When you’re juggling lots of things…

…some get dropped.

This ikat-ish project was last seen as a damp warp back in May.

I wound the dried yarn into a cake, then wound the warp using the warping wheel with little excess loops of yarn where I tried to get each end to line up according to the plan. This went moderately well. My ties to resist dyeing weren’t exact distances apart, then there was some slippage and various inaccuracies in handling, not to mention yet another muddle in my calculations (I really need to learn to read the planning notes I make. Going by memory, I gaily changed from 25 to 20 to 24 epi, and ran out of yarn while warping. Nothing like necessity to encourage flexibility!). Given all that was going on I decided to hand stitch the shibori threads in the finished cloth rather than adding extra warp ends to do the gathering.

Here is the warp shown from the back of the loom. The edge areas are narrower than intended. It’s not a great photo but you might be able to see that overall arrangement is not too dissimilar to the sketched plan. The dark dashes kind of line up – viewing from a galloping horse in the dark may assist in seeing it.

The actual weaving was straightforward – plain weave in undyed 20/2 silk. I had enough warp length to do a little extra to use in sampling the next steps.

I did running stitch up each side of each red/orange stripe and gathered tightly, then dipped in a mix of yellow and brown dye and steamed.

It’s ugly. So, so wrong. The colours don’t work. The values don’t work. The patterning is a mess. There is no particular definition or variation in the brown. There are all the technical problems in winding the warp already mentioned, plus the previously dyed areas bled.

Lydia Van Gelder. Twice Dyed #8

I based my efforts on a piece in Lydia Van Gelder’s Ikat II. I didn’t expect it to be the same of course – “slightly” different levels of expertise (!), plus I was working from a photo and deliberately changed a few of the things I saw/understood, let alone the things I didn’t see/understand. I’ve included a shot from the book, which I think fits within fair use.

I was careful to wash the actual scarf before gathering and redyeing – there was no sign of colour in the water. I used the same stitching. I had some ideas to try in the hopes of a better result. The photo shows the gathered cloth ready to be soaked and dyed.

Then I dropped the ball. I put it to soak (a couple of hours is good), thinking I would have time for the dyeing later that day. Time passed – two weeks worth.

This morning I finally brought myself to look at the sorry, soggy thing. The soak water was a pale blue. The dyes had clearly bled and run. In a spirit of “let’s just get this over” I went out to the garage, grabbed the bordeaux dye stock and applied it, undiluted, with a brush. I’ve been writing this up while I waited for it to steam.

…Next day…

What do you think?

For me it very nearly works. All the dyeing errors are still there, but not so intrusive. The narrower range of colours helps. The stronger value of the overdye and its horizontal tendency gives some balance to the verticals. In person the fabric has a nice sheen, drapes well and is very soft and smooth to the touch. (I ended at 24 epi for the 20/2 silk plain weave).

I don’t love it, but I expected to hate it.

For my own memory, rather than that the world needs to know, what else has been happening the last few weeks:

  • Visiting The White Rabbit Gallery, a collection of contemporary chinese art plus lunch at the Mission Restaurant under the Ng Gallery nearby, rounded off by a quick visit and some remnant-box-diving at Elsegood Fabrics (can’t find a working website, but come out of the restaurant, walk across the laneway and you’re there). I’m usually a bit wary of contemporary art (I like happy and beautiful, not so keen to spend leisure time with tortured, depressed or self/society-flagellating). The current exhibition here had lots of beautiful, including very interesting textile work, with intent and meaning but not dark-dark-dark.
  • Nalda Searles drifting in my own land exhibition at Mosman Art Gallery.  Really beautiful, thought provoking textile artworks. Nalda had come over from WA and gave a floor talk – to quote the website “revealing the imagery and processes that have informed the art practice and vision of one of Australia’s unique and evocative practitioners”. And they didn’t over-promise. Nalda spoke very directly and personally. Plus lots of people to natter with afterwards.
  • The poetry of drawing – Pre-Raphaelite designs, studies and watercolours at the Art Gallery NSW. Stunning details and pattern-making. I always find it interesting to see preparatory work and all the adjustments and changes in the finished artwork. Sample, sample 🙂
  • The Sydney Craft & Quilt Fair – lots of inspiring work, talking (on the ATASDA stand and just running into people) and just a touch of shopping.
  • Family lunch (my original nuclear family) at Ottomans for mum’s 83rd birthday, which was so nice I took Geoff and the boys (current nuclear family) there this week for Geoff’s 55th.
  • Some clearing and re-arranging in my workroom-formerly-known-as-the-dining-room. The idea was to display as much as I could of previous work and larger samples (smaller odds and ends of sampling are in folders) – basically to remind me of possibilities and actually use the samples actively. The photo shows the area behind the loom, with two of the five hangers.
  • Mending socks – yes, there was enough to make this a separate item. I knit socks for all the family and with colder weather arriving there has been a mini-avalanche of holes to be darned and toes to be cut off and re-knit.
  • Plus bellringing, work, gym, shopping, cooking, laundry…
  • Which may not sound much to some, but I really like lots of quiet time pottering around by myself and all of this in a couple of weeks is … phew.

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Goodyer girls long weekend in Hobart

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