December 2018: More on the work that will appear in the next exhibition.

December 30, 2018

Research has taken me in several directions that somehow have influenced my work. While you don’t get to see finished pieces, I will share research and thought process that I have used.

I have become hooked on visiting Trove, the National Library of Australia web site where I can trawl through old papers. www.trove.nla.gov.au/newspapers. There you can select your choice of state and a whole lot of newspapers come up. Because of the time line that I’ve been researching, I’ve been looking at three: Brisbane Courier (1864- 1933), Moreton Bay Courier (Brisbane 1846 – 1861) and in particular, The Queenslander (1866-1939). It is a fascinating way to pass a lot of time. I can find births, deaths and marriages, a whole lot of classifieds and some interesting articles. I even found one on earth closets (Saturday 10 Feb 1866 pg. 11) I have been caught up in looking at page one and births deaths and marriages.

A look at The Queenslander for 3rd March 1866: page 1, Family notices, provides a typical style of presentation. I don’t always find listings for this area. It’s a bonus when I do.

Please take note of the wording. It can give an insight into the status of women. It also reinforces the perception of the invisibility of women in the mid 1800’s, a theme that I began in the October post.

Births. These are two notices that follow a standard format.

Strachan- on the 26th February, at Cleveland, Mrs JW Strachan of a daughter.

Grenier- On the 26th February, at her residence, Mrs G A Grenier of a daughter.

And then here’s another standard format one that really reflects on the importance of women. It is not unusual that “the wife of Mr………………..” is used. But this one also lists what he does.

Smith- On the 23rd of February, at her residence, Duncan’s Hill, the wife of F. T. Smith, builder of a daughter.

Marriages

Here’s one for my area:

McLeod-Gray On the 24th February at Cleveland by the Rev Lacy H Rumsey, M.A., Edward McLeod, Esq of Cleveland, to Hannah, widow of the late Walter Gray Esq of Ipswich.

Deaths

There were 6 deaths listed: 4 children and 2 women. Again here are 2 typical formats. Sometimes the wife gets listed in the death of a child, while at other times there is no mention of the mother. It is sobering to read of the child’s age in the mid 1800’s.

Bartley- On the 1st March, James Norman, youngest son of James and Mary Ann Bartley, aged 12 months.

Hawkers- On the 1st March at the Military Barracks, Emily, infant daughter of Sergeant Hawkes, 12th Regiment, aged 22 days.

And then one contemplates how life has changed. Thank goodness for improvements in medicine and medical practices. Thank goodness for improvements in the status of women and thank goodness for the things that have made daily life that much easier. Progress indeed!

When I first started spending many hours in the Cleveland Library I came across old maps and references to roads.

Early white explorers often followed aboriginal tracks that later became roads. The current Mt Gravatt- Capalaba Road is one such example.

Before there were roads into this area, supplies had to come in by boat, a very treacherous undertaking. There were many instances of boats being stuck or overturned. At one stage Cleveland was identified as becoming a port. Squatters coming from Warwick area through Cunningham’s Gap were keen for it to be a place to ship wool from, until there were one too many mishaps. An early explorer, Alan Cunningham had an 1829 sketch that showed a “road”.

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This 1861 map shows both “Old” and “New” Cleveland Road and identifies the “road” as being “a line of trees marked on either side of the Road- being one chain long”. Both roads are still in existence. Over time roads were improved. Bridges built over creeks that needed to be forded especially in times of flood. Drays, mail coaches pulled by horse and bullocks were replaced by early cars. Early settlers required roads.

This drawing of early roads came from a publication “The Cleveland Roads to 1900” and shows how Cleveland was connected to Brisbane.

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The roads of course brought more settlers to the area. Progress came.

Of recent time there has been much discussion in the news about development in this area and the need to allow for growth of more people and the ensuing impact on the environment.

And again one reflects on what we call “progress”.

What can I use to symbolise progress? What can I use to symbolise “development” and to identify the mark that both early development and those who came after have left on the land?  There seems to be a link between progress, roads and thereby tyre tracks. Tyre tracks are also impermanent: they can be washed away or covered up by whatever comes next.

Then the fun began! For inspiration, I collected images of tyre tracks and played with printing tyres. Sometimes one just has to play to incubate ideas.

Bike tracks on the beach with a delicate pattern made by a small crab.

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Car tracks in dried up mud.

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A print from a car tyre. My son just shook his head over what his mum sometimes gets up to. It was his tyre.

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This led me to thoughts of developing profile drafts using the word “progress” and to use this to replicate a tyre print format. This is some developmental work.

 

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This is detail of the woven profile using two tie unit weave or Summer and Winter. It’s such a great structure for weaving imagery. How this sits in the whole piece will be unveiled later. At this stage it’s very difficult to identify the word, progress. I guess you sometimes just can’t go back in time.

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Lastly, another bit of experimentation. This again links in with where I live and it is in a very physical way. The Redlands is named that for a very good reason. It has red dirt. Originally all this area was productive farming. What was once prize agricultural land is now covered in housing. Now there are just a few isolated farms in the middle of suburbia.

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I have been experimenting with mud dye. It might be interesting to add this to my story. Here it is applied to a sample of woven shibori and then undone. Fresh soy milk was used as a binder.

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Isn’t it a glorious red brown? Base fabric is a cotton warp and linen weft.

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Eventually all these separate threads do come together. All will be revealed in March.

parallel title        An exhibition celebrating 20 years of woven shibori with Catharine Ellis. 10th March- 14 April 2019, Redland Art Gallery.

Classes begin in the New Year. In just a couple of weeks there will be Linen and Lace. Check out the rest of year’s classes here.

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November 2018: Studio classes including woven shibori and continuing behind the scenes for my next exhibition

December 2, 2018

This month’s studio class was Woven Shibori.  Barbara, Ronda and Judy worked on class projects in a variety of fibres, structures, effects, warp and weft shibori, in fact a whole range of techniques that could be fitted into 5 days. Jan worked on her own project. She had attended last year’s class and wanted to extend that work.

Here are some images from the class. It was a very successful week. Sometimes students chose to weave a project from a warp. On others they chose to explore a variety of approaches and completed a sampler. The choice was theirs. As a result they went home with a collection of samples and projects and let’s not forget a whole collection of weave drafts.

Weaving: A variety of looms used including the draw loom.

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Pulling up.

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Dyeing: watching the magic of indigo.

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Undoing:

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The results:

Indigo.

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permanent pleating (not the bottom scarf).

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the acid dye bath

 

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Jan had to leave mid-week. Luckily she had finished the weaving of her rag rug but will return at a later date to finish the shibori process.

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One of the things that was considered in Colour in weaving, the October class, was the repeat that happens when yarn is commercially space dyed. We often pick up cones of yarns that look interesting and then wonder what we are going to do with them. The length of the repeat on this cone of space dyed yarn just happened to nearly match the width of a left over warp. So here was an opportunity to weave a space dyed yarn as weft ikat. As this was a shibori class I also wove it with a resist.

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Once the resist was pulled up, the fabric wanted to curl due to the resist being unbalanced in float length. So I worked with this, wrapped it around a rope and bound it before dyeing.

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Of course it ended up in the indigo which of course it was always going to overwhelmed it. I must admit I do like this fabric much better than the original because that red, white, black ikat is so subdued.

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Upcoming studio classes for 2019. All classes are limited to a maximum of 5 unless otherwise identified. Details under Kay’s weaving school.

21-25 January 2019          Linen and Lace.

18-22 March       Woven Shibori

13- 17 May          From a twill threading

10- 14 June         Special- own choice.

9 – 13 September            Colour in Weaving

21-25 October                   Weave a floor rug (class size limited to 3)

18-22 November              Double weave and friends

9-13 December                 Special- own choice.

BYO Loom one day a month class will continue next year.

Marja has been coming for the past 3 BYO loom classes. She had never woven crackle, so here was the opportunity to explore. As well as weaving a project a month, she has also come to understand the structure and how it is drafted.

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parallel title

The ongoing saga that was begun last month for the exhibition celebrating 20 years of woven shibori with Catharine Ellis.

At the start of the month: Hot off the loom. I look at this pile and I am overwhelmed- not by the quantity of weaving that has worked out really well but by the amount of resist soon to be pulled up. And then I wonder in over 20 years how much resist would have been pulled up. This exhibition is a cause for celebration! Onward….

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Weeks later. The fabric lengths were finally all pulled up and ready for the dye baths. I decided that I wanted to get a range of colours to signify age. The colour had to come from sources that identified age to me.

I used pomegranate that I have had in my garden for probably well over 20 years. The original seed for this ornamental (unfortunately it can’t be eaten) came from my Grandmother’s property (50 years + ago) and then to my mother’s garden. I think that there is a lovely parallel there with my matrilineal line.

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The other dye source came from the old Tallowwood, Eucalyptus microcorys that grows beside my fence. It has been here a very long time. It was a very mature tree when we moved in 40 years ago so would have to be well over 100 years old possibly older than 200.

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Tallowwood were a predominant tree of this area before settlement. There is this wonderful example at a local nature reserve.

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This tree is protected and is over 400 years. It was never felled because it had been deformed by lightning when it was about 100 years old but it certainly gives a feel for what this landscape may have been like. I can just imagine the early settlers struggling through the scrub with these and other large trees dominating.

From these two sources, I required 8 different colours. These were obtained by the use of mordants (tannin + alum), the two dyes and a dash of iron. Pomegranate doesn’t technically required a tannin pre-mordant but I did add to help shift the colour for two dye baths. The tannin pre-mordants were tannic acid obtained from oak galls and myrobalan. Because pomegranate is so high in tannin, I also used it as a mordant for one of the Tallowwood baths. Usually I would add a dash of iron to make the colour muddier. In one case it was liquid from a collection of rusty bits that I found and that had been soaking for at least 2 years. While the mordanting was very measured according to weight of fibre, the dyestuff, proportion of them and the quantity of iron certainly weren’t. Here’s an overview of the dye combinations for the 8 colours. As you can see I aimed to cover different combinations of the basic elements.

  1. Pomegranate, no tannin, iron
  2. Pomegranate, tannic acid, iron
  3. Pomegranate, myrobalan, iron
  4. Pomegranate, tannic acid, iron
  5. Tallowwood, pomegranate, tannic acid, iron
  6. Tallowwood, myrobalan
  7. Tallowwood tannic acid
  8. Tallowwood, tannic acid, soaked iron liquid.

 

The tallowwood leaves were collected whether fresh or old, covered with water and soaked for a day before being boiled, strained and reused. I did not retrieve these for the next bath.

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To prepare the pomegranate bath, I collected both old husks and fruit- whatever I could find, covered it with water and left for a day or so. Before dyeing, the mixture was boiled and then strained. The fruit was returned to the bucket and soaked again till the next day of dyeing. The dye process took well over a week. It is interesting to note that the recycled pomegranate continued to give equally strong dye on each progressive dyeing and that there was still plenty of dye to be extracted by the time I was finished with it. I must admit the odour was pretty strong though luckily hasn’t stayed in the fabric.

Here’s the end result showing the variation in colours though you will have to wait to see what the finished pieces look like till the exhibition.

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