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Wednesday 13 March 2013: Hanging by a thread...
I went to visit one of our local garden centres this morning. (I drove down the lane where I captured the ice sculptures yesterday, and they are still there, despite the warmer weather today.) I wasn't looking for anything in particular but ended up having a wander around browsing the wide variety of goods they now seem to sell. I ended up buying some lovely wrapping paper and hologram cards which I shall use later to create some bokah backgrounds. In the craft section I spotted this lovely display of coloured threads which was almost perfect, apart from the fact that colour 656 had sold out. So this is my blip for today, 'Perfection - hanging by a thread'.
The diameter of the holesaw happened to be the same as the outer diameter of the dented filter thread. So it was easy to make this tool.
I could easily rebend the thread by slightly hammering on the bit of wood. The outer shell pretended it from bending too faar.
Whee, the perle cotton thread I ordered arrived! It's skinny stuff- it's size 8 or #20 US size, with a suggested hook of 1.25mm- but looks about right for recreating the vintage potholders I have.
40m each x 60 balls = lots of happy crochet time.
The thread took 2 weeks to get here. Not bad from Paraguay!
1958-1980s
Italy
These classic model 1036 track hubs had both the good looks and high quality to dominate the high-end hub category for a generation. The body shell was machined from a solid piece of aluminum and the bearing races were made of ground, heat treated, steel. These hubs were stamped with the Campagnolo Globe logo as well as the word Record. The year of manufacture was stamped on the hidden inner-wall of the bearing cones. Because they were originally polished to a mirror shine they were quite easy to keep looking new. The axles were solid and the axle nuts had integrated shoulder washers The superb quality of the through-hardened cups, cones and high-grade bearings ensured buttery-smooth operation and long lasting performance. This hub is shown with an inch-pitch cog threaded in place.
i crocheted these shawls out of quilting thread a couple of years ago and then never got around to blocking them or listing them till a customer asked about them recently, so i pulled them out to take pictures. i'd forgotten just how many i made! :lol: i'll be blocking them all this weekend and then listing them on etsy soon. if you are interested in any before that my email addy is in my profile.
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 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)
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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.
Fern Inspired Denim Overalls made from maternity jeans.
Blogged: www.luvinthemommyhood.com/2011/03/once-upon-thread-charlo...
‘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
A few blogs ago, (http://victoriasblog2010.blogspot.com/)
I was talking about my husband and how he always tells me that he thinks I have the biggest heart of anyone he has ever met because I am constantly trying to make the world a better place. I sometimes feel I have the weight of the world on my shoulders because there is nothing I can do for the people who are victimized and the children who are traumatized...... Today while I was working on Day two of Project 365 all I could think about was how amazing my husband is and how supportive he is of my dreams and ambitions. He is there for me through thick and thin, there is nothing in the world that he doesn't know about me, or me about him. We don't believe in secrets. (not that I could keep one anyway) but I have been through some extremely difficult times in my life, but no matter what, hes always seems to "fix" me when Im feeling down. Our bond is so strong for many reasons. One being we were together for a little over a year before we actually had the opportunity and convenience of living together and seeing each other every day or on a regular basis for that matter. That made us truly appreciate the little things and I try my best not to take ANYTHING for granted. One other really big reason is, when I was younger, in high school and my freshman year of college before he and I met, I always felt like boys were chasing me. In every relationship I felt as if they felt stronger about me than I did about them. Not to sound self centered by any means but I always felt I was being chased around until I would settle and hang out with one for a while. I had no Idea what loyalty, or trust meant as far as relationships went because I simply didn't care. I did what I wanted and I got away with it. Sad I know, and later I apologized to those boys who I casted aside when they cared so much about me. But when I met Matthew, He and I clicked. And I mean CLICKED. From our very first kiss we were inseparable. Within a week of the kiss I had already flown across the country from Oregon to North Carolina to spend 10 days with "the man of my dreams" after knowing him for a short 3 days he bought my ticket. The only thing I knew about him was that I was CRAZY about him. I didn't know anything about his personal life, his career, is financial stability at such a young age, (I mention that because people have said behind my back that I only married him for money. ha. Jealousy is an ugly thing) I didn't know his middle name, but I knew that I was making the right choice. I had to lie to my parents because they would have held me prisoner had they known I fell in love with a complete stranger. I believe in soul mates and I believe in love at first sight. I believe that everything I have been through in my life has made me who I am today. And that my heart is gentle no matter how big or how small, If my worst enemy came to me tomorrow and said "i need help" I would welcome them with open arms and do what I could to help them become a better person and live a better life. So today I share my work of art, Day Two "Gentle Heart"
This picture symbolizes my husband. No matter where my tears fall, hes always there to sew me back together.
"A gentle heart is tied with an easy thread.” George Herbert
I am very proud of this picture, it makes my heart smile :) Because it symbolizes exactly how I feel. My husband is not perfect by any means, and neither am i. However I truly feel that we are perfect for each other. There is nothing in the world that can change that. And no one can tell me any different. You cant fake a love like this and it makes me so very happy to see other people that share the same love that we do. This is my life, this is my legacy, and I am grateful every step of the way. The end.