Furoshiki: one day workshop at NSCCD

On Saturday I held my final creative workshop for the year: Furoshiki. This workshop is incredibly appropriate for this time of year as we created reusable and sustainable gift wrapping using shibori resist techniques, indigo dye and cotton fabric.

In 6 hours we covered a variety of techniques including stitched resist designs, asashi (using a tube to create a pattern) itajime (folded) and tesuji (pleated) shibori. Whilst there was a lot to learn, the output was incredible, with many beautiful fabrics created in the process.

Honeycomb shibori

We marvelled at the magic of the indigo dyeing process, watching it change colour from green, to turquoise, to indigo.

Simple things such as bamboo sticks can create delightful patterns, like the one above. 

We were far too busy trying to squeeze as much in as we possibly could that I totally forgot to take a group photo of our happy creatives. But rest assured we all left tinged with blue and bitten by the indigo bug. ;) 

Stand Back 5 Feet - Paris Exhibition

Study of the Object
Cotton on silk organza 

I was invited to participate in the exhibition “stand back 5 feet/ tenez vous à 5 pied en avant” by curators Evan Peacock, NSCAD MFA candidate and Levana Schutz, a visiting exchange MFA student from the BeauxArt academy in Paris. They proposed a double exhibition between the Atelier Rhème exhibition space in Paris and the Anna Leonowens gallery in Halifax. The shows will feature work exchanged by artists from both locations.

Artists have been asked to respond to the title of the show with a new work. Although this name maintains relevancy towards the mathematical space between Paris and Halifax, the title primarily refers to the ephemeral state of meaning caught between two languages and two spaces. This occurs through movement, distance, and translation. Perfect translations will not be possible. This offset between the movements of languages is the focus of “stand back 5 feet/ tenez vous à 5 pied en avant”. 

Study of the Object
Hung on window in studio
Cotton on silk organza

In response to the conceptual theme I have started creating work that explores binary code translated into stitch (using french knots and running stitch) onto silk organza, which through the very nature of translating code into stitch the reading of this is lost or at least difficult to understand. 

My favourite poem by Zbigniew Herbert called Study of the Object has been decoded by thread.  Whilst I am not entirely sure of the final outcome, it is likely it will be combined with digital imagery in some way.

Furoshiki at NSCCD

This weekend I taught a two day workshop to make furoshiki Japanese wrapping cloths. Working with cotton and silk with indigo dye we experimented with different shibori (resist dying techniques) to create beautiful fabrics that can be used as an alternative for wrapping paper.

  

Both beautiful and functional they can be used as a lunch bag alternative, a eco-wrapping technique, and even a clothing garment. The fabulous thing about furoshiki is that the fabric can be as special as the gift inside and it can be reused many times.

Ne-maki shibori - thread resist pattern

The end result is a gift that keeps on giving.

Itajime - folded and clamp resist pattern

For more information: 

Pinterest board for shibori designs - a collection of ideas and techniques 

Facebook page - A place where workshop participants share images of their creation

Furoshiki - fabulous site on ways to fold and wrap your present using cloth 

Honeycomb shibori

This course will be offered again as part of the Spring program at the Nova Scotia Centre for Craft and Design  over two Saturdays, May 27 and Jun 03, 2017 from 12:30 - 3:30 pm. 

REGISTRATION Details:

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Madder

This week in the Irresistible Dye class we experimented with the natural dye, Madder. 

Madder (Rubia tincture) root is one of the oldest natural dyes and has been used for many centuries in Turkey, Iran and India for the production of beautiful carpets and wall hangings. The deep rich colour, also known as Turkey red, was a closely guarded secret in this region for centuries.  

Delightful array of colours. The dye reacts differently with silk, wool and cotton.

 Madder extract produces a wide range of reds from orange, brick, blood and fiery reds. And the colour is dependant on the mordant used to fix the colour.

Alum = brick red
Tin = bright orange
Chrome = burgundy
Iron = brown

We used alum and achieved a wide array of colours as can be seen in the photos. The deeper stronger colours were achieved using protein fibres (wool and silk) with beautiful salmon colours on the cotton.

Fabric in the dye bath which was kept at 60 degrees celsius 

After dying with the madder, the fabric was removed from the dye bath and we added some iron mordant. The added iron darkens the dye bath to achieve rich chocolate brown colours.  Known as an after-mordant, it is a fun way to extend the life of the dye bath and achieve some varying colours. We let the fabric sit in the cooling dye bath (the dye was taken off the heat at this stage) for about an hour before washing in cold water. 

left: wool, cotton, silk with madder and iron
right: wool, cotton and silk with madder and alum

We have a Facebook page for the class which everyone can upload their images of the experience too. 

Prints Charming - printing with paper doilies

The fun continues in the Prints Charming class as we explore different methods of creating a stencil for silk screening. This week we used paper doilies - and by cutting them up the class created some exciting designs. 

Anne's developing her circular doily design

Melissa's spider web design 

Jennifer's space design

It is always interesting to see how three different people will interpret an idea in three different ways to create stunning imagery. 

It is one of the reasons why I love screen printing so much. 

Pioneer Landscapes on exhibition at Craft ACT: Craft + Design Centre

Pioneer Landscapes is a selection of works created in response to my Artist in Residence at Hill End, NSW in 2013. 

Lichen Bells 2014

Silk, fine silver, enamel

Image: Art Atelier

Steel String Wood Necklace 2014

Materials: steel, cotton, wood

Image: Art Atelier

The impact on the landscape by the pioneers was evident by the scarred earth, colonial architecture and forest re-growth. I was fascinated by the bush fences in various states of disrepair and the decorative picket fences of the townships which clearly delineated ownership of space by the early colonial settlers. Despite the impact on the Australian bush by the pioneers, the resilient nature of lichen covered all surfaces. The texture and colour of it captivated me and I noticed that it grew on trees, rocks, fences and even on the sealed roads. 

I commenced a new body of work in 2014 which explores the materials and construction methods used to create these fences whilst incorporating ideas of regrowth and regeneration through the symbolism of lichen. 

Pioneer Landscapes at Craft ACT : Craft + Design Centre
Image courtesy of the Gallery

Pioneer Landscapes at Craft ACT : Craft + Design Centre
Image courtesy of the Gallery

Pioneer Landscapes at Craft ACT : Craft + Design Centre
Image courtesy of the Gallery

The experience at Hill End had a lasting impact on me and it continues to inform my work  Master in Fine Arts (MFA) degree at NSCAD (Nova Scotia College for Art and Design) in Halifax, Canada.

For more images of the exhibition please visit my Facebook page. 

End of Semester Summary

My first semester in the MFA program for studio was with Professor Gary Markle. Gary is the Head of the Fashion studio at NSCAD and he has extensive experience working in New York in fashion, film and sculpture. He was the ideal professor to work with given my interdisciplinary nature and desire to explore ideas across a range of materials.

Lichen was the launching point for a series of investigations and I represented shapes found within the lichen using paper, the lids of tins and enamel (a whole blog post was written about the enamel necklace here). The pieces also continue to reference my interest in pioneers and the isolation they experienced.

Continuing to explore my interest in women's domestic objects I made some thimbles and experimented combining porcelain with crochet and gold lustre.

Continuing to play with domestic kitchenware I was interested to see what happened when you filled the void with rocks, thinking about sense of place and your ties or attachments to a geographic location. 

Living in Canada enables me to objectively look at my Australian history and heritage. I am interested in how our ties to the past inform our present and I am exploring this through the imagery of cameos, chain and branches.

This final piece is still in the middle of being created. Originally a porcelain tea cup, it has been broken and pieced back together. All attached by a silver chain. Here I am interested in the notions of sentimentality and how we place such importance on fragile objects. 

All these ideas seem quite disparate at the moment although I am hoping to distill their essence in my next semester next year. Its going to be quite the journey! 

Enamel Lichen Necklace

Our second assignment for enamel class called for us to incorporate at least four enamelled components, which were to then be created into a piece of jewellery or an object.

With my current fascination into lichen I wanted to continue to explore these effects. I set about undertaking a lot of samples to achieve a similar result looking at the colours and textures in the image below.

Image of lichen used for reference for the project

Working with 0.3mm thick, fine silver 1" discs that were cut and then bent into a conical form. I first enamelled the inside with Orange Red Ruby enamel. I love this particular colour. Gold is one of the colorants in the enamel powder and depending on whether it is against silver or coper determines its colour. Sometimes it is a rich gold, like the images below, and sometimes it is ruby grapefruit. It is delicious!

work in progress: the cones prior to being assembled

The outside of the cone was enamelled with a black layer, followed by a fine sifting of 'Candy'. One of the things I enjoy about Candy is that is easily oxidises in the kiln, giving it a faint green tinge and is a little unpredictable in its results. Perfect for representing lichen. 

detail of the components necklace

I wanted to create a piece of jewellery that could be worn, but also exists by itself as a beautiful object, so I strung all the individual 18 cones onto silk cord.

Components necklace

The idea is that you roughly wrap one cord around the other and the enamelled pieces hang like a pendant. It needs a little refinement to be practical, and Im incredibly excited about its prospects.

Marbling on fabric using shaving cream

Last year I achieved some interesting effects when the images I painted in cobalt ran on the majolica glaze during my NSCCD residency.

Cast Adrift in a Foreign Land 2013. Earthenware and majolica glaze
Image by Art Atelier

I really like the ambiguity of the distorted watery image, and have started experimenting using this approach to distort imagery onto fabric.

After doing some research I discovered a fun way to create marbled effects on fabric using shaving cream and marbling ink. Click here to see a great tutorial on Youtube. 

Image painted onto shaving cream using fabric inks

Image transferred onto calico 

Image distorts after fabric has been removed from shaving cream

One of the great benefits of this technique is that you are not restricted by the size of the marbling trough (if marbling using the traditional method of a tray of water to suspend the inks in), which enables large areas of fabric to be marbled using the shaving cream method. 

And an interesting discovery was that the image distorted a little with each 'print' onto the fabric. I am very excited by the possibilities this has, and will be trying it next on a very sheer silk fabric. 

Canberra Times Review

How marvelous!

My Shibori Silk Stole was mentioned by the esteemed Canberran art critic, Sasha Grishin.

"Kate Ward's Pomegranate, 2011, a sik shibori stole, is another work which holds attention and has its own sense of presence."

To read the article in its entirety double click on the image below.

Silk Shibori Stoles

My latest shibori silk stoles have been selected to be exhibited in the Creative Alchemy exhibition at the Belconnen Arts Centre. The show promises to be quite a visual feast with over 60 works by 40 artists, all responding to the theme 'Creative Alchemy'.

The word 'alchemy' conjures up ideas of mystery and intregue: genies in bottles, magic carpets, the Middle East, the exotic and transformations of the sate of being. My works are created by manipulating silk and transforming it into a permanent three dimensional object using shibori techniques. The silk is then dyed using exotic ingredients which originated in the Middle East: saffron and pomegranate - alluding to the magic of food that transforms our bodies and souls.

This is my first experience of dying with natural colours, and Ive really enjoyed the process. I quite like that it is non toxic, and can be done in my kitchen at home. I have a feeling this may be the beginning of an adventure as I explore dying with other natural colours.

In conjunction with the Creative Alchemy exhibition, artist of international acclaim Julie Ryder will exhibit her work in Creative Alchemy II. Julie's fascinating work explores the marks made by the chemical reaction of bacteria and moulds which occur between vegetable matter and natural fibres.

(detail of Julie Ryder's work)

The exhibition opens at 6pm on Friday 23 September 2011 at the Belconnen Arts Centre.

Clever things made from your screen prints

Its amazing the clever things that people do with their screen prints from the 'Introduction to Screen Printing on Fabric' class I teach at Megalo Print Studio.

Kate designed the news print panel from the front pages of recent newspapers and hand printed them onto silk using a repeat print process.

The dress was made for the Press Gallery Midwinter Ball using a 1957 vogue pattern.

She was the Bell of the Ball in her beautiful dress with her unique hand printed design.

A Chill in the Air

The mornings and evenings are starting to cool down and there is a crisp edge to the Canberra air as we approach winter.

My fingers are responding to the itch to knit and I am knitting like a 'knit-wit' with 4 projects on the go: a fluffy green/blue scarf, a possum wool scarf, a recycled silk (from Nepal) scarf and a jumper knitted from beautiful rasberry & chocolate coloured wool I bought during a recent trip to NZ. They are all beautiful and rich in textures and colours and simply delightful!