Craft + Technology at the Watershed, Bristol.

Yesterday I went to the showcase event marking the end of these 3 month residencies which saw makers working with technologists to explore ideas which combine craft, culture and technology.  They came up with three very different projects that incorporate human/digital interaction in unexpected ways - a flying skirt, a memory box for people with dementia and a hug and pay system. It was fascinating and intriguing, both the ideas and hearing about how the collaboration worked.  You can read about the project at WWW.watershed.co.UK/ished and  they will be uploading a film from this event soon.

Module 6 Chapter 9 and Chapter 10–Bonding and Resolved Samples.

These two chapters are all about experimenting with the use of transfer adhesive to create new surfaces and bond fabric layers.  I have used Bondaweb which gives an even and solid layer and FuseFX (from Art Van Go) which is a very open mesh and is available in black and white.  The fabrics and threads are offcuts and scraps from earlier coursework/projects and remnants from dyeing sessions.

Photo 1
Lacy surfaces made from loose threads trapped between two layers of FuseFX  (threads leftover from drawn thread work, thread ends from sewing projects and short lengths of wool from an old catalogue).



Photo 2

Using natural materials.  Top – I ironed pressed leaves onto Bondaweb but they immediately disintegrated so I added some sheers fabrics to keep it all together and then used a heat gun to burn some of it away.  Bottom, raffia in FuseFX.

Photo 3

FuseFX painted with acrylics and then used to trap some more leaves – these were not quite so dry and brittle and stayed together.

Photo 4

Bonding with heat-reactive surfaces using a heat gun.  Top left is painted Tyvek (from used envelopes) with dyed bamboo cleaning cloth on top.  This has buckled to make an interesting texture but unfortunately I seem to have scorched the cloth in places. Top right is more successful, my favourite of this set – the Tyvek has been slashed randomly and pieces of crystal organza scattered on top.  This time, black FuseFX has been added as a decorative top layer rather than underneath.  This has allowed the Tyvek to move freely and the organza to melt while being sticky enough to keep it all together.  Bottom left – a tiny sample of little pieces of Tyvek bonded onto organza which has moulded itself around them.  Bottom right layers of organza and FuseFX heated to make a textured bubbly surface.

Photo 5

Combining bonded shapes with a solid ground.  Pieces cut from the lacy samples are based on the grid developed in the work for chapter 5, using both the positive and negative shapes, and have been bonded onto coloured papers from chapter 2. In order to blend the shapes and colours on the lefthand sample, I added some of the painted FuseFX on top, and on the righthand sample added some torn pieces of the black.  I particularly like the way the random threads and the FuseFX mesh echo the crackled effect of the crumpled and painted paper on the left hand sample.

Photo 6

A few more of the shapes, this time layered onto  another sample and then painted fabric.  Although less successful  in terms of colour and overall look, as a technical trial this is interesting in the way that the strands of wool have formed a thin transparent felt-like layer floating above the random threads, giving more depth.

Photo 7

More layering of samples, using the greek key shape from chapter 4 onto crumpled lokta paper.  This time the top layer is more solid so the bottom layer of threads does not show through.

Photo 8
I painted pieces of Bondaweb and FuseFX with acrylics and then tore them up to use in the remaining samples.  This first one is strips of fabric and the transfer adhesives on plain calico, with the adhesives going over and under to add more colours.


Photo 9
Then I wondered why I needed the fabrics and made another sample using just the transfer adhesives and layering up the colours.  I really like this effect and the way the colours combine (although I can see some straight edges left in that I should have torn).


Photo 10

I tried some of the painted bits on black silk to see the effect but is doesn’t really work – somehow they look more rubbery than on the white.  For the left hand sample, I scattered thread ends onto painted Tyvek and overlaid FuseFX – again not really happy with the look.

Photo 11

Moving into the stitched samples, I made up a sheet of bonded thread ends (left) and experimented with using machine stitching as a resist to heat applied to layers of organza (right).

Photo 12 and 13 (detail)

Resolved sample 1



I forgot to put a coin on this one for scale, but it is about 25cm square and again based on the greek key shape. The layers are (from the back)

• calico
• painted transfer adhesive in various colours, torn up
• organza
• shapes cut from sheet of bonded thread ends
• more fragments of transfer adhesive
• hand stitch

This is a sample I am excited by – I have made a mental note for the future to try combining this with the techniques I used for the Irish dance dress as a way of intregrating the digitized stitching, and it would also be worth trying with a stiffer transparent fabric in place of the calico to let light through, or even making it doublesided.

Photo 14 and 15
Resolved sample 2.  I added two photos as the light was poor; photo 14 (left) is more accurate for colour but a bit out of focus. This time I remembered the coin and the length is roughly an A3 sheet.

This one was based on the symbols I was playing with in chapter 5 and the layers are (from the back)

• dyed silk from chapter 3
• fragments of painted transfer adhesive
• triangles cut from sheet of bonded threads
• fabric circles
• handstitch
• black transfer adhesive.

I think I have overdone the top layer on this one – too much black is in danger of becoming clichéd.  Another time, I would use less and choose another colour.

Photo 16 and 17 (detail)

Resolved sample 3



This one wasn’t based on a previous design but was inspired by the fruit shaped paper pulp beads from chapter 6 (moulded from a sweetie box).  The layers are

• dyed silk
• fragments of painted transfer adhesive
• frayed threads pulled from a similar piece of silk
• paper pulp beads (they are about 5mm deep)
• fragments of painted transfer adhesive
• handstitch using frayed silk threads.

Using the painted transfer adhesive as a net over the beads makes it look as if they are naturally part of the background (bark? forest floor?) and is a useful way of trapping them securely.  I ironed carefully around the beads using the edge of the iron, so the adhesive is only stuck down where it touches the background and stretches across between some of the beads.

Module 6 Chapter 8

Creating surfaces for stitch with plastic carrier bags. I used a mixture of heavyweight bags and the very thin, scrunchy sort and joined them by ironing between sheets of baking paper.

Photo 8.1

I scrumpled up two bags and cut strips, letting them fall randomly on the background.  The thin pink bag gave the most interesting results as the layers show through.

Photo 8.2

Shavings of wax crayons were melted in a clear bag which was cut up as before and ironed onto a background.  I added a layer of pink on top for more colour.  I like the way the hot wax has made the plastic melt and distorted the text, and also made holes in the background.

Photo 8.3

Strips of lime green and light blue ironed onto dark blue and then cut up and applied to another background.

Photo 8.4

More of these strips applied to a striped bag (this over heated and distorted rather a lot) and a couple of experiments with folding and ironing the striped bag. (At this point I feel I should be awarding points to anyone who identifies all these well known shops!)

Photo 8.5

Three samples adding colour with thread ends.  On the left, threads ironed between layers of clingfilm then ironed onto the back of the handle from the lime green bag.  As this is another thin bag, the threads show through as a texture.  I cut circles from the remaining ‘fabric’ and ironed one onto another piece of the clear bag.

Photo 8.6 and 8.7 (detail)

Incorporating stitch onto resolved samples.  I noticed that the well worn bag handles are the same ovoid shape as appears in formline art so I made a sample inspired by that style.  To represent the grid structure I created a patched background by ironing and emphasised the lines with machining, letting the colours spill over.  I ironed the handles on top and machined around the outlines.

Photo 8.8 and 8.9 (detail)

This sample was made with some tiny bits of bags (left over from a previous project) applied to a supermarket bag.  I made a patchwork again and machine stitched around some of the shapes.  These bags were all very thin so some of the writing comes through from the back and the layers give additional colours.  I changed to a thicker top thread and added some of the key shapes used in earlier chapters, taken from a Mexican bag.

.

Module 6 Chapter 5 Design Revisited

Following Sian’s feedback, I have made more (lots!) slightly larger octahedra using several multiples of each photograph.  This time, I have sorted them by colour and joined with a stiffer wire that can support their weight so they can be raised up.   Some have been wrapped all round while others sit loosely in a ring.  I have been having a deal of trouble taking photos as the light is poor but using a flash or spotlights is causing reflections on the glossy paper, and changing the colours, but here is a selection in a variety of poses.  Each octohedron is about 5cm tall, a few of the original ones are smaller and I have left some of the thinner copper wire in place.  I think there about 40 altogether.

5.17

5.18

5.19

5.20

 

5.21

 

5.22

 

Exhibitions in February

Two exhibitions I am involved with coming very soon.

First is the Bristol branch of the Embroiderers' Guild which is from Friday 15th Feb to Sunday 17th Feb at the Stoke Lodge Centre, Shirehampton Road, Bristol, BS9 1BN.  Open 10-5 Fri and Sat, 10-4 Sunday. Light refreshments will be available (homemade cakes - mmmm), admission £3.

Immediately followed by Gordano Textile Artists at Nature in Art, Twigworth near Gloucester. Definitely one for a day out as this a lovely venue and I can recommend the wildlife photography exhibition as well.  Details on the poster below, there is a charge of £5.25 for entry to the museum.

You might also be interested in looking at the Gordano Textile Artists blog.

Module 6 Chapter 7, Quillwork

Some samples using quillwork techniques with different materials, mounted on one of the pieces of canvas from chapter 3 painted with gesso, egg tempera and spices (still smells luscious).

I have used little offcuts of metal from earlier coursework as 'quills' in some of these - they were easy to cut and bend but I snagged my fingers on the edges; next time I will wear thimbles.  I also found it was easy to cut the stitches by accident when feeding the strips through. They make interesting patterns with the different colours on front and back.

Key

1 Single 'quill' over 2 lines of stitching, top is tomato puree tube (heated, painted and pierced), bottom is a thin copper shim.
2 Again over two lines of stitching.  Top is single piece of raffia, bottom is a strip of copper shim and one from a drinks can (heated).
3. A single strip over one line of stitching - from a thicker piece of metal.
4. Curved line made over two rows of stitching, this time using both ends of a single strip simultaneously to make the braid (joining strips in as needed).  Strips were cut from one of the envelopes made into leathery surfaces in chapter 3, which has colour on both sides where it has soaked through.  Being crumpled and waxed made the paper strips soft so they bend well, but also made them  prone to being damaged by the threads which caused them to tear.
5. Oval shape using both ends of one strip of dyed fabric, tucking loose ends underneath to join a new piece.  This gives a slightly raised fabric motif with a clearly defined edge which I rather like - much more fun to do than turned edge applique.  I think this would very effective over some padding.

Module 6 Chapter 6 Making and Using Beads

Thinking about found objects as beads – here is a collection of items that could be used.

6.1

And some with colour added (acrylic paint and Goldfinger).

6. 2

Making beads with shrink plastic – pieces of shrink plastic painted with acrylic interference colours.

6.3

Holes cut out before shrinking.  I tried linking the pieces while heating thinking they might join up but they did not stay together (whereas normally when I use shrink plastic it curls up and sticks when I don't want it to).

6.4

Key to photo 6.5 below 

6.5

1,2 and 3 are the shrink plastic shown above.  I think 1 was overheated as the acrylics went crunchy and changed colour – maybe the interference colours aren’t really suited for this technique.  2 is some of the cut out pieces left unchanged and for 3, I stopped before it had entirely shrunk which gave these little shell-like pieces which shine like mother-of-pearl.

My next experiment was with glass paints on white plastic and this time using the oven rather than a heat gun. 4  is little circles again and triangles;  5 is two circles on top of each other, heated for a very short time and pulled out when they started to curl, which gives these shapes like flower heads, with the smaller piece nestling inside (I thought they would stick together but actually the inner pieces are loose).  8 is the same method with the randomly shaped offcuts which twist up rather nicely.

6 and 7 are paper pulp painted with acrylics and Goldfinger.  6 was pulp pressed into the lining from a box of fruit sweets – I forgot to make holes so these ones will need to be couched down or trapped – and 7 is shapes moulded with fingers on a skewer so they can be threaded.  I think these ones look like muddy lumps of fools gold.

Photo 6.6 below – a selection of rolled beads made from scraps of dyed scrim, permanganate dyed bamboo cloth and sheer fabrics bonded together and incised with a stencil cutter.

6.6

Photo 6.7 Moving on to using beads, this sampler shows from top left

1.Beads threaded with peyote stitch and found objects added as a trim.
2. Weaving on a bead loom.  I stencilled the little bird shape from chapter 5 using ratio graph paper to get the proportions right for the shape of the beads, but unfortunately I didn’t realise until I had finished that I had the paper the wrong way round, so it is rather long and thin.
3. Netting laid over one of the shrink plastic shapes and backed with  onion dyed silk.  Below it are two tiny samples of different beading stitches.
4. A square woven on the bias with a single length of yarn (pin weaving)  strung with shrink plastic beads.

These four samples are mounted on one of the dyed pieces from chapter 3.

6.7

And some close-ups

6.8

6.9

6.10

Finally, paper pulp beads placed on a  Tyvek background and held down with strings of bought beads.
Looks a bit like a rocky desert scene.

6.11

Module 6 chapter 5

One last bird picture from chapter 4 to complete the set, then onto chapter 5.

The design exercise in this chapter is all about creating a totem from a collection of any relevant items as a way of celebrating my personal course theme, which is ‘machinery and industrial landscape’ .  The chapter suggests it could be in the form of a heap of things or a memory ribbon.
After much thought, I decided to use my collection of photographs of the old Sevalco plant near where I live.  This was one of the first things I photographed when exploring the theme back in module one, and I have returned several times over the last few years as the plant has been  taken down piece by piece. The latest set was taken just before summer school 2012 and now there is little left of many of the structures apart from large piles of bricks and some puddles.  I didn’t base any of my assessment pieces on these images but they have cropped up several times as inspiration in the coursework.  As I am getting to the final few chapters,  I like the idea of celebrating both the theme and the passage of time since I started the course, and all the changes that have taken place.

I wasn’t sure at first how to present the photographs but I wanted to express the idea of there being little left but rubble.  I remembered seeing this blog post a couple of years ago featuring sculptural photography by Szymon Roginski and Kasia Korzeniecka, and I have taken this as inspiration.  The photographs have been cut up, folded into octahedrons and loosely bound together with copper wire so the heap can be rearranged and piled up.

Photos 5.1 to 5.3 show different views.  Each octahedron is about 45mm by 30mm.

5.1

5.2

5.3

The next step was using this as a source for two-dimensional designs.  Throughout the process, I referred back to the list at the end of my last post as inspiration for the style and I have occasionally noted this in brackets so you can see what I was thinking.

Photos 5.4 and 5.5 show the first attempt using the idea of symbols in a graphic style (like signs).  I copied some of the faces of the octahedrons and simplified the images so that a few lines represent e.g. pipe ends and scaffolding, roof spotlights, chimneys, barbed wire.  I chose four of these and drew them into a larger (A3) plan for an octahedron (working with grids and symmetry).  After this, I wasn’t sure what to do with it – you can see I played a bit with overlaying onto one of the original photos to add colour.

5.4

 

5.5

I decided to try a different tack.  This time I worked in Paint Shop Pro to draw up a grid based on one of my pylon photos.  The shapes are the spaces between girders and the basic unit has been mirrored and flipped to make a symmetrical grid. Photo 5.6.

5.6

 

To use this with my photos, I applied the posterise effect to one of them to reduce the detail and overlaid the grid so you see fragments of the image with only a few parts recognisable, as you do with the ‘heap of rubble’.  Photo 5.7 .

5.7

Then I realised it would be much more interesting to bring in the multiple viewpoints, so I printed the grid and cut up some of the photos, sticking them in the spaces. I included several shots of the same buildings, taken from different angles and on different days Photo 5.8

5.8

I scanned this into Paint Shop Pro and used the displacement map option to distort the image so it doesn’t just look like cut up photos. Photo 5.9.  (For some reason this looks better printed out as it is a much richer blue).

5.9

And then tried a few colourways, photos 5.10 to 5.12, but prefer the background in rust/terracotta.

5.10

5.11

5.12

Changing the settings for the displacement map created an abstract image with a soft felt-like texture (could be hidden stories) photo 5.13. 

5.13

I intended to print this image at A4 for my folder but forgot to check the last printer settings used, which happened to be for a poster, so the result was that it printed out large scale sections on postcard sized photo paper.  However, it was a happy accident as I rather like some of the sections, and in close up they look like handstitched panels. Photos 5.14 and 5.15.

5.14

5.15

Finally, wanting to move away from the rectangular boundaries, I came full circle.  Photo 5.16  these are large scale prints of 3 of the sections from  photo 5.13 (2p coin for scale, they are on two A3 sheets) which seem completely abstract but carry a lot of information from the theme.   The colours will need adjusting as the computer manipulations often produce odd combinations and not enough contrast between light and dark areas, but I can see these being made in needlefelt or a combination of felt and fabric as freestanding forms.

5.16