Here is my new piece, Garden at Dusk. I chose two dark values of blue/green and indigo for the final colors. I brushed these on in four layers on the open areas of the cloth (i.e. not covered with rice paste resist), drying between each layer. I then added a few accents/shadows using a very dark value of indigo and black pigments.
After about 5 days, the paste was soaked off in water. I wanted to keep this piece simple and high contrast because I think the design works pretty well with just two values–dark and light. The paste crackled a bit and so you can see lines across the surface of the background where the color got through. The pattern you can see around the edges is the pattern woven into the linen (damask).
Back to my original inspiration – The Robins, so inspiring to me this spring, left this nest under our back porch roof after only one bird fledged from their second brood. Three perfectly formed beautiful blue eggs in a home of mud, twigs, grass, and other dried plant material from the garden.
Across the threshold of this new year I found time and space to bring this cloth, long in the making, near completion. Some elements that have long sought a home have found one.
Arranging squares yesterday – pure pleasure – I thought of how the strips and swatches of fabric hold memory in a tactile, visceral, yet gentle form. Maybe that is the allure of cloth for me. There is also a conversation. The cloth talks to me and to my many teachers.
I found some handkerchief weight linen that will make a nice backing for this. Before winter is over I will cover up with it and daydream.
Here is some new work using my new Spring stencil. First I created the background water pattern, using the water stencil featured in this post. I pasted my Spring stencil over that background. One of the challenges for me was getting the values dark enough in contrast to the background. This was in part due to my tendency to be tentative with use of pigments. Also, the work looks darker when it is wet; nevertheless I still had trouble getting dark enough values. I painted probably 4-5 layers of pigments and soy. In the top image, the darkest values in the branches and buds were painted on after washing off the paste – a method of fixing it when you wash the paste off too soon!
Another general challenge in katazome, which I really felt while working on this piece, is that the yellowish rice paste resist covers the lightest values in the work, so what you see is not really what you get. This adds to the excitement (and/or disappointment!) when you do finally wash off the paste! I’ve posted more photos of the work in progress in this photo album on my Facebook page.
I stitched the piece to a sheet of handmade Japanese moriki kozo paper from Wet Paint Art, treated with konnyaku starch (to give it texture and strengthen it for stitching).
In the example above I added an image of a cardinal before pasting the Spring stencil. The cardinal was dyed and covered with paste before adding the primary Spring layer.
A cardinal takes flight from a rain garden near my house – a surprising flash of red that always makes my heart skip a beat!