After a couple of years touring and being on display at Kingston Hospital ( pictured 5th from the right on the
NNA website) I've finally got my Poetry In Stitches 'Petra' piece back. I've just been unpicking the velcro strip and attaching a hanging sleeve so that Ian can have it in his office (he's been nagging me for its return for the last year!) It's a piece that I finished and sent off with little time to live with it so it's an interesting snapshot of my direction at the time - I'd probably do it differently now. I was just beginning to experiment with incorporating photographs printed on organza and there's just a tiny piece of acrylic paint on it. Still like it though, and it brings back memories of my visit there and the magic of glimpsing the Treasury after walking throught the darkness of the 'Siq'.
Meanwhile I've been experimenting further with my 'Weir' samples, stitching the outline of some dried seedheads in the foreground to unite the different sections
And I've started auditioning fabrics for a larger piece - some fabrics such as the Heide Stoll-Weber dyed fabric at the bottom have potential on this scale ( approximately 60 x 120 cm) that they didn't in smaller samples. Just goes to show that however much you plan, there comes a point when you just have to plunge in and see what happens. Which is the joy of process for me.
After a couple of years touring and being on display at Kingston Hospital ( pictured 5th from the right on the NNA website) I've finally got my Poetry In Stitches 'Petra' piece back. I've just been unpicking the velcro strip and attaching a hanging sleeve so that Ian can have it in his office (he's been nagging me for its return for the last year!) It's a piece that I finished and sent off with little time to live with it so it's an interesting snapshot of my direction at the time - I'd probably do it differently now. I was just beginning to experiment with incorporating photographs printed on organza and there's just a tiny piece of acrylic paint on it. Still like it though, and it brings back memories of my visit there and the magic of glimpsing the Treasury after walking throught the darkness of the 'Siq'. 
Meanwhile I've been experimenting further with my 'Weir' samples, stitching the outline of some dried seedheads in the foreground to unite the different sections
And I've started auditioning fabrics for a larger piece - some fabrics such as the Heide Stoll-Weber dyed fabric at the bottom have potential on this scale ( approximately 60 x 120 cm) that they didn't in smaller samples. Just goes to show that however much you plan, there comes a point when you just have to plunge in and see what happens. Which is the joy of process for me. 
I really like it Mags. It does have that feeling of coming out of shade into light and something special in the far-ground. Lucky Ian :D
ReplyDeletei like what the foreground stitching does to the weir sample. it creates an interesting background-foreground visual play.
ReplyDeleteneki desu
I love the light and the contrasts in Petra. Just been catching up with your weir sampling, the transformations are magical. I like the foreground stitching too. very interested to see how this translates to the larger scale.
ReplyDelete