Diana's Occasional Blog

My Last Blog Entry

2011-09-16T12:38:00.004+12:00

This is my last blog entry. My health problems have escalated and I'm busy tidying up my affairs and organising the funeral.

Thanks you so much for reading my blog in the past and all your comments.

Paler than pale....

2011-08-28T09:00:00.003+12:00

This week I have been dyeing some silk a very very pale colour for a client. I have been asked to do this quite often and initially it was quite a struggle to get the colour pale enough.
Because the weights of the dyes and other chemicals are so small, and critical, I do this by increasing the amount of dye and chemicals. Then when actually doing the dyeing I use only half, or maybe, a quarter of all volumes that I have mixed. This seems to work very well and is repeatable after having done the test samples etc. Obviously there is dye wastage but it is so little, it is not worth worrying about.

In the photo the fabric on the left is hand embroidered with matching thread and sequins. It is done by the yardage, and I presuming it would have been hand stitched in India. It is equisite. Both fabrics are to be laid over a silver slipper satin which brings them to 'life'. My dyed oiece on the right.

Writing some text

2011-08-21T08:25:00.001+12:00

So far this week I have added extra embellishment to three of the pages. Then I decided that a book is not a book unless it has some text. So I have been working on a series of words to add to each page.

My original sequence for the pages has now been abandoned as the text altered the sequence. Never mind, this is part of the process and Plan B can often be much better than Plan A. We just have to be flexible.

Here are the three pages I have worked with, and some of the text which I have printed on to paper which has had a colour wash and before drying, it was pressed with a paper towel. This has left an impression looking something like a textile which I feel is appropriate.

The book covers

2011-08-14T08:45:00.001+12:00

Somewhat of a slow week this week but I have been working on the covers of my re-visited art work which I am making into a book. The covers will determine the final size of each of the pages. It has taken longer than expected as I have added a few extra elements.

The rest of the pages are cut out but need to be trimmed before assembly, and will probably get extra elements as well.

I've done a shocking thing...

2011-08-07T08:30:00.000+12:00

About two years ago I completed a large piece called Escape. At this time I was not totally sure whether I really liked the outcome or not, so it was put into storage for 'time out'.

Recently I had the idea that I might cut it up and turn it into a book, thus giving it a second life. I printed off a small photo of the piece and then ruled several size grids to match on pieces of tracing paper. This allowed me to choose an appropriate page size which would present the best outcome for each page.

The original piece on completion.

The printed image with a series of grids on tracing paper.

This is my first print of the piece but the black cartridge needed a shake-up so the colours have printed incorrectly. It doesn't matter here as I have used it to simply sort the sequence of the pages.

And then I started cutting out the pages.....

Testing, testing....

2011-07-31T08:30:00.001+12:00

I like to tidy up my workspace after having decided that a work is finished. It makes for a good fresh start when thinking about the next piece.

I am often impressed with my sample cloths which are used for testing colours, applications and other such things. Because they are of no consequence, applications are rather willy-nilly. Somehow, they often turn out quite good. Here are three which I have pasted into my workbook.

I think it is finished....

2011-07-24T09:15:00.001+12:00

This week I have added some figures to the lower portion of my experimental piece. I shall now put this away for some time and when revisiting, decide whether I need to add more, or whether I feel it is successful or not.

This piece did start out as an experiment way back in February so has taken some time to complete. I quite like the outcome and it could well get exhibited at some time.

I have called it Shelter as both the garment and the house shape offer shelter of their kind.

Diana Parkes, © Shelter, 2011, 48 x 60cm / 19" x 24". Textile pigment on cotton canvas. Multiple surface design techniques.

A leap in faith....

2011-07-17T09:10:00.001+12:00

Further work on my experimental piece this week. Not quite finished yet but getting close.

Here is the piece after doing the following.....

To add the black background smudges I first cleared an old formica table top (any smooth surface would do) and taped registration marks for the piece. The areas where I did not want the smudges were masked off with freezer paper.

Then black pigment was painted on to the table surface, the piece turned over and rolled down on to the black pigment. The result is as seen in the first photo.

Mirror-imaged text

2011-07-10T14:00:00.001+12:00

A few weeks back I tried something new on my experimental piece. I wanted to add some text, and this is how I went about it:

1. Having decided on the text, I chose a size and font, then printed out a copy in reverse. For those not sure how to do this, simply select the following; Print - Properties - Advanced - Page Layout - Mirror Image - Print.

2. I then painted some black textile paint/pigment on to a sheet of glass, the amount of application being relevant to the end result - some testing is important.

3. I then took my experimental art work, masked off the areas to be avoided, and placed it face down without pressure on to the ink spread on the glass.

4. On to the top of this (now the back of the work), I placed the mirror-imaged text. With a pencil I then traced the text with a firm hand. This picked up the black paint/pigment. Some background paint/pigment will also transfer but once again testing should get a satisfactory outcome.

5. Removing the mirror-imaged text and lifting the art work reveals the text the right way round!

Some progress...

2011-07-05T17:05:00.001+12:00

Although my blogs have become more 'occasional' lately, I have been quietly working away on my piece when time allows. Scheduled appointments to sort my health eat into time; however, these are all going well which is important.

I have been working on various parts of this experimental piece and consequently have lost the sequence of how things are evolving. However, to follow on from my previous blog, I have done some more work on the garment shape and feel pleased as to where it has arrived. I have also worked on some of the background areas.

Two more photos of the garment shape which I think completes this section although I am contemplating adding some stitching:

Yes, there are some machine stitched lines in the background, joining the dots ....

Scrub and wash

2011-06-26T08:30:00.001+12:00

My current experiment is to be achieve solely with textile heat set pigments or paints. I enjoy the unexpected and am aiming for things to appear 'dyed'.

This week I have added some colours which will eventually become a garment shape. After applying the blended colours I decided they were too dense. To correct this I scrubbed and washed the fabric before the pigments had dried. Depending on the weather there is a manageable time lapse to achieve this. The result, when dry, was a much more subtle feel.

The advantage here of course is that I can wash my substrate ie cotton canvas. Such washing would not be achievable if I was working on paper!

The initial application - too dense!

After a scrub and a wash - much better!

I've applied some colour...

2011-06-23T09:15:00.000+12:00

Earlier this year, before becoming involved with sorting out my health problem, I made a start on a new experiment. This followed my experimenting with the same design and applications on three separate substrates ie paper, canvas and a silk/linen mix. You might like to revisit the blog on this here.

The outcome was that I preferred the canvas. My next thing was to work another experiment using just the canvas; not to get too serious about the design, but just play and see what happens. I had achieved the following before it was put on hold:

This week I felt ready to start again. I had been thinking about this for quite sometime. In determining what colour to use I sorted and tidied my colours, discarding those that were beyond use. This can be very therapeutic and a good way to get back into things.

And so I did. It may not look much but the process was great!

2011-06-17T17:07:00.009+12:00

One of my 'side-lines' is creating knitted charity blankets from wools donated by those wishing to deplete their stashes. This is a win, win, win situation. Firstly I am using the wool; secondly, I enjoy the knitting in quiet moments; and thirdly, someone benefits from the comfort offered by the end product.

This week I completed another blanket; a baby's blanket using some of the softer colours. Marge had included some crochet rosettes in her bag of wools and I have attached them on to this blanket.

During the next week I shall deliver this baby blanket to the local Women's Refuge. It is winter here in New Zealand and hopefully it will help to warm some child, somewhere.

My next adult size blanket is already on the way....

An honour indeed....

2011-06-12T13:40:00.001+12:00

Earlier this month New Zealand celebrated the Queen's birthday with a national holiday on June 6th. At this time it is customary to announce the Queen's Honours List to those “who in any field of endeavour, have rendered meritorious service to the Crown and the nation or who have become distinguished by their eminence, talents, contributions, or other merits”.

And guess what, I have been made a Member of the New Zealand of Merit, MNZM, for services to the textile arts. What an honour! I feel humbled and excited all at the same time. The fact that the arts have been recognised and, in particular, the textile arts is very pleasing. We are all winners!

Looking back I started on this journey in the early 1970's, forty years ago, and it amazes me that I am still as enthusiastic as ever.

My medal will be awarded by our Governor General, at Government House, Wellington, in a few week's time and my boys have been instructed that they must attend! The image here is the man's version of the medal, as I haven't been able to find an image of the woman's medal!

This weekend the Surface Design Association conference is under way in Minneapolis-St.Paul, Minnesota, USA. Having attended the previous three conferences, a little bit of me is there. Here's hoping I might be able to return for the 2013 conference!

A new garment

2011-05-22T07:57:00.012+12:00

Thanks to everyone for their very kind best wishes since my previous blog. They certainly help to 'share the load' and I am pleased to report that I feel good.

A couple of weeks ago I was to attend a formal occasion and although I already have suitable garments in my wardrobe, the urge to use a length of my own hand-painted fabric was too strong. I had been waiting for such an occasion to make up this length.

It was silk organza and like any sheer fabric poses a problem with the inside seams as they are visible through the sheer fabric. I joined the seams with a simple three thread over locker (serger) stitch, then pressed the edge to one side. With a steady hand I then stitched down the centre of the edge with a single line of straight stitch, from the front side of the seam. This certainly looked very neat. The sleeve and lower hems were hand rolled, and the neck edge bound with a binding.

I was pleased with the outcome. It was a test of my sewing skills and I feel I have passed my competency test in sewing with just one eye!

Below is the finished garment. If you think I did a good job in matching the diagonal lines of the hand-painted design, I have to confess that was pure serendipity! The lower front edges are knotted at the corners.

An update....

2011-05-11T19:03:00.011+12:00

Last week I posted this blog but the blog people had a stuff up. Apparently blogs posted around a certain time were lost. In fact everything went off line. They say they are working on replacing them but this has not happened, yet... I am therefore posting this again. No need to read any further if you have already read it.

It has been awhile since I lasted posted on my blog. I needed to focus on some serious health problems that came out of the blue earlier this year.

I am now pleased to write that hopefully the worst is over and although more on going procedures will be occurring, everything has gone well so far.

Fortunately our health system clicked into urgency and I was fast-tracked through the system. Four weeks ago today I had a major operation lasting 11 hours. During this time I had an aggressive tumour removed from behind my nasal passages. Unfortunately this had affected my right eye, and removing it was the only option. I now also have some of my tummy muscles relocated in to my face to replace cheek bones which had disintegrated.

Sound horrible? Yes, it was but fortunately New Zealand's most highest profile plastic surgeon (he is also known internationally) works at my local hospital and he was is in charge of the team of surgeons.

I had 10 days in hospital and now, a month after the operation, I have been home quietly getting on with things and learning to cope with my new situation. I refuse to look back and welcome each little challenge as something to be overcome. It is all working so far! My team of surgeons are delighted with my progress and have been very encouraging.

I have always enjoyed physical activities with the aim of keeping myself fit. In fact they tell me I am incredibly fit (compared to most people my age) and I feel this has been a great advantage in my recovery. I am already back into walking, albeit at a somewhat slower pace.

I am not sure when I will next blog. I am finding myself drifting back to reading your blogs, and many of the other activities I have enjoyed in the past. It has also been a time to re-think the future and what I want to do. Too early for any decisions yet. One thing I am enjoying is being somewhat more laid-back in my daily life; priorities change, and I am quite liking it....

an unfortunate hiatus

2011-03-07T08:15:00.004+13:00

Due to some unfortunate health problems I am putting this blog on hold for sometime, although I could quite well pop up, off and on. It will be difficult keeping me down!

I really enjoy blogging, love that you take the time to read it, and to leave comments. I feel I have learnt so much about myself as a person, and as an artist, as well as bettering my writing skills.

I hope all your creative endeavours continue to reach great heights and, for those who also write blogs, I still hope to read all about your making.

I did start a new piece last week, following my experiments with the three different substrates. The shape you will recognize. I have painted dots, some directly on to cotton duck, some on to pre-wetted areas, and other parts washed with water afterwards.

Thoughts on recent testing....

2011-03-04T07:30:00.001+13:00

Firstly, regular readers of this blog will have received a 'blog doesn't exist' posting during the week. All my fault entirely. I was making a start on preparing this blog and inadvertently pushed the Publish button when aiming for another button. I quickly deleted the posting but it does remain in the system. I promise to try harder...

This week I have quietly contemplated my recent exercise in repeat dye and paint applications on to three different substrates. All three may be viewed here. The following are some of my thoughts on the outcome.

* I like the freedom in painting on the paper; gestural applications can be expressive, whereas on the fabrics they drag.
* Wet paint pools and blends on the paper, but the fabrics soak up the dye and restrict this activity.
* All printing and stamping techniques, using printing paints, respond the same on all three substrates.
* Applications don't dry as quick on the paper allowing for further activity, they don't dry quickly on the fabric substrates either where they sink into the fibres but are difficult to spread or shift further.

My preference, at this point in time, is the results on the cotton duck. I really like the way the wet dye wicks along the grain of the fabric. This seems to happen in one direction only, and in my test piece, this runs vertically. It softens the application and merges with the edges of previous applications. Also, wet dye does give total coverage, but not always fully as it will settle partly on the top surface of the fibres in some areas which I like.

Applications on the cotton duck.

As also mentioned in my previous blog I was planning to make a cot quilt to donate to the Christchurch earthquake victims. Using previously hand-dyed cottons, I have now finished my first cot quilt. I am not a quilter but did recall how to stitch and quilt at the same time. And with the help of the walking foot on my machine, I was able to machine stitch the whole piece.

My selection of hand-dyed cottons waiting for a purpose.

No, it is not an art quilt but I did enjoy the simplicity of the task.

Testing, testing...

2011-02-28T07:30:00.001+13:00

Testing times indeed for New Zealand. Many thanks for your messages of support and concern. These are much appreciated.

Putting aside the tragedy here for a moment, I have finally done something I wanted to do for quite sometime. I decided to experiment with different substrates for the techniques I use in producing my art.

Set up ready to go. Left: paper (sketch book). Middle: my favourite silk/linen cloth from Thai Silks, USA. Right: cotton duck.

Each application was repeated at the same time on to all the substrates.

The final outcome. This is not an exercise in 'great art' but an attempt to record how different dyes, paints, techniques responded. I shall publish my thoughts in the next blog.

Testing times indeed for New Zealand. It is difficult knowing how one can help when living in other, unaffected, areas of NZ. Donations are important but there has to be more. Yesterday I realised I had a collection of co-ordinated hand-dyed cotton fat quarters left over from my previous business. I now plan to purchase some wadding and turn these pieces into cot size quilts. Autumn is around the corner, followed by winter. It will be cold.

This morning's blog...

2011-02-25T08:47:00.005+13:00

Earlier this morning, New Zealand time, I posted a new blog titled 'We are hurting...'.

For some unexplained reason this has appeared as being posted 12 hours ago despite being recorded correctly as Friday, February 25, and the time 7.35am. If only we could turn the clock back....

Please check back through your incoming blog postings and it should be there. Thanks.

(Here's hoping that this one comes through at the correct time!)

We are hurting...

2011-02-25T07:35:00.002+13:00

New Zealand has hit the world news again with another horrendous earthquake in Christchurch, a repeat of that experienced last September. New Zealand is reeling. The individual stories are heart wrenching, and it is difficult knowing how those immediately affected will continue. I am safe, my environment has not changed. My concerns however are palpable. It is not over yet.

It seems unfair to continue as normal but there is also a need that this is what should be done.

This week I returned to my latest sketch book while I contemplate my next piece. I know I should do this more often but it never seems to work out that way.

My latest 'doodle'. The quote on the left page is The mission of the observer is to have an active relationship with the thing observed, to view and to contemplate. Olga Ivandicki 1931 - 2009. (the smudging on the left page is seepage from the other side of the page)

Another scarf for myself evolved this week when a couple of fabric left-overs spotted each other and connected.

The left-overs. Crinkle silk and a silk rayon velvet.

I did some arashi shibori discharge on the crinkle silk, and this is the end result.

Second life

2011-02-21T08:00:00.001+13:00

As I am in between works at the moment with the finishing of the two 'Tied to the House' pieces, and with new ideas still in formulation, I turned to a few things put aside for doing 'sometime'.

When searching recently for some fabric in my stash I came across a shirring elastic hand-dyed silk band which had in its first life been a peplum band on a jacket. I now can't remember why I eventually removed it but in re-discovering it I decided it would make a great scarf. Fortunately I still had some of the fabric left and set about binding the raw edge. I shall enjoy wearing this 'second life' scarf!

The last couple of weeks have been dominated by all the galleries and institutions presenting new exhibitions and programmes. The Wellington City Art Gallery, among other things, has Crown Lynn: Crockery of Distinction (closes 25 April). The Crown Lynn company started in the 1920's as a pipe and brick manufacturer and then evolved into classic kiwiana household ceramics in the 1960's. Pieces are instantly recognisable and most of us here in New Zealand will have some pieces of Crown Lynn tucked away. The exhibition includes several extensive private collections.

The exhibition included some design boards from well known artists who entered competitions in the 1950's and 60's and whose designs made it to production. I was immediately taken back to these days when I too entered at least one, maybe, two designs into these competitions. Entries were painted on to templates supplied, and then submitted. I was a school student in that era and am now quite amazed that I thought I could do it. And no my designs which I now can't recall at all, didn't make the grade! What does interest me is that I thought to have a go, and all these years later nothing has changed.

A Dorothy Thorpe design, Santa Barbara, 1965. Photo: Studio La Gonda. (Copied from City Gallery website).

They are finished...

2011-02-18T07:30:00.002+13:00

Here they are, both mounted and wrapped:

© Diana Parkes, 2011. Tied to the House, left Descent, right Ascent. Each piece 30cm x 30cm / 12" x 12"; together 63cm x 33cm / 13" x 25". Silk and cotton cloth, dye, pigment, stitching, cord, painted boards.

My theme of the house shape is continued here. The title refers to being confined to the house, hence the wrappings. The stairs and figures relate to life, sometimes it is 'up' and other times 'down'.

Side photo showing the boards.

Almost there....

2011-02-14T08:00:00.001+13:00

Completion countdown is well underway for my two pieces, and after some serious decision making I screened a grid of green dots over the whole surfaces of each. Yes, another huge risk but I feel it has worked with pulling all the elements together.

From the beginning of these two pieces I knew what I wanted to do with the mounting, and #2 son finally got around to cutting me boards to match the shape and size of the two pieces. These have now been painted.

My next blog will show the pieces mounted, so stay tuned for a surprise....

Experiments and samplings on a pre-worked scrap of fabric.

Final stages

2011-02-11T07:35:00.002+13:00

I am now in the final stages of my two pieces. This is when I get very critical and re-visit what has been achieved so far, and try to work out what needs to happen next.

I felt the white dots needed more definition other than the connecting running stitches, so printed some red circles in some of the dots. This was done with the end of a bamboo paintbrush handle which is hollow, hence the very small circles. I then added just a little green in the centres.

It is surprising what can be used for printing and we need to be observant as to what is available. I was about to throw out a used pop-out pill package the other day but it ended up on my work table instead.

Printing with the pill package. I like the irregularies within the grid format. Also printing from a cork, and the bamboo paint brush with some deliberate smudging.

Here I have added some colour to the bottom portion.

I like this quote:
"People who say that it cannot be done should not interrupt those who are doing it"- George Bernard Shaw

High Risk

2011-02-07T07:50:00.003+13:00

Taking risks is par for the course as far as I am concerned. One never knows what exactly will happen and yes, there can be disasters but on the whole I think most things are worth a try.

This week I experimented with dropping drips of paint from a height on to paper, then fabric. Getting the consistency of the paint right needed to be sorted first, then the trial on paper, then on to fabric. I tried making the drops initially while standing on a chair then, because I am tall, just holding the dispenser up high and dripping. I like the result on the paper but because the fabric is absorbent it didn't spread quite so much. However, I still liked the result.

Trial on paper.

Then on to previous sampling on fabric.

Then it was a tense moment as I dripped over my two house pieces. Once dry I connected the drops with a tangerine running stitch (yes, more stitching!).

a little bit of stitch

2011-02-04T07:45:00.003+13:00

The figures in my latest pieces have gained some extra colour this week. I could have played safe and done this in some compatible colour but instead felt I needed to add a zing and there is no better way to do this than by making an unexpected choice. So I used an apricot / orange colour. I think it works.

And I have added some stitch! I do very little stitching (actually none) these days but getting out the needles and threads seemed very familiar. Not much, but a couched cord on top of each of the steps. The cord is appropriate for the eventual final application, when everything else is completed.

This week I have finally got to mount my previous piece 'Dis-cord' which got completed, except for the mounting, just prior to Christmas. After getting it applied to a painted canvas backing, I took it to a local canvas manufacturer to get the eyelets / grommets done. They were able to do this while I made a lengthy visit to my dentist (yes, another capping!). When I collected my piece the receptionist commented that she, and her work companion, found this piece very 'spooky'. This did not offend me, but instead I felt it was a compliment. This piece is not a 'nice' piece, it was not intended to be such, so her 'spooky' response confirmed to me that it was working. If you wish to re-visit this piece, and my comments about it, you can do so by clicking on Dis-cord.

Over-dyeing a garment

2011-01-31T07:52:00.001+13:00

During last week I have over-dyed a silk garment for a client. I am always very hesitant when asked about such an activity as it is mostly unsuccessful. First, the type of fabric needs to be determined (I will only dye cellulose fibres and silk). Second, the stitching thread, zip and of course buttonholes (if any) will remain the original colour. Third, any tight tucks, gathers and folds will act as a resist preventing even distribution of dye colour. And finally, it is common belief that over-dyeing will disguise any fading. Unfortunately this is not the case, the over-dyeing will spread evenly across the previous colour, and the fading will still be evident.

Despite all the above, I decided to give it a go. This garment had been hung amongst others on a rack of clothing, and the narrow shoulders and sides, which had been exposed to the light, had faded. It also had metal and glass bead decorations but because they were stitched, not pasted, I felt they should be okay.

The garment before dyeing. Not easy to see the fading but it is there.

After over-dyeing. The new colour I felt was much more appealing, and the fading was almost eliminated unless you knew where to look.
However, the silk georgette overlay on the skirt took a sad and shrunk, about 10cm/4"! The bodice overlay did not seem to shrink at all. Fortunately the lining dyed the same colour, and both my client and myself felt this shortening of the overlay made a feature, and is actually quite elegant. The beading came through the dye bath well and appeared a lot more refreshed and sparkly.

I have now added shrinkage to my list of reasons why not to over-dye a garment!

Steps and stairs

2011-01-28T07:40:00.002+13:00

A busy week but still some progress. These pieces are quite small, measuring 30cm / 12" across the base, and the same from the base to the top point.

Masking off the oval again, but slightly offsetting. Print pattern from a lace curtain.

The figures are now grounded on to flights of steps.

During the weekend I visited the Aotearoa Feltsisters 'Earthwaulks' exhibition in Bottle Creek Gallery, Pataka, Porirua. Not only is this exhibition very well displayed but it shows a great variety of works in felt, and dyed with natural dyes. The work is varied and well executed. The exhibition closes on Sunday, 30 January, but if you are unable to get there, you might like to view the pieces on their blog aotearoafeltsisters.blogspot.com.

Steady progress...

2011-01-24T07:45:00.003+13:00

It is good to get back into regular routines and steady progress has been made this week. I have also re-jigged a corner of my studio. This involved dismantling a couple of very old storage units with a crowbar, chisel and hammer (a) because I couldn't get them out of the house on my own, and (b) they are to go to the refuse dump anyway. My portable printing table has now got a permanent place and I no longer have to remove it / return it on to my larger work table. I always feel that having the right work space is incredibly important, and adapting it over the years to suit current requirements is also important.

And now to my latest piece...

This is not a very good photo, it was taken just after I had screened colour on to my 'finished' pieces. I have masked off a motif in the centre of each and the colours are looking very strong as they are still wet.

I meant to take a photo of the pieces when washed and dry, and the masking removed, but got carried away with what I was doing, and forgot!

The next stage was to break up some of the background with discharge paste.

Nothing at all to do with my latest piece but Saturday night at dusk there was one of the strongest rainbows I had ever seen, and it reflected itself on to the misty rain that was creeping into the Hutt Valley.

Finished, before they're started...

2011-01-21T07:45:00.002+13:00

I confess it is probably not normal, but I have just 'finished' a couple of pieces before they have actually been started! Okay, that probably doesn't make sense. I want to include the finishing in the processes to produce them. Therefore, I have stitched a buttonhole edging around my two fabric pieces using a linen thread, and will dye and over print the stitching as I work, with the idea that it will blend in to the whole.

I am continuing with my overall theme of the house shape, and incorporating figures. These pieces are intended for my next solo exhibition. I am planning a smaller sub-group of works, their finished shape reflecting the house. These should make a good contrast to the larger pieces I have worked so far.

Having completed the stitched finishing on the edges, I decided to transfer the initial dye colour via my large printing screen.

Templates placed under the screen to determine the shape of the colours to be applied.

Procion MX dye and water painted on to the screen. The dye has been generously applied and then the screen lifted into a vertical position so that the excess dye dribbled down the screen. The stitched fabric pieces will be pre-soaked in soda ash.

This quote appealed to me, how true!
Some things leave my list after I've done them - others after I've abandoned all hope of doing them. Ashleigh Brilliant

Nothing in particular

2011-01-17T07:30:00.001+13:00

This week has been spent quietly getting back into the groove. Holidays don't last for ever and I doubt whether any of us, honestly, would like to remain in that state for too long. Routines, creativity and challenges are powerful 'drugs'. And we have a whole new year to indulge!

Early in the week I prepared four pieces of fabric approx. 20cm/8" square and just played. Nothing in particular and just adding layers of colour and patterns. It certainly helps getting into focus again, and who knows where it will lead.

In New Zealand we have just watched the final of the 2010 British Master Chef programme. My excuse for watching this programme is that it is art - think about it! One of the trio in the final stated that winning Master Chef would be the icing on the cake, but if he didn't then he still had the cake. I like this statement. In life the only thing that can be guaranteed is that things will not always turn out how we would like, and you can still be grateful and proud of what you have got or done.

New toy...

2011-01-14T07:30:00.000+13:00

A couple of weeks ago I purchased myself a new toy. It is a netbook, a mini laptop. I want to use this for a specific purpose, and I don't need a full blown, this-can-do-everything type of machine. It is not to replace my larger, more efficient computer.

I am rapidly getting used to the smaller keyboard and the touch mouse and I are in training. I can take this machine anywhere, it is powered by battery as well as the mains.

It is small, note pen at front.

Because I will be moving it around, taking it away with me etc, I felt it needed a carrier bag. I could purchase one for about NZ$40 but hey, we artists can do anything! One of my art pieces worked while I was searching for a new direction, seemed about right. It didn't have a future, but it now has one as the front of the bag. The face is that of Frida Kahlo, my inspiration and mentor - very appropriate....

Me and my netbook getting acquainted while in Rotorua.

Turned, kneaded and manipulated....

2011-01-10T07:45:00.002+13:00

Continuing with precision dyeing, the final posting on this subject....

9. Depending on the amount of fabric being dyed, I start adding the salt solution at about 5 - 10 minute intervals. Each time I do this, the fabric is completely removed from the dye water, and a portion of the salt solution is added. This could be in two to four portions depending on the volume of salt. I keep adding more boiling water after each portion to dissolve the next layer of salt. It is very important to remove the fabric and thoroughly stir in the salt each time so that when the fabric is returned to the dye bath it receives the salt equally. Once again continual stirring is important - turn, knead and manipulate!

10. Then it is the turn of the soda ash, same thing, lift it out, add some of the soda ash solution, stir well. Because there is a lesser amount of soda ash, this goes in as two - three portions.

At all times keeping the fabric moving is paramount for complete even distribution of colour.

11. Once all the salt and soda ash have been added, I will leave everything to soak for about 30 minutes, returning every five minutes or so to give a stir.

12. Finally, the dye water is disposed of, the fabric gets several rinses, first in cold water until it is nearly clear. Then a hot water rinse or two as this usually releases more surplus dye. Finally I put it through a hot water wash in my washing machine. After this it is pretty much colour fast or as near as it is ever going to be. To get it back to a 'bought' fabric finished, the fabric is ironed dry. Never dry and then try to iron - crinkles can be very stubborn! With some of the heavier fabrics I will give it a burst in the drier to take away some of the dampness. Often I will iron once, leave the fabric to 'air', then iron again.

All this may seem somewhat over the top but to get a result so that a roll of hand-dyed fabric is indistinguishable from the commercial fabrics is the intention. The client gets the colour and depth of shade they desire (well, 99% of the time!) and everyone is happy!

I have related these techniques to silk but they are the same for cellulose fibres ie cottons, linens, rayons etc.

I hope these blogs on this subject have been of use. Some of you have commented that they have been helpful and I hope your own dyeing experiences may be enhanced with what I have explained. You are very welcome to follow these procedures but also be aware that it still takes heaps of experience to get to this point. I appreciate that not many people need to be so precise.

To finish, something entirely different. I have just returned from spending time with family in Rotorua. It is wonderful to get absorbed into family life again. The photo is of Taria and Jessica, grand-daughters and cousins, training to be artists...

Precision Dyeing continued

2011-01-07T07:45:00.001+13:00

I want to pick up where I left off with the blogs on precision dyeing. The last blog on this topic, Seasons Greetings had the dye powders dissolved in water, strained to remove any undissolved dye, and the fabric wetted out.

7. At this time I will also prepare the salt (uniodized) and soda ash solutions. The amounts are worked out according to how much dye is being used. Simply, the salt pushes the dye into the fibres, and the soda ash makes it stick. For the 100gms dry weight of the fabric ie WOG, I need 135gms salt and 18gms soda ash. These I dissolve separately in boiling water. Salt is quite hard to dissolve (in cooking it gets absorbed by the food); the soda ash needs a dash of cold water first before adding the boiling water as it does have a tendency to fizz. The quantities of boiling water are sufficient to dissolve both the salt and the soda ash and this makes it easier for the fabric to absorb.

8. The volume of fabric to be dyed dictates the size of the container, it is important that the fabric has plenty of room to be manipulated in the dye bath. Although the Procion MX dyes are cold water dyes I am somewhat of a wimp and use hot water from the tap! Into this I add the dissolved dye and thoroughly stir to distribute the dye evenly. Then the wet fabric is immersed and the action starts - from now on the fabric is constantly on the move, it is turned, kneaded and manipulated so that the colour is spread evenly across the whole length (remember this is precision dyeing and needs to be like a 'bought' fabric - this is not tie dyeing!)

And just so I can give you some pics, the following show the value of keeping records! In all cases I am referring to the swatch second from left, which is silk:

Procion MX Navy Blue comes out lavender...

Procion MX Deep Purple comes out Cerise...

... and one part each Procion Mavy Blue and Turquoise HZ gives me a purple. I am not sure when I discovered that these two colours gave me a purple on silk but it was a relief to finally get a purple.

Artists' Sunglasses

2011-01-03T07:50:00.001+13:00

During last October I was able to attend some of the films offered at the Italian Film Festival. One film "A Matter of Heart" offered a gem of an idea as well as being a delightful human story.

One of the characters was a middle aged writer who became a mentor for a young lad of about 12 years of age. One day these two were strolling through an open air market somewhere in Italy, and the young boy asked his friend how he could become a writer too. The older man spied a stall offering sunglasses and promptly purchased two outlandish sets. He then sat the boy down, they donned their glasses, and he asked the boy 'what did he see?' The boy responded, along with prompting, by describing the scene, people and scenarios about what he was viewing. The boy was then told that he now had a story and his new sunglasses were to be his 'writing' sunglasses.

Further on in the film this young boy was spotted on numerous occasions, putting on his special 'writing' sunglasses and peering at the scenes around him, intently absorbing, recording and questioning what he saw.

In the context of this film, this subplot was very meaningful, but it did get me feeling that visual artists need such a tool, we each need a pair of 'artist sunglasses' too. Whether we in reality have a specific pair of glasses, or whether these glasses are locked in our imagination, we can use them as an aid to focus on what we are seeing. They may become a powerful aid in helping us to concentrate on what we see and hopefully transpose our seeing, thoughts and feelings into our art. So next time you are having an artist blank, imagine putting on some outlandish sunglasses and focus the mind and sight, it may just work!

To all of you, the very best in art making for 2011... let's make it a great one!

Did you know...

2010-12-31T07:30:00.002+13:00

It is still the festive season, and high summer holiday time for many of us here in New Zealand. I am trying to take some time out but haven't succeeded just yet, however I feel the next few days will be more relaxed.

Herewith a couple or three 'did you know' facts that may interest you:

We all know of the fabric which we call corduroy, it being constructed with vertical ribs. But did you know where the name came from? Early temporary roads, particularly over soft ground, were made from laying logs of wood cross ways. There were called corduroys or cordways. I suspect this method is still used in appropriate circumstances. Also trousers made from corduroy are often referred to as 'cords'.

Why do we call trousers 'trousers' ie plural? In earlier times trousers were two separate garments ie one for the right leg and the other for the left leg. This could be cost effective if one leg became damaged!

And do you know why 'plus fours' (those shortened trousers worn traditionally by golfers where longer trouser legs may get caught up in the swing) are called plus fours? In earlier times men's underwear had longer legs than contemporary underwear, and this style of trouser was made four inches longer than the underwear, hence 'plus four'. One could also have 'plus eights'; and both are often made from corduroy.

Giving

2010-12-27T07:30:00.002+13:00

We don't need to be reminded that now is the time of giving, and receiving. During the week before Christmas I managed to complete my second knitted blanket, and delivered it to the local Women's Refuge for passing on to someone in need. Much of the wool has been donated (I am continually scrounging for knitting wool!) and I am just the 'machine' that knits it. This is one of those lovely win win situations.

Seasons Greetings

2010-12-23T07:45:00.002+13:00

I don't do much in the way of Christmas trimmings, although I enjoy what other people do. My attempt above wraps some of my art tools in Christmas decorations. All the very best to everyone for the festive season and the New Year - may 2011 be an extraordinarily creative one for you all.

And just a wee bit more on precision dyeing of fabrics.

5. Once the dyes required are selected and weighed, paste them with hot water from the tap, add some more and stir well to dissolve all the powders. Some dyes are notoriously hard to totally dissolve, so after giving the dye water some extra time to dissolve any difficult powders, I then strain it through the toe of a pantihose. Any undissolved residue is then discarded. The worst colours for leaving undissolved powder are anything containing reds ie browns, purples, navy and of course any of the reds. If straining is not done, the undissolved powders will 'spot' any dyed fabric.

Dye water being strained through the toe of a pantihose.

6. Fabric awaiting dyeing must be thoroughly washed to remove any manufacturing dressings. This is essential with the plant fibres eg cottons, linens etc, but oddly enough silks do not need to be pre-washed although I give them a good soaking before dyeing. All fabrics need to be wetted out before starting the dyeing process.

That is all I will write on this topic at this time. More in the New Year. I hope you are finding this useful. Even though you may not be into precision dyeing, perhaps some of what I write is new to you.

I will blog on and off during the holidays, with things befitting to the season.

The biggie - how to read colour

2010-12-20T07:45:00.001+13:00

We know the colour we want, there may be a swatch of another fabric, a magazine cutting, a flower or you-name-it, colour is everywhere. Achieving that colour in hand dyed fabric is a challenge; skills in 'reading' colour need to be developed. Just as a musician is able to recognise individual sound notes, or the way a mechanic tunes a vehicle, the visual artist needs to be able to analyse colour to reproduce it. One of my favourite pastimes on long drives is to concentrate on the colour of the car in front of me, and 'read' the colours to determine how I would reproduce this, it works!

We all know that there are warm and cool colours, we also know that there can be a warm red and a cool red, a warm green and a cool green. Being able to look at a colour and separate the many individual colours that come together to produce a colour is the next step.

There is also the intensity of the colour, is it at full intensity; or is there less intensity, a paleness or lightness of the colour?

I have a range of Procion MX dye colours which total 28 - they include 4 reds, 2 yellows, 2 blacks, 6 blues and 4 greens, plus a further range of individual colours. I know these colours intimately - I have been working with them for about three decades. If I was to be given a different set of dyes I would have to start all over again!

Everyone of these dye colours is made up of a complex selection of colours, and in various quantities to make that individual dye colour. When faced with a new colour ie it isn't in my range of colours already and this is in most cases, I need to determine what dyes to combine, and how much of each. Usually I start by selecting a main colour, then the others that will blend to make that colour. Recording quantities/proportions is paramount. And the intensity? Full strength for a strong colour, with less for paler colours.

My dye Record Chart which I use to record new colours. The colours used were Blue G, Soft Orange and Deep Purple. The swatches from the left are cotton, silk charmeuse, silk/rayon velvet and silk organza. Remember how I said it was so important to know that makeup of fabric? These four swatches all came from the same dye bath.

How does this all work?

3. I have determined the weight of the dry fabric (see previous blog), and for this example we will use 100gms (WOG). I have also decided that I want the colour to be quite intense, a good strong middle range is 5% DOS (depth of shape).

4. I have a pile of file cards each recording how much dye, and the chemicals that are required to achieve an outcome on fabric weighing in at various amounts from 25gms to 1000gms. It says that I need 5gms of dye in total for the 100gms dry weight of fabric. Referring back to my warm brown colour above, I therefore need 2.5gms of the Soft Orange, and 1.25gms each of the Blue G and Deep Purple. (Apologies to those who work in imperial quantities, but metrics are so much easier!) It is essential to weigh dye powders and not work with volume eg half a teaspoon etc, as all dye powders weigh in at different weights eg 5gms each of two colours may look, in volume, completely different.

My dye quantity record cards.

More next blog....

How to weigh a cat

2010-12-17T07:30:00.009+13:00

I have received several comments (on line and off line) about my dyeing silk fabrics for bridal parties. Therefore my next few blogs will cover aspects of how to achieve a specfic colour spread, 100% flat, across a length of fabric which may be anything from 1 metre/yard to 10+ metres/yards. These are garment fabrics, not art works, and need to look like 'bought' fabric. And because of the festive season I am 'resting' from my creative art works, although I will still be 'thinking'.

First, however, Karen commented that she found it interesting that in my art work I work very intuitively, building up the images as they come to life, and relying on what has already been achieved and my feelings about the topic; and then when dyeing the silk lengths the complete opposite is required, it is precision dyeing. The art work and precision dyeing require quite different skills and experience, but more importantly it is an artist's eye that is paramount in both. They are equally challenging, and I just love challenges...

Okay, here we go...

1. When dyeing fabric the type of fibre has first to be determined, is it cellulose (plant based), protein (living creature eg wool, silk); or synthetic (chemical based)? Each fibre type requires a different dye and/or processes. I work with cottons and silks and use Procion MX dyes.

2. Weigh the dry fabric piece to be dyed. This is very important as this determines the quantity of dye and chemicals to be used. A small piece of fabric can be weighed on kitchen scales, but larger pieces which drown the scales need to be weighed as if weighing a cat. Use the bathroom scales, weigh yourself, then weigh again while holding the cat, whoops, I mean fabric! The difference of course is the weight of the fabric ie WOG = weight of goods! Make a note of this weight. Everything relates back to this.

14.8 metres / 16 yards Paj silk resting on kitchen-type scales. This weighed in at 350gms / 12oz.

Bathroom scales and me. I have not activated the scales as I don't think you need to know my weight!

More dyed silk

2010-12-13T08:05:00.002+13:00

The wedding session must be nigh as I have dyed yet another length of silk for bridesmaids. Once again it was a silk georgette which I suspect is to be an overlay. I was given 13 metres / 14 yds which included extra for sampling.

The silk georgette was already a very pale pink but so pale that it did not have any affect on the dyeing. The swatch is the colour requested.

The sampling to achieve the right colour:

Left: a control sample to determine how the dye worked on this particular silk (silks can have a different makeup and resulting dye colours can vary). It also indicated that the depth of colour was too strong.

Middle: Dye quantity has been reduced by two thirds, and the one third of dye remaining had some of the red removed and a portion of a coral dye added.

Right: Final sample, as with the middle sample but the two dye quantity portions reversed. The colour swatch appears above.

Final outcome - not too bad really! Swatch sitting in centre.

Dis-Cord

2010-12-10T07:30:00.000+13:00

Well, I now feel I have finished this latest piece although it has yet to be mounted. As usual I will leave it to 'rest' for awhile like a good roast, before doing so.

This piece came about after I made the comment that I should now do a companion piece to my previous piece Co-Existing. Little did I know how much of what has happened in New Zealand during the last few months, and my visit to the Chatham Islands, would creep into this piece. None of which were anticipated, but somehow they took over and I have been open to these feelings. Serendipity is my favourite word, when all senses are open to make the most of what occurs, both good and bad. Expressing it in a meaningful and successful way is always a challenge, but then I am up for any challenge (as someone has just pointed out to me recently!).

Detail...

©Diana Parkes, Dis-Cord 2010, 115cm x 160cm; 45" x 63"; dye, textile paint and cloth.

Although the 'broken' house symbol initially made no reference to the Christchurch earthquake in September, it soon became just that. The sometimes ghastly history of the Chatham Islands, between Moriori and Maori, and the many headstones with 'drowned/lost at sea' played on my mind after my visit. Then the 29 entombed miners. There is always to be a human figure(s) in this series of works, and I now see the New Zealand paratrooper killed (supposedly) by friendly fire in Afghanistan last week in this figure. His mother is an associate of mine, and a very well-respected person in the quilting world. We all feel for the family at this time. The white arch symbolizes hope which we must never ignore.

I am aware that expressing emotions and feelings within textile works is not common, but textiles do not always have to be 'nice' and acceptable. They can be a vehicle for all sorts of situations and emotions. I have in the past stepped over 'the line' with my work and probably confused lots of people. The older I get, the more comfortable I am with doing this, I just have to tell a story, otherwise I am wasting my time. It is as simple as that.

And to end on a more cheerful note - my daily strawberries from the garden!

Something different

2010-12-06T07:45:00.004+13:00

In amongst other things I do, one of my jobs is to dye silk fabrics for future brides and their bridal parties. I work with a couple of local silk fabric shops; one in particular deals a lot with bridal and special occasion fabrics.

It is a very long time ago since I was a bride, and today's bride-to-be has a huge source of images to choose from in magazines and on the Internet. And often their dreams select a fabric of a certain colour which does not seem to be available anywhere, that is in New Zealand, or further afield.

One skill I have developed very successfully is dyeing yardage to a specific colour, and with a 100% flat colour, just like a 'bought fabric'. There has been quite a few brides and their bridal parties out there with garments made from silk fabrics which I have dyed specifically for them.

Here are my latest pieces - a heavy silk crepe on the left (shiny finish) while on the right is a silk Georgette (dull finish)which is to be made into sashes for the bridesmaids.

I have developed a reliable method of doing these fabrics and for those not familiar with such processes, it all goes by weight ie the dry fabric is weighed and the amount of dyes and chemicals are determined as to the depth of colour, and of course the colour itself which may be achieved with several mixed dye colours. I never bother to measure the length of what I am dyeing, that is not part of the equation. The fabrics above, combined, weighed in at 800 gms dry weight; the silk crepe was very heavy, but the Georgette very light. As I do this all by hand, I do have a limit of one kilogram, dry weight, as when wet this becomes very heavy. If the fabrics go above this weight I need to cut into more manageable pieces, the dressmakers are able to manipulate the garment pieces when cutting. One bridal party got their fabric in five pieces ie five dye batches, and they all matched perfectly!

Adding details

2010-12-03T07:25:00.003+13:00

Really concentrating on details this week and bringing everything to the front. It is a matter of quietly working through the various processes. I enjoy this part although it can be scary as sometimes it can go horribly wrong. One of the applications was hastily removed with a hose-down on the driveway as it was just not working! The advantage with working with cloth, dye, textile pigment/paint is that work can be washed - try doing that with a traditional painting!

Here the headstones have been more defined.

The back ground inside the collapsing house has been further worked on. This has turned out well, although it is rather hard to see any difference in the photos.

Another great day out on Wednesday. Back into Wellington to attend functions and exhibitions at Te Papa as well as getting to see the galleries which were closed last Tuesday when I visited. I always come home feeling inspired, and eager to get on with things.

Pulling it all together

2010-11-29T07:55:00.001+13:00

I have now added all the elements I think are necessary to this piece and now need to pull it all together. My favourite way is to print out an image of the whole piece, place a sheet of tracing paper on top and start sketching in details. If done in pencil this makes it easy to amend and adjust. From this sketch I can then start applying the ideas, which are bound to change but it does give some direction.

Tracing paper placed over the top of an image, and some details added.

Tracing paper lifted off the image. The details are now up-side-down.

The saddest times...

2010-11-26T07:40:00.002+13:00

It is no secret that New Zealand is suffering at the moment. The mine tragedy on the West Coast of the South Island has everyone in a state of national mourning. For those directly involved their worlds have crumbled along with their men and our thoughts and support must be with them. And those that worked so tirelessly towards a positive outcome need our support too, they did their very best in such dreadful circumstances.

It seems unfair that life still goes on and like everyone else I am suffering from time acceleration and am constantly wondering where time has gone. My hairdresser came today for the usual 4 - 5 weekly trim, and I swear blind that she was here just two weeks ago!

On Tuesday I took myself off for a day of gallery crawling, and the movies, in Wellington. I thoroughly enjoy these outings but I must remember that many galleries are closed Tuesdays (and Mondays)! However I still had plenty to see, and a lecture at Te Papa in conjunction with the European Masters exhibition was excellent. Not only did we hear the history of selected pieces but also about the application of paint and techniques. The movie wasn't too grand but I did have the luxury of the 300 seat cinema all to myself!

Some progress on my piece this week. I have added some headstones to the left of the figure. I sourced these from a photo taken in a cemetery on the Chatham Islands. There is no wording left on the stones but one headstone nearby had a date of 1802 and is possibly one of the earliest European graves in New Zealand.

The headstones have yet to be further defined at a later date.

The broken headstones.

Line of fire...

2010-11-22T07:00:00.001+13:00

This week I have added some rifles to my latest piece. I searched the Internet for a simple recognisable outline and then made two lino cuts, one for each direction.

The test run on a scrap of fabric. I have re-painted the bottom rifle to get a better definition.

Positioning and masking up the areas to be printed. The right hand prints are my test sample. Lino cuts resting above the areas to be printed.

.... and the final outcome.

Making art...

2010-11-19T08:05:00.001+13:00

I actually don't like working on a messy table, but sometimes it just happens!

I have been working on the boat this week. It may get some more attention further down the track but I hestitate to do this too early. It is better to balance things once other details are added.

Wet Saturday

2010-11-15T07:55:00.001+13:00

After a marvellous week of fine weather when time in the garden ruled, it rained on Saturday. This was somewhat of a relief as the garden needed the rain, and I was able to return back to work again.

In an earlier posting I mentioned that the initial dyed background in my latest piece would receive further treatment and almost disappear. The beginning of this has now happened. I mixed some white textile pigment (this is always very dense so that it will stay white when printed on to dark fabrics) with a textile medium. This thins the density and makes it almost transparent.

The photo shows most of the background obscured. The grave stones on the left have yet to have the freezer paper template removed.

Discharging Shapes

2010-11-12T07:40:00.000+13:00

I have been quietly making progress this week working on the elements I wish to introduce into my latest piece. This piece is to be called Dis-cord and is a companion piece to Co-Existing.
I am using one figure in this piece, and made a start by discharging the base colours with this shape.

Simple newspaper template to define the shape. I have also marked the eye area for future applications.

After discharging with Thiox.

And then I discharged a boat!

Up-Front

2010-11-08T07:45:00.003+13:00

Another dye painting stage and then the whole piece got washed to remove the excess dye. This allowed me to photograph it up-front. A lot of the outcomes here will be over-dyed in due course but it does give me a base to work further.

A couple of small samples thinking through future applications.

And the last photos from the Chatham Islands:

This tree carving (dendroglyphs) was worked by the Moriori people who were the first settlers on the Chatham Islands. The carvings are under threat of deterioration and disappearing.

Me, and Tommy Solomon who died in 1938, the last full blood Moriori. Many of the current population of the Chatham Islands claim a mixture of Moriori, Maori and European descendants.

This is, I consider, the most successful photo from an ascetic point of view. Windswept cliff tops, ewe and her two lambs.

The plane out of the Chathams. Front part for passengers, the rear for cargo. Our flight had live crayfish destined for the markets in Hongkong.

Underway...

2010-11-05T07:20:00.001+13:00

Things are underway on my latest piece and I have been putting down some background dye colours.

My wonderful brush 15cm / 6" wide - it seems to contain lots of power!

A couple of colours, fairly random at this point. The painting going over the masking tape. Colours blended with clear water after painting.

The addition of the gold looks a bit of a mess but these colours will be over-dyed eventually. Both these photos are still at an odd angle...

And a couple more photos from the Chatham Islands.

Mixed messages. Life's necessities!

The famous Chatham Islands Forget-me-not, unique to the Islands.

Seaside and other things...

2010-11-01T07:30:00.003+13:00

Things are underway and I have made a start on my next piece. Just a little start, but things have to start somewhere. I made a throw-away line in my blog of October 15 after I had finished the previous piece Co-Existing. I wrote that I should consider a piece where existing is not cohesive, pleasurable and plenty. This stuck in my mind and while away in the Chatham Islands I re-visited the idea several times.

I decided to fracture the house symbol which I am using in this series and will take it on from there.

The house symbol marked out in masking tape. What can't be seen is that the fabric is divided into six squares and eventually I intend to cut this piece into these squares, emphasizing the feeling of separation.

Here I have 'fractured' the house. Both these photos are taken at an odd angle but they should give a good idea of what is happening.

And now more from Chatham Islands:

This photo shows Waitangi Port which is the main link between NZ and the Chatham Islands. It is their end of 'State Highway One' which takes three days by sea. A vital link for survival not only for supplies, but the shipping of sheep, cattle and fish to NZ.

A remote wharf at Owenga. Boats leave here for Pitt Island to the south. Barely populated Pitt Island does have an airfield, and this treacherous boat journey. What the photo doesn't show is the boat rising and falling on some pretty dramatic swell - I was pleased I wasn't on board!

Bird life is very special on the Chatham Islands. These rare oyster catchers, Torea, walked along the beach with me one morning.

The Basalt Columns which are of great significance to geologists and found only here in NZ, and I believe Ireland.

Trees and other stuff

2010-10-29T08:15:00.001+13:00

Despite the fact that I have now been to five movies in six days (two National Theatre Live performances and three movies at the Italian Film Festival) I have been thinking a lot about my next piece and hope to make a start next week. I have made some notes and done another page in my latest workbook which helps the focus.

Quote: You can't do what you don't know if you keep on doing what you do know.

In the meantime, more about the Chathams where the landscape is low-lying and exposed to the surrounding seas. Strong winds are consistent and leave an influence on the trees.

These trees are the native ake ake which is a different cultivar to that on mainland New Zealand. The result of the winds is pretty evident!

I like the contrasts in a clump of trees, especially the 'wave' patterns when the wind blows.

The NZ Dept of Conservation (DOC) is very evident in the Chathams. They have a full-time staff of 16 which makes it the biggest ratio per population (580)within NZ. While we were in the Chathams they had a session on a remote seaside area, planting out 1500 ake ake tree seedlings. The school children (about 40 pupils), parents and their teachers, do such plantings once a year. We tourists decided to join them, and I planted about 30 trees. Perhaps I will return one day to see 'my' mature trees!

Chatham Islands

2010-10-25T07:45:00.001+13:00

I have now returned from my week in the Chatham Islands, 800km east of New Zealand, 44°S. These isolated islands belong to NZ and currently have a permanent population of about 580 people. Its primary income is from fishing and stock farming. It has an incredible history with its first inhabitants the Moriori, the early whalers, sealers and missionaries from Germany and France, and the arrival of the Maori and English settlers. Enough to say here that it was a great week, the hospitality was outstanding, and the weather much better than what has been reported back home! It was rather like stepping back in time, and all that was good in my own back country upbringing. However, I would not wish to live there permanently, they have to be very self-reliant. Day-to-day living is costly, with supplies being shipped in from NZ. Longtime residents are very proud of the Chathams and their inheritance.

Thank you to those who left comments on the blogs which self-posted while I was away, your comments are much appreciated. I have yet to start work again, ideas are forming but they need more time before I make a start. In the meantime, I shall continue to report on the Chathams. Here are some general photos:

Waitangi, the main township on the Chathams.

A typical road through farmland, most roads are gravel, with some sealed roads through the towns. In this photo the sea mist forms a haze across the island.

Coastline on the south region of the island.

This is quite a special photo. If you look very closely on the centre left you can just see a narrow strip of Te Whanga Lagoon, a fresh water lake. The sea on the right is the Pacific Ocean.

Rolling away....

2010-10-22T08:00:00.004+13:00

Amongst the blogs I receive and enjoy, is that of Wen Redmond, USA. In a recent blog she demonstrated the use of sponge rollers. I have tried a couple of her ideas and found them easy, and the outcomes definitely worthwhile. She recommends using 'old' sponge rollers which may have gotten damaged from over use.

Here are a couple of my own attempts:

Top: an old split sponge roller which has been 'attacked' with sharp pointed scissors, and below, a hot glue gun used to glue over the sponge roller.

The dried glue roller certainly gives an all-over textured surface. I prefer the left side where I have pressed very lightly and avoided the straight edges of the roller.

The 'attacked' roller I really like. I love the way it can be altered so that it doesn't print 'edges'.

Both experiments using a textile paint.

I should now be back from my week in the Chatham Islands.

Stop, start...

2010-10-18T08:00:00.003+13:00

I really admire people who are able to keep amazing workbooks, full of drawings, collages, ideas etc. I am a bit spasmodic with such activities, having bursts of enthusiasm, then it all fades and I don't do anything for awhile. Recently I did managed to complete such a workbook, and even started on another one. My workbooks take on different forms each time, simply to make it interesting.

My current workbook is a stapled book which has been lying around for some time. I am painting on only the right side pages, and placing a quote on the left side. I am doing the quotes on labels as the painting on the other side of the paper usually leaks through to this side.

Here are three completed pages:

Quote: Time flies, remember you must live.

Quote: The mountains can't grow any bigger, but we can... Jim Dorman.

Quote: The best way to get a good idea is to get lots of ideas.

And here is a selection of some of my completed workbooks:

All being well....

2010-10-15T08:00:00.001+13:00

....at the time of posting this blog I will be in the Chatham Islands for a week. These islands are 800km east of Christchurch and have the privilege of being the first land in the world which receives daybreak. This is because the international date line slides down on its east coast. Although part of New Zealand it does have some special plants, birds and coastal life. It also has a varied history of inhabitants, its early past being somewhat grizzly. I shall report on my return.

I am able to continue publishing my blogs because I can pre-set them to publish on a certain date, and time. I discovered this sometime ago when I was adjusting the date and time which I have to alter every time I publish as they are not NZ related. By going into Post Options I am able to 'correct' these to our time before publishing. On one occasion I got the hour wrong and was told my blog would be published an hour ahead of what I intended. It was a happy accident! So... my next three blogs should automatically pop up on line, that is if I have got the dates and times correct. As they say, time will tell!

This is going to be somewhat of a wordy post, something I usually try to avoid. However, I thought I would give a brief statement on my latest body of work. I have now completed four pieces and although I started this series with an intention of what I wanted to achieve, it still takes time to consolidate these intentions. I now feel ready to start preparing a statement about the works. Such statements are extremely important, take some serious writing, and seem to get tweaked over and over again until it all seems right. How much to tell, how much to give away, who are the audience? Where is this statement to be published/viewed? Lots and lots to consider. I have now written a synopsis for this body of work as follows, it is to be expanded further at a later date:

A Sense of Place
These works blur the line between textiles and painting. They are made up of multiple layered surfaces of painting and printing applied with dye, exposure of previous applications with discharge techniques, and selectively applying textile paint.

I have always had a keen interest in people. World-wide travel has expanded my views on people, communities and universal experiences. Whereas I am in awe of the natural environments viewed around the world, it is the people and their cycle of life, that hold the greatest interest for me. The basic needs of people and communities to conduct their day-to-day living, and co-exist, is common to us all, whether we live in an elegant apartment or a mud hut.

In this body of work the simple house shape is a metaphor for the shelter and comfort we all need to survive. People and communities are portrayed in stylized shapes, groupings or recognisable human renderings.

Now, relating this to the piece I have just finished ie Co-Existing shown again below. Here the house motif is repeated and stacked neatly inside each other; and the stylized people figures are (hopefully) mingling and grouped as a friendly crowd. Both these elements portray communities living and co-existing in a positive spirit. I am now wondering whether I should work a piece where the communities are not co-existing peacefully! Food for thought....

Now you see it, now you don't...

2010-10-11T07:54:00.001+13:00

Something a bit different this week. Sometime ago I made a simple top out of a ribbed silk which I had dyed an amethyst colour. I decided it was too strong a colour for me so did some stitched resist (mokume shibori) before putting it through a vat dye bath. This system removes the original colour and replaces it with a new colour (green), all in one action - magic! Except I had not pulled up my stitch resists tight enough and very little contrasts happened, grrr..... It should have been green with amethyst resist patterns!

Not defeated, I then repeated the resists with very tight rubber bands, and over-dyed the top again in a deep purple. This turned the green an aubergine colour and what with the green resists, I am now happy with the outcome (actually it is better than what I had first anticipated!).

Finished...

2010-10-08T07:40:00.005+13:00

Final stages...

2010-10-04T07:45:00.001+13:00

I have started on the mounting of the latest piece, which involves going through a series of procedures. I have blogged on this before but shall do so again as I have been asked how I finished of these pieces. I use a firm canvas duck for the mounting. This is always heavily dressed so needs to be washed, and shrunk. If anyone has ever put duck through the washing machine, you will know that it is impossible to iron afterwards! My method is to wash while it is spread out on the driveway.

Duck is scrubbed with hot soapy water, both sides, then rinsed with the garden hose. On a good day it doesn't take too long for it to dry in situ. This method avoids any creasing. Note my scrubbing brush clamped to a long independent handle. I don't know where we got this long handle many years ago but it has been a great investment!

Once the duck is dry, I machine stitch a 4cm/1.5" hem along the top and bottom edges. The sides are left with a raw edge and just a row of stitching to hold the threads in place.

Painting on the border using a flat interior paint (Resene). Top side seems to need two coats. I also do the back side so that if it the piece lifts away from the wall it looks better, but just one coat for this side. If I had not washed the duck, the borders would shrink with the wet paint, making the centre area buckle - not a good look!

Almost there....

2010-10-01T07:45:00.001+13:00

More tweaking on my piece this week. I have it hanging in my studio and it is looking good. I find I am contemplating the finishing/mounting etc which means I must be almost there. Have been considering a colour to paint the surrounding mount and am favouring a navy blue which seems to suit colours in the piece. I have been placing the painted test corner on each corner at different times to see how it works.

Another detail....

Bottom right corner with painted test corner.

Top left with painted test corner.

Expressions Gallery in Upper Hutt is well worth a visit at the moment. Pinestream Quilters have their biennial exhibition, and world-renown Yoshiko Wada, textile and shibori expert, has kimonos from her own collection on display. Accompanying these is an exhibition of Metsuke, Buttons and Collars. Yoshiko gave a very interesting gallery talk yesterday to a well attended audience. She is currently tutoring a workshop at Whitireia Community Polytechnic, Porirua. Great to see such events happening in our area.

Detailing...

2010-09-27T07:50:00.005+13:00

More progress this week and I feel I am now reaching that almost-finished stage. As these pieces are not pre-planned, I regularly sit back and contemplate the where-to-next. During my contemplations I will list the ideas and progresses that I feel will take the piece further, probably three or four each time. Sometimes I find that only two or maybe three are used; some ideas just don't seem to be appropriate after the others have been done. I like being totally involved and challenged until the end by working this way. I am incapable of following a pre-determined plan, recipe or pattern. Am I alone in this!

I wanted to add some detail to the lower portion so masked off the area. Looks a bit rough but it worked! I brushed and scrapped textile paint/pigment on to plastic, then turned it over and printed (mono-printing) over the masked area.

Here it is with the masking removed.

Small detail. Above is the left side.

The top bit...

2010-09-24T07:45:00.004+12:00

While working on the main body of this piece I have been avoiding the top white area, knowing that at some point an idea would surface. This is the case this week. I masked off the edges and worked the following:

Almost finished. Three tones of blue Procion MX dye in Manutex (sodium alginate) 'spot' painted.

I returned later and added a darker blue towards the top. This gives it a better range of contrast.

Still more to do, but here it is hanging from my metal rod for photographing and further contemplation. Normally I crop the edges before publishing on the blog.

We are now into the World of Wearable Arts (WOW) season here and Wellington is buzzing with related displays and advertising. Wednesday night I went to the dress rehearsal show which is the first with an audience. The venue was packed with an enthusiastic crowd and yes, it may not have run quite as smoothly as further into the season but it was great value. Having viewed the show for at least eight years (and having an entry accepted in three of these shows) one can see developments in this event. This year I think the standard of entries has gone up a notch with some spectacular examples of creativity. The accompanying entertainment I don't think had, but it was still all pretty amazing. And no, I didn't get my entry accepted this year. It happens....!

Baang and Burne Contemporary

2010-09-20T08:00:00.002+12:00

Something different on my blog today. One of the many interesting blogs I receive on a regular basis, is that of Kesha Bruce.

She and fellow artist Charlie Grosso have created Baang & Burne Contemporary and are hosting a series of one-night-only art events where, unlike at a traditional art gallery opening, artists, art collectors, and members of their mailing list are invited to attend a small intimate exhibition event in a private home or hotel suite. They have events planned for New York, Los Angeles, Chicago and Portland. There is also a blog tour (and this is where I come in!).

“Our events are geared toward creating a comfortable setting where collectors can meet artists, and feel comfortable asking questions about the work.” says Grosso. “The whole point is to initiate and create a unique art experiences that
benefit not just the artists, but new collectors too. And because our events are smaller, every one of our guests gets VIP treatment.”

The first artist to feature is Jane Zweibel with her exhibition Stitched Identities: Recent Artwork, New York City, Sunday September 26, 2 - 6 pm. If you would like an invite contact Baang & Burne Contemporary direct.

Here are some links for further information. I found the interview with Jane Zweigal very interesting.

Baang & Burne Press Release

Interview with Jane Zweibel

Jane Zweibel's Press Kit

Self-Portrait Praying #1. Oil on sewn and stuffed canvas. 40 x 24 x 12"

Self-Portrait Praying #3. Oil on sewn and stuffed canvas. 48 x 26 x 12"

Self-Portrait Praying #6. Oil on sewn and stuffed canvas. 40 x 16 x 12"

A couple of details....

2010-09-17T08:00:00.001+12:00

Working away quietly this week building up some details. Not quite 'there' yet but pleasing so far.

An area of discharge work, lines created by rolling a small paint brush loaded with discharge paste, over the cloth. Printing through canvas grid in bottom border.

Figures are taking shape. I am contemplating more here...

And from the Haystack diary: spent some 'time out' visiting Bar Harbour to see Craft Directions - Maine's Craft Show. Impressive, much more professional than NZ shows, well displayed and work of good quality, though pricey. Not many people there so viewing was easy. This was written in 1988. I think NZ craft shows did develop into a better quality over the 1990's and early 2000's. Alas, they seem to have regressed since then. We do not have the population in NZ for the high edge quality shows that feature in the USA.

Rocky progress...

2010-09-13T09:15:00.003+12:00

More progress again this week. I have concentrated on adding more background colours and also ended up with what somehow looks a bit of a mess. It was not quite as I intended but it has opened up some opportunities. This is what I love about this method of working, although it can be challenging at times.....

I screened colour over some resist patterning on the screen. Somewhat of a fright...

Then added some more background colour and it is looking better.

The start of introducing the figures which are to appear in this series of work. Still further to be done here....

Photo from Haystack website.

Another Haystack moment. Haystack School of Crafts is built amongst the rocks and trees on the coast of Maine, USA. One balmy evening a few of us walked along the coast. I sat on a rock and watched the beautiful sunset, realizing that the sun was heading to the other side of the world towards New Zealand, where my family would be welcoming it. A little bit of me went with it that evening....

Creating spaces...

2010-09-10T08:30:00.002+12:00

Quietly making progress on my new piece. Starting to create spaces and introduce some background colours.

First application...

... a wash of blue to further build on at a later date. Both photos taken at an angle.

And on another matter, every so often I get enthusiastic about sorting through 'stuff'. I do this for three reasons (a) things have gotten untidy, (b) I am bound to find something that I had forgotten I had and, (c) some stuff just needs to go....

In this current wave of enthusiasm I came across a diary, written in 1988 when I was attending Haystack Mountain School of Crafts, Deere Island, Maine, USA. This was a live-in, on site, three week experience. I took a workshop with Ana Lisa Hedstrom of Shibori fame. I have re-read this diary and thought I would share with you some of my comments written 22 years ago!

Ana Lisa Hedstrom's shibori garments are incredible, the weekend after attending Haystack I was in Chicago and met a woman who owned five of Lisa's garments! I was so impressed!

The Haystack kitchen was just about as famous as the learning environment. It introduced me to many new dishes that up until then I had not been familiar. I found the following comment in the diary would love a 'plain' cup of tea - there being available only herbal teas.

Photo from Haystack Mountain School of Craft's website.

Black Saturday for NZ...

2010-09-06T07:45:00.003+12:00

It goes without too much saying that we are all reeling from the devastating earthquake which struck in the early hours of Saturday morning in the Canterbury region of New Zealand. And then later in the same day a plane crash which killed nine people. The earthquake was the same magnitude as that in Haiti. Fortunately, its timing, our building regulations and low density housing avoided such a tragedy, and no one has been killed. There will be tremendous on-going recovery for the months ahead. Fortunately my region did not suffer.

Along with listening and watching events unfold, I have quietly made a start on my latest piece. I decided to start with a stack of the house shapes. These were drawn to scale on some freezer paper taped together to get the size I wanted.

It took some effort to get everything drawn correctly, after which I quickly painted the shapes so that I could get an overall visual on whether they looked correct.

I cut out the lines and ironed the remainder on to the prepared fabric. Then painted the lines with a textile paint/pigment. This image is taken side on as it is flat on my printing table and I am not able to get a full angle front image (unless I suspend myself from the ceiling!).

After removing the freezer paper I decided that the colours I had mixed were too strong so....

... instead of ironing to set the paint, I gave the lines a scrub and a wash. This removed some of the intensity of the colour.

Gazing into space....

2010-09-03T07:50:00.002+12:00

Lots of gazing into space this week. I could be accused of not doing anything but in fact I am working through ideas on what may be my next piece. Occasionally I jot something into my sketch book. An idea is definitely brewing and I am making preparatory moves.

I have worked out some proportions in my sketch book but I still needed to make a visual to confirm that proportions look okay. A simple newsprint cut out works just fine.

This is just one side only of the house image, it gets mirrored on the other side. I have sinced trimmed the left side (in reality the centre).

On another level I have, over the last few months been knitting a charity blanket from my own surplus knitting wools, and those donated by others. This finally got finished and I delivered it to the local Women's Refuge on Monday so that it can be passed on to a family in need. I have enjoyed working on this commitment as it is a pleasant thing to do while watching TV in the evenings, and in other relaxing moments. Years ago, in another life when I was doing embroidery, I always had some hand stitching to do, but not now and this is a very satisfying replacement.

Quiet weekend

2010-08-30T09:00:00.002+12:00

I had a fairly quiet weekend here after having finished my latest piece. The final presentation of this piece will be decided sometime in the future, no rush to make a decision, it can wait. I plan to take it off my wall today and place it out of sight.

In the meantime I have been working on my annual major sort through and tidy up, of some of my stuff. It is spring time here and I seem to be hard-wired to do such things at this time of year. I will blog about some finds in the near future but in the meantime.....

Karen made a great comment on my last blog when I showed my completed piece Connections. She stated that she didn't always like what I was doing while I was working on it, but that when it was completed, she thought it was great!

I confess similar sentiments while working many of the stages a piece goes through. I do start with some sort of plan but this somehow moves over and I soon find myself going with the flow following each application. This allows me to concentrate on the unexpected, and to develop everything to a (hopefully) successful outcome.

I appreciate that this is not at all how we are meant to do things, but it is how I work and it keeps the piece alive, and challenging. I often describe it as painting oneself into the corner of a room, and then having to get out of it! The frustrations and love/hate relationships with a piece are part of the journey. I am stubborn, get bored very easily, so this way of working works for me.

Final tweakings....

2010-08-27T08:15:00.002+12:00

During the last few days I have been quietly tweaking my latest piece and now feel I can stand back and declare it finished! Somehow there is a moment when this happens, just as there are moments when I know something else has to happen to a piece before it is 'finished'. Being able to recognise these moments is important. They depend on old-fashion gutt feeling which is worth nurturing.

A detail showing some of the final tweakings.

While working with this final stage I adjusted the whole piece on my display board so that I could work on a specific area. In doing so I quickly pinned the piece up without bothering to hang it straight, or flat. At some point I turned to look at it and viewed it as if for the first time. The piece looked relaxed, the irregularies in its hanging seem to lift it into another dimension. I liked it! So at this point in time I will leave off any mounting and hemming etc and revisit it again at a later date to see how I feel about this presentation. In the meantime, here it is. Obviously I can't crop the piece so some background is unavoidable.

© Connections, Diana Parkes, 2010; 165cm x 115cm / 65" x 45"; silk/linen cloth, painting, printing, discharge; dyes and textile paint.

Little bit more...

2010-08-23T07:40:00.001+12:00

My piece is still not finished but it is getting closer with the addition of three larger building shapes. I kept them subtle and I think this works.

The freezer paper template I used for painting the lines.

One of the building shapes.

... and here is the three. It took some effort to get them all lined up correctly!

This and that

2010-08-20T08:30:00.011+12:00

No progress on my piece this week but lots of thinking and working through on what to do next.

I thought I would show you how I often go about this planning when I am near the end of a piece. I take a photo of the piece, and print it out to fit a quarter of a sheet of paper, so not large. Then I place over tracing paper and pencil in some ideas. Being able to see through gives a good indication to what could happen.

Here is my piece with the tracing paper lifted off the image.

The tracing paper placed back on the image.

Over the last few weeks I have been working on a makeover for my website www.dianaparkes.co.nz. I am able to design my own website and each time I do this I get more advanced with my skills and presentation. It still takes time and a lot of trial and error but I usually get there in the end. Have a peek.....

Detailing....

2010-08-16T07:00:00.001+12:00

I am now getting to the final stages of this piece. I have added a touch more colour and enhanced some details already existing. The piece now needs to hang and be contemplated as to where-to-now, it needs to be lived with while I get on with other things. It is often surprising what this absence reveals as often 'things' pop into vision when I least expect it. This is always a very nervous time and can make or break a piece!

Reading matters

2010-08-13T08:25:00.002+12:00

On my regular visits to the local library I always plan to collect three books to get me through the following weeks. One book at least must be about art or an art related topic. Last visit I borrowed a book on Marc Chagall 1887-1985, the Russian/French artist (with whom I share a birth date!). This week I have a book on Philip Clairmont 1949-1984, and another on Colin McCahon 1930-1977. Both are recognised New Zealand artists. Sometimes I just drift through the images in these books but often I read them as well. I am sure there is a rub-off with new approaches and ideas in my work.

Further progress on the latest piece. At this moment in time this piece is titled Connections and perhaps you will be able to see why with what I have done this week.

Rather difficult to see but I have masked off certain areas with freezer paper to accomplish the following....

The 'ladders' are drawn in freehand which meant I could sweep over the freezer paper without interrupting the flow.

Getting to the nitty gritty

2010-08-09T07:45:00.002+12:00

Now moving into the detailing on this latest piece. But to get there I have done some discharge work.

I wanted a grid of large dots so first marked out their registration with snippets of sticky paper.

Then I discharged around them. Have also added some dots with dye out beyond the immediate discharged area.

The piece on my driveway after being hosed, prior to washing. This driveway hosing removes any surplus dye so as it won't stain where it is not meant to be. (Small woodpile on right awaiting transportation to son's house! In due course....)

Yes, there are eyes....

2010-08-06T07:45:00.002+12:00

Progress from this week.

More colour added to the background, and I have introduced eyes into some of the house shapes.

Close-up, showing some discharge work in the lower left corner, and I have also strengthened the red around some of the houses.

'Here's looking at you babe...!"

Moving along...

2010-08-02T08:00:00.002+12:00

Have been quietly working on my latest piece with the building shapes. Mostly just adding Procion MX colour. Still lots more to do.....

Washed to remove the blue builder's chalk used for registration. Note metal rod and dog clips doing their job well...

First applications of colour - bit of a mess really!

More colour, and this is looking much better...

Works well....

2010-07-30T07:30:00.002+12:00

My new display hanging system which I wrote about in my previous blog is working very well. Yes, I do have a sturdy chair for climbing on to reach the metal rod and by using the dog clips, when I want to remove the fabric I need only give it a gentle tug and it releases. No need to climb up again to remove.

I have however, made some wire 'S' hooks and can use these, instead of the dog clips, to hang a completed piece which does have the grommets. The grommets are always the very last thing to get done.

Now that I have this system operating I thought I would show you my previous piece completed before my latest piece (High Risers). I can now photograph the larger pieces more successfully. Both pieces are currently away at the photographers getting their 'proper' images taken.

© Diana Parkes 2010 A SENSE OF PLACE 188cm x 133cm / 74" x 53.5". Dyeing, discharge, printing and painting. Procion MX dyes, pigment, silk fabric, painted canvas mount.

Practical Matters

2010-07-26T07:45:00.004+12:00

A couple of blogs ago I commented on the straight edges of my latest piece appearing curved in the photos. Ruthie Powers responded saying that camera lens are curved and that I needed to get back further from my piece to prevent the curving. Then of course crop out the surplus from around the edges. I always crop my photos anyway and can certainly understand what Ruthie is suggesting. Unfortunately the space where I hang my work is somewhat limited and I can only get back so far. This was not really a problem when I was working smaller pieces but now that I have gone BIG the problem is more noticeable.

Because of my current pieces being larger I have also had a problem hanging them on my display wall which is somewhat narrow and situated between two doors. For some time now I have been working through ideas for a satisfactory way to solve this problem.

Last week I did it. I purchased a metal rod, three brass cup hooks and hunted deep for six large dog clips which I knew I had somewhere. My studio has an open ceiling and rafters. I screwed the three cup hooks under the rafters and these now hold the metal rod. Then I placed the dog clips on to the rod. Now all I have to do is climb up on a chair, slip the top edge of a piece into the dog clips and hey presto, my piece hangs beautifully. I may be able to get back further too for photographing although I will need to stand on a chair.

Photo shows rafters, one cup hook, metal rod and dog clips, all working to hold a piece.

Starting new piece

2010-07-23T08:30:00.006+12:00

I have started a new piece after plenty of mind design building during the last couple of weeks of family activities. Another large piece, fabric measures 2 metres x 115cm (79" x 45"). I decided to start with a grid of simple building outlines, and to get the layout right I used a builder's blue chalk line apparatus to achieve this. I have done this before and know that the chalk does not stain the fabric.

But before then I made a collagraph of my design ie cut out cardboard pieces and glued these on to another piece of cardboard. I gave it a couple of coats of shellac spray to protect the surfaces from any dye. This gets placed under the fabric, followed by a silk screening with thickened black Procion MX dye.

The cardboard collagraph. I have coloured the raised pieces so that I can just see them through the fabric.

Some test samples using the dye, and some pigment. I decided on the dye. This is not perfect printing, but I like the imperfections.

The blue chalk line placement grid in place.

Printing in progress...

Tis done, almost

2010-07-19T07:30:00.007+12:00

My latest piece is now finished but not 'dusted', it has to have the hanging eyelets (grommets) punched. Will do so this week.

The borders in the image of my new piece look somewhat curved but in reality they are perfectly straight! Not sure how to adjust, if I can, the camera to take straight lines.

© Diana Parkes, 2010, HIGH RISERS, 125cm width x 90cm depth; 49" width x 35.5" depth. Procion MX dye, textile pigment; painting, layering, discharge, printing.

Back to Work

2010-07-16T07:45:00.003+12:00

I am now ready to mount the latest piece. Following on from the previous piece which I mounted on to a canvas backing with painted borders, I set out to select the colour for the border for this new piece. I purchased a couple of paint test pots but neither proved suitable. A third choice however seems right.

To help make my colour choice I paint a L shape on to a piece of canvas then place this under a corner of the completed work. Standing back and viewing critically I can refine my choice. Eventually I will probably have quite a collection of these corners, some rejected, and others chosen!

My selection of painted corners so far.

I rejected this colour as too 'cold'.

This one looks much better and is my choice, so I invested in a one litre tin.

Here is the prepared canvas with its first coat of border paint. It looks rather wrinkled but this will be ironed out before I mount my piece on to it.

Exhibition Visit

2010-07-13T07:30:00.004+12:00

My exhibition Fibre Reactive Expressions is now open at the Art Gallery Papakura. It will be there until August 7.

It has been a busy few days. I arrived in Papakura earlier in the day of the opening. I had not ever been to the gallery although I had seen images of it on the internet. And I had not met the Director, Emma, in person, so it was great to be able to do this. Emma has done a great job in displaying my work and I am delighted with how it looks, and the way the pre-exhibition communications have been handled. Because the gallery space is smaller than that where the work was first displayed (Expressions, Upper Hutt) three pieces didn't get hung. This is okay and, as I have said before, it pays not to be too precious about things as, at the end of the day, does it really matter - no! The opening that evening went very well, and there was a good crowd for my talk the following day, many people coming from quite some distance.

This has all been a most satisfying exercise. Thank you Emma and the Art Gallery Papakura!

Outside gallery window announcing the exhibitions, Art Gallery Papakura.

An exhibition view.

Opening function, me, third on the left.

Art Gallery Papakura

2010-07-05T07:45:00.003+12:00

My exhibition time is nearly here. The work is to be installed this week, with the opening on Thursday evening. This is exciting and I am looking forward to seeing my work displayed in a new environment. It is a day's drive for me to get to Papakura but I have family in Rotorua so will make a stop-over there, then return to them for the weekend. A great time to catch up on everyone and to see how the grand children have grown since I last visited.

I won't be blogging again until I return and hopefully I will have lots of good reports as to how everything looks, and went, at the opening and talk. Stay tuned....

Art Gallery Papakura, 10 Averill Street, Papakura. Hours Monday to Friday 9am - 5 pm, Saturday 10am - 2 pm. My Fibre Reactive exhibition will be on display July 9 to August 7. I will be giving an artist talk on Friday, July 9, 11 am. All welcome! Exhibition sponsored by the Papakura Creative Communities Scheme.

Entrance. This shows the first gallery where my work will be, the second gallery is through the doorway in far wall.

Looking back to the entrance.

Photos courtesy of Art Gallery Papakura.

Snip and tear

2010-07-01T18:53:00.012+12:00

Following on from Monday's blog about rejecting the top portion of the latest piece, it was a simple matter of making that snip and tearing the piece in two. No regrets. The abandoned piece is currently put away and may be re-visited at a later date. End of, moving on....

One of the advantages of working on the now half size piece is that I can manage it on my smaller printing table in the studio. It is warmer in my studio than in the garage where I have my larger printing table. What with our mid-winter weather it is very cold in there and not at all pleasant.

The retained piece is coming along nicely, looking good and is nearing completion. Here are a couple of details:

Major Shift

2010-06-28T09:15:00.006+12:00

A major shift with my latest piece is about to happen. I did some further work on it over the weekend with very pleasing outcomes. So pleasing in fact that I am now keen to reject the top portion and proceed only with the lower. This seems to stand alone very nicely and with some more applications it should be a great outcome.

I frequently make such major shifts as this. It does pay not to be too precious about one's work. I could be upset about the time, effort and materials I have used in producing the portion I am about to reject, but prefer to see it as all part of working this piece. In other words, if I hadn't done what I have already done, I may not have achieved what I now have. Does that make sense!?

This shift came as a result of painting some figures on to my large screen with dye and water, as part of my original design. Once dry, I screened this on to the fabric with sodium alginate (manutex) and soda ash. Everything transferred beautifully....

Painted screen in place on the fabric which, at this point is covered with plastic to prevent any surplus dye spreading through. I also have paper templates for guidance under the screen.

Screen after printing, nothing much remains.

Progress again

2010-06-25T08:15:00.003+12:00

I have been able to concentrate on my latest piece this week and there has been progress. I am still establishing the first layer of applications and once these are all achieved, I can then focus on some of the details. I like to pull these details together after the first layer is in place. If I start too early on this it can be difficult later on as I may regret what I have done too early in the piece. So far so good. Below are three details.

BTW for those in the greater Wellington area I suggest a visit to Pataka, Porirua, will leave you fulfilled. Current exhibitions include Double Vision - artists collaborations, carved muskets, and exquisite glassware.

Fibre Reactive Expressions

2010-06-20T15:51:00.014+12:00

In two and a half weeks my exhibition at the Art Gallery Papakura will be open - official function 5 pm July 8, then from July 9 to August 7. The exhibition title is Fibre Reactive Expressions and is the second showing of the exhibition I had in Upper Hutt last year. Two new pieces will be shown which help to replace those already sold. The exhibition is supported by a Papakura Creative Communities Funding Grant.

There is always a great deal to do before such an exhibition of course, apart from preparing works for display. Keeping good records while information is still fresh is the best way to tackle this. Physical data such as dimensions, inspiration, materials etc are a must, and keeping the CV and artists' statement up-to-date is essential.

Last week I packaged all my pieces for despatch during this week. All the works are rolled around padded cardboard rolls. With petrol prices to rise early July, I am getting in beforehand to make the most of the current rates. Getting quotes for cartage, there and back after the exhibition closes, had me accepting a courier that will deliver door-to-door. Expensive, but this is not an exercise to risk the quality of the journey.

Art Gallery Papakura, 10 Averill Street, Papakura. Monday to Fridays 9am - 5pm, Saturday 10am - 2pm. www.papakuraarts.co.nz

The box ready to go.....

The student v the artist

2010-06-18T08:00:00.002+12:00

My blog of a week ago, posted June 11, titled A Powerful Tool gendered a couple of very good comment responses. This week I have been giving these some thought, and would now like to offer the following:

When one is a student in a specific line of study with an eventual outcome of achieving a qualification, one has to work within the parameters of the established course of study. The tutor is also bound by this!

The basis of any course is to learn, to learn how to accomplish new skills and ideas. Any hands-on, practical learning, will involve lots of experimenting and samples. Achieving major assignments can become a daunting task, not so much because you haven't yet mastered all the skills, but mostly I suspect because the theme/topic given is not your own choice, and you have to get your head around what you must try to achieve. This skill is very important if you plan to go on to employment, or work on commissions, where the client's requirements are paramount.

However, if you are an artist, you are expected to find your own visual voice, and the approach is quite different. The way you have worked during studies needs to be abandoned. You should have enough skills to get on with 'it'. Experimenting and sampling is still valid, but not to the same extent as when being a student. In fact, I suspect that too much sampling is a hindrance, meaning that an outcome when sampling may be successful, but then incredibly hard to achieve again. This can result in unease and disapointment. Sometimes it is best just to go with it, do it, and live with the result. Start again if necessary.

I hope this helps.

Yes, I have started on my next piece. I have drawn some gestural lines in black pigment/paint. While the paint is still wet I have spritz parts with clear water which softens the lines and adds some interest.

A house.....

Costume and Textile Association Conference

2010-06-14T08:30:00.004+12:00

This last weekend I attended the 9th Annual Symposium of the Costume & Textile Association of New Zealand, held at TheNewDowse, Lower Hutt. I didn't need any encouragement to register, it was great to have such an event in my home town. About 120 people attended, many from the greater Wellington area, but others from Australia and the USA. This conference was centred around research and conservation practices rather than hands-on.

During a fairly intense weekend we had a programme of 19 presentations. The conference title was Hanging By A Thread and many papers referenced the survival of textiles (and people) in dire circumstances such as war time, Antarctic exploration, and lives of poverty.

Specific topics of interest (to me) included the stitching of Maori dog skins (these dogs are now extinct) in pre-European times; the resurrection of Cambodian weaving; German paper textiles of WW1; the emptying of an old poof (hassock) filled with remnants of torn and mended clothing from the family who owned it, and the stories they engendered; the fight for survival in WW2 and post war Germany; making it last and work in early Antarctic expeditions; replicating a lost carpet in its original style produced in the 1860's for Victoria Mansion USA; the Victorian Tapestry Workshop, Melbourne; a light-hearted look at keeping a stash (knitting wools, fabrics etc); and masculinity and the knitting pattern; plus much more.

Such a lot of wonderful information and food for thought. It was a well organised weekend and great to catch up with many people I already knew, and to meet many more. Next year this conference is to be in Christchurch. Stay tuned!

Natalie Cadenhead, Curator of Antarctic and Canterbury Social History, Canterbury Museum, Christchurch, and Clare Plug, recipient of Antarctic Artist Fellowship, 2006/7, enjoying a light-hearted moment.

Where have they all gone?

Ahhh... its lunch time.

A powerful tool

2010-06-11T08:40:00.002+12:00

It has been a busy week with no hands-on progress but lots and lots of thinking. I do have a length of silk/linen prepared, that is washed and with the torn edges over locked/serged, hanging on my display wall and I keep glancing at it, placing the ideas and colours I am envisaging. It is always exciting starting a new piece, the expectations are high.

The over-riding reason for making work is to test myself and my commitment. I think that is what keeps me going; the next piece is always going to be 'the great one'. On looking back over many years of working, however, I feel that approximately one in five pieces actually 'hit the mark'. The other four range from (my own) rejection, okay, and pretty good.

The remaining piece, the fifth (and they don't come in any consecutive order) stands out as a milestone, it pleases, and makes me feel pretty good.

Amongst all this there is that good old fashion gut feeling. This is alway my best judge. Being able to recognise what it is saying is a skill worth nurturing and accepting.

A few moments ago I hadn't any idea what I was going to write about in this blog. But, as always, just starting is enough to come up with something. Just starting is indeed a powerful tool.

This weekend I will be attending the Costume & Textile Association of New Zealand Hanging by a Thread conference, to be held at TheNewDowse here in Lower Hutt. I have not attended this conference before so it will be interesting to see what they have to offer. I shall report next blog.

No pics this week.....

Hiatus

2010-06-07T07:45:00.002+12:00

Since completing my latest piece last week, I have been doing some 'housework' in the studio. This means that I have been cleaning up and making my work surfaces vacant for when I start the next piece (see photos).

I have disposed of any unused dye mixes, made sure all the equipment is clean, and washed the drop-cloth on my large printing table. I am always reluctant to tidy up as I go, or tidy up too soon, just in case I need to return to check something out. The unused dyes would have become inactive but then I could, if required, use them as a reference to match a colour or mix up more. Design scribbles are glued into my workbook, but not the failed scribbles! Paper and freezer paper templates are thrown out or saved for recycling.

Finally I have documented my latest piece, using a format which includes size, date, inspiration, materials used etc. This is really essential and a godsend when this information is required at a later date; it certainly saves on getting the work out again. The final job is to get the piece professional photographed, and I usually like to take two or three pieces at a time.

And now it is on to thinking about the next piece. And that is chiefly what I do, think, and then think some more. Occasionally some reference is jotted into my workbook but mostly it goes on in my head.

Finished

2010-06-04T08:15:00.007+12:00

My latest piece is now finished, and mounted. I am very pleased with the result. I would love to show you the whole piece but am reluctant to do so just in case I wish to submit it to an exhibition, where whole images must not have been seen on the Internet. The inspiration was, of course, Peru!

© Diana Parkes 2010, A Sense of Place; 133cm x 188cm / 52.5" x 74"; silk/linen and cotton cloth; dye, discharge, textile pigment

In this piece I have used the four letters, one in each corner, which spell out INCA but with the N reversed. This was the starting point for this piece. According to my research, a prominent Inca leader learnt how to read and write after the Spanish arrived but somehow he reversed the N's in all his written works. Whether this was deliberate or unintentional it is not known but it was interesting to see it continued today in Peru on major signage and branding etc.

Mounting this piece on the border-painted canvas backing looks great. The eyelets (grommets) worked out well too. I got these done at a local canvas goods maker / repairer and whereas I thought they would be brass, I was offered black eyelets and responded 'yes, please!' They have all sizes and were very cheap to get done. Very small eyelets eg. shoe lacing size, are best done at a shoe repairers.

Presentation of work

2010-05-31T08:00:00.005+12:00

I consider my latest piece to be finished. It is currently resting, like a good roast, and time will determine whether it has indeed reached the end of its road. In the meantime I am considering its presentation.

I have been giving quite a bit of thought to presentation this year, and have made some observations while on gallery crawls, mostly to art exhibitions ie not textile exhibitions. It has been an interesting exercise and I think I have now come to a new possibility.

First I had to do some experimenting and used an earlier piece of work which I don't intend ever to exhibit. I decided to use a heavy canvas (in NZ called calico duck) for the backing piece, and paint a border using a low sheen, water-based interior house paint.

Initially I felt I needed to prime the canvas, so did a test with textile pigment and a house paint undercoat. Once painted over with the colour I decided neither was necessary - see centre portion of test which shows paint coverage without any priming.

I painted a border around another piece of canvas. Because I had not washed it prior to painting, the border area shrunk which made the centre area pucker. Not good!

I repeated this experiment with a pre-washed piece of canvas. Success, it remain flat! The dyed art work is to overlap on to the borders. I did mount the rejected artwork on to this and was pleased with the outcome.

And here are my borders being painted on a very large piece of canvas, to accommodate my latest piece. I have already hemmed the top and lower edges, before painting, but left the sides raw. I painted the front side twice (to get a perfect coverage) and an underside border just once so that if the edges curled they would reveal the same colour.

Next I will get metal eyelets punched into the four corners. I get these things done professionally as it is very hard to get them perfect with equipment here at home.

Good news

2010-05-28T08:50:00.001+12:00

From July 9th to August 7th, the works from my exhibition last year (those unsold, that is, plus a couple of new pieces), held at Expressions, Upper Hutt, are to be exhibited again at the Art Gallery Papakura, 10 Averill Street, Papakura. I am looking forward to seeing everything displayed again, in a different setting, and to a new audience.

Yesterday I received news that a grant application to the Creative Communities Scheme Pakakura District, has been accepted. This will help in couriering the pieces to and from the gallery, and other additional expenses in preparing the work. This certainly helps with the overall success of the exhibition. Very pleasing indeed.

Herewith a couple more details of the latest piece. It is almost finished and I am preparing for the mounting processes.

More lino prints

2010-05-24T08:10:00.002+12:00

Have made good progress on my piece this week and feel I am nearing the end. I have added some Inca house ruins, seen at Machu Picchu and elsewhere. They seem to have the same basic stone structure but minus their thatched roofs for obvious reasons. I did another quick lino design which worked out well.

Inca houses printed, then the top window spaces discharged to give some contrast.

Machu Picchu and some Inca house ruins, without roofs, top of photo. The delightful baby llama was less than 24 hours old!

A restored thatched house, bottom left.

Grand-daughter has been here again this weekend so more progress on 'the dress'. Curved hem on skirt caused some concern so Nana is to replace it with a hand rolled hem, as any Nana would do!

Inca Woman

2010-05-21T09:15:00.004+12:00

This week I have been working on my lino print and I am very pleased with the resulting outcome. There is something therapeutic about quietly sculpting the lino and watching the design slowly reveal itself. It didn't take too long either. The next exciting thing was to do some test prints. I did several of these on paper to fine tune the results, then worked on fabric. I used black textile pigment for this printing. Printing on the fabric leaves a slightly different texture than on the paper, but I decided I liked this. Then it was the nerve wracking process of doing it on the latest piece. Whew, fortunately it worked!

I often feel I am too tight with some of my drawings and a lino print, by its very nature, seems to loosen things up a bit.

The actual lino cut on the left, and one each of the paper and fabric test pieces.

And here she is, quietly making her away across my new piece!

By now you should have gathered that this piece features Peru.....