The first samples are based on the mud flats.
8.1
Twisted cotton fabric held with hand straight stitch.
8.2
Muslin gathered and pleated with hand straight stitch and folded.
The second samples are based on the remains of jetty posts.
8.3
Muslin gathered with hand straight stitch in two directions.
8.4
Pulled threads caught under muslin with free motion machine stitch, random folds and pleats.
The third samples are based on dried, hanging seaweed.
8.5
Loose woven linen with threads pulled and torn, threads pulled to gather fabric.
8.6
Italian quilting on muslin with free motion machine stitching.
The fourth samples are based on piles of cockle shells.
8.7
Foam board cut and trapped under muslin with free motion machine stitching.
8.8
Fabric wrapped around sticks and piles of torn fabric attached with hand stitch.
The fifth samples are based on oyster shells.
8.9
Polyester satin fabric melted and burnt with a soldering iron, held in place with free motion machine stitch.
8.10
Tyvek and Lutrador, melted with a heat gun and hand stitched into place.
This chapter really made me think carefully about the ways to translate from paper to fabric relief. I tried to refer back to the previous chapters to try different methods of manipulation, and I tried not to add too much stitch so the fabric stood out as the main relief.
Hi Lisa. I walked along the Thames by Tate Modern recently and saw the river's edge differently having looked at your depiction of the mudflats! Carrie Donohoe xx
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