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.


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.


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.


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.


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.


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.


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

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

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