Textile Art

• Shadow boxes

2009-10-27T19:47:00.000-07:00

3D Objects

These shadow boxes were made from foam core and acetate secured with pins.
The theme was Design. I created individual displays of the past, present and the future.

'The Past' was a combination of materials and tools I had kept as a Student from Swinburne. I enjoyed my time enormously there; discovering practical techniques, working with new media and gaining the knowledge that lead me on a new path.

The boxes consist of pieces of flute board I made for packaging, an embossed card, an old black marker and my first attempt using Adobe Illustrator for a menu.
The text on acetate consists of words like; markers, training, design, elements, dots, painting etc.

'The Present' were materials that I have used and been introduced to this year in the course.
My theme for the present was 'growing', it consists of twigs that I secured into the base of the foam board, meters of thread that I have kept for wash-away experiments, a group of pins. The text on acetate consists of new words to me like; stitch, fiber, embroidery etc.

'The Future' represents what I want to do; experiment, explore and enjoy this new medium.
The images inside this box are of pieces I have completed this year, also, I placed several mirrors on foam board at an angle to reflect this work. To me it reminds me of how I have grown and how the future for me will be a part of the textile industry by exhibiting my work.
The text on acetate are; future, knowledge, design, exhibitions etc.

The boxes are stack able and can be arrange in many ways, they all interact but are very individual, I enjoyed doing this project.

• About Myself

2009-10-13T16:25:00.000-07:00

I do not call myself an ‘Artist’ but I am a ‘Designer’.

From a very young age I knitted and made my own clothes. I loved new balls of wool and rolls of fabric, both of these materials restricted me without a pattern……..so I thought.

I wanted to create my own designer knitwear; I made up a design on a graph only to discover that a single stitch was wider than it’s length, so I had to create a new graph.
I had always been a traditional knitter, working with knitting techniques didn’t faze me and I worked with minimal colour combination, I felt under control but I also wanted to create something different.

I sketched, painted and experimented with new knitting techniques which I incorporated into my designs and to knit one jumper as a sample piece. It took me a month and every minute of my busy schedule to realize that my dream of becoming a designer in textiles was either going to take a very long time or would never happen at all. The cost of wool for me was expensive as I only worked with pure wool. I entered a competition in the early 1980's organized by the Wool Corporation, being so long ago I truly can't remember the result, I didn't win but this did not deter me from continuing with my passion.

[entry for Wool Corporation competition and a jumper commissioned for overseas]

As a result of the competition a company based in Melbourne asked me to design a range of ‘Australiana’ knitwear for a fashion exhibition to be held overseas with the aim of future exports.

I grabbed the assignment to design ten adult and four junior jumper designs. Looking for inspirations I jumped into books about our native animals, insects, and plants, Aboriginal dream times and of course childrens books like 'Possum Magic' for my inspiration. My theme was obviously going to be 'Australiana'.

I searched for beautiful fibers of wool and was amazed with the range of gorgeous colours that were available.

[sample collections]

The exhibition was successful and traveled from Japan and America and then onto the United Kingdom.

Later I created fabric designs but only on paper. Now I am ready and eager to have a go at print making.

This experience gave me a thirst for learning but life experiences were not enough and I needed qualifications.

I successfully completed an Advance Diploma of Arts (Electronic Design & Multimedia) at Swinburne University. I found I had developed knowledge and skills in areas that I had never thought to look.

I became an ‘Electronic & Interactive Designer’ and won the AGDA Award for 1989 (Australian Graphic Design Association) for an educational CD Rom for pre-school and primary school age children. I am now teaching in art and design.

For the past 12 years I have attended AGideas, a three-day art & design conference event held in Melbourne.
Forty or more designers, artists, writers, sculptures, actors, musicians etc from around the world gather to present their works, experiences and innovations to students, teachers and industry folk.

I find the conference exhilarating, inspirational, sometimes confronting but always exhausting.
I leave there with new ideas some of which I implement into my own creative designs and as a teacher.

I am also a student once again, attending a course in Diploma of Arts in Textiles, at Box Hill Institute. This is a three year part time course which I fit around my full time teaching duties and I love it.

I have met wonderful creative people and educators who are willing to share their ideas and skills. There is such a burst of energy and colour when entering the classroom.

I believe I am on a journey, learning new techniques, observing, experimenting and at this stage allowing my emotions to be visual communicated with tactile objects. Exhausting yes!, but I love it.

One day, I will call myself an Artist but I don’t think I can ever fit into any one category in this creative field.

• Felting - Soft Sculptures based on Life Drawings

2009-10-12T17:49:00.000-07:00

Design Brief

In this exercise we applied the technique of wet felting from the previous task to create soft sculptures. The requirements were to produce a series of sculptures from Life Drawing classes with an outcome that demonstrated the knowledge and skills acquired.

The sculpture was to add depth to the textile so it became an
object in 3D space

Design Process

I was unable to attend the class so I took my observation from a book of nude studies. I drew a nude female form in a reclining position.

(the images seen below are of the second soft sculpture)

The image was increased three times in size to be used as a template. A felt bat was selected for the base and put onto a Solar mat. This particular design below was created using a few sections of felbi shapes.

Referring to the template design detail was added with wool tops, overlaying in many directions to create the thickness and desired design.

A patting down of the fibers was applied.

The Felting Process

Netting (I used muslin cloth) was placed over of the completed design, this was wetted down with soap suds. Circular movements using the tips of my fingers and in some places the palm of my hands were used to massage the fibers, till I reached a skin effect - silky and smooth. A drop sheet was placed on top and then rolled up and tied with stockings at each end and rolled back and forth about 300 times. This method was done again after unrolling the design, rotating it 180º and rolling it up again.

[I experimented using the smooth and rough side of the mat with different designs, both resulted in different surface appearances. The smooth side I used good quality wool tops and was a pleasing result, it didn't spoiled the design but I did use the rough side with less quality wool tops and this worked very well as you will see with the result down below]

The pattern was thin stitched together, stuffed with old woolen jumpers and molded with warm water to develop the form.

With such a large construction this takes a long time to dry.

I placed the sculpture in the sun on a cake rack which was a way of ventilation, allowing the air and warmth to circulate. I also put it in the oven around 130º for 7 to 8 minutes.

• Weaving - Woven 3D Art Objects

2009-10-06T17:58:00.000-07:00

Design Brief

In this exercise, we were required to make a series of sample techniques demonstrated in class. The sample shown was using a cardboard template with divisions separated to allow threads and materials to be interlaced, creating a woven effect.

I wanted to push the boundaries, for myself (and the brief) of basket weaving as I have never attempted this craft before.
Looking for inspiration, (brainstorming) I went on a journey around my garden and ended up doing the odd weeding till I came across the wondrous weed; the ivy!
I also ventured across a couple of seed pods and dried remnants of root plants lying amongst the ivory.
I've always been quite intrigued by seed pods because they are so flower-like in their shape, so I decided to do a series of seed pods incorporating the ivy.

Design Process
I started by drawing the seed pods I found in the garden then through exploring different medium and techniques, developed a series of drawings that still represent the study but interpret it in many different ways. This allowed me to select the best possible illustration and to styilize it to execute it for a finished product.

Seed pod series

Series 1
The first stage after the flower has withered away but the seeds are trapped inside the pod.

Method;
For my first example I used long strands from an ivy plant, picking it while fresh, and weaved it around tight at the base then gradually allowing space and light into the form.
Thin threads and wool tops of silk followed the direction of the ivy adding colour and reflective shadow.

Series 2
The second stage after the pod has opened and the explosion or dropping of the seeds.

Method;
The second example I used thin black wire to create the desired form, this was a wonderful medium to use as I could basically mold the shape as I went.
Unfortunately to weave threads around wire was a tedious and frustrating task as I had no control or way to stabilize the threads as they slipped along the wire.
I experimented with a heat gun by dribbling glue in a lattice effect over the individual extensions
of the form.
This them allowed me to continue with lacing and weaving effect with threads and silk.

Series 3
The third stage is when the pod has been discarded from the plant itself and left lying on the ground.

I use the same method as I did for the first series but less material and opened the frame work to give the visual illusion of the the end of the pod's cycle.

Apply the design process to 3-dimensional work in response to a brief

• Felting - Felted 3D Art Objects

2009-10-05T17:11:00.000-07:00

Design Brief

In this exercise we explored the technique of wet felting using a polystyrene ball for the form. The method demonstrated was layering of wool tops with alternate layers in the opposite direction allowing the fibers to be interlocked once agitated with rolling and massage movements. The brief require to make a series of felted art objects, not necessarily for practical purposes but to demonstrate the development of the skill of wet felting and to convey the concept.

Design Process
The first vessel I did was in class using good quality wool tops with three rather fine layers. Once the fibers were molded around the ball and into the process of massaging, I realized that my layers were too thin resulting in tearing. When the form was finish it was soft due to the quality of the fibers but flimsy due to no thickness. I did manage to stabilize the vessel by constant rubbing and applying heat putting it in the microwave.

Vessel series

Series 1
The softer but flimsy example of the first vessel using good quality wool tops.

Series 2
The second vessel I used cheaper wool tops and much thicker layers but due to the poor quality of the fibers it was so rough to handle and manipulate. This also was formed around a ball. The finished product was less pleasing to the eye, it lacked luster on the surface and the mingling of colour looked like mud.
Although there were issues I was more than pleased with the finished form.

Series 3
The third and final of the series I used the same materials as I did for the second but tried a different form. This time I used a glass bottle only to find many problems with massaging and the task of trying to keep the felt on the object. I discarded the bottle and just felted with my hands till a shape appears. Even though the piece failed the outcome of a concept it was still a learning process and alas 3 dimensional.