Skating on Thin Ice

I've been playing around with creating shapes using other shapes. In this case to get a very round base, I coiled around a tennis ball. I used fabric remnants, handspun yarn and twine. I learnt the technique at the Handweavers and Spinners Guild during Summer School.

Finishing a piece is always tricky and it took me awhile to find the right pieces. I really didn't want to buy something as it really goes against the whole sustainable practice ethos. Luckily, I had some glass that was left over from a leadlight window class I attended way before children. I kept all the glass. Then some rocks from the garden supplies finished it off. Pretty pleased.

 Unfortunately, it hasn't found an exhibition, yet, in which to shine. 

A hat and mittens for the boys partners

I like making things for other people, but I rarely have confidence that I can figure out what people would like. I make do by making bulk things for everyone and hope for the best. I love when I get requests..

So, here are the requested hat and pair of mittens, the hat for Steph and the mittens for Shannon. The hat is from the standard accessories book from Patons that I always use along with Bendigo Classic in Steph's favourite colour, it seems. The mittens are my standard pattern in Black yarn from the stash. They seem to have been well received. I hope they kept them warm this Winter. 

They were a nice quick project for the start of the first lockdown in Melbourne.

 

August Experimental Spinning - Fractal yarns

Fractal Spinning is another way of spinning a multi-coloured top to get a mix of colours. It's based on the idea of fractals and indicates an ever diminishing division of colours. 

I decided I'd like to see what happens when you use the primary colours, red, yellow and blue. This should be bright but I was hoping for some optical colour mixing. I had the separate colours and created a run that consisted of the three colours four times.

I split it all in half and spun the first half. Then spun further splitting the remains and spinning half until I had this left for the last sequence.

Which gave me the following two bobbins, which I then plyed together.

A fun and gorgeous yarn, not as much colour mixing but not as starkly bright. 

For further reading have a look at the Schacht Spindle Company website (www.schachtspindle.com) for articles by Benjamin Krudwig exploring this topic.

Also suggested by members of Experimental Spinning:

1. Spinning a Rainbow-Fantastic Three Ply fractal ( https://www.youtube.com/watch?v=mIqr00PwvRA )
2. Fractal Spinning Preep and how to - craftymisfits Tour De Fleece Weekly challenge ( https://www.youtube.com/watch?v=MTYEZwVSIxo )

July, Day 2 of 29

July - Day 1 of 29

I have started my project for the Banyule Artists exhibition: Luminal // a Shared Distance

It's a month where each day I make a remembrance of a death in custody. Some days are precise, I do have dates from 2008 to 2020 courtesy of the Guardian database: Deaths inside

Here is my first:

Not quite the shape I thought I'd do, but it resonates well. I have to think more about the base. It will be circular like a clock.

What is an Australian vision

We have an indigenous population that looks at the landscape through the lens of 60,000 years and produces suitably powerful art, and the relationship to land is inherent. Even when ties are broken, you would think genetic memory plays a part in any artistic response.

I am often drawn to English landscapes and do feel a comfortable resonance, whilst loving the Australian as well. My response to the Australian landscape has to come from outside the family and not from the guidance of past generations. This feels like a disconnect.

Modern and traditional indigenous art can speak to all of us and shows us a way of looking at our country. Hopefully, this art resonates, intrigues, challenges and we can be inspired and influenced by what we see. But it cannot be the way, as non-indigenous Australians, that we make art and show our view the country.

It's a difficult challenge. There have been non-indigenous artists that have shown the Australian landscape in a new way that seems to draw on all sorts of influences. My favourite two are Fred Williams and John Olsen.

Fred Williams, Hillside 1966 - Gallery of New South Wales

John Olsen, Sun and Paella 1978 - Olsen Gallery

At my core I'm a weaver. I want to find a way that this influences other aspects of my art. I continue to try and find my own voice. 

Experimental Spinning in isolation

As the Handweavers & Spinners Guild of Victoria has closed because of COVID-19 we have held our meetings virtually with a combination of WhatsApp and Zoom. It's hard to figure out how best to use them. I suspect many of the features are there, just have to find them.

One good outcome is that I seem inclined to finish the different yarns we've done so far.

This is the bead yarn that seems to be a leftover from the last time we covered beads. The beads are dalmation beads and I put them on the single as it was spun. I've got some black alpaca that I'll spin and combine with this one.

We were supposed to look at Border Leicester, however, we weren't able to obtain some in time. I found some English Leicester and decided to do some tail spinning. I've only done it once before and this time it was more successful.

For information on Border Leicesters see: https://www.thespinningloft.com/sheep-o-pedia/border-leic... and https://www.borderleicester.com.au/why-borders

I found a good video on tailspinning: https://www.youtube.com/watch?v=Xv24qJaEhpk

The last one I've completed so far, we were blending all sorts of bits and pieces. I had wool, alpaca, threads and core spun around some 4 ply yarn which  worked quite well.

For core spinning yarn by Ninja Chickens- https://www.youtube.com/watch?v=KhRGnWdJeOc's 

This month we were playing with compost yarn that uses fabric and buttons. Lots of feathers were on the agenda for others in our virtual Experimental Group.