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Thread Sketch 6
Hand painted, hand embroidery and hand beaded on cotton cloth.
Hand beaded border.
3 3/4" x 4 1/4"
Sewn to stretched black canvas cloth, ready to hang.
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.
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).
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
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.
A rare amsonia found only in Oklahoma and Arkansas...it's very shapely, nice foliage, and great golden fall color.
A Paithani saree being woven with gold and silk threads.
Exif data auto added by theGOOD Uploadr
File Size : 9.9 mb
Camera Make : Canon
Camera Model : Canon EOS 60D
Software : Adobe Photoshop CS6 (13.0 20120305.m.415 2012/03/05:21:00:00) (Windows)
Exposure : 0.033 seconds
Aperture : f/2.8
ISO Speed : 800
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.
Pinehurst housing development, South Everett WA USA, Once again the fertile hunting ground of my Moth sheet proved to be a bonanza for Assassin Bugs, this one has a small Fly with outrageously bushy antenna thoroughly impaled on its feeding tube.
‘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
This is a photograph from the second running of the Athlone Flatline Half Marathon ("The Flatline") was held at Athlone, Co. Westmeath, Ireland on Saturday 14th September 2013 at 11:00. There was beautiful weather for the event which started and finished at St. Aloysius College near the Canal Banks area of the town just slightly west of the River Shannon. This event was professionally organised and the very flat course meant that many runners both seasoned and new to the scene achieved season or personal bests. Almost 1,000 participants successfully completed the event in the beautiful September sunshine. Everyone involved must be congratulated for the flawless running of the event. This event is sure to go from strength to strength over the coming years. The "Flatline" also included an option for a full marathon which was fully supported by the Marathon Club of Ireland and the East of Ireland Marathon Series. This allowed participants to run the Flatline twice for the qualifying marathon distance. About 80 people took part.
This is a photograph which is part of a larger set of photographs taken at the start and finish of "The Flatline" 2013. The URL of the main set is www.flickr.com/photos/peterm7/sets/72157635495089498/. There are some photographs of the finishers of the marathon.
For reference the satellite navigation Coordinates to the event HQ are (Longitude: -7.948153, Latitude: 53.420575)
Event management and timing was provided by PRECISION TIMING. See their website at [www.precisiontiming.net/]
Viewing this on a smartphone device?
If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Overall Race Summary
Participants: Such is the popularity of the race this year that registration closed for the race in mid-August 2013. There were well over 1,000 participants who took to the start line.
Weather: The weather on the day was almost perfect for running. The runners were bathed in warm September sunshine for the duration of the race and into the early afternoon. In the sections of the race out towards Clonown and around the Bord na Mona areas there was a stiff breeze but nothing major.
Course: "The Flatline" ceratinly lived up to its name. It is as flat a course as one is likely to find. A garmin connect gps trace of the route is provided here [connect.garmin.com/activity/199678412] Geographically the course spends much of the race in County Roscommon with only the first and last kilometers actually in County Westmeath. This gives geographically inclined runners the novel opportunity to race in two Irish provinces in one race. The course had distance markers at every kilometre and mile along the way. There were official pacers provided by the race organisers.
Location Map: Start/finish area and registration etc on Google StreetView [goo.gl/maps/8qCes] - Ample parking was supplied with some over-flow car-parking options also available.
Refreshments: An Alkohol Frei bottle of Erdinger was provided to every finisher as they crossed the line. Light refreshments were served.
Some Useful Links
Precision Timing Results Page: www.precisiontiming.net/result/racetimer
Facebook Event Page for the 2013 www.facebook.com/events/495900447163378/ (Facebook logon required)
Boards.ie Athletics Discussion Thread about the 2013 race: www.boards.ie/vbulletin/showthread.php?t=2056984967
Boards.ie Athletics Discussion Thread about the 2012 race: www.boards.ie/vbulletin/showthread.php?p=80049447
GARMIN GPS Trace of the Route for 2013: connect.garmin.com/activity/199678412
Race HQ Venue in 2013: St.Aloysius College Athlone : staloysiuscollege.ie/
Race Sponsors Vision Express Athlone: www.visionexpress.ie/opticians/opticians-in-republic-of-i...
Action Physio Athlone: www.actionphysio.ie/
Race photographs from 2012's Flatline - supplied by PIXELS PROMOTIONS: pixelspromotions.zenfolio.com/p126168889 (on route) and at the Finish line pixelspromotions.zenfolio.com/p31872670 - please note these are not our photographs (see www.pixelspromotions.com/).
How can I get full resolution copies of these photographs?
All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us. This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.
If you would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets
I made Damper for this week's Macro Monday challenge - Bread.
I like how it pulled itself apart during baking.
Damper is bush bread and you can read about it here en.wikipedia.org/wiki/Damper_%28food%29