May 2009

 

 

Above: Birds scarf worked entirely with brushed wax resist. Below: scarf based on drawings of an iced-over stream. Wax resist

 

New Work

 

 

April was a busy month with talks, teaching and exhibitions. We welcomed Rushyan Yen as a guest and student for several days. She is on a year-long Thomas J. Watson scholarship and although she is researching batik worldwide she is also keen to learn other techniques and has been studying natural dyes in England.You can read about her travels here. There are some photos of her working with natural dye extracts in the section below.

It will be more than interesting to see how Rushyan tots up the sum experience of her travels. Such a questioning mind will surely find several ways to make us disparate waxy figures add up.

And now it's May. I finally started to make some new work that didn't (instantly) look like old work. Two pieces are on the left and although they are based on new ideas you might still recognise them as mine.

Then something else happened and I made some pieces that don't look like anything I've ever done before. It's rather exciting when that happens. It feels as though the idea was there all along but I just hadn't seen it. It's not ready to show here but it will be soon.

It started off when I was lucky enough to see a collection of printed and dyed work made by and also influenced by Susan Bosence. This is linked to an exhibition in Totnes this summer at the Devon Costume Collection. I will be showing work there too in their new window space.

It is going to be a busy summer. I am teaching a Natural Dyeing course at Denman College still has places. Click here for details.

I will also be teaching a workshop at the Guild of Silk Painters 2009 Festival and am looking forward to meeting old friends at Rodbaston College, where it's being held. Details of the Festival here.

All this, and I am still pursuing a research project into the history of natural dyes, which isn't written up on this website, walking the dog, and learning bellringing. I am not quite sure where I find the time.

 

 

 

 

 

Working with Rushyan

Rushyan Yen stirring several silk scarves in an alum and cream of tartar mordant

 

Weighing out dye extract for our dye sessions. This is madder extract from Woad-inc

Mixing madder dye extract into a wet paste before adding it to the dye bath

Rushyan dipping her scarf into iron-water to modify the cochineal and madder to a dark brown

Rushyan used a simple shibori technique to tie her silk shawl between each dip. She tied it extremely tightly which helped her to achieve some good markings. This would not be possible on a very delicate silk as it would damage it.

On the right is the shawl drying out before Rushyan selectively applied the iron water to make some darker tones. Iron should be used sparingly. It will rot silk over an extended period.

 

 

 
Home
What's New
Last Month