Tuesday, 4 December 2018

SAQA exhibition acceptances

Congratulations to Uta and Claire on having work selected for SAQA's "Forced to Flee" exhibition -http://www.saqa.com/memberArt.php?cat=8&ec=2&ex=94 .
Dianne,  would you be kind enough to be the next person to choose our artist once we have finished with Shamsia Hassani?

Thanks 😘

Monday, 3 December 2018

Lurcat response

I've come late to viewing people's response to Jean Lucat so find that at times there has been nothing to add to specific comments but what a great result overall. It seems that in selecting an artist that some of us found difficult to relate to we've been prompted to work even harder to honour the work of the original artist.   Thanks Jinnie.

Saturday, 1 December 2018

The next artist is.............................

Hi everyone.

I hope you won’t mind the change of tone with the artist I have chosen !

I particularly like graphic art and portraiture, both of which feature heavily in street art. I have a few favourite street artists and I thought it would give us something different to look at.

 My first thought was to choose the artist known as Swoon. I love her work but I thought it might be too limiting as she most often creates black and white portraits. Next I thought of Alby Guillaume – there would be loads to inspire everyone from his work. But in the end I have settled on Shamsia Hassani – a graffiti artist, (amongst other things) from Kabul. I love that she is a strong and independent woman,  her reasons for making the art she does and the stories she wants to tell the world about women in Afghanistan. There is a short video you can watch to learn a bit more about her work here:

Hope you enjoy finding out about her and her work.


Friday, 30 November 2018

I have been unsuccessful in posting comments individually on each persons work this time around
and hope the situation can be rectified at some point soon . Meantime I just wanted to say that I thought the group produced wonderfully diverse and interesting interpretations of Lurcat's work ,looking at what they were going to do from so many different angles . This is the fascinating part of being part of this group . Thanks to all for  explanations of processes as well which gives insight into your final pieces. Much appreciated and something I haven't thought of doing . Rosemary

 Blown every which way

   I was in two minds about choosing Lurçat as I knew he wouldn't be everyone's cup of tea, but I am so glad I did because the quilts I've seen so far are excellent.The exhibitions that I saw in Aubenas which included his work, and the one at the Manufacture des Gobelins in Paris, really impressed me: the scale of the work just took my breath away and the colours just glow. If I had not seen them in real life, I do not think I would have liked his work so much. I did not have any idea what I would do when I chose this artist, although I knew what it was about his art that I wanted to work with. I wasn't inspired by any  tapestry in particular. I particularly like the leaves in his designs and the way their light edges glow against a black or dark background. So I knew I wanted a black background, but it took me a while to work out how I would do the leaves. In the end I made several lino print blocks of leaves and printed them on a yellow hand dyed fabric. I cut these so that a yellow edge to the leaves was visible and appliquéd them.

Circle Play

Circle Play

Like some of the others I wasn't realy inspired by Jean Lurcat, but this often leads to surprising results, and having to stretch the imagination even more, and even if it takes much longer to get there. (Normally I try not to look at the other works, before I publish, but this time it happened by accident.)

Inspiration from Jean Lurcat

 Early on I decided to use only the colours from Lurcat, and not necessarily a palette I would normally use. Again to stretch the imagination.

Inspiration from TV show
Watching a tv series, I found a print on a wall that took my fancy and that I could transfer to fabric. I made a pattern on paper by drawing some lines and circles, trying not to copy the original print.
Work in progress
Using a palette generator: https://bighugelabs.com/colors.php I got my colours and started finding fabrics (mostly silk) from my stash. As my pattern had 24 bits, I chose 12 colours, giving me two patches of each colour and it was time to place them.
I cut the patches slightly smaller than the patterns, so the black fabric I would fuse them to would show through.

Before fusing

After fusing (colours looking funny in this pic.)

Circle Play
I decided only to quilt around the edges of each paths, normally I like a lot of quilting, but I felt the for this quilt it would spoil it. I am very pleased with the result, and would never have arrived here without this group and it's challenges. Bring on the next one! 

Well, I might actually have to skip the next one as we are moving back to England in the middle of february (East Anglia) - our house here in Guernsey has finally been sold after three long years on the market. That means we have lived here for 25 years this month.



I did enjoy this artist's work and had a lot of fun with my interpretation, also the colours are ones I do enjoy.  I used quite a lot of metallic thread and gold cord and appliqued the design onto the black background.  I thought the fish would be the easy part but after trying out four pieces of fabric I finally hit on the one I liked best, which I think worked well.  The whole piece was a lot of trial and error and I finally realised that I could not use too many colours (I had originally started out with blue waves in the bottom right) and halfway through I took those out, replaced them, and used colours that blended rather than stood out.  All in all I am happy with my piece.   I scanned the top three images which I got my inspiration from and I apologise for the poor quality, but my printer didn't want to give me anything better.

WIPs: Münter and Lurcat

On the last reveal day I showed how far I had got with my Münter-interpretation and grandly announced I would finish within the next few days. But it has been lingering - probably not only because of important changes in my professional life that still requires adjustment processes to allow for enough time for stitching, but also because I am not terribly satisfied with how it has developed. I am not sure whether that is due to the fact that I like her work in all so much that it becomes very hard to distance myself from the inspiration and make the piece 'my own'.

For my taste, the outlines of the sleeping child in my current piece are not visible enough, and at present I don't have a really good idea how to change that without ruining it completely.

I have already added a layer of batting under the head that will make it 'pop' a bit when real quilting will begin. Just recently when I was pondering over it again I had the idea of enhancing the outlines by overstitching them with some lighter thread, or even a reflective thread I have.  And handstitching some of the areas with a bit of running stitch to mark them. But it requires a bit more thinking. I will report when something develops.

For Lurcat I very quickly decided on the inspiration I would use, namely on the day the name was published. I chose the ceramic plate with a large sun from the 50s or 60s.

Right after chosing the inspiration I started a new job and have been working full time, which requires quite a bit of adjustment both on my side and my family, and the organization of stitching time has not been easy yet, so realization of the project did not start immediately.
When I began work, I traced a part of the design and transferred it onto bondaweb.

I liked the blue of the original piece and wanted to maintain that, but not the white. As the process of transferring from bondaweb results in a positive and a negative image I could choose two different colours for the 'background'. At first I did not know which I would use for the piece for the group, or perhaps make a double-sided piece.

Right now I think I will choose the piece with the orange background for the group, and the piece with the yellow background for a yellow quilt I am planning for the anniversary of the French Patchwork Organization. But I haven't finally decided yet.

In fact, as I am writing this, I have an idea about using some of the hand-stitched eyes from Guldusi's embroidery project and focus on the line of the four eyes, turn the segment and that way change the character of the piece entirely.

But this would not fit into the size requirements. So it wouldn't work for the group, it has to be put onto the back burner.

I am convinced that my adjustment to the new professional situation will be completed soon and stitching time will be more secure soon.


I was drawn to the tapestry designs of Jean Lucrat, in particular, the use of the signs of the zodiac, stars, sun & leaves. A good example would be this piece.

I chose my sign of the zodiac, Scorpio, and added all the other bits & pieces.

Whole cloth splattered with silver paint. The Scorpion was drawn & cut out from a whole piece and fused to the background cloth. The sun was stenciled thru a freezer paper template.  The stars and leaves were added with the quilting finishing it off. 
This one flowed really  nicely and I enjoyed putting it together.

L'homme vert

What I am enjoying most about this series is discovering and learning about so many new artists.  Thank you everyone.

I loved the graphic side of Lurcat's work.  I would love to have experimented with a lino cut because I was so impressed by what the others had done before but time and circumstances were against me - this time.  And then the idea of a notan-style interpretation popped into my head.  Having drawn it out and ironed it onto fabric, I started cutting it out and immediately realised I had been crazy.  It was so intricate and with so many fiddly shapes.  I'm surprised I didn't mis-cut anything.  It was when I was struggling with the second 'man' that I remembered a friend has a CriCut machine and I could have asked her to cut it for me.  Too late, so this is all my hand work!

I had intended to put the cut-out on square but when I laid it out I liked it on point better.  Had I known I could have made it bigger (and less fiddly!).  Below are the pieces that inspired me.

Thanks Jinnie, Hilary

Thanks but no thanks ...

Thanks for the introduction to Jean Lurcat.  I can see that his work is technically amazing but his subject matter and style have little appeal for me,  but that's what this challenge is about, isn't it? In the end I narrowed down my choices to several pieces that featured fruit and leaves, though even his treatment of the veins on these leaves left me feeling uncomfortable ☺

I sort of worked with the left side of this piece in mind:

What appealed most is how the leaves filled the negative space around the central figure, a technique put to good use in Arts and Crafts tile design, so enter as influencers William De Morgan and Lewis F Day.

The central motif became a fruit, with thanks to Phil for her dotty tool which provided a bit of dimension and the rest just grew around it, thanks to some lovely tile designs. I've left more negative space than I'd originally intended but didn't actually notice this until the quilting was well under way.