Thursday, April 16, 2015

SURPRISES IN YOUR EMAIL!



'Coen'
H 20cm X W 20cm  
Cotton warp, wool and cotton weft.
2014.
I suppose that this post may be considered a follow up to this post. Regarding good quality photos of your work.
Yesterday, completely out of the blue, I received an email from the Editor of a well known textile magazine, asking for good quality images of some of my tapestries. Surprised by the request, and a bit apprehensive, I replied to the email. Well yes I can send you some images, but what resolution are you asking for?
Why the apprehension? Imagine a family of two. Two laptops, 1 desk top. two Microsoft surface tablets and 1 and about to be 2 smart phones. Shared files across all gadgets..... not too many!
Take yourself back to this Sunday morning, In my usual routine, I turned on the desktop computer in my studio, only to find that my computer monitor suddenly died!. Files backed up....Yes, cord to connect my laptop to use as the monitor.......no!  
In the first thought that went through my mind were...damm, another expense, followed quickly by....what is on there that I actually really need now?
I responded straight away to the email...... yes here are some images, resolution 700 pixels per inch. If you require a larger size, please let me know?   
Why 700 pixels per inch?... that is the size that I use for my blog and onscreen viewing. When asked for a photo to advertise a recent exhibition, that was the size that I sent to the Gallery. You can see an on screen photo of it on the 'art guide Australia' website here. 
While preparing for a recent exhibition, I created a folder in 'Dropbox' of all of my tapestries in a resolution of 700 pixels per inch, along with a word document to record, titles. materials. sizes and the years the tapestries were made. In a not so complete folder, I uploaded the original photo file that these were made from.
In the past, when you met a new artist, it was common that they would produce a small photo album from their bag.... this is what I have been doing. 
Now it is far more likely that the said artist would produce a tablet or smart phone and scroll through the most recent entries.
Life has changed and the necessity of having files on hand....especially if you travel, need to be accessible at the toss of the hat.. or an unexpected email in your inbox.

I feel that an essay to address this, will be coming soon!         

Wednesday, April 15, 2015

John Wolseley 'Heartlands and Headwaters'


I had planned on going to Melbourne today to see the John Wolseley 'Heartlands and Headwaters' exhibition. Sadly I was unable to go, so it will now have to wait until next week. If you follow the link above it will take you to the artists page that talks in detail about this exhibition. John Wolseley is one of my all time favorite artists. His observations of nature, and engagement with the Australian environment, never fails to amaze me. The you tube video is only a summary of the interview, you can download the entire interview here. If you are not familiar with the art of John Wolseley you can view his past exhibitions in the sidebar here.
More about this exhibition soon!    

Friday, April 10, 2015

Jean Paul Gaultier at the NGV

It seems like a long time ago now, but I did get to Melbourne for the day to see the  Jean Paul Gaultier exhibition at the NGV. In now what seems like a past life, I made all of my own clothes. So there has always been an interest in fashion and Gaultier, along with  Vivienne Westwood rank in my favorites.
It was interesting the way that the exhibition was set up. Once in the main gallery room you were greeted by the man himself, welcoming you to his exhibition. All done by a projector focused on the mannequin of him. Throughout the show many of the models had faces with eyes that followed you around the room. Some even had conversations with each other about the audience. Some comments from gallery viewers were that it was a bit spooky, others thought it just straight out clever.
Definitely not street dress for a conservative town like mine, but I loved some of the details.
A different version without the skirt.
It seems that the designer favors this soft pink, as it features in many of the garments.
This stunning dress, and yes pink again, was made from satin ribbon.
Exquisite construction.
Beautiful detail.
You could have your own front row seat at the fashion show.
At times a little more exposure than asked for.
A runway favorite due to the clever use of buttons.
 The buttons were sewn into the seams of the dress. Each button exposed a little more until a full reveal towards the hem.
Buttons featured on the back yolk and cuffs as well. I don't know how comfortable it would be to sit down in. The buttons would make the garment very heavy I would imagine.
Some Punk inspired denim.
Another model making faces at the audience.
The ultimate combat dress.
Some Punk tartan.
One of my favorite outfits. Look at the way the pleats are made to fit the body.
Parts of the lower skirt reveal a different tartan in parts.

Another dress make from silk ribbon.
Printed to look like film strip.
Some amazing hand knits.
A Mongolian inspired coat.
I rather like the plastic one.
The combination of knit and crochet on this dress still has me puzzled as to how it was constructed?
I think it was my all time favorite garment in the exhibition.
Ending with the most exquisite dress worn by Cate Blanchett.
 Detail, beautiful.
Colour, perfect!

DID YOU GET A GOOD PHOTO?

Sorting through some images on one of my computers today, I came across this photo. In the rush to get my work finished off for our exhibition at the Ararat Regional Art Gallery, there was no time to get the work professionally photographed. Unless you have an area that is set up for photography, getting good images at home can be quite difficult. With the need for good natural light indoors, the best place to photograph small tapestries is on my kitchen bench, under the large sky light. Small works are relatively easy, I stand on a chair beside the bench. Larger ones less so, as I am quite a short person, so standing on the bench is a must. This tapestry is stitched onto the mat board, signed and ready to go to the framers. Usually it is not too difficult but, this board had warped and the tapestry would not lay flat on the bench, hence the use of the tins on the corners. A problem with this method is hoping that a cloud will not pass over head as the operation is being performed. Shown in this photo by the shading on the left hand side. This photo was not the best one taken at the time.
It is easy to photograph tapestries while they are still on the loom and under tension, Sadly these photos end up cropped and most galleries and exhibitions require photos that show the edges of the work. 
So it begs the question. Why leave it until the last minute to get the work framed or mounted?
I think that answer is that, I never know exactly where I am going to exhibit them. Some exhibitions call for work unmounted. Others require a backing, some require special tape sewn on the back so that rods can be passed through them. As you can see, each exhibition requires something different. If I have a tapestry that I am really pleased with and have it framed. Am I prepared to un pick the hours of stitching that it takes to sew them to the mount, to enter the tapestry in an exhibition that requires work that is not mounted or framed?
Well the jury is still out on that question.
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