Textile 1 – Exploring Ideas
Part 1: Cultural fusions
Project 1: Interpreting cultural sources
Stage 1: Researching source material

This page contains material collected and sketchbook work during research.


7 November 2014
Visit to Aztec exhibition at the Australian Museum in Sydney. Quoted comments from museum signage.

“This mask reflects Aztec respect for, and identification with, an ancient local culture.”

Teotihuacán mask Maker unknown, 900 - 1521 Greenstone with obsidian eyes

Teotihuacán mask
Maker unknown, 900 – 1521
Greenstone with obsidian eyes

A warrior holds up the world. Toltec people regarded as ancestors by Aztec.

Atlantean figure Toltec, 1250 - 1521 Basalt, pigment

Atlantean figure
Toltec, 1250 – 1521
Basalt, pigment

Blend of jaguar and human forms. Olmec culture another inspiration to Aztec.

Jaguar sculpture Olmec, 1200 BCE - 200 CE Basalt

Jaguar sculpture
Olmec, 1200 BCE – 200 CE
Basalt

No original textiles in exhibition, but some interesting techniques in this sash. There is also a slingshot.

Detail of replica eagle warrior costume

Detail of replica eagle warrior costume

Fragment from a school wall Aztec, 1250 - 1521 Fired clay

Fragment from a school wall
Aztec, 1250 – 1521
Fired clay

Snake-shaped sceptre Aztec, 1250 - 1521 Stone, turquoise

Snake-shaped sceptre
Aztec, 1250 – 1521
Stone, turquoise

Stamps Aztec, 1250 - 1521 Fired clay

Stamps
Aztec, 1250 – 1521
Fired clay

Jagtuar skin and ocelot

Jagtuar skin and ocelot

Sculpture of a conch shell Aztec, 900 - 1521 Basalt

Sculpture of a conch shell
Aztec, 900 – 1521
Basalt

Sculpture of skulls Aztec, 1250 - 1521 Basalt

Sculpture of skulls
Aztec, 1250 – 1521
Basalt

Mictlantecuhtli (god of death) Aztec, about 1480 Fired clay, stucco

Mictlantecuhtli (god of death)
Aztec, about 1480
Fired clay, stucco

Sculpture of Cihuateotl (divine woman) Aztec, about 1500s Basalt

Sculpture of Cihuateotl (divine woman)
Aztec, about 1500s
Basalt

Sculpture of Chalchiuhtlicue (goddess of rivers and lakes) Aztec, 1250 - 1521 Andesite tuff

Sculpture of Chalchiuhtlicue (goddess of rivers and lakes)
Aztec, 1250 – 1521
Andesite tuff

Xicahuaztli (sunbeam) sculpture Aztec, about 1500 Basalt-andesite

Xicahuaztli (sunbeam) sculpture
Aztec, about 1500
Basalt-andesite

Replica ceremonial vessel of Xilonen (goddess of young corn) Based on an Aztec original of around 1500 Original made from fired clay, pigment

Replica ceremonial vessel of Xilonen (goddess of young corn)
Based on an Aztec original of around 1500
Original made from fired clay, pigment

Fragment of a brazier Origins unknown, about 1300 Fired clay

Fragment of a brazier
Origins unknown, about 1300
Fired clay

Sketch at museum - decoration of vessel 15 x 23 cm pencil on Strathmore toned gray sketch paper, 118 gsm

Sketch at museum – decoration of vessel
15 x 23 cm
pencil on Strathmore toned gray sketch paper, 118 gsm


8 November 2014

From pictograms in Codex Ixtlilxochitl A3 Conte crayon on white cartridge paper, 110gsm

From pictograms in Codex Ixtlilxochitl
A3
Conte crayon on white cartridge paper, 110gsm


9 November 2014

Based on patterning of Emperor's cloak A3  Watercolours and collaged paper on white cartridge paper 110 gsm

Based on patterning of Emperor’s cloak
A3
Watercolours and collaged paper on white cartridge paper 110 gsm


10 November 2014

Funerary urn Seen at Australian Museum A3 Conte crayons on pastel paper 100 gsm

Funerary urn
Seen at Australian Museum
A3
Conte crayons on pastel paper 100 gsm


11 November 2014

Based on patterning on vessel seen at Australian Museum A3 Various pens on kraft paper

Based on patterning on vessel seen at Australian Museum
A3
Various pens on kraft paper


12 November 2014

Tissue paper, folded and dipped into blue ink, then mounted on cartridge paper and stamped. A3

Tissue paper, folded and dipped into blue ink, then mounted on cartridge paper and stamped. A3
Based on the emperors’ cloak


13 November 2014
The original attempt, on the back of the page below, used white crayon as a resist which was totally ineffectual. The red ink is meant to suggest cochineal.

A3 cartidge paper School house motif drawn in crayon, red ink brushed over.

A3 cartidge paper
School house motif drawn in crayon, red ink brushed over.


14 November 2014
Unhappy with the previous day’s attempt, I used the same motif. This time I glued thick string onto cardboard to make a stamp of the design.

A4 cartridge paper stamped with red acrylic paint

A4 cartridge paper stamped with red acrylic paint


15 November 2014
Patterns generated using filters in gimp.

A3 printout of patterns based on a design in the Codex Magliabechiano

A3 printout of patterns based on a design in the Codex Magliabechiano


17 November 2014

Xipe Totec A3 black and white conte crayon on kraft paper

Xipe Totec
A3 black and white conte crayon on kraft paper


18 November 2014
I was attempting a colour scheme mentioned during my research, of turquoise, scorpion (a gray orange) and tawny. A disappointing attempt.

Cihuacoatl A3 conte crayon on pastel paper

Cihuacoatl
A3 conte crayon on pastel paper


19 November 2014

Based on Codex Azcatitlan A3 pen on cartridge paper

Based on Codex Azcatitlan
A3 pen on cartridge paper


20 November 2014

From Matrícula de tributos

From Matrícula de tributos
A3 pen on cartridge paper


21 November 2014

From Codex matritensis A3 Pen, carbothello pencil, collage on cartridge paper

From Codex matritensis
A3 Pen, carbothello pencil, collage on cartridge paper


6 December 2014
This experiment stretched over almost two weeks. It started with this mask held at the British Museum.

The Turquoise Mosaics Mask (human face, possibly representing Xiuhtecuhtli)  © Trustees of the British Museum

The Turquoise Mosaics
Mask (human face, possibly representing Xiuhtecuhtli)
http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=667486&partId=1
© Trustees of the British Museum


I wove together strips of tissue paper – one piece in dark blues and greens, the other in lights – lightly glued to full sheets of tissue for support. I then used modgepodge to paste on another layer of tissue pieces, and to provide a top coat and integrated surface.
I cut from the darks sheet and glued onto the lights sheet to create the mask image. The result is mounted on A3 pastel paper.
sketch_20141205
Thinking of my potential duality theme, I used the remnants to create a dark version.
sketch_20141205b
The woven tissue made quite a strong base, which I would be interested to stitch into. When using the modgepodge I had a separate piece of tissue paper underneath – you could call it a sacrificial piece, to catch any glue that worked through. It tore when I removed it, reminding me of the flayed skins of sacrificed victims. Perhaps I’ll return to one of more of these materials later.
sketch_20141205d

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Fabulous figure sculpting workshop with Kassandra Bossell!

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