiences at present.

Texture – rough fabric texture, resonating with degradation ?

scale – contrast between full window view and close observation of object.

medium – cyanotype – detailed photo on fabric which also has the potential to be presented in various colours. Able to be toned with everyday materials – bleach with washing powder, tone with tea or wine. Processed in water and vinegar.

Going to try and write statement now.

Tea and Sanitiser

Outside the cherry tree moves in the breeze. Inside a clump of threads stick to my shoe. A wallaby nibbles under the silver birch, a dead fly on the windowsill. Sun streams in the courtyard and flares off the wine glass. Through the front door the cars await. I’ve given up on the sprout jar. The water lies beyond the heat pump. A wasp is stuck in the screen. Our neighbour works in his shed. All the strawberries are finished. A new house is just visible in the distance. Used the carafe for the first time ever. Popcorn.

For this work I combined pinhole photos taken through the windows of the house with photograms of objects that I found around the house, and that had some relevance to time spent at home during lockdown. The window views look into the distance and contrast with the personal view of the objects. I printed both the photograms and pinhole photos on to fabric using cyanotype chemicals. Pinhole photos are high contrast and when combined with cyanotype give a stark desolate image. Toning with household materials, washing powder, tea, wine, has muted the harsh blue but kept the lonely mood and added a faded component to speak of the passage of time. The slightly rough texture of the fabric is visible and reinforces the domestic nature of the imagery.

I have been inspired by the quirky pinhole photography of Eric Renner and the work of Mike Ware in pushing the boundaries of cyanotype.

Initial testing of process

Trying to sort out a process for using photographic film or paper in photograms or pinhole camera or both. I want to use the darkroom because I can and to learn new skills but I also want to get a good quality negative to use to reproduce photograms.

So far 4×5 film creates the best negative or doubled over transparency fused with laminating.

Very best result is direct object on fabric but that eliminates darkroom and photographic editing.

Cyanotype and solar fast together are allowing me to create more colour and so far working on silk also allows the addition of landscape dye. Silk doesn’t give as good an image though so another option is to rely wholly on cyanotype for blue and Solar Fast

Thinking of ‘Ghosts of Childhood’ as topic to explore and using old toys found around the house or downstairs in my youngest son’s room after he moved out.

Photograms

https://www.tate.org.uk/tate-etc/issue-33-spring-2015/out-light-shadows

Viewed 22 Feb 2020

Link to a Tate article about photograms

SAM FALLS

Artist who sort of uses photograms- fabric is laid out covered with natural material and then sprinkled with pigment and left out in the weather.

https://www.biennaleofsydney.art/artists/sam-falls/ Viewed 22 Feb 2020

I think his pigment could be as simple as fabric dye. If the fabric was primed with soda ash first this would work.

I think I’m more looking at developing photograms with cyanotype or solar fast but I do love the serendipity of these sort of works that harness the weather and time.

Melissa Zexter

Thinking of the photography unit coming up and I saw this. Melissa Zexter embroiders on photographs. Looks like most of the photos are black and white and then the colour is added through embroidery.

I’m thinking of photograms or pinhole photographs transferred to fabric and then potential addition of colour with ink or embroidery.

http://www.melissazexter.com/embroidered-photographs-2018#1

Viewed 20 Feb 2020

Maggie Dillon

For 20 year I’ve thought about using fabric as paint in an impressionist style. This is what Maggie Dillon does.

When I zoom in I can see that she is holding irregular shaped pieces down with zig zag and that the thread is part of the design from a distance. It’s impressive but I guess it’s not what I’m doing now. Although I’m a bit confused about what I am doing.

http://www.maggiedillondesigns.com/

Viewed 1 Feb 2020