Philadelphia-based artist Caitlin McCormack (previously) continues to explore the decay and remains of once-living things in her intricate crochet work. McCormick constructs her pieces using a labor intensive process that involves stiffening discarded textile materials with enamel paint to create brittle bone-like material. She then crochets fantastical intertwined skeletons of humans, birds, snakes, devils, and two-headed bats, which are displayed with stark black backdrops, glass cases, and lathed bases that reference old-fashioned displays for scientific specimens. More
My expression originates and transforms in a melancholy avant-garde universe. I evolve clothes based on a conceptual and sculptural approach to the process through experiments with forms and layers to create unconventional silhouettes.
Guest Blog post by Konstantina Pyrnokoki. Imagine a world where every little thing we use has a significant value, not to be irrationally expended, but reutilised, instead, so that it keeps on giving on many different levels, serving a distinct purpose every time. That almost utopic notion can actually be applied first
Explore Julie Shackson's 472 photos on Flickr!
Explore RISD Biennials + Art Sales' 1272 photos on Flickr!
©2010 João Paglione - All Rights Reserved Visit my webpage www.joaopaglione.de to view images in larger resolution (full screen) or license them for editorial, commercial, or personal usage. On tour with Soup Flower, Ricardo Nuno, and Uncle Misha
Hannah Rae has a passion for worn, faded and bleached vintage textiles as well as objects that show the passing...
Ed Bing Lee makes fiber-art food.
Silk Torso. Hand dyed silk gauze, copper wire, cotton thread. 40in. x 34in. diameter-suspended from ceiling approx. 40in. from the floor. 2007.
Yiqing Yin Couture Spring 2013 details
I used leaf stamps and Jacquard Lumiere paint on the heavier lutradur. I let it dry, then I cut them out and blasted them with the heat gun set on HIGH. I straightened them out while they were still hot (yes, I have burnt fingertips to prove it.) I'm not crazy about these. I will probably get out the paints and add a layer of color. These are the lighter weight of lutradur. I discovered that they look much nicer with the heat gun set at the lower setting and some extra patience. The "leaf" on the upper right was done on high, with the other two on low. It took a bit longer, but the result is more what I was hoping for -- a kind of lacy result. Again, I used the lower heat setting; but a much nicer result, I think. A little more heat and a little more patience would benefit this one. And because it's Halloween, I just had to use the spider web stamp. I used the high setting on the heat gun and it's almost dissolved. But still spooky, if you're into that...
Viktor & Rolf at Couture Fall 2016
How does working with fabric in this way compare with working directly with stitch? Stitching is slower and more considered whereas working in this way feels more expressive, exciting and experimental for me, with results that are less predictable. For example when I heated Tyvek, I had no idea quite how it would shrink and it's difficult to control how holey it would become. I just painted both sides to see which would turn out best. I couldn't recreate those grey pebbles, it's just how they turned out this time! It felt like I was creating resources for projects to be. I also liked using unusual and recycled materials like the hems of old clothes, fruit nets and tumble dryer sheets. Even tiny snippets of fabric can be used somehow, like these below that I trapped under organza and fused by burning. Are you pleased with the shapes and movements that you have created in both applique and fabric manipulation? What would you do differently? I think the created the best shapes deliberately and the best movement by accident and experimentation. I've created quite a lot of samples and I've tried to document in my learning log which elements I'm happy with and unimpressed with and how they could be reworked. For example, the chenille technique I tried didn't make the caterpillar shapes I was hoping for but I was still able to cut it into strips and manipulate with stitches to use in my final sample. With the gathered padded shape at the bottom, I was intending to use it with the stitching hidden but discovered that the frayed ends and stitching enhanced, rather than spoiled, the effect. I'm also pleased that nearly every sample has given me an idea of how the technique could be used for a drawing I already have. This is a good illustration of the benefit of having a bank of drawings to work from. How did the pieces work in relation to your drawings? Were the final results very different from the drawings? Did the fabric manipulation technique take over and dictate the final result? I think my foundation pieced quilted panel clearly relates to the original Roman flagon drawing in colour and shape, whereas the sun prints and a cut out applique are from the same origin but far removed. For the underwater scene, I didn't have a drawing but worked from memory and imagination. The sample evolved from playing with the materials in a colour bag with the techniques and fabric qualities inspiring the shapes. Was it helpful to work from the drawings in the applique exercise? Would you have preferred to play directly with cut shapes and materials? I preferred to work my applique designs out on paper first in the same way I had a design ready for the stitched collage workshop, whereas for the raised and structured surface exercises, I preferred not to. I presume is was because applique tends to be flat like paper and needs clear contrasts in shape and colour. With altered surfaces the contrast tends to be in the texture. How do you feel about working with stitch in general? Is it an area you would like to pursue in more depth? Do you find it limiting in any way? I think of stitch as a way to attach, enhance or embellish something, rather than something I would be inclined to use on it's own. I do find it limiting and sometimes tedious, particularly hand stitching, because technically, I'm not too good. It tends to be slow and I have to get a book out to remember how to do anything but basic stitches. I have been lent a very inspiring book of how to use stitch to restructure a fabric and I have Post It notes stuck all over it with ideas I'd like to try to relate to some drawings from a visit to Scarborough beach at half term. Reading List: Woolf, Colette (1996) The art of manipulating fabric. Iola, Wisconsin: Krause Publications
UPDATE: The photographer is Michelangelo di Battista and the paper weaving is by Jennifer Berning: Hat tip: FFFFOUND!
Mary's beautiful composition of painted Bondaweb, newspaper, foils, gilding flake and jewel dots - and seaweed! Every now and the...
textile artist photography and mixed media - Carolyn Saxby Textile Art St Ives Cornwall
Hi all, So, I managed to get some pictures of the tyvek floral sculpture that I made for my art coursework project. If you don't already know (which I didn't) tyvek is a non-woven material used in building walls and things, also in C.S.I suits. When heated it goes all crinkly and melts and holes. I used this to create flowers and leaves. I was inspired by Alexander McQueens flower dress, where he had used silk flowers and real flowers. I loved the colours and the shape, and I tried to channel that into my own creation. This took a really long time. All of the petals for the flowers have to be made individually, with wire sewn around the outside, lines of embroidery sewn, then dyed, then heated, then put together with others to make the flower. It really became a labour of love! There are also stamen at the centre of the flowers, which are beads on wire. The leaves are lining the whole structure. This art piece was the one I was working on when I had the little accident with the needle and my eye (scratched cornea!) But I can honestly say, it was worth it. I took these pictures with my little digital camera (which isn't amazing quality) I am going to try to get some better ones soon :) but till then here it is... xox Niamh xox
Explore Be*mused's 1414 photos on Flickr!
View the Yiqing Yin Fall 2013 Couture collection. See photos and video of the F2013CTR runway show. Yiqing Yin
There are times of the year where teaching takes over making and there just aren't enough hours in the day. Time to actually sit at my work ...
If you’re aiming to make deeply personal and authentic artwork, perhaps nothing is more individual and expressive than a self-portrait....
In her third full-length collection of poems, Jennifer Militello weaves fragmentary letters addressing illness and struggle through ventriloquisms of mythological heroes and dead composers, ancient goddesses and murdered girls. Stylized \"dictionaries\" open into lay-ered definitions meant like magical clothing or tutelary amulets to provide shelter from a world that cannot be controlled. As the poet stitches together a plethoric identity to ex-plore disguises, A Camouflage of Specimens and Garments casts a smokescreen of selves.
The complete Central Saint Martins Fall 2015 Ready-to-Wear fashion show now on Vogue Runway.
"Flourish" is about letting go, allowing growth and not hiding from the world. I want it to say: "This is who I am, I'm...
Love textiles, fibre art and contemporary portraiture? Here is our list of 10 Textile Portrait Artists You HAVE to follow.
