©Christine Linton |
Sunday, March 24, 2013
Run out of steam
Saturday, March 16, 2013
Ice Crystals as embroidery
One of the constants in my artwork is nature. I love walking in nature, studying nature, and while birds are my favourite thing, sometimes I see a natural form that is so beautiful I want to interpret it in stitch. This is what happened here. While browsing Christi's blog Sweetpea Path, I found her beautiful photo of ice crystals (Ice Crystals photo, look at the blog and go down three photos) and she kindly gave me her permission to use it as the basis for some embroidery. This is free-machine embroidery. It is only a sample so I was experimenting and used three different metallic threads, working on some silk on to which I had transferred encaustic wax (always sounds so CAUSTIC but actually is a very gentle technique, just melting wax). It has rippled because I didn't use a hoop but it actually gives it a more organic appearance. Like ripples!
Embroidery by Christine Linton | ©Christine Linton from a photo by Christi, Sweetpea Path blog |
Saturday, March 9, 2013
Climbing out of the rut
Just been to see the Turner exhibition at the South Australian Art Gallery in Adelaide - well worth a visit; though I'm not keen on his maritime ship paintings, the others which show the effects of light are great. I think seeing these international exhibitions is valuable even if they are not in the media that you work in yourself. Opens the mind, broadens the viewpoint, stimulates the brain - well done SA Art Gallery.
I spent a thought-provoking morning browsing the "Turner from the Tate" and the newer additions to the Contemporary Galleries (finding the fantastic new acquisition, by Ben Quilty "Evening shadows, Rorschach after Johnstone 2011", which you can see at my link Ben Quilty masterpiece) then after lunch I made notes in my journal about what I had seen and my current/future plans sitting in comfort up in the State Library - I think it's important to review what I'm doing regularly because I get bogged down in a rut - I hate to admit it but that's my comfort zone - and I need to get back to experimenting to keep fresh. I'm still inclined to be over-organised and had to pull myself up in this journal-writing session and face the high edges of that rut and jump over into the mud, and get scratchy again.
I spent a thought-provoking morning browsing the "Turner from the Tate" and the newer additions to the Contemporary Galleries (finding the fantastic new acquisition, by Ben Quilty "Evening shadows, Rorschach after Johnstone 2011", which you can see at my link Ben Quilty masterpiece) then after lunch I made notes in my journal about what I had seen and my current/future plans sitting in comfort up in the State Library - I think it's important to review what I'm doing regularly because I get bogged down in a rut - I hate to admit it but that's my comfort zone - and I need to get back to experimenting to keep fresh. I'm still inclined to be over-organised and had to pull myself up in this journal-writing session and face the high edges of that rut and jump over into the mud, and get scratchy again.
Tuesday, March 5, 2013
Textile riches
One of the lovely things about working with textiles is their richness, their lushness, their texture. I find silk threads and satins irresistible and used them to make a sewing machine cover.
Also I used the reverse side of a sequin jersey to make my "glitterfly" with beads and wire for antennae and free-machining on the wings (vilened for stiffness).
But I have a long way to go before producing items like these:
satins and silk threads make the sewing machine cover | ©Christine Linton |
"glitterfly" | ©Christine Linton 2012 |
But I have a long way to go before producing items like these:
http://sweetpeapath.blogspot.com.au/2013/02/beautiful-wear-and-tear.html
Friday, March 1, 2013
Imagination
Where would we be without imagination? It's where our art comes from. I made some leaves using three techniques, free-machining over wire, over watersoluble fabric, and over sheer "bits", but my plan to put them in a basket meant they didn't show to their best advantage. So I imagined a way to display them such that they could be turned around to see both sides but they could also all be seen at once. I made a panel from my hand-dyed old sheeting, and strung the leaves from the dowel at the top.
Leaves Panel | ©Christine Linton |
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