That may be a confusing title – I got a chance to observe two dyeing pros play with marbling and the results were spectacular. Hanging around expert dyers and fabric painters makes me want to try. But it’s not exactly convenient for me to dye or paint. I have a house I love but there is no basement or walk-out room, covered patio, etc so I’d be doing it on the driveway, backyard or garage (that does not have a sink). I know, #firstworldproblems. I have dyed before, on the driveway, in half yard increments and the results were fabulous.
So friends Linda Waddle and Lin Schiffner got together at Linda’s home for a marbling session. I believe it was to be a 3-day session. Linda has a great set up with a walk-out basement, entirely dedicated to her dyeing and paint. She works on an old pool table and has all the supplies needed for her various dye processes. I don’t know all the details, I was just an observer and I don’t know the lingo. Those of you who dye will get a kick out of my descriptions of the process I’m sure.
Linda created a gelatinous slurry in preparation for the marbling session and it had to be the right consistency to float the paint (no dye, just paint). So when I walked in, a lot of prep had already been done. Linda has huge trays and was able to paint one yard increments and Lin was using a smaller tray. This is not the marbling I am used to seeing:
Linda and Lin are both experienced dyers and fabric painters and some of the fabric they used had already been dyed and maybe over dyed, stamped, foiled, stenciled, thermofax screened, etc. The results are so interesting because there are so many techniques used to create the final design. I am always amazed when I am standing in front of a quilt that I admire at a show and the technique section is practically a novel: “dyed, over-dyed, foiled, stenciled, marbled. In addition inks and paints were applied.” My work is described simply: “free motion quilted to death”.
I was actually able to help just a tiny bit. Linda wanted to be able to use the floating medium several times so we swept up the remnants of paint using newspaper “brooms”.
Linda has studied under Marjorie Bevis but it was the DVD from Quilting Arts by Jo Fitsell is what really got her going on this. Some of these pieces stained from where Linda stacked them up to dry with paper in between. Some of the paint “stained” the next layer with interesting results. More of Linda’s results:
And these may not be done. There may be more processes in the future. How cool is that?
And in other news, for the first time in several years, a SAQA Call For Entry intrigued me and I entered. It’s call Prism Play and it is the coolest concept:
Prism Play will allow gallery visitors to view a vibrant spectrum of color almost as though they were standing inside a prism. We will be working with the Joen Wolfrom color tool in representing the full spectrum of
color from warm red through orange, yellow, and green to blue, and violet. As envisioned by curator Cara Gulati, the show would include 5-6 color spectrums, hung continuously around the gallery walls for a total of 60 – 72 quilts. The ultimate result will be an exhibition that vibrates with color. Each artist participating in Prism Play will develop work based exclusively on a single color and its tints, shades, and tones. No pure white or pure black may be used. All submissions must be uniform in size – a long narrow panel measuring 45” H X 15” W. There are no other restrictions in terms of theme or subject matter
I love that the exhibit will vibrate with color, that there is no restriction in terms of theme or subject matter – yesssss! Can you imagine how this will look? Each of us chose a color card (or two or three) and our piece must use that range only with NO black, white or other colors.
This will be a challenge for me. I have a busy fall and January and the entry date is in Feb, 2022. Plus it will be hard to work monochromatically. And that size is a hard one too. I am up for the challenge on all of this! I am comfortable with the uncomfortability of this exhibit (yeah, I just made that word up but you know what I mean!). So I went to my stash and in less than 15 min came up with this:
I was impressed with myself! The three silk organza’s are dyed by ME! I went on a kick awhile ago and they have laid fallow for a few years, waiting for the right opportunity and this is it. So here is what I know right now:
- This will be a sheer piece.
- I stand prepared to dye more silk organza – I have acres of it and a ton of dye left over from the last dyeing session.
- I see this as vignettes made separately and attached to hang as one.
- Maybe I will detach the vignettes and hang each one separately once the piece returns to me.
- I definitely see hand stitching on this.
- I am inspired by the work of Cas Holmes – love the ethereal way she captures the mood of a scene. She uses a lot of sheers, textured fabrics and hand stitching.
- Add texture via hand dyed cheesecloth, beads and perhaps other ephemera – lace, trims?
- I could see adding some images from my printer or from sun dyes.
- I see layers, hanging free from each other but attached at the top.
- I kinda see letters – what will be my theme?
- I will probably settle on some sort of naturally inspired influence. This will not be a social statement piece.
- I am pretty sure there will be Misty Fuse involved in some way.
- Contrast will be key – I will need to make good use of the lightest and darkest tones.
I know, that is a lot. It’s kind of a brain dump but could see all of that incorporated into this piece and feel integrated. I think the overall look will be ethereal. Can I pull this off? Stay tuned.
I’ll link up with: