untitled – silk banner

textile | transformation
Hampshire, England

It often happened during the years when I was teaching art at Brockwood Park School in Hampshire, England, that my own artwork had its origin in classroom activities.

My keen group of students were learning how to paint on silk and other fibers as part of a fiber art program. They also wanted to explore off-loom weaving processes.

I had a wonderful stash of painted silk color samples from studio experiments in earlier days, and laminated them onto canvas to make ribbon strips. In the attic I found a discarded window blind made of narrow pieces of wood – these were painted using light-reflective acrylics.

 

Wonderingmind Studio: Miriam Louisa Simons, Silk Banner

 

The wooden sticks and the silk ribbons came together in a pattern discovered in one of the texts we studied – it’s a very old Chinese pattern symbolizing the ebb and flow of the Tao.

 

Wonderingmind Studio: Miriam Louisa Simons, Silk Banner - detail

A closer look.

The weaving was eventually mounted on a length of painted bamboo matting.
1780 x 650
painting on silk, off-loom weaving
silk Habotai, canvas, wooden sticks,
acrylic paints, fiber-reactive dyes


nomad collection: England


19.10.12 + catching up

 

I’ve been traveling in regional Queensland and discovered that the internet connection urbanites take for granted isn’t always easily accessible. Or that if it exists at all, the speeds are reminiscent of the old dial-up days, meaning that uploading images involves a great deal of patience. There’s also been a great deal of driving and other delightful distractions…

Back at base now, I’m catching up. Apologies to the dear friends and fellow-bloggers who are subscribed to this blog and support me in this little project …

 

daily details 19.10.12 - miriam louisa simons

 

acetate, images of personal artworks cut and woven, acrylics


I can’t understand why people are frightened of new ideas.
I’m frightened of the old ones.

– John Cage


memento mori

 

Memento mori is a Latin phrase translated as “Remember your mortality”, “Remember you must die”, or “Remember you will die”; taken literally it means [In the future] remember to die, since “memento” is a future imperative of the 2nd person, and “mori” is a deponent infinitive.  It names a genre of artistic creations that vary widely from one another, but which all share the same purpose: to remind people of their own mortality.  The phrase has a tradition in art that dates back to antiquity.
Wikipedia


It is rare for me to move into narrative, but this new work tells the story of a chapter of my life that was intimately concerned with mortality – specifically that of my much-loved parents, but including others as well. I had never before been so closely involved with people who were living through the final stages of their life. It was both sobering and inspiring, and I use the term to title this work in the sense that profound awareness of one’s mortality can motivate one to “seize the day” in a very positive way.

 

Wonderingmind Studio: Miriam Louisa Simons, Memento Mori

memento mori, 2011
private collection, Queensland, Australia
920 x 920

off-loom weaving, stitching, collage, assemblage, painting

water hyacinth fiber, modelling paste, canvas, acrylic paints, rayon ribbon
acetate, fragments of straw sun hat, silk tissue paper
images of own artworks, cut and woven

– – –

The story unfolded in Hervey Bay, Queensland, Australia.  Every component of the work tells part of that story. I will list the symbols and leave it to the viewer to ‘get the picture.’

Three ‘strokes’ of red ribbon:  Mum, Dad and me.

The two ‘drapes’:  Mum and Dad.  Mum on the left, overlapping Dad slightly; she survived him for nearly a year.

Silk tissue paper:  They were both in their 80’s when they moved to the Bay, and past 95 when they died.  Their skin was so fragile it reminded me of ancient papyrus.

Straw sunhat fragments:  The sun and the heat were hard on them (and me).  We had to learn to seek shade rather than sun, which, coming from a temperate climate was a hard habit to break.

The rolling waves:  Hervey Bay’s beauty is renowned.  The Coral Sea laps quietly, gently; we enjoyed many beach walks together before they became less mobile.  Waves also speak of the inexorable tide of life – we come, we go.  All returns to the ocean of creation.

The stitches with red ribbon:  These two strands of ribbon, meeting and tying in the middle, represent my dear friends M and R, whose home was often my refuge, and whose loving support and loyal friendship helped keep me sane.  They generously commissioned this work.

The woven strips of older works:  My art practice was largely over-shadowed by the task of supporting Mum and Dad’s wellbeing.  While the creative life continued in other ways, studio work was virtually impossible.  However, one’s previous work is always busy in the sub-conscious – weaving itself into new ideas and questions.

The background:  The threads of Life are wondrously interwoven and usually inexplicably so.  Parallel to that rather philosophical reference is the simple fact that for much of the decade I felt like a basket-case … yet much was ripening within.  At the end of the decade I was no longer the person I had taken myself to be.  Another death had happened – one that had nothing to do with mortality, but that opened up a fresh vista on life and creativity.


weave your own color magic

 

Sheri Smith weaving - Cogs, detail

Sherri Smith, Cogs (detail)

Like painters and designers, weavers know about the tricks colors can play in juxtaposition.  Some artisans and painters have made the journey into color their entire practice.  It’s a journey with no end!

If you’re curious to try creating visual magic for yourself, a simple weaving is a great place to start.  Why?  Because a weaving doesn’t have to portray anything, so we can by-pass the inner critic who likes to tell us how our work isn’t ‘right’ – ever.

Take a large sheet of strong colored cardboard. Pick a color you like, not too dark or too light.  One color only.

Placing it in the portrait position, cut strips in the card 1.5cm wide without cutting completely through at the top and bottom.  No ribbons, the sheet stays intact.  Use a craft knife.  These strips will be the warp.

Find or make strips of fine wood or heavy card for the weft.  Strips from a bamboo blind work well.

Paint the strips with white undercoat and allow to dry.  Then apply colored paint (acrylic) randomly along each stick.  Don’t use too many colors at first.

Weave the weft strips in and out of the cut-out card strips – one over, one under, or in whatever pattern you like.

Notice the way the colors dance when juxtaposed.  Think about how you could choreograph that dance by placing the colors on the weft sticks in strategic places.  Try deliberately causing odd perceptual effects in the tone and hue of the card color – similar to what we’ve seen in the last two postings.

Have a close look at the Sherri Smith’s hand-dyed and plaited fiber works, just to supercharge the creative juices!

I’m sure you’ll be up and away with a host of ‘what-if’s and ideas to explore…