Cross
Stitch:
Very
common, delightfully repetitive and hence calming, but requires great deal of
concentration.
For
my first sample I am using my mums design, but a scaled down version with muted
pastel colours common in Ottoman Embroidery.
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| Cross Stitch - S Payne |
Second
sample I scale it up and stich on a plastic grid I found in a fabric/craft
shop. I am very happy with this one. It is almost transparent with back of the
work showing. I like the back too.
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| Scaled up Cross stitch - S Payne |
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| Scaled up Cross stitch Back View - S Payne |
My
third sample is a stitch collage using pieces from one of mum’s work. I am
rather pleased with it. It was an attempt to find ways to display her work.
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| Cross Stitch Collage - S Payne |
Then
I wonder a little bit. I started to look at contemporary use of cross stich. I
found the work of Severija
Inčirauskaitė-Kriaunevičienė, a Lithuanian textile artist www.severija.lt . She is amazing! Beautiful, unusual effective pieces. The power of her work
comes from the material choices and the contrast it produces. Who would stich a
rusty bucket, oh what a delight!
I
also liked Phil Davison and her re-work of Banksy. http://www.urban-cross-stitch.com
These
are great pieces to show how embroidery can be so cool!
After
this I was inspired to do a pop art cross stitch. I though pop art style can be
transferred easily into cross stich. So I decided to have a go. I cannot say
that the result is great but the process was fun.
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| Pop Art Cross Stich - S Payne |
Gold
Work:
Now I
am venturing into the unknown!
I got
a book “Goldwork” by Helen McCook and plenty of you tube videos. Below video
describes the “Sim Sırma” technique.
It is a good video describing the traditional practice. It is similar to usual
gold work with subtle differences to the materials. For example they use
cardboard to raise the embroidery. It gives very crisp edges.
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| Goldwork or "Sim Sırma" - S Payne |
There
are several mistakes I made with this first sample.
First
mistake is ignoring the advice! Gold work is very tricky. Because valuable
metal treads are very expensive, the thread sits on the surface, and secured by
a second tread. The use of bee wax to secure the thread is suggeted. I ignored
it! What a mistake. Bee wax does two thinks: first it secures the gold tread,
otherwise it moves a lot, bounces back and you would end up with uneven finish.
Second it strengthens the thread. The friction with metal thread weakens it and
causes it to break often and causes great frustration. And third stitching
through cardboard is an absolute nightmare!
I am
already feeling out of my depth, but I am committed to it, so I am going to do
another sample. This time I am using several different gold materials, raising
the structure with felt and using an Ottoman design. I ordered bee wax along
with a embroidery hoop holder (Elbesee Table Clamp) which will enable me to use
both hands. Good investment.
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| Gold Work - S Payne |
I am better
pleased with this result. Gold work is very a focused and slow work which requires
precision and leaves very little room for error. It is very difficult to come
back from mistakes. As described in McCook’s book, you need to invest in its
design, and its construction properly before you start embroidering. The
transfer of design to fabric can be tricky too. All stages take time and
attention. But the result is very effective.
Because
it is such a skilled and slow process, it is expensive too. Historically and
still today it is only used in ceremonial pieces and hot couture for the wealthy.
But
Gold work is slow work and I am falling behind! I need to start thinking of my
final design. I regret that I will not be able to produce more samples.
Resources:
Indie Craft, by Jo Waterhouse, Laurence King Publications, 2010
Goldwork,
Helen McCook, Royal School of Needlework, 2014
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