I was always a bit nervous with indigo and had a few failures, trying to make a working vat. Discouraging every time. Not this time. I just gave it another go, using Michel Garcia’s organic vat, using indigo, lime and fructose crystals. And succeeded! I didn’t want to believe it but it really worked and its magic! How the fabric turns from white to green, teal and eventually to blue. The more often the fabric is dipped into the vat, the darker the blue shades that can be achieved.
I also love the idea that the vat can be used over a period of time, but it needs to be a bit looked after, get fed, stirred and if necessary revived!
I used a couple of shibori techniques (folding, clamping and binding) to achieve simple yet very beautiful patterns.
Dyeing in progress, the teal colour will magically turn into dark blue.
This one is made with black walnuts bound into the silk and resisted with rubber bands.
Bound with gum nuts, it event took a bit of the colour!
Over dyeing a silk scarf, rust dyed before.
This scarf is eco dyed with eucalyptus leaves, then twice dipped into the vat.
And my new pair of cotton indigo socks. Who said socks are boring x mas presents…?
As an artist I am looking for inspirations all the time, often unconscious. There is for sure the internet with millions of websites and images and I can spend hours searching and getting lost before I realise that is has already gone dark outside.
But I also like to read (and own) real books, books that I can touch and feel the pages between my fingers. Books I have owned for years and never got bored with. Sometimes I just run my fingers across the book backs, randomly picking one and be surprised to find new inspirations, more bits of information, that sparks ideas even though I have flicked through them hundreds of times… well maybe not quite hundreds.
These are some of my favourite textile books (till the next one) I would like you to know about.
The Worldwide Colours of felt is a relatively new one, from Ellen Bakker and a collection of felt creations from around the world. It has hundreds of beautiful images and is written in Dutch, English and German. It gives me great inspirations and joy as it is colourful and light (images only).
Shibori is more than an introduction to this ancient resist dye technique, with lots of history around the art and beautiful images of different dye patterns. I in particular like the illustrations showing the individual shibori techniques. It also describes some natural dye recipes.
Eco Colour from India Flint is my natural dye bible, the book is beautifully made, covers a variety of natural dye techniques information about mordents, preparations of fibres and even a list of dye plants. Although I had some difficulties to understand certain aspects in this book (I am an artist not a scientist) the more I learn on my natural dye journey the clearer become some of the explanations.
Last but not least I purchased the book Natural Processes in Textile Art from Alice Fox last year and again it is beautifully made with easy step by step instructions to get started. It also introduces some established fibre artist working with using nature as inspiration and source for their work.
I often get ask about eco prints. People sometimes think they are made using a screen print technique or the colour comes from synthetic dyes. I have taken this as an opportunity to give you a short overview what eco print is and why I am so passionate about it.
Eco print, also known as leaf print, is a direct contact method to make prints, drawing out pigments from plant material onto fabric (and paper) with the help of moisture and time. Moisture in form of heated water can be used either through steam or in a simmering bath; both allow the cloth to accept the dye. The lengths of time of the contact between plant material and fabric will influence the result as well.
eco print on merino fabric
Natural dyes bond particularly well with any protein fibres (silk, wool) and cellulose fibres (cotton, linen) although bonding of pigments with cellulose fibres are usually less strong and vibrant.
Eco prints can be produced from a vast variety of plant materials such as leaves, flower petals, barks and vegetable skins, the selection is endless. Applied mordents (a fixer which ensures colour and light fastness) will have an impact on the outcomes. A mix of different mordents will change the colour of the print. Other factors such as the season and location of plant collection and the mineral content of the water will help shifting and changing colours.
This is what excites me about the process; experimenting with these endless combinations to achieve sophisticated and unique prints, often unexpected. Although using a two dimensional technique, the natural and unevenly colours of the prints turn them into a work with a three dimensional impression.
Living in New Zealand I am particular interested in testing eco prints from native plants of the New Zealand bush preliminary on wool and silks. This includes research about plants used by Maori as food and dye source and in traditional medicine. Gathering this old knowledge also helps to understand the world around me.
eco print with lichen
Learning about the alchemy of plants is another important aspect of eco print, but is secondary for my artistic and serendipitous explorations.
As a textile artist I am trying to find new ways of mark making onto fabrics and sometimes onto paper. My desire is to make unique eco prints is a sustainable approach to use traditional dye plants in a new way, as an art form, revealing the invisible.
eco print with ake ake and kanuka
I enjoy photography. Although I dont call myself a photographer, I love to take my camera and go for a walk down the Otaki riverbed, through the nearby bush or even just around the house and garden. There is always something that catches my eyes and sometimes I spend hours to get an image how I like it. I guess it is some form of relaxation.
Over time I have noticed that I am shooting a lot of close ups, so I invested in a macro lens to be able to capture even more details and texture to inspire and inform my art.
This was when I realized that there is a whole new world to discover, well not new but hardly noticed and overlooked before. I was aware that there are lots of lichens growing where I live, able now to get much closer with the lens, revealing lichens beauty.
Lichens close up
These two images showing lichens growing on asphalt and concrete and made me thinking how I could combine textiles and concrete… watch this space!
Using a concrete as a new medium in my arts practice means I have to do some research about techniques and possibilities the new material offers, health and safety issues involved, but also finding inspirations from artists who are already work with concrete. Thanks pinterest & Co. and I found a few artists working with concrete and fibres. Marlies Hoevers is the one whos work has inspired me most; from a creative point of view as well as the visually and aesthetically appearance of her pieces. Interesting also that she identifies herself as a textile artist working with concrete. Here are some examples of her work.
I can wait to get into my studio tomorrow and start exploring.
A couple of month ago I started to experiment with other media within my art. I wanted to bring in another component to my work. My work is usually very soft, tactile, light, fragile and sometimes translucent. I was looking at opposed properties such as hard, solid, heavy and dense. Contextual practise is part of my art studies and the perfect opportunity to experiment, trying out new ways of doing and reflecting on the outcomes.
Here are some first experiments inserting flowers and petals into plaster and beeswax. It is interesting to see the decay and what is remaining of the petals, I especially like the negative space of the plaster, once the petals have been wilted and removed.
I also experimented with cement, making concrete. These samples are fairly rough and I guess not very strong. I inserted all kinds of fabrics, mostly my own left over pieces like felt or silk threads. I like the hard/soft contrast and wonder how the look will change on a bigger scale? These ones are made in ice cube molds.
I just feel most attracted to concrete and it didnt take me long to understand that I have a connection with this hard, urban, strong material . Being raised in the 70s in East Berlin, concrete was part of my every day live. The house I lived in was made out of concrete, so was my school. My playground were building sites in my neighborhood and not to forget, the Berlin Wall always omnipresent.
In the next couple of weeks I will explore more of the material, see where this path is leading to.
About 500 leaves were stitched by members of my community in June and have been represented as an art installation at Mahara Gallery in Waikanae, New Zealand. Topophilia is a collective artwork, which conveys community bonding through creative activity.
One month of stitching leaves within my community was a great experience: people met people, strangers became friends, old taught young, young inspired old, stories were told, serious themes and not so serious themes were discussed, gifts have been exchanged, tears run, some sad ones and some happy ones, and I have learnt, there is so little one can do to bring people a bit closer together in our sometimes cold and busy society. Now, the leaves are sitting and waiting to be installed at Mahara Gallery in Waikanae.
I am inviting everybody to celebrate our creative community to come and see the Leaf Installation TOPOPHILIA at Mahara Gallery in Waikanae!