A final selection here, this time of small works by Carolyn Sibbald (the first two) and Carla Mines (the third), before Brunel Broderers' exhibition at The Arts Centre at The Meeting House in Ilminster, Somerset, closes on Saturday.
Wednesday, 28 October 2020
Sunday, 18 October 2020
The Brunel Broderers' exhibition in The Arts Centre at the Meeting House in Ilminster in Somerset, is now open to view.
There are several new pieces. I have developed further the layering and the opacity of the images to give depth. I have layered several repeating images each with different levels of opacity and have explored the shapes (both positive and negative) generated by the overlapping of these images.
Saturday, 12 September 2020
Covid restrictions notwithstanding, I will be exhiting work in October with the Brunel Broderers in Bloom, at the Arts Centre at the Meeting House in Ilminster, Somerset. This is a new venue for the group and we are very much looking forward to seeing our work in a different setting.
The exhibition runs from Tuesday 13th to Saturday 31st October and will show a mixture of new work and pieces from the exhbition of the same name held in Cheltenham last September. As well, we hope, as attracting new visitors, this will provide another opportunity to see pieces we showed last year together with further work developed on the same theme.
The work explores growth and flowering and gardens and each member has approached the subject from their own perspective. The exhibition will show the wide variety of approaches and outcomes developed by the members of the group.
Corinne Renow-Clarke will be showing a series of richly coloured turned-edge appliqués in work that looks afresh at plants we bring close to home. I have continued to explore shape and pattern in landscape, this time through more representational work particularly exploring imagery in the gardens at Chenonceau in France. Linda Babb has based her work on the traditional flower motifs found in the buildings of Marrekesh, seen there on frequent visits.
**A word of warning: because of the inevitable impact of Covid 19, this gallery is operating curtailed opening hours - 10 am till 2 pm and will only be open from Tuesday to Saturday. The café will be serving teas / coffees and a limited selection of sandwiches and cakes during Gallery opening hours.
Monday, 4 May 2020
Tuesday, 7 April 2020
I stitched a small square from the pile of painted croppings onto the cotton sheeting and added some other rows of stitching to add extra texture. It was interesting how much the parallel stripes of rolled ink suggested the high rise buildings from which the small photographic image had come. They seemed to have come full-circle.
In this, it was interesting how strongly the black elements in the photos came through the ink creating depth and a quite different and less static effect which I may explore further.
It's always encouraging when idle experiments and 'what ifs' generate thoughts for what may come next.
Saturday, 4 April 2020
It is called The Quilt, which seemed appropriate, and is an original wood engraving by Fiona Hope. Further examples of her work and that by other members of the Society of Wood Engravers are to be found here. I think I bought the card when I was in Scotland and paid several visits to the studios of artists in Aberdeenshire who were exhibiting in North East Open Studios a few years ago - but that may not be the case as I'm not organised enough to annotate my cards when I buy them!
Monday, 30 March 2020
Here, I've used heavily abstracted and very much enlarged croppings from photos of high rise buildings in Sydney, Australia, taken on a trip a few years ago. I've made marks over and around these images with a fine black Uni marker pen using circles and dots.
These marks suggest possible stitching once the main images are printed onto cloth. Alternatively, I may want to incorporate images printed onto photographic paper into the final piece as this better suggests the shiny surface of plate glass.
I know from past experience that this will give me problems if I want to stitch. It is extremely hard work to stitch through good quality photographic paper and stitches have to be quite far apart so that they don't create perforations or merge into one another and create undesirable holes!
Much to think about then.
Friday, 27 March 2020
Circles (usually signifying meeting place, campsite or water hole) and dots (indicating the presence of sacred information not to be shared) are extremely common in the art of Australia's Aborigines as they explore their heritage in a modern context. The simple symbols such as dots and circles, were originally used for sand paintings, to explain things, and in cave paintings or on tools. Often these symbols have different meanings depending on context and local tradition.
I've been exploring and then experimenting to find ways that these symbols can be represented in stitch for work I am developing. I've included here a sample of the pieces. In each case, I've grouped and interpreted them to suit my own purpose.
I find their work fascinating and dramatic - and like nothing else I have ever seen.
Wednesday, 18 March 2020
We visited Tate St Ives - something we had been wanting to do for some time. The gallery is not large but there was so much to admire. For someone who enjoys modern abstract art as I do, it was fascinating.
What made this collection particularly interesting for me was the strong connection between the place of St Ives and its artists and their work. Most had close direct connections to the town and to West Cornwall and either worked with or were friends of Ben and Winifred Nicholson and Barbara Hepworth.
The work in the gallery is drawn from the Tate's own collection and highlights the national and international significance of the historic artist community that continues to thrive in and around the town. There was work to be seen by many well-known 20th century names - Terry Frost, Henry Moore, Piet Mondrian, Mark Rothko, Bridget Riley, Naum Gabo (more of him in another post) and, of course Barbara Hepworth and Ben Nicholson. There were also a pleasing number of new-to-me names whose works were also shown.
I've chosen a slightly random selection of works of both kinds that caught my attention and appealed to me for one reason or another. For some pieces, I enjoyed the pleasure of coming close to previously unseen work by favourite well-known artists. For others I've posted, I was attracted from across the room to work by an artist I couldn't give a name to but yet felt a strong impulse to consider more closely.
Firstly, some internationally known names:
This lovely, delicate little maquette by Henry Moore was made in 1950. It was a model for a much larger bronze sculpture made for Glen Kiln Sculpture Park in Dumfries and Galloway till its theft in 2013. This has very special memories for me as I visited this lovely place with my mother as a teenager in the early 1960s and we saw this and other impressive sculptures. It is a very vivid memory for me and I was delighted to relive the visit through this maquette.
Here, an early work by Mark Rothco. His use of luminous layers of colour always fascinates me,
Ben Nicholson: 1934 (relief)
And now, a pair of works by Dame Barbara Hepworth and Ben Nicholson who worked together for almost 20 years, and were married for 13 years. It seemed appropriate to post their work side by side.
And lastly, a small selection of works by new-to-me artists or those whose work I knew of but had rarely seen. Each of these called to me from a distance as I walked around the galleries.
It seems we just managed our visit to Tate St Ives in time. The gallery closed yesterday because of the Coronavirus.
Such crazy and worrying times! I hope these images will bring you some cheer in a very small way.
Wednesday, 4 March 2020
But it seemed a good way through stitch to explore the geometry of modern high rise buildings.
This page from my art journal explores elements of the strips shown above the stitching. These strips were found in photos of office blocks taken in Sydney and Vancouver which were manipulated and cropped to bring out line and shape in the reflections.
This time, I was most interested to exploit what I saw using black and white thread.
Sunday, 1 March 2020
But of course, as I stitched, things crept into my mind. I couldn't avoid hints of the shapes I've been finding within the reflective glass walls of modern buildings and of the colour palette seen there.
Nothing ever happens in isolation ... even when you think it does!
Saturday, 29 February 2020
Here, I played again with images from high rise buildings. I cropped out small sections from the A3 size image in the last post and combined them into strips using the Smart Objects feature in Photoshop Elements that I find so useful. After much playing, I generated a large number of these rectangular images and recombined a selection into one A4 document ready for printing.
This time, the idea was to print out the images onto the labels from the PC, peel them off the backing and reassemble them in a different order and see what results. As I had hoped, with little control over where the labels would cut the images and because the labels on the sheets were separated by narrow spacers, there was a satisfying element of the random in the end results which greatly appealed to me. The strips shown above give a sample.
I then decided to reassemble pairs of labels that seemed to work well together or provide contrast with one another, spacing them about half a centimetre apart on a white mount.
This time, there are some small selections I especially like - generally the simpler ones - and which I will develop further.