Fabric, Thread & Me

Mod 6 Evaluation, Records and Authentication

Evaluation - Creative Conservation

The completed piece for Module 6 is a machine stitched wall hanging based on the design topic of conservation

How do you feel about the resulting conclusion?

I am pleased with the final wall hanging. The hanging evolved from the design and I think this worked well from the very initial ideas and sketchbook through to the design and onto the final wall hanging. I felt I worked more productively by using samples at several stages to move the work forward. I was pleased with the dyed fabrics and use of simple stitch. I found the reused plastic very easy to stitch and liked the way it sparkled under the light. I would like to explore other ways plastic can be used.

Is it fit for purpose?

Yes the resulting work can be hung as a wall hanging.

What changes would you make to the way you designed and made it?

I would definitely go bigger if I were to make the work again. I would probably work it around a frame more 'picture' like than as a wall hanging. I might also add some paint to the base layer.

Health and Safety

Machine Stitching

Ensure to use a chair with a back rest, at the correct height and within reach of the machine foot pedal.
Ensure flexes and leads are kept safely out of the way to prevent tripping. tape to floor if necessary with bright tape.

Dye with Procion Dyes

Allergic reactions may occur if the powdered dye is inhaled.
Take care when mixing dyes, wear a dust mask and gloves and work in a well ventilated area.
Keep any stored solutions clearly labelled and away from children.

Ironing

Ensure iron is stored in a safe place when not in use.
Use a correct surface to iron on.
Ensure flexes and leads are kept safely out of the way to prevent tripping. tape to floor if necessary with bright tape.

Scissors

Ensure scissors are properly sharp as there is less risk of accidents if they are not blunt.

Needles

Ensure needles are stored correctly in a needle case or appropriate container.
Discard of old needles safely; a local pharmacy will dispose of old needles.

Costings

Plastic - no cost as reused
Plastic bags for dyes - £1.00
Silk noil fabric - £15.00
Procion Dyes - £5.00
Thread - £9.50
Dissolvable Paper - £7.50
Dissolvable film - £7.50
Glass beads - £2.00

TOTAL COST = £47.50

Authentication

M6 Chapter 12 Study Three Artists

Jae Maries
Jae Maries is a member of the 62 Group of Textile Artists and uses a variety of media including oil paints, printing and hand and machine stitching. She often stitches the surface before applying oil paint. Jae uses simple hand stitch and straight machine stitch that is used in a functional rather than decorative manner, and holds fabrics together. Her inspiration comes from the world around her. She draws inspiration from figures in the environment and her travels.

I particularly like Gathering (detail above) depicting a group of people at a party or exhibition.

This relates to the module not only because of the stitch detail but to my final piece where I have joined fabric with stitch. Also the manner in which the piece hangs. It is bold and evokes a sense of fun and togetherness. This contrasts with the muted colours of the next work.

In this detail of her work 'Turbulent Seas' I particularly like the textures achieved and the feeling of the waves crashing around. The texture formed by stitch is disrupting the marks. This work relates to module 6 and is telling the story of an English Fishing Port. It described the peak of the fishing industry and its subsequent decline.

Barbara Lee Smith
Barbara works with fabric, machine stitch, printing and painting. She fuses layers together with heat. Barbara is an American artist and teacher, who have exhibited widely and internationally. Her work is inspired by the landscape around her - sea, sky and land. Barbara works in an abstract and representational manner.

Barbara describes how she sees 'beauty in the mess' and this struck me as pertinent to this module, trying to see beyond the mess humans are making in the environment and seeing the beauty of nature. She also has stated she fears that the earth may cease to exist and hopes her works will help people to see and care.

South Jetty

It is fascinating to watch how she approaches her art and builds the layers and there is a great clip of Barbara talking about her work and showing her methods on her website here. I was particularly interested in how she stitches the layers using topographical lines on the reverse of the work.

Caroline Dunn

Caroline Dunn is a mixed media artist, although she works mainly with textiles.

She uses fabrics and machine stitch to reflect her love and interest in the landscape and birds. Her inspiration comes from her home in the Yorkshire Dales and the surrounding landscapes. Caroline is particularly inspired by the changing seasons, the weather and the light.

Winter Landscape in the Dales

Crows in a Summer Landscape

I particularly like the tonal colouring and the way the machine stitch and fabrics are blended with paints and also, the abstract compositions. Caroline uses natural fabric for her background layer which is then painted and dyed before being embellished with applique, and hand and machine stitch.

M6 Chapter 11 - Making the Wall Hanging

Having decided which methods to use I dyed several pieces of silk noil with procion dyes. I used different amounts of the same colour to achieve different tones. Ironically I used plastic bags to dye the fabric.

11.1

11.2

I started to make wide strips of machine stitched lace using dissolvable paper.

11.3

11.4

11.5

11.6

I continued making sample looking at how to join the fabric strips using zig zag and straight machine stitch.

11.7

11.8

11.9

11.10

11.11

As I wanted two pieces that reflected each other I made the first two sections.

11.12

11.13

11.14

11.15

11.16

11.17

Next I had to decide how to join all of pieces. I contacted Sian and asked some questions:

Shall I use the cotton buds as a join under the lace?

Shall I add some torn plastic strips to the main pieces?

Shall I add bits plastic and cotton buds woven into the lace?

Sian suggested I make some further samples and this did clarify my thought process!

11.18

11.19

11.20

11.21

Once I had reached this stage the work seemed to fall into place.

11.22

I backed the whole piece in plastic to represent the plastic we do not see. I used the plastic bags I had used to dye the fabric. I used some plastic wrapping from toilet rolls as a nod to Surfers Against Sewage. For the nurdles I used shiny beads, hand sewn in place. I found the plastic stitched very well and added a glistening to the piece when it catches the light.

For the hanging I made a binding strip from plastic saved from a delivery and stitched with some string.

11.23 Completed work

11.24

11.25

11.26

11.27 - Plastic worked into piece

11.28 Plastic backing showing through

11.29 - Plastic tape for hanging the work

11.30 - The back of the work

11.31 - The reused plastic dye backs used for the backing 'fabric'

11.32 - Clear plastic on front of work and beads catch the light. The work also crinkle when touched.

11.33 - Final work with design.

And Lastly:

M6 Chapters 9 & 10 - Converting the Design into Embroidery

I coloured a large amount of paper, using different weights including tissue and abaca paper.

I used combinations of brusho, oil crayons, bleach acrylic inks, tin foil and folded, creased and scrunched the papers. I found layering different medium worked well.

I chose blue as a main colour and felt this fitted with my theme meaning - grief and eternity, with sand colour as a contrast, and then green from the seaweed I had observed in the rock pools at Devon. Also green symbolically means hope.

For my design I found I subconsciously tore strips in a wave pattern.

10.1

10.2 - Photocopied and enlarged

I made some samples using whip and cable stitch to translate the design but I didn't particularly feel any connection with them.

10.3

10.4

I moved on to using dissolvable paper and film. I felt more connected with these and tried with some dyed fabrics and thread. I added some beads to represent plastic nurdles, but the beads were a little small.

10.5

I had thought I might make the whole piece in stitched lace using dissolvable paper. I looked at different ways of making a more dense sample and changing tones.