Thursday, January 31, 2008

A Capable Lover.

The insight behind the truth and the citation of past experience is best documented between the lines of the fiction it parallels. In great fiction, a balance is attained between these truths and the unbelievable to create an unquestionably enveloping story. We are not only our experiences, but the interpretations of these experiences amplified by the stories we tell. The truth of the moment is preserved by our stories. This book is dos-a-dos bound, double-sided, with three covers. The two outside covers are hand screen-printed and embellished. Inside of one side of the book is a short story that I wrote, and the other side is a blank book. A synopsis might be pointless. The whole story turned into a synopsis, sort of. Anyway, I heard an old movie has the same ending, but I can't remember what it's called...

Tuesday, January 29, 2008

A Little More of the Same













A traditional floral fabric.



Gouache hand-rendering of traditional floral fabric, plus hand-rendered colorway.


CAD: Texcelle rendering of traditional floral plus stripe and coordinate.



Monday, January 28, 2008

Creating Worlds With Turmoil.

And they probably wouldn't survive the meteorites, which were headed straight for them. These monsters were printed in the spirit of building forts and new worlds when I was five, and Jonathan Hiett made Ken kiss Barbie, under the seat of the car, from the time we left until we came back. My mom told me she saw what we did.














These monsters are hand screen-printed on hand-dyed cotton canvas

Not the best picture, but this is what became of part of the yardage I printed. Jonathan Hiett is the owner of a set of these.
Using the Textile Design CAD program, Texcelle, I created coordinates and a colorway for the screen-printed pattern.

Friday, January 25, 2008

bikes

This pattern is hand screen-printed, using the photo emulsion method, and an attempt at repeat pattern registration. The fabric is hand-dyed cotton. The pattern is inspired in memory of Sharon Hiett, as well as are the quilted pieces below, but it sounds silly to me to say anything expanding on this.










The bikes to the left are free motion embroidered in gold thread on muslin. They are quilted and bound using a traditional quilt binding method.



Wednesday, January 23, 2008

'Patterns' Can Mean Many Things


This is the first blank book I made. It's about 12x12 inches and is bound with the coptic stitch. The front cover is paper, with a reverse appliqued, fabric dress, and the title printed on pattern maker's paper and placed in a recess. The back cover is made with the same fabric as the dress on the front, with another appliqued-on dress. The inside pages are blank pattern maker's paper and fold out to 24x24 inches. The paper came from a store in Savannah, GA called At Home, and the fabric is from an old table cloth of my grandmother's. It comes up several times in my work.

Monday, January 21, 2008

Eating off the pea pods



















I made this table in a materials and techniques course based on wood. It is approximately four feet long, eighteen inches wide, and thirty inches tall. It's made of poplar, and is stained green.

Sunday, January 20, 2008

The evolution of the artichoke flower

This motif came from cutting an artichoke, and stamping with it, using black acrylic paint. The motif was developed through drawing.









I then used the motif as an element in the above patterns and colorways. These repeat patterns were designed using CAD for textile design (Texcelle). They are a mild southern gothic tale for cloth, and I had the opportunity to tell the story in its proper medium (as seen below).




The shirt is a readymade. I distressed the fabric with bleach, and mixed the pigment of the print to match the lighter parts of the shirt, while reverse appliqueing a crochet rose window on the front, and secure holes on the back. I wanted to bring to life the concept in the CAD designs, and give this shirt the used and ethereal appeal that can be seen in the south's familiarity with, but often blind eye towards religion: a fable beautiful in tradition and intention.

Saturday, January 19, 2008

Apron/Aproff


This apron is made of cotton muslin, hand-dyed with natural and synthetic dyes. I created the motifs on the fabric using traditional tie-dye methods such as: clamp resist immersion dyeing, arashi shibori, and crumple resist immersion dyeing. All of the fabric, except for the ruffle ties, was dyed in the same synthetic rose colored dye, and then the two packets were over-dyed for different amounts of time in the same vat of royal blue, synthetic dye. The ruffles were arashi shiboried in a vat of natural osage orange dye, with a few seconds in the royal blue vat.

Friday, January 18, 2008

Woven Lace Flapper Dress


This dress, designed in the fashion of a 1920s flapper dress, was hand-woven on a floor loom. Using linen, in the colors of gold-wheat, and white, I wove a two yard piece of fabric using the brooks boquet lace weave, with plain weave. I then carefully cut and pieced the fabric to create the garment above.

Thursday, January 17, 2008

Disco Dancing Robot...Skirt

This is one of my first complete projects. I can be obsessive compulsive about process, and in the vein of The Little Skeleton, drafted the pattern, hand dyed the fabric, hand sewed the skirt,and hand embellished the narrative. With the intention of creating a subtle disco ambience for the fabric, I used potato dexterin with the base purple dye, followed by an immersion dye in teal. I then embellished the sequined disco ball, and appliqued and stuffed the robot (for dimension). This piece was created for the final project in Embellished Surfaces (spring 2005).

Wednesday, January 16, 2008

Portraits


These books are made from the covers of old Reader's Digest story collections, vellum lace, vintage ornaments, paper, and ribbon. They are hand bound with various stitches, including (from top left, bottom left, then to the right in the second picture) buttonhole, accordion, buttonhole, coptic, coptic dos a dos, and coptic again. They are simply blank books, meant for precious thoughts. The materials and method for binding specific to the individual book were inspired by the charm it is portraying. These charms were mostly given me by someone I was close to and who knew my appreciation for the sweet and precious.


detail from my favorite

Tuesday, January 15, 2008

The Little Skeleton



The Little Skeleton began as an assigment based on Frida Kahlo's life and work. I was influenced by elements of her culture, life, and art. The pictures above are the beginning of what became a long, but quite fluid process. To the left, is a section of the scarf that was influenced by Frida Kahlo's life and work. The colors of the cloth are vibrant, and feminine. The image is dia de los muertos-esq, and ethereal in the vein of Kahlo's imagery. The fabric is hand-dyed silk charmeuse. There are two sides to the scarf, as seen in the picture above to the right. The front has the print on it, and the back is solid fuschia. The picture to the right is of the critique for this project, during which it was suggested that I use this character to develop a story. Stubbornly, I denied my affinity for writing. I wished I could be such an artist that never needed to say what she meant about what she did...


Eventually, telling the little skeleton's story became the obvious answer to a difficult question: How do I make my computer art final tangible? I wanted a narrative, and had almost forgotten that it was pretty much laid out for me. Having just been to deserted Coney Island in the dead of winter, I had a perfect setting, and the story just flowed into it. The above images are the preliminary ideas for the finished little skeleton. They are reverse applique, and applique, embellished, and hand bound covers. The following images were laid out in photoshop before becoming the tactile, finished, The Little Skeleton.





The following are images from a sort of thumb-nail sketch I executed before going into making The Little Skeleton. Luckily, I improved upon what became muddied colors and indistinct blocks of color in this project in the final product.


























Finally:
The character of the Little Skeleton is the concept of death in a child's mind, unaddressed. He is solemnly carefree, evasive, morbid, cautiously playful, and innocent of all of the aforementioned.


















The pages of the book are made from natural fabric (all cotton: muslin, cheese cloth, waffle, canvas). They are hand-dyed and hand screen-printed with original illustrations and text. The pages are collaged together using applique techniques and a sewing machine, all bound with pigskin leather. The cover is reverse appliqued, and hand-embellished.