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Finished in 2003, this is my attempt to remake the "dream gown" worn by arwen in the lord of the rings - the two towers.
I always wanted to try textile painting so I did a set of Ikea chairs and footrests. I'm very happy with the way they came out.
Paper and stitched sample made during the Chester meeting of the Computer Textile Design group. The face is stitched newspaper which I mounted on to a fabric backed computer manipulated image. The image is taken from a window in Canterbury Cathedral.
Text by guido montegrandi, textile (mixed media, hand dyed cotton, paper, machine stitching, asemic writing) by raffaela gottardelli.
Bracelet textile réalisée par ANNE GAILHBAUD . je vous recommande d'aller voir son site sur lequel vous trouverez des merveilles
ici : quilt007.free.fr/
The Mother of All Strikes: The 1824 Textile Worker Turnout
Commemorating one of America’s first factory strikes, this exhibition honors a historic labor action through visual art, historic documents and imagery, and Slater Mill’s collection of textile machinery dating from the 19th and 20th centuries. “This may be one of the first temporary exhibits installed on the Slater Mill floor,” says Lori Urso, Executive Director. “We’ve taken a place-based approach to telling the story with the hope that our visitors will be more deeply connected to the narrative by viewing it from within a historically-significant mill of the period.”
Though 190 years have passed since the “turnout,” or strike, of 1824, The Mother of All Strikes evokes this inciting incident in American history. By pairing the historic narrative with original contemporary art created in response to the themes, Slater Mill and artists Christine Ashley, Ian Cozzens, Chelsea Carl, Priscilla Carrion, and Kristina Brown shape far more than a retold tale of labor history.
In May of 1824, women power loom weavers of Pawtucket took action on the growing chorus of workers and artisans who faced circumstances of transitions in labor and in their agricultural ways of life. Reduced wages, increased length of the working day, erosion of the value of their work, and loss of land and interests led to discord among a new working class.
The female laborers were discriminately targeted for wage cuts while already facing lower pay than their male coworkers – an issue still the subject of some debate today. Yet the demand for female workers at the time – who primarily worked the power looms – continued to grow as the power loom became more prevalent (and increased cloth production significantly) in Rhode Island mills.
The exhibition was conceived by Slater Mill interpreter Joe L. DeFrancesco as a reflection of his own advocacy of workers’ rights in Rhode Island and New England. DeFrancesco developed a labor history tour for Slater Mill in 2013 in conjunction with the John H. Chafee Blackstone River Valley National Heritage Corridor.
This cuff was made using fabrics, muslin, ribbon, buttons, beads, elastic cording, felt, beads, and polymer clay pieces. Seed beads and polymer clay pieces were sown on.
Original textile encaustic that went to a friend who makes her own textiles. Perfect.
© Shana Mattheis
Made in last night's textiles class. Ribbons, chiffons, organzas, synthetic, threads, net soldered onto felt base. The scans haven't really captured the shimmer and shine.