Thursday, 16 October 2014

Rust Retreat

With a month since my last post you won't be surprised to learn that we have been away.  The leisure part of being away featured our annual pilgrimage to St Ives, more of which in a later post.   The less leisurely but equally enjoyable part was a weekend working retreat with Alice Fox organised by the Contemporary Quilt Group of the Quilters Guild.  Winter School, as it was called, was based at Alston Hall in a beautiful part of Lancashire.  

The venue was ideal, comfortable, bright rooms and excellent food.  I think we all came away a few pounds heavier.

There were two workshops going on, Philippa Naylor with machine quilting and Alice Fox exploring rusting on fabric and paper.  In addition a group of ladies came to concentrate on their own work as a retreat.  

Alice Fox was my chosen tutor and she proved to be a supportive and inspiring tutor.  We started by exploring rusting with various agents but most particularly tea of various types and red wine.  

Very quickly we accumulated a growing collection of fabrics wrapped around rusty objects of all shapes and sizes.  Papers were also treated and in some cases used as drip sheets for the damp parcels.

You can probably imagine the sense of impatience we all felt waiting for the packages to dry and the rust reaction to happen.  In some cases wet parcels were brought home and several days allowed to elapse before they were unwrapped.

Where the fabrics had dried we unwrapped with bated breath.

 Above, prints on cartridge paper.

This piece above had been previously dyed with seaweed and was wrapped around an old ratchet.  The biggest effect is the sculptural creasing that has happened.  
 I am delighted with this lovely vintage hanky which was folded around washers.  There are some beautiful marks from the washers and some delicate flow marks from the liquid.

 I think the piece above was hacksaw blades.

 Silk noil wrapped round a chain-linked necklace.

 These strong marks have been formed where a strip of fabric was wrapped round a strip of metal and clamped with mini bulldog clips.

This piece is very delicately marked after red wine was dribbled over old cotton wrapped round an exhaust pipe.  

After dyeing various fabrics we looked at applying stitch both before and after dyeing.

 This piece above is all paper and still requires more stitch.

 This piece above frayings of thread couched down and then the piece rust dyed.

Finally we explored concertina book making incorporating the dyed papers and scraps of fabric and stitch.

I really like this little book, which needs further work but has lots of potential.  The patterning on the paper came from fine wire wool arranged on the paper.  

I have previously worked with rust and always got the strong orangey marks from it but rust promoted by tea gives softer marks and a range of colours is achievable.  It is also likely to be less toxic than the orangey kind.  Alice's workshop gave the illusion of running at a very sedate pace but we achieved a lot and had time to think where this technique might lead.  I've alreadybeen shopping for some wired wool and rustable hardware. I've got a good collection of rusty bits found in the street, on the beach and in gardens but I am always on the lookout for more.  It will be very pleasant too, to sit and stitch into some of the pieces made at the weekend.  Thank you, Alice and all my classmates for a great working weekend.

Monday, 15 September 2014

Three go wild in Yorkshire

I thought I had already written this post but, while it had coursed around my head, it didn't reach the page.  You may remember that last year my two friends and I were let loose on the unsuspecting folk of  Cornwall.   This year a new opportunity arose for us to have a little adventure, but this time a bit closer to home.

My last post was about Saltaire and the work of David Hockney and the excuse for this adventure was the chance to visit Yorkshire and Saltaire together and share our inspirations.  But first, we took the chance to visit one or two other venues.  First port of call was Yorkshire Sculpture Park. 

Do you know these women?  If you see them let loose in your vicinity be afraid, be very afraid!  (Only kidding).

This walkway above is just a very small part of the list of people who contributed to thefunds needed to establish and develop the Park.

The main exhibition we saw was work by Ursula Von Rydingsvard, much of it made as site-specific to the Park.  Much of it was monumental forms made from 4" x 4" cedar beams.  If you click on the image above you may get a better idea of the scale of the piece.

This photo of the 'twins' wandering down the corridor does give you some idea of the scale.

I found some of the work a little disconcerting and maybe that was the aim.  The piece above, like several others, was made from the fourth stomach of cows. 
 The work above is 'Mama Build me a Fence' and incorporates cedar, graphite and chalk.  It is a huge piece, 14' tall x 30'7" long.  I particularly liked the gridwork of the chalk marks across the surface.  Close up it was interesting to see that all the parts were numbered.

If your interest has been piqued by this small snippet of the exhibition you can watch a video about the artist and the exhibition here and visit Ursula's website

Of course, we didn't really go to YSP for the exhibiton, we went to see the sculptures out in the open.

The park sits in beautiful rolling countryside and there is plenty of space for families to roam around.

 I was really happy to see work by Barbara Hepworth whose work I know well from St Ives.  It did seem a bit strange to be seeing it here instead of in her own garden in Cornwall.

Just a few hundred yards from the Hepworth pieces is a sculpture by Henry Moore who inspired Barbara Hepworth to develop her work in new directions.

I really liked the beautiful Buddha by Niki Saint Phalle which was part of her Nana series.

I don't know if this cutout at the back was designed as a seat but I would love to have settled there for a while.

I don't have the maker of this piece but I really liked it and would have liked to have spent some time considering the glimpses of images through the perforations.  The image is in fact of three figures.

I will definitely go back to YSP.  We barely touched the surface and there was much more to see.  

Next up after YSP was a trip to Saltaire but I don't have anything to add to my previous post.  The Great Northern Quilt Show was also on our agenda and I'll save that for another post, although it's probably a mere glimmer in people's memories now.  

We were just able to squeeze in a visit to Fabworks, a fabric shop extraordinaire in Dewsbury.

Oh, my, word!  Died and gone to heaven or what?  The photo only shows a fraction of the fabrics on sale.  None of it is quilt cotton but there was beautiful shirting by Paul Smith and wonderful woollens by Avoca, my favourite Irish designer.  £10 a metre for wool fabric is a really good price.  There were beautiful silks, upholstery and curtain fabrics and buttons and trims galore.  I did succumb and bought some lovely wool for a tunic top and some beautiful cotton poplin shirting for who knows what.  I'll come back and edit in a photo tomorrow - if I remember.  Hang on a minute, I'll fire up the iPad..........

Here you go:

The grey spotty is going to be the lining for the tunic and the feathery cotton poplin is 'just because'!

Happy Days!

Tuesday, 26 August 2014

Hockney and Saltaire

A couple of months ago DH and I took a trip up to Yorkshire (God's own county) to visit the village of Saltaire, a UNESCO World Heritage Site.  The village was built by Sir Titus Salt for the workers in his textile mill.  Production at the factory has now ended and one of the main buildings now houses artworks by David Hockney and others and also various shopping outlets. 

Salts Mill has a long association with David Hockney through his friendship with Jonathan Silver who saved the site from dereliction.  Part of the reason for our visit to Salts Mill was to see the Hockney paintings as there is a plan for quilters living in Lincolnshire to make quilts inspired by Hockney's work.  So, what did we see in Saltaire?

I don't know a huge amount about David Hockney's work and intend to do some research but there is quite a variety of styles in the work on show.  The top piece is a folding screen and the piece below is made up of fax prints.  I supose that appeals to me because of the wave structures in it. 

This huge room would have been one of the mill workooms but now houses many of Hockney's works and many and varied artbooks.

This is part of another fax work and there are obvious connections with fabric.

These blinds which line one of the galleries were designed by Hockney too.

 Saltaire village is not a museum, it is a normal community albeit in beautiful victorian buildings.  The building above is the renovated part of the site containing the galleries, shops and restaurant.

 This is typical of the houses in the village.

 The unrenovated parts of the mill have wonderful decaying surfaces that fire the imagination.

The mill sits alongside the Leeds and Liverpool canal and there are plenty of opportunities to photograph reflections.  Just watch out for all the cyclists!

I don't yet know how my Hockney inspired quilt is going to develop but I've got a lot of inspiration here and this week I get to go back for another visit with my pals Wendy and Tina.  You know the ones!