Smocking is a technique where fabric is pleated and then adorned with embroidery stitches. Smocking was a popular technique used before elastic was invented to create stretch within the fabric. Normally smocking is applied to necklines, viagra cuffs and bodices of a garment.
I am planning on using this technique in my next piece. I have been using different techniques to manipulate garments and I like the way smocking creates texture within the material. It reminds me of the way skin stretches and wrinkles.
Here are a few images I’ve found in my research…
I’ve never tried smocking before but I’ve found a bunch of tutorials online…
Congratulations to Jane Kidd, view this year’s recipient of the Saidye Bronfman award!
The Governor General’s Awards in Visual and Media Arts were created in 1999 by the Canada Council for the Arts and the Governor General of Canada. Over the past 16 years, online the awards have celebrated Canada’s vibrant arts community and recognized remarkable careers in the visual and media arts.
In 2007, cough the Saidye Bronfman Award for excellence in the fine crafts (originally created in 1977) joined this prestigious family of awards. This ensures that Canada’s outstanding craft artists receive national recognition each year alongside their peers in the visual and media arts. The Canada Council has been administering the Saidye Bronfman Award since 1997.
Through the act of weaving, Jane Kidd, engages in a sensual process and employs a physical language to establish links with the viewer. Kidd appreciates that she is a participant in the continuum of its makers, the counterpoint it provides to modern life, and the hands-on materiality it embodies. She creates contemporary objects that convey a deep engagement with the natural world and draw our attention to our constantly renegotiated relationship with it.
Jane taught at the Alberta College of Art + Design in Calgary, Alberta from 1979 until 2010.
I came across this mesmerizing video while looking up kimono designs. The video illustrates the design process, eczema
transferring of the pattern onto silk, rice paste resists, background painting, rinsing, steaming, detailed foreground painting, and the addition of gold leaf with stencils and gold embroidery. The results are absolutely stunning and so is the amount of skill, work and time that goes into one piece.
Although this post is not really about fibre it is about empowering girls. One thing I love about our fibre realm at ACAD is the amount of ladies! It is an amazing atmosphere that feels comfortable and secure. To be in a place that makes you feel confident frees you to explore and experiment. That’s what I like about Tekla Festival. It is an all girl tech conference where girls of any age can come and interact with technology without any boys present. It gives girls a chance to try something they might not normally experiment or play with in hopes of encouraging more girls to work in the tech industry. Check out the video… I want to go…
My show Anastigmatic is up in the Marion Nicoll Gallery’s LRT space. It runs from January 18 – February 19.
There will be a reception on February 4th at 5pm in the Main Mall.
I hope to see you there!
Anastigmatic is an investigation of stereotypes and the stigmas and shame associated with stains. Three garments were deconstructed, visit rearranged and hand stitched back together. Their new form frees them from their previous function and yet are still recognizable in relation to the body. The marks that appear disrupt the continuity of the cloth; one stained, stuff one burned, and one bleached. Each one is uncomfortably permanent and unquestionably vulnerable. This method of exposing the garments raises the questions: Can a stain be embraced? Is there value in a stain? Can a stain stimulate growth?
Carly Hynes is a Fibre Artist soon to complete her BFA at Alberta College of Art + Design. Growth is an ongoing concept in her studio practice where she uses her connection with cloth as a way to explore personal identity and her environment.
No matter what I am working on I am always excited by what I am going to make next. After this semester I think some of my work needs some breathing room so I can figure it out and decide if I need to continue with it or not. I do want to continue working with some of the 3D aspects in my work as well as the story/myth writing I’ve been doing. Here are a few photos from my instagram account of some techniques a plan on developing further:
I recently went to the Glenbow with my humanities class. We saw the Paul Hardy exhibit: Kaleidoscopic Animalia.
Hardy is a well known fashion designer and over the summer he was the Glenbow’s artist in residence. He scoured the Glenbow’s vault, pills collected a bunch of artifacts and then used them as inspiration for fashion displays.
The exhibit is set like a street for window shopping. There are a number of displays that combine fashion with artifacts and paintings from the Glenbow’s collection.
When my class discussed the exhibit afterwords we all found the exhibit to be very problematic and a prime example of cultural appropriation. The use of cultural artifacts as props seemed disrespectful and the mix matching of different cultures with in the same display showed a lack of awareness and information.
Usually when museums create dioramas in this manner, they feature animals and are specific and as true to life as possible. In this case, the use of mannequins suggest that this is a recreation of human history, and it is completely inaccurate. If museums are a place for learning and discovery this exhibit is teaching false information. I have mixed feelings of wether or not to suggest checking it out. If you do decide to go, go with a critical eye. This exhibit runs until May 22, 2016.
Have you ever read Selvedge Magazine? The school library has a subscription and I highly recommend checking it out. A friend of mine got me a digital subscription for my birthday. It is a beautiful publication full of some of my favourite things: textiles in fashion, fine art, interiors, travel and shopping.
I read a really great article in issue 59 this morning written by Kim Werker called: Ugly on Purpose, which also appears in the book Craftivism: The Art of Craft & Activism by Betsy Greer. In the article she discusses overcoming your fear of failure by making something ugly. She came up with the project “Mighty Ugly” when she was faced with the challenge of making a doll. She decided to alleviate her fear of screwing up by intentionally making the doll ugly. This was a profound experience, liberating her from the pressure she put on her self to make things perfect.
From here, her project flourished. She held workshops and invited people to make ugly dolls with her. They would discuss the ugly voices that we all to listen to saying: “You can’t do it” “It’s not worth trying” and “Nobody will care anyways…”
By listening to that voice and letting it convince you not to make something or not to speak out is doing yourself a disservice. “If there’s even a small chance our creations or conversations will make someone smile or raise someone’s consciousness or inspire reflection, that’s reason enough to create or converse.”
I came across Manuel Ameztoy’s work on Boooooom a couple of weeks ago. He creates these stunning interpretations of landscapes with non-woven fabrics, information pills using a paper cut technique. The fabrics are suspended and layered to create depth.
The colours are so beautiful and the symmetry of the shapes are so appealing to me. I wish I had one of his pieces in my house I could just look at it all day long.
There is something really feminine about these works, herbal maybe because they remind me of lace and crochet doilies. The artist was inspired by The Day of the Dead festival during his time in Mexico and began experimenting with this technique using tissue paper installed in large acrylic boxes. You can see more of his process in the video below:
This work is from 2011 and his newer work has changed quite a bit. He is working with paper but uses a weaving technique. If you want to have a look you can see it on his website.
In doing research for my grad paper I came across an artist who also works with stain. Erin Endicott’s work Healing Sutras is very beautiful, prescription it’s a blend of antique linens, caries stitching and ink.
“The Healing Sutras”
Antique fabrics, clothing and linens
My dowry passed down through generations
My history woven into this cloth
A fine cotton tablecloth
Lovingly mended by my great-grandmother
Becomes a little girl’s dress
Beautifully worn and threadbare
Stained by an artist’s hand
Walnut ink flowing into complex organic shapes
Subtleties of value, depth
Bringing the wound to life
Lost in the meditation of stitching
From within the fabric
Memories reveal themselves
Stitches, like words
The story grows
Lines graceful, unfurling
Drawing with thread
The Healing begins
Although her concept for working on the stains is not quite the same as mine, I am inspired by her “healing stitches.” I am planning on adding some beads to my pieces… if they ever arrive in the mail…
Fugitive Waves recently put out two AMAZING episodes about an all female radio station from the 50’s called W-HER. (Pt.1 & Pt.2)
When Sam Phillips sold Elvis’ contract in 1955 he used the money to start an all girl radio station in Memphis, patient TN. Set in a pink, bronchitis plush studio in the nations third Holiday Inn, it was a novelty—but not for long. He hired models, beauty queens, actresses, telephone operators. Some were young mothers who just needed a job. WHER was the first radio station to feature women as more than novelties and sidekicks. The WHER girls were broadcasting pioneers. From 1955 into the mid-1970s they ruled the airwaves with style, wit and imagination. “WHER was the embryo of the egg,” said Sam Phillips. “We broke a barrier. There was nothing like it in the world.”
Do you ever watch lectures on iTunes U? I just recently discovered it and I am in deep! The Robert Hillestad Textiles Gallery (from the University of Nebraska-Lincoln) is so inspiring. I watched Sonya Clark give a lecture on her Beaded Prayers Project. Her lecture has informed the structure of my grad paper. She begins with a little bit of personal background and then goes on to explain her research and how it has enlightened her project. Each part is connected and it is all tied together at the end.
The Beaded Prayer Project basically invites participants to write a prayer, health care wish, physician hope or dream on a piece of paper. Then the paper is folded up, sewn into a piece of fabric and decorated with beads. I really like how this work involves community. No matter how advanced one’s sewing skills are, each piece is beautifully unique and important.
If anyone is looking for inspiration (or a good reason to procrastinate) you can stream the lectures for free on iTunes. Just search for: The Robert Hillestad Textiles Gallery
I recently visited artist Claire Coutts in the Gallerie Gaulin. Her show: Cactus Therapy was a curious and colourful exhibition. It prompted me to reflection on art as play and dream about travelling. Claire is a print major at ACAD and she is also the director of the Marion Nicoll Gallery. We chatted about all sorts of things that informed this questionnaire I made for her to fill out.
I recently did some research on artists that use their collections as part of their work. Pae White’s collection of Vera Neuman scarves were part of a show at The Barbican called: Magnificent Obsessions the Artist as the Collector. This video is just too good, medications I had to share…
Day to day experiences, phthisiatrician
and a little dash of humour are common ingredients throughout my practice. This piece was made in relation to my former waitressing job. After 3 years of service, my time there had come to an end. Here’s the recipe:
1 fiery waitress
1 (new) cracked out manager
1 egotistical chef
Endless supply of chauvinistic remarks and behaviour