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Sunday, 14 January 2018

2017 – the year that was

On my fridge is a whiteboard listing all the textile projects I want to complete in any given year. The projects are wiped off as they are finished, but the board keeps filling as I have new ideas. Projects are usually added wherever there is space, but I also take the board down every now and then to reassess priorities and write it all out again. Once a year this happens at a particular time, and that, of course, is the new year. So in the last week or two it's been wiped clean and written afresh.

Taking time at the beginning of the year to plan also makes me reflect on the year that's been. The projects I've made, the places I've travelled and the inspiration I've collected. So, before I share new projects and plans for 2018, I thought I might go back and have a look at 2017...

January

This was the month I finished the Blue Giant quilt. I got a bit smarter with this pattern release. I took better pictures, posted them on my Craftsy and Etsy shops and then linked them all through a couple of my boards on Pinterest. On Craftsy I also added it as a recent project. A while later Craftsy picked it up somewhere along the line and also pinned the images to a few of their boards. It's now been repinned thousands of times and still sells copies on an almost daily basis. So to Craftsy I'm forever grateful!

February

In February I started my ongoing jean pocket project. I had a bunch of leftover pocket areas from making the Blue Giant quilt and wanted to do something with them. As you'd know if you've visited here before, I'm concerned about the sustainability of the textile industry and I thought this project might highlight the wasteful nature of our current fashion consumption by contrasting it with the amount of time it actually takes to make things by hand, which let's face it, our clothes are, even if they're mostly not our hands. To see the rest of the pockets done so far, head over to my Instagram feed.

March

For the last few years I've been juggling textiles with contract work which means I don't have a regular income. When Ace Camps released their new trips for the year, I figured I'd travelled last year and so I shouldn't spend money heading off again in 2017. Then I thought about it a bit more and realised it was 2015 when I'd last been away. I was also waiting for a contract to start up and decided there was no better way to pass the time – so off to Swaziland I went! I'm so glad I did – it was such a great little trip, the highlight being our three days spent at Baobab Batik. You can read more about that here.

April

In April I got serious about the last works I needed to submit for Seasonal Stories – a community exhibition that was part of the Wangaratta Textile Festival.

May

May was largely spent in Melbourne catching up with family and textile folk. Progress was made on many projects, but in particular, we began preparation in earnest for Tenfold Textile Collective's next exhibition. We photographed works and then over subsequent months, wrote applications and submitted them, which resulted in our acceptance at Backspace Gallery, Ballarat with a show planned for April this year. So excited to be exhibiting with this group again!
Detail of weaving by Morgana Robb.

June

This month I nailed a sizeable work contract, so to celebrate I rented myself a studio! While this hasn't seen the textiles disappear from my apartment entirely (the knitting stays at home), and I do have times where the thing I need, to do whatever project I'm working on happens to be in the wrong location, it is an absolute joy to leave projects all over the floor, couch etc in the studio, shut the door on it, and not have to step over the mess in my working/personal life. Plus the light is divine!
This is the tidiest the studio has ever been – in preparation for Inner West Studios' first birthday.

July

Oh how I miss my Melbourne textile gals! In July I got to spend a weekend with some of them at the Wangaratta Textile Festival. We talked, we walked, we ate, we planned and we gorged ourselves on textiles. The Wangaratta Textile Show itself was everything you'd hope for in a modern textile award – a mix of emerging, mid-career and established artists; a wide range of techniques and styles represented; concepts ranging from whimsy to deeply thought-provoking and craftsmanship at the level of mastery. There was just one problem, and most everyone I spoke to about the show had the same issue. In a show where 95 per cent of the entrants were women, it was a man who won the highest award. While the artist in question is no doubt very established with an impressive body of work that encompasses all of the above, the piece in this particular show did not.

We are obviously well and truly still in an age where an award feels the need to honour a man to be taken seriously.

September

In September 'What's your time worth?' the quilt I created for our last Tenfold Textile Collective show was exhibited as part of Art Quilt Australia 2017. Having not had the opportunity to see a show dedicated to art quilts, I took myself down to Launceston to check it out. The show didn't disappoint. It was so refreshing to see some really interesting and different works and know that this type of work is actually being done in Australia.
'What's your time worth?'

October

This month wasn't about me, but about the Dior show at the NGV. While the Galliano numbers were the showstoppers in terms of wow factor and photo-worthiness, the real art and craftsmanship all belonged to Dior. The early wool suits were truly sublime.
Yep, that was one of those Galliano numbers!

November

My Strip Weave quilt pattern was released in November. It was inspired by the Kente cloths I discovered while researching African textiles prior to my Swaziland trip, but this one is made from upcycled business shirts. It's a very flexible pattern that you can really experiment with, so I still have ideas for more versions that you'll no doubt see over the coming year or so.

December

In December I came full circle with the news that the Blue Giant quilt had been chosen to hang at Quiltcon. It's a real thrill, so after a work deadline shifted and a lot of deliberation and advice-seeking, I've decided to follow it and 'What's your time worth?' over there to check out the show.

It's a ridiculously short trip I'm making, but you only live once! Any advice on how to make the most of things while I'm over there is gratefully received.
So that was 2017. I'm so glad I wrote it all out like this. By December I'm looking back at the year feeling like I didn't achieve or do much, but when I write it all down it makes me thankful for how far I've come, the people I've met on the way, the ones who share the textile journey with me the fact I get the opportunity to spend a good amount of my time doing something I love.

Happy 2018 everyone! I hope yours is full of exciting textile plans too.

Sunday, 8 October 2017

Art quilts on show

It was such a treat to visit Art Quilt Australia's 2017 exhibition last weekend. It's not often you see art quilts exhibited in Australia – certainly not a whole exhibition dedicated to them*.

There was also a definite thrill in seeing my quilt hung amongst such spectacular pieces and I learnt a few lessons for next time, in terms of hanging and describing my work.

The exhibition is on until October 22, so I thought I'd show you a few of my favourites  – tempting those who are contemplating a visit, and sharing with those who can't. First are the quilts that immediately caught my eye from across the room – neither of which are done justice here – as it's their colours that are utterly striking.
Tara Glastonbury at Art Quilt Australia
Susan Mathews' quilt is just so pine-lime-splice delicious! It includes the techniques of dyeing, lino printing, screen printing, machine piecing and quilting, and is part of a large, ongoing series she is doing on the subject matter.
'Ode to Banksias 7', Susan Mathews
The next one that drew me in was Anna Brown's work – a piece reflecting the devastation of bushfire. It spoke to me with its charred and twisted shapes, some blackened and some ash white against that fearsome orange. The simplicity and irregularity of the hand quilting suited the natural subject matter perfectly.
'Canopy 6', Anna Brown
Then there were those quilts that I stood in front of for an age due to their techniques. Don't get me wrong, I loved the composition and use of colour as well, but the techniques really blew my mind. The first is by Sandra Champion. These were actually two large vertical panels hung side by side. Vertical doesn't work so well on a blog, and you'd miss what I'm trying to show you, so it's just a section pictured below.

That fabulous texture is made by printing, painting and hand-stitching tissue paper – namely repurposed dressmakers patterns – onto silk, then manipulating and fusing it to make a paper textile. Depending on their colour, the strips looked like gnarled trees, moss-covered rock surfaces or flowing water – and if you look really closely you can still see the pattern wording and lines.
'The Overland Track: Plains and Forests', Sandra Champion
The next one was Louise Wells' piece. Honestly, each of those little squares was an artwork in itself. The complete work is only 91cm (H) x 61cm (W), so that gives you some idea of the size of each of those squares.
'Dusk', Louise Wells
Below is the detail Рcreated using a reverse appliqu̩ technique on silk and polyester satins. I'm unsure, however, how each of the squares is attached to the next, or maybe they're just attached to the backing.
'Dusk' detail, Louise Wells
The next quilt is here for its sheer cleverness. Looking like some Cubist masterpiece is Glad Howard's quilt made entirely from men's suit jackets, both their wool exteriors and silk linings. Part of what took my fancy with this piece was no doubt the use of repurposed clothing, but the way the jackets have been used – making the most of everything including pockets, button flaps and labels – the composition and the quilting that adds another dimension to the piece, really made this a standout for me.
'Clothes Maketh the Man:The Inside Story', Glad Howard
Last, but not least, is Carolyn Sullivan's quilt. Carolyn had two pieces in the show and I have to say she is fast becoming my favourite Australian quilt artist. I really started paying attention when I saw her guest exhibition as part of the Sydney Quilt show earlier this year – a real highlight! It's her pieces that combine quilting with amazingly detailed hand stitching (as in the one pictured below) that I particularly love. They really showcase our unique landscape and flora creating a stitched language that is truly Australian.
'Red Grasses', Carolyn Sullivan
I hope you enjoyed this sneak peak of the show. I will post a couple more over on Instagram – more detail from these pieces and few extra faves, and there's a link here to the full exhibition. Don't forget to pop in if you find yourself in Launceston in the next few weeks!

*It was such a shame then that 'Dare to Differ', the Quilt Guild of South Australia's contemporary quilt exhibition, also a biennial, was on at exactly the same time. C'mon organisers, get together and sort it out so us quilt lovers can exhibit in and see both next time!

Sunday, 9 April 2017

Batiking in Swaziland

If you've been following along on Instragram you would have noticed a change of location for me over the last couple of weeks. I was off on a textile adventure in Swaziland learning how to batik. Yes, I know it's a long way to go for a new technique, but I love travel and love textiles, so this way I get to combine the two, without too much sightseeing, which I don't enjoy so much.

While batik originated in Indonesia, what we know as African wax prints began as an attempt by the Dutch to take over the textile market in Indonesia using a cheaper technique. Thankfully this didn't work in Indonesia, but the fabrics definitely took off in West Africa where local colour combinations and motifs were incorporated.

The wax prints are created a little like Indian block prints, but instead of using a wooden block dipped in ink to create colour, a copper block is dipped in wax then pressed into the fabric to create a resist when dyeing. Subsequent layers of wax are added, or partly removed, then the fabric is dyed further to create the wildly colourful wax prints we know today.

At Baobab Batik we were using a brush and the Indonesian tjanting (pictured below) to apply the wax and create our patterns. We had three special days, being taught by a wonderful group of women, how to apply wax, how to recognise when it was too hot or too cold, and how to apply the layers of dye and fix them to the fabric.
The first day I spent creating little samples and getting used to both the waxing and dyeing techniques. You kind of have to think in reverse being a resist technique and that takes some getting used to. The second day I made my apron with a modified version of the design I created in the navy and pale green below. You can see all the apron details over on Instagram.
On the third day I decided to make leggings using a technique and pattern that Baobab Batik created. In this instance you have to start with the dye, and that's what you can see me applying in the pictures below. Normally Baobab Batik use a rainbow of colours to create this pattern which they call stained glass. I decided to use pink, orange and red as I figured I was more likely to wear that (evidenced by my matching top in the pic!). This caused quite a stir in the colour house with the women calling others over to see what I was doing.
Bonsile watching on, with Busi pretending to help.
After the dyeing, the fabric is laid out to dry. When it's almost dry, caustic soda is sprinkled on, so some of the colour fixes better than the rest, creating a more mottled effect. Unfortunately this day was the only one of the three we were there, that wasn't completely sunny, so my leggings took a long time to dry...
Bonsile helping me lay out the leggings.
On this last day, we all had a picnic lunch together out on the grass. It was really lovely to sit and chat to the women we may not necessarily have spent so much time with over the previous two days and to hear their stories, learn about their families and their everyday lives. We were also treated to some fabulous singing and dancing after lunch.

When that finished I was promptly sent back inside to wax like a crazy person as it was our last afternoon at the wax pots. My pattern is slightly bigger and a bit more uniform than the way they are normally done, and there are sections where my wax was too hot. It's nice that I could also tell that on the day, but I didn't have time to stop and fix it – I was on a mission.

Our leaving time came and went, with everyone else being dropped at our next destination and the bus coming back to get me so I had extra time to finish, which I was super grateful for. And the result?
My finished leggings after waxing and their final dip in navy dye.
Do you know, these are the first leggings I've ever tried on that are actually long enough for me too. Win/win all round, I say. Now, before I head off, I just wanted to show you what the professional product looks like – drying in the sun, below. To see more of their beautiful work and learn the Baobab Batik story, head over to the website (link above first pic), or check out their Instagram feed.

Last, but not least, I wanted to mention that this is the third trip I've done with Ace Camps and I can't recommend them highly enough for anyone looking for a holiday with a difference – wonderful people, interesting locations, lovely accommodation and a learning experience to boot. And no, this post isn't sponsored, I just think they're fabulous – check them out!

Sunday, 26 February 2017

Jean pocket project

It's now been more than two years since I've bought any clothes* and the longer it goes on, the more I'm drawn to working exclusively with upcycled textiles. I've recently spent time researching options for getting hold of pre-consumer (ie cutting waste from clothing manufacturing) or post-consumer textile waste, but, as is usual, the options in Australia are fairly limited.

I look at other countries that have innovative textile recycling programs (or even old-school ones) that give artists and makers access to the waste stream, but in Australia waste is big business and it's incredibly difficult to insert yourself into the cycle. The few places I can find that allow for community access, only deal with building and construction materials.

In terms of post-consumer waste, I'd really prefer to focus on textiles that aren't deemed fit for secondhand store resale. I'm looking for jeans that don't contain elastane, cotton shirts, cotton t-shirts (without writing or slogans) and 100% wool items. When I talk to secondhand stores, they say that once they've sorted what they don't need, the rest gets bundled and sold to brokers who use a very small percentage for turning into other products, but send the bulk of it to third world countries for resale (which has its own issues).  I've also talked directly to waste management organisations. Over recent times, especially in large Australian cities, local tips, and their accompanying tip shops, have become a thing of the past. Large multi-nationals such as Suez now run the show, and while recycling is definitely one of their services – according to someone I spoke to there this week, textiles go straight to landfill with no options for someone like me to get access before this happens.

In a country that bins the second largest amount of textile waste per capita – this isn't ideal.
Anyway, while I continue my search, it has got me thinking about how fast fashion is contributing to the destruction of local textile industries, skills and techniques and how clothes that were once created for a lifetime of service, such as jeans, are now a staple of fast fashion – an item created for its sturdiness and durability now churned out in the millions by, often times, child workers in Asia.

The result of all this thinking, emailing and phoning around is a personal art project I'm going to undertake for the year. One jean pocket per week decorated using a traditional textile technique. Each week I'll be posting the result over on my Instagram account.
I'm starting out fairly simple with kantha, or running stitch. I have a heap of ideas for decorating the pockets, but probably not a whole year's worth, so if you have any ideas you'd like to share, please do.

I'm also open to ideas on getting hold of textile waste. I have had some luck with the pre-consumer waste, so I'll share that with you in the coming weeks, but if you've got ideas for post-consumer waste, beyond shopping at charity stores, I'm all ears.
*except for the forgotten gym clothing episode.

Sunday, 22 January 2017

New year, new quilt

Introducing the Blue Giant! This quilt has been quietly plodding along in the background for well over a year now – but just as 2017 was getting underway I stitched the last stitch into the binding. Let's face it, a quilt top with pieces that big took no time at all to construct. It was the decision to hand quilt that dragged it out by months and months. I'm so glad I did it though, the larger stitches created with indigo-dyed sashiko thread really suit the aged and worn jeans. I just can't imagine that machine-quilting would have suited it as well.
The quilt front is made entirely from upcycled jeans collected from friends and family or bought at the local op-shop. I'm making a real effort to work with textiles that have enjoyed a previous life rather than buying into the whole cycle of new fabrics released each season.

There were a few jean pieces I wanted to use for colour balance that were worn through, so I patched them to add extra interest. They could just as easily have been patched from behind boro-style and stitched over to create even more texture.
Theoretically, you could make this quilt top from 12 pairs of jeans, and I've created a pattern over in my Etsy store so you can do just that. The quilt pictured here is 85" across (216 cm) and fits nicely on a queen-sized bed (pictured below). To get a quilt this size you need to use extra large men's jeans to make that centre star, but if you have a stash of old jeans and want to try this pattern out, I've provided instructions for you to be able to resize the pattern to suit whatever jeans you have handy.
It's so exciting to finally be able to show you the finished quilt. For the last month or so it's been schlepping backwards and forwards with me from Melbourne to Sydney as I rearrange my life to accommodate more day job work. Luckily it was just about done when I arrived at my Mum's in Wagga (the halfway point when I drove between the two cities), as it was the perfect place to show it off from the back verandah.

I hope everyone had a safe and happy break over the Christmas period. I'm looking forward to a 2017 filled with inspiration and more creative adventures.