I dipped pieces into paper pulp:
7.26 – Grid with tassels dipped in pulp
7.27 – Grid with coils dipped in paper pulp
7.28 - Grid with coils dipped in paper pulp (close up)
7.29 – Hessian grid dipped in paper pulp
7.30 - Hessian grid dipped in paper pulp
7.31 – Pulled work sample dipped in paper pulp
7.32 - Pulled work sample dipped in paper pulp (close up)
7.33 – Skeleton leaves dipped in paper pulp (these are my most favourite sample of them all!)
I have embedded grids into paper pulp. A jolly enjoyable experience.
7.18 – Sheet of paper pulp, grid pressed on top, two strips of paper pulp added and then pressed
7.19 – Pulp added to screen, grid placed onto pulp and then the sheet was pressed
7.20 – Paper pulp added around edge of frame, grid added, pulp added on top around the edge, and then pressed
7.21 – Paper added to screen, grid added to top, pulp added on top and bottom and then pressed
7.22 – Grid sandwiched between two ‘frames’ of pulp
7.23 - Pulled threads added to the paper pulp
7.24 – Skeleton leaf added to layer of pulp in the frame
7.25 – Look at that loveliness!
I attached existing grids to little frames and then dipped them in paper pulp. One grid was woven from paper string and another was Aida fabric with holes created from drawn thread work.
7.15 – The grids before they were dipped
7.16 – Wet grids after dipping in paper pulp
7.17 – Grids once dried. Also includes a dipped fennel seed head
I wove materials around frames and dipped them in paper pulp. I used natural materials from my allotment (e.g. bindweed – ghastly stuff!), twine and some acrylic wool. The pulp bonded with the natural materials very well.
7.1 – Sheet of dipped grids
7.2 – Green jute twine (front)
7.3 – Green jute twine (back)
7.4 – Grass (front)
7.5 – Grass (back)
7.6 – Acrylic yarn (front)
7.7 – Acrylic yarn (back)
7.8 – Nettle stems (front)
7.9 – Nettle stems (back)
7.10 – Bindweed (front)
7.11 – Bindweed (back)
7.12 – Grass (front)
7.12 – Grass (back)
7.13 – Grass (front)
7.14 – Grass (back)
I wrapped the natural ‘fibres’ when I was up the allotment and it was lovely to work outside.
6.1 – Various ideas on small piece of drawn thread work. This fabric was dyed using allotment blackberries and now, several months on, it has turned a shade of brown whilst the manufactured threads have stayed the same. It’s interesting how the piece has changed over time, I like this concept of a piece changing naturally.
6.2 – The majority of the horizontal threads were pulled and then groups of threads were run through the machine using zigzag stitch. It was surprisingly satisfying!
6.3 – Close up of 6.2
6.4 – Loops. This was a little tricky to sew as the fabric is so flimsy.
6.5 – The orange is a bit garish here but is deliberately unsubtle to make it easier to see what is going on. Although I love orange and pink together, they make me zing! From top to bottom: weaving; clusters of pulled threads attached in bundles; horizontal threads pulled and the verticals then used as loops; as previous but loops secured in alternate positions; needle weaving; drawn threads woven back into the fabric (left) or simply secured (right).
6.6 – Horizontal threads pulled, cut and bundled. They’ve been attached to the voids with the first two top and bottom remaining horizontals pulled down to form a wavy pattern,
6.7 – Jute scrim with tapestry yarn hand-wrapped around the bars.
