an unfortunate hiatus

Due to some unfortunate health problems I am putting this blog on hold for sometime, although I could quite well pop up, off and on. It will be difficult keeping me down!

I really enjoy blogging, love that you take the time to read it, and to leave comments. I feel I have learnt so much about myself as a person, and as an artist, as well as bettering my writing skills.

I hope all your creative endeavours continue to reach great heights and, for those who also write blogs, I still hope to read all about your making.

I did start a new piece last week, following my experiments with the three different substrates. The shape you will recognize. I have painted dots, some directly on to cotton duck, some on to pre-wetted areas, and other parts washed with water afterwards.

Thoughts on recent testing....

Firstly, regular readers of this blog will have received a 'blog doesn't exist' posting during the week. All my fault entirely. I was making a start on preparing this blog and inadvertently pushed the Publish button when aiming for another button. I quickly deleted the posting but it does remain in the system. I promise to try harder...

This week I have quietly contemplated my recent exercise in repeat dye and paint applications on to three different substrates. All three may be viewed here. The following are some of my thoughts on the outcome.

* I like the freedom in painting on the paper; gestural applications can be expressive, whereas on the fabrics they drag.
* Wet paint pools and blends on the paper, but the fabrics soak up the dye and restrict this activity.
* All printing and stamping techniques, using printing paints, respond the same on all three substrates.
* Applications don't dry as quick on the paper allowing for further activity, they don't dry quickly on the fabric substrates either where they sink into the fibres but are difficult to spread or shift further.

My preference, at this point in time, is the results on the cotton duck. I really like the way the wet dye wicks along the grain of the fabric. This seems to happen in one direction only, and in my test piece, this runs vertically. It softens the application and merges with the edges of previous applications. Also, wet dye does give total coverage, but not always fully as it will settle partly on the top surface of the fibres in some areas which I like.

Applications on the cotton duck.

As also mentioned in my previous blog I was planning to make a cot quilt to donate to the Christchurch earthquake victims. Using previously hand-dyed cottons, I have now finished my first cot quilt. I am not a quilter but did recall how to stitch and quilt at the same time. And with the help of the walking foot on my machine, I was able to machine stitch the whole piece.

My selection of hand-dyed cottons waiting for a purpose.

No, it is not an art quilt but I did enjoy the simplicity of the task.

Testing, testing...

Testing times indeed for New Zealand. Many thanks for your messages of support and concern. These are much appreciated.

Putting aside the tragedy here for a moment, I have finally done something I wanted to do for quite sometime. I decided to experiment with different substrates for the techniques I use in producing my art.

Set up ready to go. Left: paper (sketch book). Middle: my favourite silk/linen cloth from Thai Silks, USA. Right: cotton duck.

Each application was repeated at the same time on to all the substrates.

The final outcome. This is not an exercise in 'great art' but an attempt to record how different dyes, paints, techniques responded. I shall publish my thoughts in the next blog.

Testing times indeed for New Zealand. It is difficult knowing how one can help when living in other, unaffected, areas of NZ. Donations are important but there has to be more. Yesterday I realised I had a collection of co-ordinated hand-dyed cotton fat quarters left over from my previous business. I now plan to purchase some wadding and turn these pieces into cot size quilts. Autumn is around the corner, followed by winter. It will be cold.

This morning's blog...

Earlier this morning, New Zealand time, I posted a new blog titled 'We are hurting...'.

For some unexplained reason this has appeared as being posted 12 hours ago despite being recorded correctly as Friday, February 25, and the time 7.35am. If only we could turn the clock back....

Please check back through your incoming blog postings and it should be there. Thanks.

(Here's hoping that this one comes through at the correct time!)

We are hurting...

New Zealand has hit the world news again with another horrendous earthquake in Christchurch, a repeat of that experienced last September. New Zealand is reeling. The individual stories are heart wrenching, and it is difficult knowing how those immediately affected will continue. I am safe, my environment has not changed. My concerns however are palpable. It is not over yet.

It seems unfair to continue as normal but there is also a need that this is what should be done.

This week I returned to my latest sketch book while I contemplate my next piece. I know I should do this more often but it never seems to work out that way.

My latest 'doodle'. The quote on the left page is The mission of the observer is to have an active relationship with the thing observed, to view and to contemplate. Olga Ivandicki 1931 - 2009. (the smudging on the left page is seepage from the other side of the page)

Another scarf for myself evolved this week when a couple of fabric left-overs spotted each other and connected.

The left-overs. Crinkle silk and a silk rayon velvet.

I did some arashi shibori discharge on the crinkle silk, and this is the end result.

Second life

As I am in between works at the moment with the finishing of the two 'Tied to the House' pieces, and with new ideas still in formulation, I turned to a few things put aside for doing 'sometime'.

When searching recently for some fabric in my stash I came across a shirring elastic hand-dyed silk band which had in its first life been a peplum band on a jacket. I now can't remember why I eventually removed it but in re-discovering it I decided it would make a great scarf. Fortunately I still had some of the fabric left and set about binding the raw edge. I shall enjoy wearing this 'second life' scarf!



The last couple of weeks have been dominated by all the galleries and institutions presenting new exhibitions and programmes. The Wellington City Art Gallery, among other things, has Crown Lynn: Crockery of Distinction (closes 25 April). The Crown Lynn company started in the 1920's as a pipe and brick manufacturer and then evolved into classic kiwiana household ceramics in the 1960's. Pieces are instantly recognisable and most of us here in New Zealand will have some pieces of Crown Lynn tucked away. The exhibition includes several extensive private collections.

The exhibition included some design boards from well known artists who entered competitions in the 1950's and 60's and whose designs made it to production. I was immediately taken back to these days when I too entered at least one, maybe, two designs into these competitions. Entries were painted on to templates supplied, and then submitted. I was a school student in that era and am now quite amazed that I thought I could do it. And no my designs which I now can't recall at all, didn't make the grade! What does interest me is that I thought to have a go, and all these years later nothing has changed.

A Dorothy Thorpe design, Santa Barbara, 1965. Photo: Studio La Gonda. (Copied from City Gallery website).

They are finished...

Here they are, both mounted and wrapped:


© Diana Parkes, 2011. Tied to the House, left Descent, right Ascent. Each piece 30cm x 30cm / 12" x 12"; together 63cm x 33cm / 13" x 25". Silk and cotton cloth, dye, pigment, stitching, cord, painted boards.

My theme of the house shape is continued here. The title refers to being confined to the house, hence the wrappings. The stairs and figures relate to life, sometimes it is 'up' and other times 'down'.

Side photo showing the boards.