Prism 2018 Hoxton Arches Gallery

One of the best Prism exhibitions!

‘TRANSIENT’

A selection of artworks from the exhibition

My submissions

Life dance

Comprised of 28 small figurative felt sculptures.

I use the wet felt method to create these little figures

Exploring the Senses

Two large figurative sculptures suspended

Both pieces together in the gallery

My art work is for sale and I also welcome commissions.

Please contact me for further information.

Molly

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To my dyeing day No.2!!

Two metres of wide fabric is a lot to dye!!

  1. The first piece is very deep pink – all over liquid procion dye applied with a wide brush. I left the fabric covered with plastic sheet over night to get a really saturated colour.
  2. Shibori dyed with liquid indigo coloured procion dye. Cured 22 hours

3.  Brush painting in strong pink, orange, yellow and green and black procion dye paste. Cured 20 hours

I poured the black dye paste into a silk paint bottle with a fine nib and drew the black outlines of pattern onto the fabric and then added the other colours with a brush. It was very random and I just had to keep going not really knowing what the outcome would be. The main problem I had was to get the black dye paste to flow evenly from the paint bottle. The nib was a little to narrow and I think un-mixed dye particles clogged it easily – a lesson for next time.

The finished design is really experimental and unpolished but I will persevere!

Here are the finished fabrics ready to be made into jackets this week – with some extra embellishment:

Fabric dyeing project

I have never used procion dyes before and have decided to dye and print my fabric for a range of jackets with an Asian ottoman theme.

Researching I have found some good tips for using dyes thickened with sodium alginate to paint or print onto fabric by Alyson Provax

Alyson Provax – printmaker and experimental dyer in Portland, Oregon. Her prints are available through Uprise Art, and her work will be shown in Variable States: Prints Now at Upfor Gallery in Portland this spring. Find her at alysonprovax.com

Pattern design – thoughts

  • Lino cut printing
  • Free hand painting
  • Flowers – tulips, roses, hyacinths, carnations pomegranates
  • Blues and turquoise, maroon, purple and gold, orange and serene greens

 

  • Free machine embroidery
  • Simple jacket design – no darts or extra seams
  • Loose fitting, comfortable, elegant, individual, colourful, excellent

Materials and equipment

  • Procion dyes
  • Urea
  • Soda ash
  • Sodium alginate
  • Mask and gloves
  • Buckets and plastic jugs, spoons and cups, wooden spoon, lots of towels and cardboard to work on
  • Lino cuts, paint brushes
  • Fabrics: Cotton/viscose Ottoman rib Siberia natural, Barkweave cotton, Linen/cotton Manetti (Whaleys of Bradford)

Everything is ordered and will be ready to go by next week – watch this space…..

 

 

Ottoman garment fabrics and patterns 1.

Gomlek

The under shirt (chemise)

17thC image British Museum archive depicting a white gomlek under a hirka or short entari

Fabrics

Finest, translucent woven cotton or silk fabric was used to make the under garments. There are examples of men’s winter gomleks made of fine wool. This garment was very wide and loose and often reached to the ankles, with generously wide, long sleeves.

Gomlek pattern

Entari

The entari was a decorative indoor coat cut in several designs:

16thC Ottoman ladies

Long to the floor:

  • sleeveless
  • short sleeved
  • long sleeved – tight fitted at the top widening below the elbow

Short to below the hips:

  • sleeveless
  • short sleeved
  • long tight sleeved

Fabrics

The most popular fabrics were heavy silks such as brocaded silk, velvet, brocaded silk with metallic threads in lampas structure, and clothe of gold and silver. Colours – rich reds and yellows, some blue but green was rare until the 18th century

Entari pattern

 

 

Ottoman 15th C -17th C woman’s costume

Women’s everyday wear did not change greatly during this time and comprised of:

Underclothes

Salvar (trousers) that were very baggy at the waist tapering to the ankles. The salvar were often coloured though did not usually match the rest of the outfit.

Gomlek (a chemise) that was mid-calf length and made from a transparent diaphanous fabric usually depicted in white.

The Hirka or fitted jacket was worn over the gomlek and might be  sleeveless or have long tight sleeves or wide short sleeves. I suggest this was dependent on the weather! The jacket was buttoned to the waist. A sash or belt was tied at to just below the waist or on the hips.

The entari was worn over the hirka as a more formal dress. This garment was of a similar cut to the hirka but longer to the floor. Both the hirka and the entari were buttoned to the waist leaving the skirts to flare out. The top buttons were often left open to the underside of the bust allowing the entari to gape open. A sash or belt was worn about the hips.

Ferace – indoor clothing was highly coloured and very eye-catching however when a woman went outside she would cover herself modestly with a ferace. This was a simple overcoat in a dark sombre colour, buttoned to the throat. She would also cover her face with a yashmak.

 

There is mention of another garment – the yelek – a jacket worn over the entari, often lined with fur.

 

 

V&A 16th & 17th C Ottoman children’s kaftans

http://collections.vam.ac.uk/item/O85101/kaftan/

16th C Ottoman children’s kaftans V&A museum

The V&A  collection of children’s kaftans were worn by Ottoman princes who died in childhood. These luxurious kaftans were placed over the graves of the deceased children and preserved in the imperial tombs. In 1595 the nineteen younger sons of Sultan Murat III were executed on the orders of their half-brother Mehmet III on his succession. The killing of younger heirs of the sultanate evolved to prevent any struggling for succession (interesting that this is also practiced by male lions that kill the cubs when taking over a pride). This cruel practice was never repeated after 1595.

Weave and fabric construction

‘Lampas’ weave – 4:1 satin with a 1/3 twill. Silk warp and weft with a third element – a metallic silver wrapped white or yellow silk weft brocade. Loosely silver wrapped white silk yarns allows the white to show through the silver highlighting the metal – yellow yarn peeking through the sliver lends a gold hue to the resulting brocade. Fabric width: 66cm – 68.5cm

Yarn colours

Predominantly white and red with touches of blue and yellow. Green was rarely used as there were no natural green dyes – green was produced by over dyeing yellow yarn with a blue dye. Red is used for the warp but never the weft – why?

Textile patterns

  • Cintamani & Tiger stripes – Turkic, Central Asian origin.15thC
  • Stars & Crescents –  Designs from Constantinople. 15th century

  • Florals: Pomegranate – single and sprays of, Ogival lattice, floral lattices, blossoms, pine cones, medallions – 16th century.
  • Undulating parallel lines – 17th century
  • Geometric design were still used in the 16th and 17th centuries

Pattern drawing for the children’s kaftan

Kaftan pattern pieces V&A clothworkers centre, London

Reference

PDF: Wearden J. The Royal Garments, fabric, design, tailoring.Ottoman kaftans from the Victoria and Albert Museum, London

16th century pattern symbolism

Traditional Turkish Ottoman motifs are unique to the history of the Ottoman Empire and have been used to decorate many words of art and clothing including fabrics, tiles, ceramics, carpet and decorative arts since the 13th century reaching their zenith in the 16th century. The motif designs include stylised flower and fruits such as the carnation, hyacinth and tulip.

Embroidered textiles were an integral part of Ottoman daily life, used for home furnishings and clothing. Textiles played a role in daily activities and were used as gift-wrappings, room decorations, daily linens, and clothing. Embroidered textiles were also used for more ceremonial purposes, such as weddings, births, and circumcisions. Handmade textiles were symbols of status and illustrated not only the wealth of a woman’s family but also her skill as an embroiderer.

www.idildergisi.com

Carnation

The carnation symbolises spring, new birth, renewal and a marriage between earthly gardens and the flower filled fields of Paradise. The popularity of the carnation pattern originated during the 16th century from the ceramic workshops in Iznik. These workshops produced decorated ceramics and tiles for the Ottoman palaces and mosques. The carnation was grown in abundance in the countryside surrounding Iznik. The design was used widely on tiles, ceramic products such as plates, bowls and flagons, and also in the pattern design of fabulous clothing and home textiles.

 

Tulip

 

Hyacinth

Tiger design
A symbol of the strength and power of the Ottoman Empire and often found on fabric and clothing worn by the powerful.
(Gürsu, 1998).
Cintemani design
A pattern of three circles in a triangular pattern and wavy lines, which derives from leopard and tiger pelts. This motif travelled west with the Turks from Central Asia and is one of the most common motifs. The tiger stripe design symbolises power, strength and manly courage and has been commonly used in the designs on the clothes of the Sultans. The three circles together symbolise Ottoman power and protection.