Category Archives: Art

Quilting

So we dove into quilting this week. This is how Wikipedia defines it: “Quilting is the process of sewing two or more layers of fabric together to make a thicker padded material, usually to create a quilt or quilted garment. Typically, quilting is done with three layers: the top fabric or quilt top, batting or insulating material and backing material, but many different styles are adopted.”

Lorrie taught us some key quilting terms for materials and vocabulary:

  • batting: A light weight, warm product used between the quilt top and quilt backing, batting is used for quilts, wall hangings, quilted clothing and home décor. Batting is also referred to as Wadding. It is generally made up of cotton, cotton/poly blend, bamboo, wool, bamboo cotton blend. There are two types of batting: with scrim and without scrim.
  • binding: Finishing of the quilt. Long, thin fabric strips that are attached to the borders of a quilt.
  • block: The unit that is designed for a quilt. Generally there will be many blocks in a quilt. A quilt block can be a single piece of fabric cut with a rotary cutter into a perfect square or a block that has been pieced using many pieces of fabric and sewn together using ¼ inch seam allowance.
  • borders: Strips of fabric that frame the edges of the quilt. You can have one or many borders in a quilt top. You may also have borders surrounding your quilt blocks, also known as sashing, or as part of quilt block design.
  • cornerstones: name given to a small block that joins the sashing strips together to surround a block or blocks in a quilt top.
  • sashing: Strips of fabric sewn around or between blocks of a quilt top. These strips are generally joined together by cornerstone blocks or sashing squares.

These and additional definitions can be found at National Quilters Circle Glossary of Quilting Terms

This photo includes several examples that Lorrie brought in, as well as some resources and someone’s work in progress in the back.

 

 

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Multiple Points of View; One Home

Project #2 Textile Art as A Collaborative Act: EDCP 304,  Dr. Lorrie Miller
Artists: Stephanie Hawkins. Jennifer Johnson, Natalie Harustiak, Sarah Shinkewski

We began our collaborative journey with a discussion of what we have in common. One theme for this project was an individual interpretation of a shared home, in our case, British Columbia. We discovered that our home is a source of inspiration for each of us, in our own ways.  The beauty of the misty mountains of our west coast resonates deeply within us.  For us all, the colours and richness of our physical surroundings invoke a sense of tranquility and appreciation.

We drew inspiration for this collaborative project from the art experiment of Claude Monet and Pierre- Auguste Renoir.  In 1869, each artist painted the same scene side by side, en-plein-aire, for eight hours.  The result was two paintings similar in content but differing greatly in style and execution. Our piece is also in the tradition of quilt-making groups where members of the group take ownership over various quilt blocks which are then stitched together into one cohesive whole.

Initially, we found an image of west coast mountains that that spoke to all of us and divided it into nine squares.  Each of us took two squares (except for Natalie who generously offered to take three) and interpreted the image through the various textile techniques that we had learned in class. Our individual squares represent our own abilities, artistic sensibilities, and lived experiences.

We each have a story to tell about our squares…

Sarah: The fabric I used was taken from an old shirt and fabric I had dyed with cabbage juice.  I had made the fabric as an experiment in vegetable dyes. I have been drawn to this fabric because its colours and accidental patterns are so evocative of my beloved lower mainland landscape.

Stephanie: I chose to weave my squares of the BC landscape to emphasis the weaving together of perspectives in our collective project. I wove my squares using yarns of different shades of blue, weight and material to reflect the varied textures and richness of the landscape. I was determined to not purchase any new wool and instead mine my own collection for the weaving. I twisted colours together to suggest darker and lighter shades of blue.

Jennifer: My love for my mother and for my home inspired me to apply her traditional quilting techniques to the representation of our west coast landscape. Artistically, I find myself appropriating methods and ignoring boundaries. I use the ragged edge technique to create a cozy, yet prickly forest; I quilt a knit print onto cotton simply because it suggests landscape; and I use sloppy stitches to reference a gestural drawing approach. Thus, the subject is dynamic, alive, textural and homey.

Natalie: I chose to do a photo transfer process with my squares and attaching them to fabric in order to give the image stronger shape when putting it together with the collaborative squares. Originally I had wanted to transfer the images directly onto material and possibly wood, but I quickly realized that while the images themselves being reversed from the transfer process would not affect the beauty of the image, it would affect the fluidity of the collaborative art piece when placed all together. The finished result lends itself to the beauty of BC’s landscape seen through a glass window on a rainy day, which Vancouver is known for.

We’ve attached the squares together to create a single image, meshing four different interpretations of the same BC landscape.  We hope you take away with you a little piece of the love that we have for this place, our shared home.

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Collaborative Project – The Process

I was really fortunate that I was able to go to a sale at Our Social Fabric where I found the piece I used for the background. It evokes a landscape at the same time as communicating stitching. I was a little concerned because it is a stretch knit and I wasn’t sure how well it would integrate with the cotton, but as you can see, once I quilted it, it held just fine.

I have a lot of cotton that I have a bad habit of collecting from Craigslist for cheap or free. People often give away their stash. I went out on a limb and chose a very geometric print for the background of my trees. Then I layered up different greens and then started stitching. I was hand stitching so it took a long time, but it offered me more control and I wasn’t sure if my machine would run into tension problems trying to stitch through so many layers. Then I clipped the edges the way my mom does when she is making a ragged edge quilt.

Here are my two squares together. I felt inspired by the dotted circle pattern that I used for the sky in the top square. It reminds me of swirly clouds that I thought could have appeared in a Van Gogh painting. I quilted the swirls right through both layers.

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Collaborative Quilting Project – The Proposal

Project: 9-square quilt

Members: Jennifer Johnson, Sarah Shinkewski, Stephanie Hawkins and Natalie

Proposal:

We plan to create a nine square quilt with each member being responsible for creating two squares and one person responsible for three. Sewn together, the squares will create one cohesive image. Our theme for this project is individual interpretation of a shared home, in our case, British Columbia. We hope viewers will consider how different perspectives result in different artistic expression even when the image is the same. We will invite viewers to ask themselves how they would have created their squares. What would they do differently? What would be the same?

We drew inspiration for this collaborative project from the art experiment of Claude Monet and Pierre-Auguste Renoir. In 1869, each artist painted the same scene side by side, en plein aire, for 8 hours. The result was two paintings similar in content but differing greatly in style and execution.

Method:

We have selected a square photograph of a forest in the Pacific Northwest which we will divide evenly into nine squares. Each group member will recreate two or three squares of the photo on fabric using any textile art and demonstrating her own abilities, artistic sensibilities and lived experience. The nine squares will be sewn together to create a single image, meshing four different interpretations of the same BC landscape.

Other inspiring collaborative landscape quilts

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The Language of Cardboard

more photos

So student in another class are creating with cardboard. I have done a little with cardboard, but their projects are so diverse. I am glad it is part of the course to display our creations. I feel pleased to share my own and find others work to be inspirational

 

 

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Self Portrait Dragonfly

This started with the desire to create something artistic rather than copying someone else’s sampler.

Once I started to research dragonflies, I realized how much I identified with them.

Here are the images that influenced my initial design:

Creative Process in Photos

“Sew your Eyes Shut: Stitch your Mind Open” (I chose a crappy title for it. It seemed to make sense at the time.)

I learned to embroider as a young child. My mother cross stitched, and we wanted to create with her. She transferred images with her iron onto ragged white squares. We stretched these onto hoops and proceeded to stab out the outlines of ducks and flowers. I enjoyed creating, but I found my lack of skill and the limitations of following a pattern frustrating. I was happy to return to the therapeutic process of stabbing as an adult, especially given the opportunity to design my own pattern that communicated my own ideas.

The dragonfly gets a bad rap in western culture. She is called the devil’s darning needle. However, I chose to use a dragonfly as a visual metaphor for my self concept because I identify with both her strength and vulnerability. She is an agile flier and an adept predator. Her strong legs literally snatch her prey from the air; she can consume her own weight in half an hour. She migrates long distances, sometimes across an ocean. In spite of her strengths, the dragonfly is still very fragile and quite beautiful. She spends a large part of her life span in a larval state, feeding and growing, until she undergoes a transformation and erupts from her old skin in a new shape. Her adult life is short, but her ephemeral nature adds to her preciousness since it is so fleeting.

I have confidence that, like the dragonfly, I can achieve great ambitions. My journeys have been long and challenging, resulting in personal transformation. I often feel vulnerable and of passing significance, but I can see that my contributions are beautiful and influential in the moment.

I embroidered a dragonfly at rest in order to illustrate her strength and fragility. I stitched it into two swathes from the skirt of an old party dress in an organic process; I twined coloured strands and merged them on the background, and built texture with layers and layers of stitches. I feel inspired by layered colour; the multivalent effect portrays the layers of my personality.

The upcycled fabric speaks both to the brief nature of the dragonfly’s life and to my own impermanence. It also shows the value that can be found anywhere including in oneself.

I adorned the frame with evergreen twigs to juxtapose the artificial quality of my personal portrayal with the tangible reality of real branches. What I have framed is a construct–a two-dimensional depiction of a complex and changing entity with flawed vision. However, there is a resonance between the embroidered branches and the real ones that exemplifies that art is mimetic and communicates some truth.

I was influenced by textile artists Karolina Bakowska and Ann Dunbar. Bakowska’s embroidery appeared on my Facebook feed through the group Textile Arts. She entitled her work “Gold Polish Autumn” and imposed the white trunks and gold leaves of aspen trees on a vibrant pink batik background. It leapt from the hoop. Dunbar goes even farther. She creates her own backgrounds with watercolour paint, then embroiders the foreground. Her landscapes burst with texture.

My connection with the dragonfly may be as fleeting as she is, but creating her with fibre and fabric opened my eyes to many new possibilities of art and self.

 

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Leaves

Printing with leaves would be fun to try.

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Home: Creative Process

So starting from this image, I really engaged with this assignment. I was struggling with conflicting motivations. The easiest thing to do would be to make some social commentary that undermined the concept of home as an ideal. But I think positive standards around something like home are important. So I had to navigate in my own mind what I would want to set up as a new, more realistic ideal. Going back to beautiful, broken things, here is the windy path I took in my sketchbook.

Research

Process

Final Piece and Statement

home

The concept communicated by conventional “Home Sweet Home” hoop embroidery includes a cherished and safe environment. Happiness, peace and security are ideals portrayed by cute or elaborate patterns. For this piece, I choose to overturn these ideals by violently attacking a traditional pattern and juxtaposing it with an alternate depiction. Simplicity replaces elaborate craftsmanship. Process overthrows security. Imperfection’s wild energy counterbalances that of the organized stitching. The ideal of “home” is rejected, but its remains influence how viewers perceive the new image.

‘home’ may be imperfect, damaged and vulnerable, but framing it demonstrates that it is still worthwhile. There is desperation in the stark, tangled stitching, but there is hope in the a small repair, and commitment in the threaded needle. Home’s sweetness may actually be discovered through the process of creating it.

 

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Home: initial discussion

Embroidery and the development of “home”

Assignment:

how many words do you know for home (think broadly about the notion of home). (take no more than 5 minutes)

House

Residence

Domicile

Nest

Den

Pad

Refuge

Cave

My place

Chez moi

Casa

Doma

Living space

Lodgings

Mom’s place

Burrow

Warren

Habitat

Territory

Castle

Village

Hut

Hovel

Now think about how many words can you think of that deal with Homeless – (broadly)

Alone

Cold

Vulnerable

Without

Lost

Shame

Poverty

Transient

Uncertainty

Empty

“If an artist were to address the notion of home/ housing/ homelessness; and link this to the notion of common images associated with embroidery, what might be the subject? How might an artist address this within the confines of an embroidered work of art?”

So if I were doing my own satirical embroidered art, I would stick with Home Sweet Home as the wording and stitch a cartoony picture of a mom at her limit. Messy house, kids fighting or crying and mom tearing her hair out.

Or maybe I would do a demolished gingerbread house.

But I think the most meaningful would be a typical home sweet home embroidery of a house and flowers and hearts that had a broken hoop, torn fabric and stitches coming loose, that had been obviously mended. I would incorporate patches and brighter thread and maybe leave some holes.

 

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