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An interpretation of one of the works of artist Andy Beck using acrylic and experimenting with using thread to create texture and add an interesting element to the painting.
Date: August 2016
Starting weaving again after "painting" the warp with the "slime" from boiled linen seeds. That helps a lot, and the threads do not brake. But still need to repair the many knots in the warp.
The thread is Knit-Cro-Sheen, shaded flamingoes, size 10. Crocheted with a Boye size 6 hook.
The pattern is by C. Strohmeyer, from his A Year of Doilies, Leisure Arts booklet #2120 (from 1991).
365 Days in Colour - 16/31 chocolate brown. (Make up shot). Realized this morning that I completely forgot to do my shot on Tuesday. I was preoccupied getting my son packed & ready to go to overnight camp for the first time - he's 9. I have to admit it makes me a little nervous - I've had numerous bad dreams over the past week & I think they stem from this new experience...
Threads of water cascade over the rocks along the Provo River in the Uinta-Wasatch-Cache National Forest along the Mirror Lake Highway in Utah. (c) 2017 Tom Kelly Photo
Threading battons, installation of event structure
Utopography; Location, Evaluation and Consensus, Chelsea College of Arts 25 -29th March 2014
This facsimile of the embroidery work as seen from the back of the cover is one example of why I'm not yet ready to give up on printed books. You have to be able to touch this--it looks almost real--and it adds a wonderful dimension to the cover.
Black Beauty, Anna Sewell, Penguin Deluxe Classics "Threads Series" 2011, NY, London. Forward to this edition by Jane Smiley. Cover art by Jill Tamaki. Read more about her experience with producing these covers here:
jilliantamaki.com/embroidery/penguin-threads/
Then, go buy your own copy to have and to read!
A Paithani saree being woven with gold and silk threads.
Exif data auto added by theGOOD Uploadr
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Focal Length : 19 mm
It's me versus the machine. I started sewing classes yesterday. Something I've always wanted to do. My mom was a Home economics teacher, but passed away when I was 12, so I never knew more than the basics. My sweet husband got me a sewing/embroidery machine for my birthday. I hope it's going to give me a little chance to be creative.
A 1970s blouse was my inspiration.Pattern featured as a curtain found in McCalls Crochet Patterns Febr 1993 Vol.7 No1.
Amelia turned 1 today!!
This is the temari ball I made for her birthday. It took me two months of commuting time to finish the thread pattern on the surface. I'm sure she'll destroy it in a lot less time, but I can't resist giving her beautiful things.
‘Untitled’, 1997/2007
Sheela Gowda
Thread, pigment, needles
‘Mortar Line’, 1996
Sheela Gowda
Cow dung, pigment (kumkum)
In the early 1990s, perturbed by the rise in India of majoritarian politics and communal violence, Sheela Gowda, who had trained as a figurative painter, felt the need to explore other materials to make a more “potent response”. She began to experiment with cow dung as it held a crucial resonance for her in the Indian cultural context.
Regarded as sacred in Hinduism, Jainism and Buddhism, the cow is also a symbol of non-violence. In rural India, the preparation and handling of cow dung is usually done by women. It is utilised as fertiliser, insect repellent, cooking fuel and building material, for purifying the home and in the incense burned in temples.
Gowda first tested cow dung as a pigment, investigating its textural properties in a series of works on paper. These explorations then led her to sculpt with the material, preserving the cow dung with neem oil, fashioning it by hand into shapes from her local context – spheres, bricks, balls. This resulted in a series of installations, two of which are on view here.
‘Untitled (Cow Dung)’ (1992/2002) consists of 900 cow-dung patties and 25 bricks. Each of the pats carries an imprint of Gowda’s hand from the flattening of the dung balls against a wall. The stacks of pats and bricks aim to highlight the material’s numerous purposes beyond the ritualistic, and its connection to women’s labour.
‘Mortar Line’ (1996) is a curved double line of cow-dung bricks. The cavity between the bricks is filled with kumkum, an auspicious red pigment. Viewed from a distance, the central chasm suggests a deep and bloody gash, while the title alludes to warfare.
By re-appropriating cow dung in these works and employing an abstract language, Gowda has harnessed readings connected to the material’s cultural specificity, particularly its instrumentalisation for political ends in India, while still leaving room for other interpretations.*
Alongside her explorations with cow dung, Sheela Gowda employed a range of everyday materials in her installations through the 1990s. ‘Untitled’ (1997/2007), made for the show ‘Telling Tales – of Self, of Nation, of Art’ at Victoria Art Gallery, Bath, is her first fully realised installation in which needle and thread are used. For this work, Gowda strung individual needles with threads varying in length from 40 to 133 centimetres. This labour-intensive process was very important for Gowda, who would reject a ball of thread if she encountered a single knot because “the process of threading empowers every inch” of the thread. She then anointed the threads with Kumkum paste, and bound them together to form ropes, with a menacing head of needles at the end of each length.
‘Untitled’ comprises of eight such lengths of rope, which allow Gowda to configure and arrange them site specifically. They travel viscerally along the wall and snake across the floor, intimating a transmuting body, an umbilical cord, intestines, trails of blood. Gowda has described the work as possessing “a very insidious sort of violence … the needles hang at the end almost passively but they have the potential for hurting.”
Within the changing cultural order, landscapes in works by Sudhir Patwardhan, Nilima Sheikh, Gulammohammed Sheikh and Bhupen Khakhar became spaces for reflection and change, with multiple and intractable negotiations embedded in their depictions. They offer not only a view of, but also a point of view on, both individual and collective lived experiences. At times they operate in a personal register, the landscapes aligning with intimacy, desires and dreams amongst more quotidian occurrences. They reveal fluid moments between the interior and the exterior, between the visible and the mysterious, where temporalities are extended and even suspended, and boundaries blur between the making of art and the living of life. Affecting contemplations on the repercussions of state actions on the domestic realm, Arpita Singh’s paintings and Vivan Sundaram’s and N. N. Rimzon’s installations further capture the tenuous line separating an ever-shifting landscape and the sanctum of home. They consider whether the home can remain a refuge, immune from the surrounding disturbances, the landscapes in motion. Collectively, however, these works demonstrate that life must continue despite and within these contested terrains.*
Taken from the exhibition
The Imaginary Institution of India: Art 1975–1998
(October 2024 — January 2025)
The Imaginary Institution of India: Art 1975-1998 surveys artistic production from across the Indian subcontinent during a 23-year period marked by social upheaval, economic instability and rapid urbanisation. The exhibition unfolds in a loosely chronological manner, framed by two significant national events in the history of independent India: the declaration of the Emergency in 1975, when democratic rights were suspended, and the nuclear tests of 1998, when the country relinquished its non-violent ideals to assert its place in a new global order. Some artists responded unequivocally to developments in the public arena, while others captured shared experiences and private moments. Amongst the 30 artists featured in this show some committed themselves to representational painting; others evolved personal iconographies in a variety of mediums, including employing installation in the 1990s. All of them combined social observation with individual expression and innovative forms to make work about friendship, love, desire, family, religion, violence, caste and community. This has determined the four axes that shape the exhibition: the rise of communal violence; gender and sexuality; urbanisation and shifting class structures; and a growing connection with Indigenism.
The exhibition takes its title from Sudipta Kaviraj’s essay The Imaginary Institution of India, in which he writes persuasively about the intellectual process of conceptualising the Indian nation. Artworks consider the state’s inability to abide by the progressive character of its Constitution, conceived as an instrument for radical social transformation. They also confront government failure to uphold secularism, social justice, welfare, minority rights and affirmative action in the face of a rising Hindu right wing and pro-capitalist economic agendas. They demonstrate that solidarity and protest existed, and were expressed in many registers, from the strident or intimate to the despondent or poetic, both anguished and hopeful, in the street and in the home. We witness the quiet defiance and resilience which truly defines this imaginary institution of India. In the words of B. R. Ambedkar, the Indian Constitution’s main architect, “Political democracy cannot last unless there lies at the base of it social democracy.".
[*Barbican Centre]
Taken in the Barbican
Step one, thread your machine!
Yeah...I haven't been working on anything lately. I think once I finally get moved I will be able to but for now, I'm on a sewing dry spell :(
C.S. Osborne Wiss Thread Clips are ideal for clipping threads, strings and ripping seams. Positive action, self-opening spring provides fast, clean cutting. Hot drop forged off fine cutlery steel. Regular edge. Sharp points. Nickel plated. Comes with a red plastic safety protection to prevent damage in the points. Overall length 4 5/8". Length of cut 1". Weight 3 oz.
assistance: my dear sister - Thank you!
pencil interpretation of the theme: ashenpuzzle.blogspot.de/2014/08/threads.html
Today I presented my methods for thread drawing - using four different techniques for this simple piece - to the Harbor Art Guild in Hoquiam, WA.
I used four different techniques to create this image - standard lock-stitching on a home machine, darning on a home machine, fabric applique with fusible web, and hand-embroidery.