Exercise 4.3 Re-interpret, re-invent

This exercise looks challenging and is aimed to assist me in the employment of colour and mood translation in materials and yarn; re-invent and re-interpret an approach to building structures  and research and keep technical notes on my processes.

I will be developing a series of yarn designs and simple textile constructions in response to my colour work in Exercise 3.2.

In Exercise 3.2 my chosen image for my yarn wrap was a painting by Nicolas Poussin. The painting depicts a mother and father and seven young children.  I was attracted to the richness of the colours in the painting, particularly the beautiful blue and the dusty pinky colours.

 

First I looked in my thread box for inspiration.

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I was mindful of the threads I had used in exercise 3.2 but thought I would experiment further with a thicker string thread and fine shiny threads (similar to some in exercise 3.2) for exercise 4.3.

So I looked at some of the colours in my exercise 3.2 and decided to plait using fine shiny threads. It is difficult to capture the work because it is fine I have used in the second photo a macro lens but this somehow distorted the colours!

The second piece I decided to go big and used a piece of large cotton string and covered it with embroidery thread in a organic way and then loosely plaited the three yarns. It is not even but paint on a surface is not always even distressed or weathered textiles is not always even I was looking for an interesting finish.

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I was required as part of exercise 4.3 to research a means of working with yarns to create some simple textile or constructed forms.  I decided to look at macrame/knotting.  I researched some books on the subject (referenced below.  I  was interested in creating a constructed form that was interesting I did not want a ‘paint by numbers’ type approach.  I was trying to see how this would fit into innovative textile work in the future.

I started off using a fine width string and got hopelessly caught up in the knots!  I decided I had been too ambitious and so selected a much thicker piece of cotton string and took it more slowly whilst still trying to keep it interesting.  I thought if I wanted a precise piece of work it was more to me like doing a one day workshop and making a macrame pot hanging so I tried to be less precise.  This is my first piece.  It is based on an overhand knot and the shade is like that is my old Master’s painting.

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My second piece is based on a flat knot using the shade of yellow in my Old Master’s image.  I could see this being used in textile pieces to add a three dimensional effect even like the suggestion of an insect. I used bamboo twine for this piece.

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I have compiled the beginnings of a research file on knotting/macrame and will add articles that interest me.  I have found a fabulous online shop which happens to be in Queensland but has great Australian, UK and Japanese strings and threads.

I have also located a new magazine which is produced in Singapore which has all sorts of macrame and weaving type work.

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From this exercise I tried to build on my experimental threads in Exercise 4.1 and 4.2 and to think of the yarns in some ways as texture and paint colour.  I think that I am developing.  In that I am attempting to unfold, grow the potential of yarns, to change the form or expression of the yarn  to unveil future treatments. I could spend enormous amounts of time working on just Part 4 of the Course.  I could really try to stretch it further but time is not on my side right now.  I think keeping the Research File has potential for me to dip back into this area to bring out further my ideas.

If I did Exercise 3.2 again I would try to find an Old Masters painting with less array of colours so I could focus more on just a few colours in my interpretations. I would also plan in advance and dye some of my string to give me more options for knotting work. I did not realise when I first read the Exercise 4.3 how many activities there were to be considered. I would like to explore some of the other ways of working with the yarns including braiding. I did not have a macrame board so found securing the top threads was difficult for the knotting/macrame work. I would also like to master the knotting  and use more unusual yarns like wire, natural vines and incorporate other items like shells and seaglass. I have investigated getting a small drill to enable me to thread or put wire through shells and seaglass. I find these items on different beaches on the Queensland and New South Wales east coast.

References: 

Rougerie C, “Amazing Macrame”, 2016, Search Press

Carey J, “200 Braids to twist, knot, loop, or weave”, 2007, Quartro Publishing

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