In a recent post I uploaded photographs of the layering process. I used green dyes for the new top layer on a square silk twill scarf. Here, is another combination of colours on the same original coloured background, but this time on a long scarf.
I have used the same approach, drawing on a new set of motifs,
then adding the colour. This time I have used the greens and bronzes,
but have changed the whole feel by adding a rich rose pink and a pale powder pink instead of the lemon yellow.
I think the finished scarf is now a more dynamic, flowing piece.
It is available from my online shop. 2019 update now sold.
It is time for changing two or three older pieces of work that haven’t sold. I am happy to say that overpainting previously painted and steamed silk can give some very pleasing results. Here a (boring) pale cream, lilac and blue combination is transformed.
Firstly with a new set of motifs applied.
Then painting in with another range of colours, this time greens and bronze.
Gradually the whole square is transformed. It is a creative process that generates some intriguing overlapping combinations of colours.
It’s just under two weeks’ to Valentine’s Day. Naturally, there’s plenty of red merchandise filling the shops, but I’ve noticed there’s more choice than ever and if red Valentine’s cards, red flowers, red boxes of chocolates, and so on, are perhaps too traditional, you can now find similar in pink.
Currently, I do have several predominantly pink silk scarves listed on my online shop. However, perhaps a combination mixing it up – pink with accents of deep red is less obvious and slightly more memorable??
Mind you choosing a scarf that is not overtly considered the traditional Valentine’s ‘colours’, say, grey (altogether more muted with the merest hint of pink), could be just the ticket!
Last October three metres of crepe de chine arrived to be painted for a blouse. Three metres will take me about two weeks to complete, but before I begin such a project I take the opportunity to make some samples and often a scarf to establish that I’ve interpreted the brief as expected.
Here are a few photographs as the work progressed.
The finished scarf after steaming showing the colours just that little bit brighter.
And, half way through the three metres of crepe de chine – last autumn.
Fast-forward to February 2016 and the silk has been made up. I’m always thrilled to see my work transformed into garments.
Last week a mid-market catalogue arrived in the post with this cover page. Now the expression ‘Wearable Art’ is extremely flexible and let’s be honest a bit naff. Not for one minute am I saying that some art isn’t so beautiful you want more of it, for yourself, to remind you of seeing it. Most major art galleries and museums now have ‘the shop’ where you can buy all kinds of items emblazoned with reproductions of traditional, formal art. I have to admit to being so enamoured of Van Gogh’s ‘Sunflowers’ that I made myself a sunflowers silk top, but I never thought I was wearing his art. Art inspired, yes, but not art.
And, that is what I think about the rest of my wearable work, often art inspired, but perhaps not actually art. In the past, I have created art by painting silk where content has been an expression of a concept and knowing that the piece will be mounted and viewed flat on a wall has both broadened and constrained my approach. And, now we return, as so often, to the divide between art and craft where the flexible boundaries are bent by original intent.
As this year’s spring/summer fashion hits the stores, apparently one of the major trends in both fashion and interiors is ‘painterly florals’. I suppose this will be clothes made from floral textiles where the printed fabric designs were originally painted flowers with visible brushstrokes. I’m guessing it doesn’t mean cloth directly painted with flowers! Shame – as that would be such a boon to us silk painters who often actually paint flowers, sometimes called art, sometimes wearable, but always one-off images.