For Sally Bramald

 

Painted Papers

I learned about painted papers form Australian artist Dale Rollerson. I've been makign them efver since. However, I hate to dut them up for dollage, so I;'ve learned to san tghem into my cpm[uiter and have created a nide databse to work from and I don't have to cut up or tear the originals to collage with. I cna print out digital versions or digitally collage.

Digital cOLLAGEcRETED FROM PAINTEE PAPERS WHIH WEERE SCANNED INTO A DATAASE SO i CAN COLLAE DIGITALLY OR PRINT THEM OUT AND NEER USE MY ORIGINALS EXCEPT FOR WORK NOT SAMPLES.

Digitsl rendering of new surface

Now I've taken the newest surface and done a digital reworiing and endering. It's al3ways amazing to me how asometh8in fdan e deeleoped digitally into an entirely new wurface and yet maintin some of the quaolities of the oritginaa;// Now I'mbeginnign to understand how the procesw feeds itself and continues to develop and grow into another eolegant surface or maye once it is printed onto cloth or tranwferred by some process.

Elegant Surfaces

Something has begun. I'm not sure what, but I'm int5igued. I contginue to work with crayons and metallic paints and acrylics (three primaries.) I'm eorking on white, undyed cotten, and fdyed (MX dyes) muslin, developing the surfaces as a basis for small embroideries or perhaps laces. I'm working small as I'm working by hand as the machine and I are having difficulty connecting because of the tremours and twisting my body has received as a result of the progression of the disesae. the love of fabric and color and stitch keep me functioning aat a higher level than I might otherwise. Is there meaning in the work that's emerging? I think yes, but it is close and personal and perhap a little elusive. a new sample just painted and beginning embroidery on the first sample.

Fascinations

FascinationI have alwaays had a fascination for fabrics and flowers, particularly fabrics with somestructure like velvets and satins and for roses. My sketchbook is filling up with drwings in crayon asnd paint and oil pstel of roses some baesed on photos from the garden 9of my friend Sallyl who kindly gaze me permission to use as a source. Many yeaars agoi I became enamoured of Irish Crochet lace and one of the motifs I make well is a rose. I'm working on doing a series of digital and fabric designs using roses and hopefully incorporating some crochet lace. I've been recently studying the techniques of various needle laces, psarticulxarly the Italian punto aria and other (my Italian is not much better than my AEnglish. Multi-technique fiber p8eces can carry a strong message, I think, even a subtle one. I am more fond of the subtle message than I am of the sledgehammer approaach. In the meantime, I'm using a sketchbook along a specific theme, something I've never done before. My health is worsening and I wonder if suddenly I realize that I need to start finishing works aw I dicovered to my chagrin that I dod not have a true "body of work," just a bunch of UFOs. Os ther ultimate finished oject more important than the process9or is the process the most importantg/ I've lways thought the latter, but now I'm beginning to think that they're both important, though I can't honestly say why at this point. here are two samples of crayon on ctton with a metallic over wash.

Baudelaire

THE HUMSN CONDITION - ODE TO COCTEAU

A Tzaddik Collage