Chapter 13 Study Three Artists

Here are three artists which show some of the techniques used in this module
(The use of the illustrations are for educational purposes and within copyright, with reference to original source material)

Herta Puls (1915-)

An illustration of an example of Mola embroidery found in clothing of the Kuna Indians can be found in the Needlework School book, page 87.  It  shows applique work where layers of fabric are built up, from a background red fabric finishing with final layer of red, cut and sewn to produce frames, slits and cat shapes.

However I was also fascinated by a website that I discovered giving a glimpse into the many designs that can be used selected from original sources: geometric, animals, cultural information and how to make molas

http://www.sciencejoywagon.com/kwirt/mola/molas.htm

This is one illustration from the vast array shown, giving some indication of a design worked in applique:

The following particularly shows geometric cross designs used in Mola textile art from Panama

Kandinsky (1866-1944)

Wikipaedia states that 'he is credited with painting the first purely abstract works'.
Exploring the internet further I discovered another interesting website which discussed Kandinsky's work.

http://www.invisiblebooks.com/Transverselline1923.jpg

Here is a painting called 'Unbroken line' (1923) from this website which I feel clearly shows crossover of shapes

Jilli Blackwood (        )

Jilli Blackwood is a contemporary UK (Scotland) textile designer and fibre artist with an international reputation.
She specialises in hand dyed fabrics using embroidery and woven techniques to create textured one-off designs.
She combines different fabrics, silk, leather and linen.
She is reputed to be the originator of slash and show style.

I first was aware of her work when visiting the Harrogate show, 2011 and was intrigued by the flambuoyant designs especially those using the chenille technique.

There is a wide range of her creations available on her website

http://www.jilliblackwood.com
 
I have selected two from her Art to Wear collections as examples.  Both show the chenille technique, the hat especially clearly, the sporran also shows crosses in the tartan and design pattern. 

I was also intrigued by a kimono she has designed created from the different off cuts of fabric from commissions over the last 25 years.  She is working in partnership with Compass Gallery and Alzheimers Scotland creating awareness of memories translated into reminiscences.  The therapeutic nature of the work aims to help dementia sufferers. 

Chapter 12 Resolved Sample: Disintegration

The following two pieces are resolved samples based on inspiration from telegraph poles alongside railways:

Sample 1 Scarf in turquoise- showing applique, reverse applique, chenille and free machine stitching, indicating development of a repeat design

Sample 2 A4 piece in complementary colours, turquoise and reddy orange - showing applique, reverse applique, padding, soldering iron on Lutrador and voile, free machine and hand stitching, indicating development of the design

Prior to selecting this shape there were at least 12 design experiments in paper with other shapes which could have been developed, showing repeating and/or overlap of repeated design shapes and/or disintegration within a shape. The asymmetrical arrangement of the telegraph pole shape alongside parallel lines for the railway tracks and its application to perspective kept returning to mind.  

Sample 1 Scarf in turquoise

And telegraph pole in the background!

Held up to the light the reverse applique revealed a transparent aspect where shapes were cut away

This side of the scarf shows the first design and reverse of the second design

Free machining through greasproof paper tracing of one of the design sections

Scan of sequence on first side

Scan of same sequence on reverse side



Development of the design:

Materials, method and comments

Scan of page 133

Scan of page 135

Scan of Design 12

Sample 2 A4 piece in complementary colours, turquoise and reddy orange -

Photo of A4 piece

Scan of A4 piece



Development of the design:

Materials, method and comments

Scan of Design 14 with notes page 145

  

Chapter 11 Resolved samples Growth and Disintegration

Here are several pieces of work in preparation for a final piece in Chapter 12:

First thoughts - Paper experiments show four pages of white squares (10 x10 cms) on black paper where they have been hole punched, scissor cut, pierced with a dawl, scored, burnt with a soldering iron, torn, and screwed up.  The fourth page shows machining paper, wetting and rubbing followed by two examples using a soldering iron on Lutrador.

Second thoughts - Paper shapes show a telegraph pole shape through a series of disintegration,

followed by coloured paper samples on white, where the first page shows the negative shape, the second page the equivalent positive shape

Third thoughts - Fabric shapes show different ways of disintegrating a square of fabric using muslin and a symmetrical equivalent cross

Fourth thoughts - Stitched shapes provide examples of using stitch with contrasting coloured fabrics:
Two examples using machine zig zag and running stitch were scanned to show different stages leading to a smaller cross;
Three examples show hand stitching using two-thread embroidery cotton and buttons;
One example shows reverse applique

First thoughts - Paper experiments:

Second thoughts - Paper Shapes

 

Third thoughts - Fabric shapes

Fourth thoughts - Stitched shapes

Machine stitched samples

Reddy orange cross on turquoise with zig zag stitching

                                    

 Final shape with thoughts shown here:

Turquoise cross on reddy orange background using running stitch

Scans were made of each stage final shape with thoughts shown here:

Hand stitched samples with thoughts

  

Machine stitched reverse applique with thoughts