It’s hard to believe that this is my eighteenth post. I know it’s a cliché, but “doesn’t time fly”. I’ve had a “bits and pieces” of a week and thought I would use this post to tie off a few loose ends from previous posts. Going right back to the beginning, I consciously left the white velvet snow piece for a while; spring is just the wrong time to deal with snow! Also I liked my ink drawings so much that I couldn’t move on from them. The good and bad news is that I used a little devoré paste to test if some of the woven fabrics in my stash were cotton or cotton polyester, and decided to test the white velvet too. It was silk with viscose pile. Bad because when I bought it about ten years ago I thought I was buying 100% silk, good, because it now means I can now add devoré techniques to the design process.
I went to the Chapel Gallery in Ormskirk where my piece “Waiting for Tide and Time: Crosby Beach” was selected for the West Lancashire Open. Again it was a mix of good and bad news. Good because the standard of work selected was high, so I was very pleased to be selected. Bad because two of the 192 selected entrants were going to have to be displayed in the corner of the vestibule, behind the shop display case, lit by the low wattage emergency light against a dark purple wall and unfortunately I was one of them! It’s not a gripe with the curators (if it wasn’t me it would have to be someone else). The piece was designed to respond to changes in daylight – suggesting the changing light and reflections at Crosby Beach – and it sparkles when spot lit so I am disappointed, especially as I had said in my post on 16th July how much I was looking forward to seeing it displayed on a white wall in a well lit gallery…
I have been working on the prints I made from the Crosby detritus photo. I quite liked them but they have been lurking in a bag as I wasn’t sure where to go next with them. As I haven’t really done any machine embroidery since my City and Guilds years ago, I have decided to use them as backgrounds to refresh my machining skills with. Yesterday I layered two of the muslin prints, machined around the shapes in straight stitch and then dropped the teeth and started to fill the white areas in pale yellow Madeira Rayon. I deliberately didn’t use a hoop, using my hands to pull the fabric taut, which allows it to distort.
My friend, also called Claire and also a textile artist, is running a textile jewellery making workshop at Gawthorpe Hall in Lancashire and there are still a couple of places available. So, if you live in the North West check out her blog, Textile Alchemy for details.