Lisa’s exquilt wallhanging – more changes

 the front. notice the stretcher line at the top.  

 the back. i’m not sure which way is up here.

i’ve been sitting and looking at lisa’s exquilt wallhanging. the dyed fabric looks so good. i’ve discovered that the same elements that are in the picture i want to represent are also in the fabric i’ve just dyed, which is an interesting coincidence that i don’t think i should overlook.

which changes my whole idea of what i want to do.

remember when i said that i have to start the whole process from scratch every time i get to a new step?

once i washed and ironed the canvas fabric, i sat and admired it for the longest itme. i turned it this way and sat down and looked, and turned it that way and sat back down. finally i decided that the part of the fabric that hung off the long side of the stretchers and only got painted as an afterthought, the part that is the most thoroughly dyed becase i held the back of the fabric up with one hand and painted over it with a brush in the other – that is the part of the fabric that should be on top. what the hell, the collage is going to cover it up anyway, right?

and once i turned it that way, everything started to look a lot better.

i reversed the side borders and made them really wide, like 8″, so now the edges are a bright green in their basic color. the fringe edges ended up on top and bottom.

once i turned the edges over, the purple middle receded very nicely from the green edges. i like that.

 of course these are nowhere near the real colors. sorry.

i’m more sure than evern that instead of covering over this beautiful canvas, i want the store-bought clothes to enhance the pattern that is already there.

the dyed pattern ‘accidentally’ (as in there are no accidents) echoes the scene i want to draw in a most unusual way. not just how the red dye shows where a lot of detail is to be placed on the canvas, but there are lines that pretty much nail the outline of cashel hill and the coast. it’s tilted a bit from the horizontal, and i played for two seconds with the idea of tilting the canvas until the line was even, and hanging it that way.

so, i’m now using the whole canvas as picture plane. i had first planned to have a smaller inset that was collaged, say a third of the size of the canvas. but i can manage bigger, because i’m not planning to go to the edges with the scene. and the way the fabric’s dyed takes care of all the details at the edges.

this is going to be so cool.

i got a piece of plastic and pinned it to the canvas, and drew in my scene, following the indications left by the dyeing process. if you go back and look at an earlier drawing, you can see that the shoreline and furze hedge are distorted to follow the indications in the canvas. but the outline of cashel hill is there in the dye patterns, the spot for the house is there, the shoreline is actually inked in along a fold, and there’s a white ring around one of the large rocks in the foreground. how much more specific could it get BY ACCIDENT?

 the template laid over the canvas.

i’m still completely unsure what i’m actually going to do with the fabric lisa gave me. i’d only cut it into pattern pieces, so i have sleeves, shirt fronts, cuffs and collars, waistbands in every style. and it’s important to me that i use as many identifiable fragments of lisa’s family’s ex clothes as i can. pockets. labels.

so when it comes to pinning the cloth onto the canvas (plastic) pattern, it goes up as folded pieces, as small as possible, but some as large as a quarter of a long skirt.

 the shiny green triangle in the middle is cashel hill.

to me the picture above looks horrible. yuck, rhymes with. what do i do with all this? cut it to cover the area? cut it into thin strips and use it as contour lines? shred it into netting and leave some of the background showing thru?

that’s the problem, ruining this nice hand dyed material by covering it over with polyester prints.

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