kaytextiles

Diploma Module 3 Chapter 12 - Textile Artists who use Construction Techniques

During my studies for the Diploma I've been collecting samples made at workshops with various contemporary artists/designers/makers that involve construction techniques.  Through looking at these and other techniques and textiles from other cultures, it has become apparent how they are inspiring the development of my own work.  Combined with my studies, seeds have been planted for a body of personal work.  So, in no particular order, mentioning people already studied and previous work in some cases with links given where appropriate:

Debbie Lyddon

Before everything locked down I was fortunate to attend three workshops given by Debbie Lyddon on Seeing Sound, Stitched Collage and Sculptural Forms, the latter being the most relevant here.  In addition I belong to the TextileArtist.org Stitch Club where Debbie gave the inaugural workshop on stitched containers.  Some of her work involves making containers, some of which hold found treasures.  These have stitched wire or cord eyelets giving you a glimpse of what is held inside - Debbie Lyddon containers.  

Using this idea, my 'eyelets' take the form of gulls, and rather than being found, my three small treasures were specially knitted to fit into my containers, revealing the unique character and texture of the knitted stitch.

12-1    Three hand-knitted samples in shifu paper yarn, from left to right garter, moss and basket weave stitch.  Using the correct number of stitches to give the appropriate dimensions was very time consuming as different stitch patterns produced different sizes on the same number of stitches.  Once completed the knitted samples were painted with white emulsion.  This gave them rigidity and a more sculptural form (see Inger Odgaard below).

12-2    Containers to hold treasures.  Painted calico, wired and stitched tops and gull cut outs reveal the knitted treasures inside.  These are displayed on a reclaimed slate roof tile.

I also studied her work as one of my artists in Module 1.

Brenda Mallory

At the Debbie Lyddon Sculptural Form workshop I was introduced to the work of Brenda Mallory, born in 1955 in Oklahoma and who lives and works in Portland Oregon.  

'Brenda Mallory’s mixed media sculptural works are comprised of a variety of materials including cloth, fibers, beeswax, and found objects.  By creating multiple forms that are joined with crude hardware that imply tenuous connections or repairs, her work addresses ideas of interference and disruption in long-established systems of nature and human cultures.'

Taken from entry at Julie Nester Gallery

Brenda Mallory website

Brenda Mallory at Julie Nester Gallery

12-3/4    Made using a wing shape, calico, Payne's Grey acrylic, wax and wire.  Though based on a wing shape this piece has also been likened to dancing legs (Tiller Girl's) and teeth!

Priscilla Edwards/Jones

I have made two trips to Unit Twelve in rural Staffordshire for workshops, the first with Jennifer Collier an the second with Priscilla Edwards.  After an early start and a long drive, the friendly welcome and excellent workshops have made it worth the effort.

'Priscilla has been making mixed media pieces in 2D and 3D since completing her degree in Embroidery ay Manchester Metropolitan University in 1997.  Exploring identity, memory and nostalgia, Priscilla creates whimsical pieces that reflect her love of collecting ceramics, textiles and ephemera.  Priscilla is continuously exhibiting her work both nationally and internationally and lectures in Higher Education for UCA, she also delivers a programme of independent workshops and talks in galleries, museums and schools.'

Taken from Priscilla Edward's website.

12-5    Mixed media sculpture, wire, silk, wax and stitch.

Priscilla Edward's website

Mary Crabb

Two trips to West Dean for very instructive weekends with Mary Crabb studying twined pods and twining and looping on moulds gave me an insight into this technique.

12-6    Worrypod: twined paper yarn

Jean Draper is another textile artist whose work I have researched and she too works over moulds (Stitch and Structure by Jean Draper, Batsford 2013).

12-7    Twined structure: paper yarn, paper-covered cake wire

Mary Crabb's website

Inger Odgaard

I discovered this Danish artist on Instagram: she is also on Facebook.

'I knew how to knit before I could write - it's like a language to me.  All my pieces are hand knitted in different materials.  I decide on form or shape and after knitting it, I apply different media.  Each layer applies a new skin, turning them more solid and helps to preserve their fragile, fossil-like structure.'

Inger Odgaard, Facebook, 11th December 2020

12-8    Rectangular knitted structure based on the pattern (wonky block stitch) on a cushion in Harry Kelly's Cottage, Cregneash, Isle of Man. The Structure comprises six pieces - back, front and four side.  Before assembling each section was soaked in emulsion, making it rigid.

Inger Odgaard's website

Hilary Hollingworth

What makes a piece of textile art special?  Whatever it is, Hilary Hollingworth's piece 'Ghandi came to 'wistle' has it for me.   I've mentioned this piece before in the chapter on figures. Hilary Hollingworth uses techniques which add layers to the ground including her own darning/weaving technique whereby an additional directional warp is inserted on top of the ground and needle-weaving is carried out through this.  This gives the directional interest as the warp changes and also forms texture in the robes. The needle-weaving can be dense or loose for additional interest in the surface texture.  Also used are collage, patchwork, dry-felting and hand stitching.   It really is a delightful piece as is 'White over t'hedgerows', p97 of Jean Draper's Stitch and Structure (above).  In this piece, two sections which use her unique needle-weaving technique are united by a paper woven central structure.   

12-9    Impressions of knitting from 12-10 (Harry Kelly's Cottage wonky block stitch) in air dry clay.  The holes at bottom edge made in clay were made while it was still wet.  Washi paper yarn warp and weft.

12-10    Harry Kelly's Cottage wonky block stitch in shifu paper yarn.  This was used to print into the air dry clay, above.

Miscellaneous

A set of panels came from my study of various artists and their work and my love of boro textiles.  I include these here, 12-11 to 12-13.  Following on from a workshop with Merill Comeau on the  TextileArist.org Stitch Club, rather than using, say, three layers of material when I make a mini boro (rather like a kantha quilt) I started using black net as a foundation fabric as she does.  Into these boros I inserted mini knitted blocks that had been painted with acrylic prior to application.  Then, if they were sections that had a lace like stitch, I could cut the net away behind the knitted sections to allow light/shadows to appear from them.  All are displayed on reclaimed slate roof tiles.  Note some of the knitted edge sections.

The above are reminiscent of work by Ali Ferguson - Patchwork Samplers One and Two, but rather than repurposed bed slats, vintage haberdashery and hand stitching as she used, I have hand painted fabric, various knitted fragments, recycled materials and hand stitching.  Once you start putting these together you have trouble stopping. It's quite addictive!