Tuesday, 30 March 2010

Module one ch12


The assignement require to study 3 artists.Herta puls and Wassliy Kandinsky were nominated. I have to choose a third artist. I choosed Gustav Klimt for my contextual study as an influential austrian painter of the late 19th century.  

 Herta Puls (1915-)
 
For my study about Herta Puls I visited the Forum Mola-Art in Bremen http://www.forum-mola-kunst.de/.
The treasure of this little museum exist from part of the collections Hartmann( Germany) and Herta Puls( Great Britain)They are brought in context to the European variant of the mola technical works of Christel Walter . Mrs Walter was so kind to tell me about her friend and colleague Herta Puls and let me have some copied excerpt of the book:” Textiles of the Kuna Indians of Panama.”-- The center of our conversation was the always continuing struggle of Herta Puls for the correct description of appliqué technique of the Kuna still today. Often articles in magazines described it as a handicraft work of stacking several fabric layers tacked together and cut from the top and each layer neatly applied to the one beneath. In1963McCall’sNeedlework and Crafts , an American magazine, reproduced pictures of three mola blouse panels. In this article the term reverse appliqué was invented. Even without having seen the women at work, Herta Puls saw that the complicated designs and effects could not have been achieved in that way. After being personal knowledgeable about the San Blas appliqué during several stays there she referred to the introduction of a booklet” Notes on Applied Work and Patchwork”: Applied work in embroidery may be defined as the sewing of patches to the surface of a material, so that they form a pattern either by their own shape and
color, or by the shape and color of the ground material. The latter is called reserved technique. Herta Puls is of the opinion that this is a much more accurate description of the San Blas appliqué ” Herta Puls studied embroidery at the Newport and West of England art colleges and the London college of Fashion. In 1970 she awarded the first price and the Silver Medal of the Merchant Taylors Company for her City and Guilds Certificate in Advanced Embroidery. Research for her thesis on appliqué of the Kuna Indians of Panama at the British Museum and Gothenburg Ethnographic Museum culminated in her first visit to the San Blas Islands in 1975. She taught about textiles and also lectured on Kuna appliqué and wrote her book: ”The Art of Cut Work and Appliqué”. This is an important study about the technique and design that stimulated great interest in embroidery at that time. She visited panama again in 1978,1981,and 1985. Interest in tribal textiles had been the motivation for travel to north and south America, India, Thailand and Indonesia. Herta Puls is also a wellknown artist in her own right . She has been a member of the 62 group of textile artists.
The term Mola (Plural:Molakana) is both the expression for a woman’s blouse and the appliqued front or back part of each blouse. Several layers of fabrics on top of each other are the basic for the complicated applique work. Also, extra pieces of fabric can be underlaid and overlaid. A Mola can be called a fabric relief. Typical of the composition is the open-work silhouette style, a stylized outline, which is derived
from sketching, with openwork and applique work on top. Also typical is the decomposition of the entire surface. Most important are the vertical interruptions which lie close to each other, since they represent the interval of the hut’s bamboo sticks seen from inside, which is meant to symbolically suggest safeness. The
Molakana are a testimony to the unique folkcraft of the Kuna woman and are a part of their cultural identity.
The sun is an often founded motive in the work of the Kuna women. I selected this motive because the sun also has a star shape. In the conception of the Kuna the sun is the center of the world, which sends its rays to all living creatures and makes life possible for plants and animals. The entire Mola is covered with triangles which symbolize huts.
 



Reference: Textiles of the Kuna Indians of Pananma by Herta Puls Molakana talk…. by Ursula Hartmann
Lebenskreise der Kuna By Günther und Ursula Hartmann 

Jan trifft Gottvater Zeus von Christel Walter

Wassily Kandinsky (1866-1944)
Kandinsky a Russian-born artist, was one of the first creators of pure abstraction in modern painting.Kandinsky, himself an accomplished musician, maintained ” Colour is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or
another, to cause vibrations in the soul.” The concept that colour and musical harmony are linked has a long
history, intriguing scientists such as Sir Isaac Newton. Kandinsky had been intent on synaesthesia and used colour in a highly theoretical way associating tone with timbre (the sound's character), hue with pitch, and
saturation with the volume of sound. He even claimed that when he saw colour he heard music. He began exploring his own ideas of painting - "I applied streaks and blobs of colours onto the canvas with a palette knife and I made them sing with all the intensity I could..." Now as the founder of abstract art with forms evolved from fluid and organic to geometric and, finally, to pictographic , his work was exhibited throughout Europe from 1903 onwards, and often caused controversy among the public, the art critics, and his contemporaries. An active participant in several of the most influential and controversial art movements of the 20th century, among them the Blue Rider which he founded along with Franz Marc and the Bauhaus which also attracted Klee, Lyonel Feininger (1871-1956), and Schonberg, Kandinsky continued to further express and define his form of art, both on canvas and in his theoretical writings. His reputation became firmly established in the United State s through numerous exhibitions and his work was introduced to Solomon Guggenheim, who became one of his most enthusiastic supporters. In 1933, Kandinsky left Germany and settled near Paris, in Neuilly. The paintings from these later years were again the subject of controversy.
Though out of favor with many of the patriarchs of Paris's artistic community, younger artists admired Kandinsky.
During the study about the works of Kandinsky I discovered two pictures, which mad me emotionally. “The fixed flight” makes me feel light and happy . The simple shapes fly across the canvas like spaceships .They remind me at the drawing of my son, when he was a child, and he painted those shapes on the wall of his room, which should be the universe

                       Picture 2 The fixed flight

Ravine Improvisation
That’s like fight, confusion and excitement, it wakes furious motions of my soul.
Reference: http://roots-the-doots.tripod.com/fr_wassily.htm
www.wassilykandinsky.net/painting1922-1933
http://www.ibiblio.org/wm/paint/auth/kandinsky

Gustav Klimt (1862-1918)
Gustav Klimt was an influential Austrian painter of the late 19th Century. He was one of the founders and leaders of the Vienna Secession art movement. He dominate the art scene in the capital of the empire of Austria-Hungary. His painting constitute a sublime frontier between traditional and modern, figurative and non-figurative. His immensely erotic portraits and sexually charged sketches, his richly pattern landscape and
mysterious allegorical compositions, are at once sensuous and refined and remain among the most recognized works of art.
The early works of Gustav Klimt were accompanying rather to the realism. A large part of the work of Klimt before 1898 were the big wall pictures which were ordered by theatres. In his further development
Klimt emancipated itself and developed creations which were very decorative and very symbolic. His work is marked by the use of gold to backgrounds and the tessellated patterns., The works of Klimt show by these elements the influence from different areas amongst from Egypt as well as classical Greek and Byzantine inspirations.
At the end of the 19th Klimt began to produce the beautiful portraits that would be one of his greatest legacies. These include amongst others the portrait of Sonja Knips and the portrait of Serena Lederer(1899)
Klimt continued working in his unique style of portraiture in the years 1904 through 1908, he painted portraits amongst others Adele BlochI .This is also considered the high point of the Golden Style with such
works as Danae, HopeII and the Kiss (1908), which is probably Klimt's most famous work.
1903, the Belgian businessman Alphonse Stoclet commissioned Klimt to create his last great mural project, the Stoclet Friezes In 1911,they were installed in the Stoclet mansion in Brussels. This work suggests strong
Japanese influence with its oriental facial characterics and kimono like robes. The ornate dresses are densely filled with geometric abstract schemes ,a deliberate counterbalance to the organic “tree of life” swirls
which stretched the whole length of the dining room walls. Paintings of this later period are characterized by jumbles of soft colors, though many of the elements are in keeping with his earlier work.
For me these friezes are one of the most impressed works of Klimt. I like the ornamental pattern which structures the scene.
Reference: http://www.iklimt.com
http://www.kunstunterricht.de/

Module one evaluation of the resolve sample

The completed embroidered assessment piece for Module One is a collage of stars on a felted background based on the design topic of growth and disintegration. The felting gave me a great pleasure. In spite of the rattling of the embellisher I felt the slowly movements with my hands on the wool under the embellisher as a very meditative activity, especially the observation, how the multicoloured wool melted itself I got a nice contrast and a dainty effect felting with the yarn Helipam from Anne Lange. I let the small bouclé button getting slack on the felted background. I like the felted background very much

                                picture1
 But now I should have to cut out a star shape from the nice surface to include a blue appliqué star?? So, how I had drawn it in my sketch??------ I must consider an alternative how the felted effect yarns can be integrated together with the star shape There I have just thought about my painted silk paper. I bonded it with
bondaweb on white cotton and cut a frame of an irregular star and iron it again on my felted background. To form the star a little bit more three-dimensional I padded the middle section with needle felt and form it in the machine trapunto technique. And the subject is also called disintegration. So the star surface is worked discontinuously by needle points technique. I used the effect yarns to hang up my net loops. The star shape are partially covered in irregular needle lace.. The turquoise-coloured woollen yarn looked beautifully on the copper coloured background. I am content with the present result; but now how I should continue??.
                                  Picture3
 My sketch shows a wreath of small irregular stars overlay the big one which only exists of the intact turquoise-coloured edge and with the irregular needle lace surface. This means that my present embroidery is covered. What a misery!!! And the whole nice needle lace embroidery was for nothing???.
                                    Picture4
 …..So how it would be with an inlay appliqué…..; 2 parts will be cut out from the present work exchanged and reinserted


                                    Picture6
And some small stars will be appliqué in a disintegrated manner, like stars of a firework which die away Oh I ascertain hardly anything is left from my original sketch. Unfortunately, this often happened that the joy of working run of with me and I waste no more thought of the real designany more. This is okay as for the rest if Iwork a project only for myself. But now there are some techniques asked for which I have to work So I can also check off inlay appliqué , the revers technique also . I will work a star shape in terms of getting smaller and put the shapes from different fabrics on top of each other.

Picture7
                                                    Picture8
                                                        picture9
 picture 10 the inserted counterchange piece ,french knots filled the other cutted part
picture 11   dtail of the needle lace and the effect yarn, which has been emphasized with contour stitches

By that I have worked three techniques from growth and disintegration. And I think that’s enough Finally, the resolve sample should not be bigger than 20x20cm.
                                   picture 12  the resolve sample

The following questions are to be answered in connection with the evaluation
Do you feel satisfied with the results?
Yes, I am pleased
If yes, which parts in particular?
I like the color combination and the depths of the felted material and also the setting of the main star shape and the little once I feel the piece in a good balance and harmony.
Is it fit for it’s purpose?
I mean it shows both design and embroidery. I showed the disintegration with the star surface worked discontinuously by needle points technique. Both growth and disintegration was depicted by the big star and the little once. And these by fraying the silk for the star shape and by cutting a smaller and a bigger star shape for the lower right part of the collage

If you were asked to make it again, what changes would you make ?
I would leave out the counterchange part and would like more stitched outlines of a star.

Costing of the embroidered sample
Fabric and effect yarns about 12 Euro( I can only estimate the costs, because the most of the materials are in my stash, as the wool for felting and the embroidery yarns and the fabrics, which I dyed and printed)
Timing of the embroidered sample
Design Work was started on 03.03.2010 and completed on 14.03.2010 Embroidery Work was started on 26.03.2010 and finished on 29.03.2010 Total labor on Design = 8 hours Total labor on Embroidery = 24 h
Storage of Work, Materialsours Tools and Equipment
The design work in process: Ikea storage boxes labeled by their contents The completed design work: The same boxes also labeled by their contents The colored papers are in a ring binder and all papers are scanned
Inks, paints, glues and brushes are stored in several chests of drawers Embroidery yarn are sorted by colors in plastic boxes also the beads and the material for embellishments like tyvek and silk roads The fabrics are sorted by color in my cupboard in my studio The sewing machine is in my studio on the sewing table
The electrical equipment like iron and iron table are stored in my shelving system.

Health and Safety Rules Observed

Use care when cutting with a utility knife – use a cutting board to ensure your work does not slip
Use the heat gun and paints only with opened window Take a rest after several hours of stitching or sewing
No pins in the mouth Do not rub your eyes with paint on your hands

Tuesday, 23 March 2010

Module one ch 11




Chapter 11
The theme of this chapter is growth and disintegration. This included all the preliminary
work for the resolve sample and itself.
First thoughts about the treatment of paper to show several methods of disintegration

                               (picture 1)


Second thoughts about manipulated paper shapes in order of
desintegration and growth I drew this shape for an exercise in chapter two and show in four steps several stage of desintegration by using my coloured paper
(Picture 2)   
                 
On the left part the star shapes are arranged in a vertical line in order of desintegration and on the right hand
the arrangement repeated in the reverse order to show growth

                                    Picture 3   

The same arrangement as above with the cutted pieces of the paper square

                                 Picture 4 

Third Thoughts
Different ways of desintegrating fabrics. I used some of my printed fabrics shown in ch 5

                             Picture 5      

 the fabric square of dyed silk had been snipped and then the cut edges frayed. This piece and the other samples are appliquéd on conventional cotton. Later on I shall use them all for a fabric book

                        Picture 6

Two frayed rectangular fabric shapes placed diagonally across each other

                     Picture 7

The cotton pieces frayed, placed on diagonal. Four small frayed triangles placed in angle.Its were stitched on the background

                    Picture 8

My first frayed piece. By this I learned, that is impossible to fray the
fabric diagonally….. ☺
                Picture 9  

Fabric square snipped and frayed. Four small triangles added ad the corner 

           
                               Picture 10  

Nine small fabric squares frayed to form a cross shape. They were stitched on the background    



Picture11
Fabric snipped as diagramm and then cut edges frayed The shape had been machine quilted on the background
           Picture 12

               Fabric square cut and all negative shapes used.

                         picture 13


Threads and tiny fabric scraps bonded between two layers of transfer adhesive.A star shape was formed and the space between the outlines were stitched
                     
                              Picture 14

                         
                                                  All together

                                              Picture 15

                               Picture 16

To make a shape become less solid by using lines of machine stitchery from the outside edge to the inside

                              Picture 17
Two layers of water soluble vlies with snippets of fabrics and yarns beween and trellis were sewed with the machine
                                   Picture 18

and then stars were cutted the vlies was rinsed and the dried stars were machine allpiqué. The wholes becomes bigger and….
                                picture 19


                                  Picture 20

                                   Picture 21

The shapes becomes more and more less solid  All the star shapes were sewn on a quilted background

                                 Picture 22

Builded pattern of my with linocut stencil printed fabrics. I used painsticks to emphasize the grid of the pattern

                                  Picture 23

                                 Picture 24

                                  Picture 25

                                  Picture 26

                      It‘s nearly a quilt layout…. Very japanese
                                   Picture 27

      Different ways of composing the desinteggrating shapes. I used my tired star shapes and some tools of    paintshop to build the patterns
                                   Picture 28
The left side shows the shapes more and more disintegrating on the right hand the
composing is coincidental
                                    Picture 29

Making the shapes become thinner and thinner and  creating a new shape
with layered shapes one over another

                                        Picture 30
                                              Picture 31

                                                Picture 32










                                               Picure33

With the help of photoshop using a scan of my crumpled and painted brown paper the selection
and some filter tools, and several layer effects of photoshop


                                          Picture34