This series of textile paintings are the first three I created and set on canvas. The canvas was originally painted medium blue. Once the pieces were attached, I found the background was too dark and the quilted artwork did not show well. So, I repainted the canvas white and I am much happier with how the quilted pieces look.
attended a quilt retreat with a very small amount of my hand dyed fabrics
used canvas to frame quilted pieces
The quilt retreat was the perfect time to play with the ideas of minimalism and experiment with the technique of inserting narrow strips. There was no pressure to create a finished piece. But, I was so happy with the works I created, that I did finish all three!
Inserting very narrow strips of colour into the pieces was very satisfying. Continuing my experiments with this technique, I created tiny pieces of quilted art: Fineline Brooches and recently made: Lipstick and Mascara. I am not finished with the Fineline Series of textile paintings, there is still so much more to explore.
These are the Vista textile paintings before the change of colour in the background. What do you think of the colour change?
I have been intrigued by encaustic wax paintings. This is a very old art form that used by the ancient Greeks and Romans. The Yellow House Gallery in Toronto offered a class on this art form as well as photo image transfer. I signed up to take this afternoon workshop and had so much fun!
Photo Image Transfer
A mixture of beeswax and damar resin are melted together and applied to cradled birch panels.
Two coats of wax applied to the wooden board. Both processes begin with this step. For the photo image transfer, a photocopy is placed right side onto the wax and pressed into the wax with a smooth object. The ink transfers into the wax and then the paper is removed by carefully washing it off.
This photograph was taken in Italy of a stone house. I love the texture and colours. The paper film is not completely removed yet.
At this stage of the photo transfer there are still bits of paper left to be removed, but I can see the what the finished piece looks like and am so happy with it.
Encaustic Wax Painting
The second piece involved painting with coloured wax. I also wanted to incorporate some textiles into the artwork. I brought a small amount of embellishments that I thought might work, including silk fabric, beads, bark, shells and beaded embroidery floss.
Two layers of clear wax are applied to the cradled board first and then the coloured wax. Here I’ve added my first layer of colour by mixing black and white wax.
Second layer of colour is a beautiful shade of red, thinned by clear wax.
Stripes of silk and embellishments were positioned and a layer of wax applied.
A beautiful pearlescent powder was used to highlight certain areas. After a few days of curing, the wax will dry clear.
Close-up of the embellishments, texture and colour.
These photographs were taken on a trip to Italy a few years ago. I don’t often look back at photos, even though I always think I will do just that. Time gives me an opportunity to view the photos, with a fresh perspective.
This of selection photographs from Rome, Venice, and Pompeii have a common theme. They are mostly monochromatic so that the texture is evident. Even the facade of the wall in Venice is various shades of a beautiful terracotta that has faded in places to a soft peach.
How often do you go back to your vacation photos and look at what you decided to record? You might be surprised at what your photographs reveal!
Earlier last year, I dyed some cotton fabric in indigo. The texture and the colour changed from pale blue to a deep indigo. I really liked the design of this piece and I wanted to keep it intact as much as possible. My inspiration to use this indigo fabric was a modern painting I saw in a decorating magazine. The artwork had three large bands of colour running horizontally with the colours blending together.
I pulled a deep indigo piece of fabric and a pure white cotton pique to use with the ombre. I took many photos while deciding on the proportions of the white pique. Some of the photos were taken in the evening as I was working to create this piece for a deadline.
My first attempts had the darker indigo on top. I tried many positions, folding, pinning and moving the white pique until I was certain of the final size.
During this process, I tried rotating the fabric so that the darkest indigo was on top, bottom and either side. Initially, I thought that having the piece run from dark at the top to light on the bottom worked the best. You can see that I finally decided to orient the fabric so that the lightest colour is on top, moving down toward the darker.
A friend and I visited the Aga Khan Museum this weekend. A very knowledgeable and enthusiastic docent began our visit with an introduction on the design of the building by architect: Fumihiko Maki. He was given the theme of light as his inspiration. An interior courtyard brings light into the center of the building and provides a lovely outdoor space in warm weather.
Artifacts that are centuries old have colours, textures and designs that seem modern and timeless.
The museum’s collection of pottery, glass, metalwork, and calligraphy is a source of inspiration.
The mosaic tiles in the fountain can be translated directly into quilt blocks.
Turquoise, blue, and gold colours found in the pottery, are some of my favourites and I imagine them in a project.
More designs that can be directly translated into quilt blocks. Also Ideas for arranging the blocks in various configurations.
The circular design in the candlestick above reminds me of the New York Beauty block. I can imagine this block on a solid background and heavily quilted with angular lines like in the background above.
Two dishes in the collection look very modern. I loved the simplicity and elegance of the designs. More information for both of these pieces and many others are available on the museum website in the Collection Highlights tab.
Although the Aga Khan Museum features historical cultural artifacts from Islamic civilizations, it also features contemporary artwork. The piece above: Flying Carpet by Farhad Moshiri is a stack of 32 machine-made carpets that has a fighter plane cut out of the centre. The artist, Moshiri, was inspired by a documentary on Afghan carpet weavers. They had been incorporating modern technologies into the design of the carpets – planes, drones and other military armaments.
Another special exhibit on display until March 26, 2017 is Syria: A Living History. This exhibit contains historical artifacts and contemporary artwork illustrating the diverse culture and history of Syria. Unfortunately, photography was not allowed in this exhibit, so you will have to visit the museum to see the collections in person. The grounds around the museum are also worth visiting – I will need to return in the spring when the weather is a bit warmer!
I took a few more photographs at the World of Threads Festival that closed this past weekend. This was my first time attending and I was awed by the talent, imagination and whimsy of the artists. Enjoy a small selection of the beautiful pieces at the show.