I enjoyed hearing her speak about her infatuation with photographing subjects for her fibre inspirations. I remember hearing budding authors being told to "write what you know". It's the same with art. You need to really study your subjects and truly know them. "Sew what you know". How true.
|photo shoot this weekend|
Some things I already knew about thread painting (use a topstitch needle, work on a grid like cheese cloth or stitch your own onto solvy). Some things were new to me. Eureeka! She mentioned that she uses two threads in one needle while threadpainting. The only time I've used 2 threads is to get the right effect or color while handstitching. Cross-stitchers do that. I hadn't thought of threading my rayon like that for machine sewing. I definitely will try next time I'm working on a field...which won't be too long.
|isn't rayon pretty?|
Gosh. I couldn't imagine working so big! She had stitched six foot pieces. She said some pieces take 3 to 8 weeks of daily 8hr/day sewing! That's a woman who buys her needles by the box.
When I did the Rosehips on soluble, there was a lot of white fibre left behind after soaking it in a bath. Jane mentioned how frustrated she was with that paper-like soluble product, and suggested the cellulose soluble (UltraSolvy) which looks like a thick sheet of clear plastic. I will have to try that. I wonder who sells it locally? I know lots of fibre artists in the UK use it too (videos by Jan Beany & Jean Littlejohn for instance).
|the stuff that doesn't work, though the cheesecloth is great.|
Then I had a nice walk home in the middle of the afternoon. The sun was very warm on my face. I'm glad I went. I've never taken a class or workshop in anything I do. I couldn't help but wonder how my work will tranform after fifteen years of stitching. Oh my, I smiled all the way home!