Back in September I had a good selection of homegrown flowers that made a large and colourful flower arrangement. You may have seen the arrangement in my Blog post ‘Light or Dark‘. I liked them so much I decided to have a go at painting them. It is some years since I last had my paints out and I’d forgotten how different it is to working with dyes on silk.
It turned out to be an interesting lesson and a reminder to me to look and observe more carefully. Of course, I couldn’t let such an arrangement not feature in my silk work as well. And, it was revealing to see how the essence and not the detail ended up in the silk design.
As you might be able to guess this isn’t a full-sized scarf. I thought I would start with a bandana/small square scarf to see if the translation from gouache on paper to dye on cloth was worth pursuing. The jury is out on that at the moment. I have just started drawing out a 90 x 90 cm twill scarf to eventually include the arrangement, but probably as a repeat motif rather than a central ‘picture’.
For the time being this bandana is finished and steamed and on the shop.
As many of you know I have been painting silk for years and mostly selling painted silk scarves, but that was until Covid.
When the pandemic arrived and with it, eventually, the wearing of masks in crowded spaces and on public transport and during a lockdown or not, there was an explosion of homemade masks of every shape and colour. And, as some of you know, I started painting and making silk versions. All that was until the arrival of working vaccines and the gradual reduction of mask wearing.
Now, anybody who knows me in real life knows that I view sewing, by hand or machine, as a means to an end. Getting my old sewing machine out to make masks was an interesting experience for me. In the end sewing and making joined painting as part of my everyday work.
All this prattle brings me to the point that for some bizarre reason at the beginning of this year I decided to embark on a large painting and machine embroidered piece of work. Yes, I did just write ‘at the beginning of this year’, because this has turned out to be a very long drawn out endeavour. And, I am now at the stage where I have picked it up and started and stopped so many times I am wondering whether it will ever get finished. The working day routine of sewing masks pretty much ceased back around last Easter and in between periods of scarf painting, this long, involved project began to take more and more time. Now, as we move into autumn my patience for machine embroidery on this scale is seriously running out of steam.
Anyway I thought I’d share my progress so far and I will blog about it again if it ever gets finished.
About once a year I paint an experimental, trial scarf for myself, then tweak the design and when I’m satisfied paint a very similar more refined version for the shop.
Not long ago I reviewed my stock and assessed the different colours available. I realised recently I have been mostly working with blues, turquoise and pinks. On my shop there’s also scarves in pink and green, soft green and gold, but no strong green.
Last time I did this ‘one for me (prototype) and one for the shop’ I was working with strong, vivid reds. This time I thought I would use the same approach to work with some zestful, bright greens.
Of course, sometimes there’s a fashion for a certain colour and I notice green has become popular of late. Now, this bright green is quite a change for me and for a first experiment it was always going to be working with my smallest scarf size.
Also this small ‘neckerchief’ size is a personal favourite as it can be worn to add a small accent splash of colour, especially when it is such a zingy colour.
Finally, both green scarves were finished and steamed and now one is on the shop and I am wearing the ‘trial’ one as I type this post!
As artists, artisans, creatives and makers we all form part of the visual culture community and as such it is always a joy to see and be inspired by the work of others past and present.
One commendable opportunity offered by the Internet is the ability to share our finds and photos of inspirational art particularly the unnamed work of past artisans. Sharing our appreciation gently reverberates across the net as pleasantly, every now and then somebody pops up and leaves some much appreciated positive feedback for my own work.
Just recently I have received a couple of delightful mentions one by Sheri 42 from the blogging world
and one by ‘Suffolk Artists’ on Instagram. And, so I thought I would blog a ‘thank you’ post for both mentions and share the love as they say.
It might be a cool and wet start to July, but recently I have turned to painting with a warmer range of colours.
It is another layered mid-sized scarf which has ended up more patterned with the second layer than I had originally intended.
And, after steaming the colours have turned out to be stronger and hotter than expected as well. Perhaps this weather is going to get the idea and also turn hotter too and then we’ll have a summer after all.
Last month I took a few photographs of the flowers that had managed to do their thing despite a very wet May.
As it happens it was the photo of the deep purple and pale lilac aquilegias that consciously caught my attention and became the inspiration for a silk scarf.
And, in that strange way that colours and shapes so often infiltrate the sub-conscious, the alliums found their way into my design too.
The second layer of shapes and colours added over the first fully dyed silk made for a messy looking composition, but after steaming the completed scarf, Eladora Sea, has turned out to be one of my favourites.
Along time ago when I was a student my textiles tutor once commented to me that she could always recognise my work by my use of black. At the time she had been looking at drawings for a floral fabric where I had used only the tiniest hint of black behind lime green stems.
I also remember my mother (an amateur oil painter) making a comment that she never used black, but only ever Payne’s grey.
Over the years I have begun to include more and more colours in their darker shades instead of the black to add depth to my designs. Every now and then I think I am going to stick with a pastel background, but somehow I find I want the design to be a little more punchy . . .
And then a pot of a dark Prussian blue or an imperial purple or even a rich brown is unscrewed and the dark dye banishes the pastel.
However, as I write this there’s work on the frame where I have designed from the outset to use pure black. I know it might seem strange, but to get the best black it has to be painted onto the natural silk before any other dye has been added. You’d think that black would just cover any previously painted area, but some of the initial coloured dye binds to the silk and even though the black is strong, it never quite looks as sharp.
Finding myself working again with black it seems, as with so much in life, even one’s creativity can turn full circle as part of a cycle. Apparently for me it turns out I am on a roughly seven year circuit! Of course, it’s never a true repeat, but a revisiting with the benefit of experience.
Sometimes for some strange reason, and unwittingly, I just make my life that little bit more awkward and this is one such occasion. I absolutely know that the one colour I find virtually impossible to accurately photograph is pale turquoise. Naturally, therefore that is the very shade that has ended up being THE conspicuous colour for my latest 90 x 90 cm silk scarf.
I simply cannot explain how this happened, as you can see below it all began innocently enough with simple, primary highlights of red, green, yellow and blue and then a few dark smudges of deep purple.
However, after painting in the black and grey border I pondered, considered and then decided the small corner details could be in a turquoise/sea green colour and then suddenly I find I am industriously splashing it all over the centre panel.
I expect you have heard authors say that often their characters take on their own life and lead a story off in a completely new and unexpected direction, and I, behind my hand, have thought right, okay, sure. But, after my experience with this scarf, I believe them. I am totally converted to the idea that a creative process can somehow evolve pretty much under its own steam.
So, there you have it a pale turquoise (or is that sea green?) silk scarf with a few highlights of other colours!
Like most people before the pandemic and the restrictions and the lockdowns, I used to go out. I went out locally as well as further afield to visit churches, museums and galleries always looking for inspiration for my work. Medieval sculptural details and the patterns painted on Victorian stained glass, so common in our parish churches, have been a great resource. However, for the time being most churches are locked and entry is not permitted.
Naturally, like many people working from home I have turned to the Internet and have found viewing online Fine and Decorative Art Sale Catalogues very worthwhile. These catalogues often have great photos with good colour showing off the beautiful detail that can be found on unusual antiques such as this Carlton Ware vase by Violet Elmer (1907-1988). (And, to my surprise, Violet had a link to Suffolk as her great-grandparents had lived in Scotland Street, Stoke-by-Nayland, Suffolk, in the early 19th century. There is an interesting article in the East Anglian Daily Times about a couple of collectors from just outside Ipswich who have filled their home with Carlton Ware and hunted down some biographical details for Violet. She was born in Oxford in 1907 and moved to Stoke-on-Trent in 1928 to work as a designer at the Carlton Works. Sadly, for us, she stopped work in 1938 when she got married.)
This fine example of her work is vase decorated with exotic birds (disappearing round the top righthand edge), flora and foliage on a pale plum ground. I think it is both beautiful and charming and you could imagine that perhaps Violet Elmer had herself been inspired by a Victorian millefiori paperweight. The shape of those little flowers is so typical of millefiori.
Inspired by or maybe stealing from artists from the past has a long tradition and I am happy to join in and make my own reinterpretation in a different medium.
It is just a pity that the silk I have painted was for those unglamorous, yet currently necessary, face coverings.
PS – I actually painted these silk pieces during the second lockdown and have only just made them up into masks. Lockdowns have seemed to roll one into another. Sigh. And, now I hear they’ve cancelled Glastonbury and UEFA are also proposing this summer’s tournament to only take place in one country (and I have tickets for a game in Glasgow) and, well, Easter? 🤞🏻 Who knows!
Spring cleaning is one of those jobs that I never quite manage to begin let alone complete in spring and this year, well, as we all know life took on all kinds of other new directions. Eventually, however when the second lockdown came along, I found myself sorting out my understairs cupboard. This is where I keep all my craft fair paraphernalia and as this November there was no ‘British Crafts at Blackthorpe Barn’ I thought I’d take the opportunity to reorganise all the gear.
Of course with any sorting, cleaning and clearing-out there comes that moment when you find something tucked away you’d completely forgotten about. As you may have guessed I have a fair amount of fabric stored around my house. Most of it is in boxes and despite my attempts to keep track of what is where, my hastily labelled boxes approach has much to be desired.
I am appalled at the time I waste looking for some offcut I know I have somewhere, opening and digging around in boxes and wishing I had kept the contents list up-to-date, but then comes the moment for a nice surprise.
One of the understairs boxes contained a favourite silk I painted in 1980s. I have long since stopped wearing uber-short, sleeveless shift dresses, but have not been able to part with this one.
When I rediscovered it, screwed up at the bottom of a box, I thought, oh yes I’d like to work with these colours again. However, when I came to use the pattern and colour combination I didn’t think it worked for a large scarf, so I scaled it down and instead painted silk for face masks.
Now I’ve always known that my creative work varies noticeably with how I am feeling. Obviously this personal acknowledgment is not from a serious, in-depth, psychological assessment, but just a vague, airy-fairy type of observation.
I expect you’ll find this mini challenge/quiz all too easy. These ‘sequence’ photos are a selection of the scarves I’ve painted so far this year. They are a before lockdown and during lockdown series. As an aside, how good it would have felt to have been able to type a sequence of ‘before, during and AFTER images’. Soon, we hope, soon. So which are the before and which are the during scarves?
I think it’s quite obvious, you’ve probably guessed but here are the answers to confirm your no doubt perceptive choices.
For me it goes thus – chirpy, energetic, outward-looking, and my work is bold, loose and conspicuously colourful. Conversely, hit a pessimistic period and it’s all introspection, lethargy and hints of moroseness, and my work becomes contained, restrained and muted. I have to say it’s never been quite so obvious as this!!!!