Kandinsky and Half Tuna on a larger scale

Priority #1 - Create

Progress on the upscaled block created for Symposium2022 (Wellington, NZ). This queen sized version builds on the Symposium challenge of using Reseene paint chips (Kandinsky and Half Tuna) to create a single 30cm x 30cm (12" square) block. My exhibition piece was inspired by a Kandinksky painting - strong lines, curves and inspirational composition.

The larger version comprises 9 blocks made in the style of the challenge piece. The finished quilt top will comprise a 9 patch (3 x 3) framed in black and brought together by a wonderful green Kona cotton that was selected after the blocks were made. The dilemma of finding the "right" fabric was solved using an app (A Quilty Solid) by Steph Skardal.

I uploaded an image of the constructed border which I made from block remnants - anything the size of a square inch (2.5cm squared) or larger was used. So far, about 9 metres The app then gave me 20 colours from the image, and even better, the respective Kona solid. I hand dye and print my fabrics so for me, this was such a bonus not to spend hours or days trying to get the "right" colour fabric to bring a cohesive feel to my already constructed blocks. I googled the colour I'd decided upon and ordered from a local (for Australia anyway) online shop. Presto! I'm back in business without leaving the house. Ordered and delivered within a few days. For me, a magic result. Now to finish the quilt top.

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It's all in the background - designing substrate

Scaling up an image of the Brisbane River to develop the substrate for a new art quilt. Each square needs to be 6cm x 6cm to make a finished size of 5 cm square. I created a "to scale" model of the finished quilt on drafting paper. I printed an image of the river (attribution below) and then scaled it up to get a fairly accurate flow across the quilt. The substrate rightly tells the background story. It is the foundation on which the main elements or features reside. So it isn't the "hero" of the piece - it needs to be recognised and visible without overwhelming the piece. I can now easily identify which squares hold a section of the river and start to experiment on piecing, applique, fusing, printing, and painting to learn which gives the best outcome for the substrate. (Brisbane River original image: Magpie Shooter; edited version Paulguard at en.wikipedia https://commons.wikimedia.org/w/indix.php?curid=9724127) My foundation piece might well end u...

Book Review - The Untamed Thread by Fleur Woods

One of those books that almost needs no review or enthusiastic write up - it just is sumptuous, full of texture and inspirational stitch that's as good as chicken soup for the soul. The pages are thoughtful, intentional, about bringing meaning to mark-making and embracing where you find yourself, whereever that is. Fleaur's love of nature intersects with her strong encouragement to explore, experiment and above all be at one with stitching in the ways of needle, thread, a cup of tea and taking time. I found more than a 'how to' and more than the superbly photgraphed processes - this is a wonderful free-form meets the joy of being still. I have loved every page, some I pour over again and again to take in the rich, visual texture and find new perspectives every time I revisit. Koa Press is a New Zealand Publisher, and the book can be purchased through Can Do Books .

Beginnings of a tree

There's so much pre-work and thinking I need to do before a single piece of fabric gets cut. Weeks, and sometimes months. Moments here and there. Snatched time in between the myriad of other things that require love and attention. These are initial experiments with a large scale tree - achieving different values in tone as well as challenging the notion of colour. There is still the thing about light, and the way the Moreton Bay Ash casts off the old skin for new bark each year. It's getting close to autumn and the evening light is softening - clear, fresh yet gentle after the ferocity of summer and scorched plants. The result of this testing and resolving a whole lots of textile and artistic tensions will be at A Sense of Place exhibition in late 2024 at the Warwick Regional Art Gallery.

Ali George Artist

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