The group blog of twelve quiltmakers and textile artists scattered around the world in 6 countries and across four continents. Our aim is to create a small quilt every three months.
The theme is chosen by the members in turn.
Our website: www.12bythedozen.weebly.com
I decided to continue using my photos from NZ, and from the moment I saw Charles Sheeler's work I had a specific pair of photos in mind. These were taken on the Weka Pass Railway and were of the Glenmark Station, just north of Christchurch.
My chosen picture from Sheeler was an obvious choice, it was probably the whole reason I choose him as our next artist.
I loved the way he had played with perspective and overlaid the features. So here's my version:
It was a lot harder than I expected to combine the images to produce something that worked, but I'm very pleased with the final result, even though it's not completely finished yet (binding still to be sewn down). I chose to do minimal quilting, just round the lines using an invisible thread. I still think that was the right decision, but I'd be interested in other suggestions.
He was fascinated by spirals & had a dislike for straight lines which he described as 'the devil's tools' & 'godless & immoral. His work has been described as Transautomatism, a kind of Surrealism, focusing on fantasy.
His work was not limited to architecture but he also made graphic work, lithographs, silk screen printings, etchings & woodcuts.
Much of his work is based on architecture & dominated by linear structures, with bright, intense colour, often using complementary colours with the addition of gold & silver, pasted on in thin foil. The work has simple organic form, with the same kinds of shape repeated again & again. Lines meander around shape, eyes loom out of landscapes & trees adorn rooftops.
Extracts from the book by Janet Edmond's called 'From Art to Stitch'
Interpreting different artists work is such a fascinating process especially when one is not overly enthusiastic about the artist concerned. (i.e. me with Sheeler's photography and paintings). Initially I found Sheelers work uninteresting and thought that I would find it very difficult to do something with. However I ended up doing 2 pieces and wondered which one I should post. I have decided to post both only because they are very similar but different and for the first time I think that doing a 'series 'would be intriguing. The piece I chose to interpret is called 'Ballardvale' and was painted in 1946.The lines were interesting and I loved the colours.
The first interpretation I did was pieced . Usually I appliqué but one does need a challenge and the piecing worked well with Sheelers 'Precisionist' style . I kept thinking that some texture would liven the piece but when the time for quilting came straight lines seemed to be the right option.
With the second piece I thought 'What if'' I turn the chimney stack into a tree and convert the scene from an industrial site into suburbia ?
As you can see I had fun and in the end I think that I like 'Suburbia' better . As you can all see I had great fun but promise that I won't inflict extras on you every time !
There isn't one specific painting that inspired me.However, Sheeler's industrial landscape paintings and his use of transparency caught my attention, and as I am originally from a northern industrial mill town I thought I would try to show a landscape that is familiar to me. The brick viaduct that crosses the Mersey valley in the centre of Stockport is an imposing structure and when it was built in 1840 it was the largest viaduct in the world, and is still the largest brick structure in the UK.
I tried various designs with the viaduct and the mills, but couldn't make one that worked with the transparent layers. In the end I abandoned the mills and just concentrated on the viaduct and the bridge. The final textile looks far more bucolic than the original scene! I originally experimented with the inktense pencils and bars that I bought in the summer when I was in England, but that attempt ended up in the bin (it was totally unsalvageable!) and I finally used fused appliqué and simple quilting.
I enjoyed being introduced to Scheeler, I love his flat surfaces and his use of overlays to add to the sense of perspective so thank you Linda.
I also worked out fairly quickly how I could use these elements to work on a scene typical of the canal area of Manchester:
Playing with the arch shadow was going to give me the soaring effect that he uses so well. (There is probably a technical vocabulary to describe that but I don't have it!)
I made good progress, blocking in the larger shapes with paint, adding details using a stencil - until I added the arch form using a solid black fabric .... Whilst that was a mistake, it can be rectified with an alternative, less solid, fabric or a layer of paint, what can't be rectified is my assessment of what I'd done up til that point. The black fabric threw my lack of subtlety into glaring view and that has presented me with a barrier that I'm not sure I can overcome, or even want to give my time to.
I've been thinking about this for over a week and perhaps should have talked to someone about it, but during that time I've had a minor hospital procedure which has also occupied my thoughts. If this were my piece I would happily accept what I've learned and put it to one side, but I'm committed to this group and need to show that commitment. Whether I start all over again or just give myself some breathing space I don't know. There will eventually be a Scheeler inspired piece from me, but probably not this one.
I'm sorry - I'm going to be late with this challenge. It's all laid out on my work surface, and the first stage is close to being finished, but the piece isn't going to be finished before the end of play today. I'll post it as soon as I can!
When I first looked through Sheeler's work I really was not ready for the very graphic lines and his general work, but as is wise, in my opinion, I let myself mull over the first images that I found until I eventually hit upon his paintings of sailing boats on the water and fell in love with them. We spent many weekends with our children when they were much younger sailing and having fun on the water. As you have probably noticed in most of my pieces I do love curved lines so this was my choice. I had a lot of fun with this piece and absolutely enjoyed every minute of constructing it. In fact I am in the process of constructing a larger background and am going to attach this piece to it and hang it in my home. I used a lot of paintwork using fabric paint and also oil stick paints and have now invested in Intense Ink Blocks which I can't wait to try out at a later stage.
Here is his painting with my interpretation below:
Researching Charles Sheeler was very interesting and I love his artwork of buildings, urban settings, and rural settings. His painting of a Grain Bin on the cover of Fortune magazine was the inspiration for my piece titled "Silos".
I grew up in north central Montana known for its grain crops. We had a wheat farm. The basis of my piece is of a photograph I took of three aging grain silos on our farm. My dad would store his harvested wheat in these grain bins and then wait for a good price in the market place. The large silo on the lower left is of a photograph I took of a very large, rusting silo at a popular home decorating store called Magnolia Farms in Waco, TX. And the large, looming trio of silos in the middle is from a picture my sister took of grain silos in Wall, South Dakota.
Since Charles Sheeler was also known for his photography, I wanted explore how to digitally enhance my photos. I used various applications to my original photos to intensify color, highlight shapes and create interest . When I was satisfied with the process, I printed each image onto fabric with my printer. I fused the silos onto the background for a collage effect much like many of Charles Sheeler works.
I especially love the diversity of the structure of these grain bins/silos and the architectural lines. If you grew up on a grain farm, this picture definitely brings back memories of hard work and rural living.
After much oohing & aahing & deliberating the light bulb came on. It took a couple of reads of the 'key ideas' behind his work and eventually I decided I would work along the lines that he often took .... photograph it, craft a drawing based on the original photograph & then use the drawing as a model for the painting. However I went back to the photograph for my painting. I liked the idea of his still life's so this was the journey I took.
This was my inspiration.
This was my photograph, however it was in colour as that was my first intention.
This was my drawing. Hilary will recognise this as this was one of my sketches I shared with her (sneaky!). My sketch pad is small so I could not fit the flower in as I wanted the vases to be big enough to play around with.
This is my piece. I reverted to black & white as I wanted to capture the challenge of a B & W photograph. The vases & flower are painted, cut out and fused onto the background which is stamped & painted as a whole cloth. Then I hit a brick wall. How on earth was I going to quilt it ??? I tried using a blind hem stitch with invisible thread on the middle vase which was disastrous as it stuck out like a sore thumb. If you zoom in you probably can see the stitch marks which have proved very difficult to remove thru the paint. The result is the vases & flower are only fused. I have quilted the 'wall' to simulate an embossed wallpaper and the table simple lines. At the end of it all I have loved doing this challenge & I love my piece.
I like the halo appearance in one of Charles Sheeler paintings, the buildings were outlined in a contrasting colour. This approach wasn't successful for me. In light of the world politics this year, not to name anything specifically, I am feeling patriotic. My personal challenge was to work in an analogous colour theme.
I have been taking an online masterclass with Elizabeth Barton and the November assignment involved using one of her photographs as a jumping off point. I selected the picture of New York City with the Christo banners which were installed in Central Park. So this piece is a bit of a two for one.