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Beginnings of a piece titled “7119 Carnot” Embroidery thread on doily. 

I was assigned a project in my introductory textiles class in undergrad to create a self – portrait, that didn’t necessarily have to be a “portrait,” using embroidery. Obviously I got a bit introspective and considered who I am, what makes me who I am and how to portray that with some thread. Being a homebody my home is a very important part of who I am, it also can represent where I came from, etc. So, I made an embroidery of my childhood home – it was my first time really embroidering anything so it was a bit of a mess, but I made it. I embroidered on a doily, the most domestic fabric out there. This ended up in a Student Juried Exhibition and then I later gifted it to my grandmother.

Now, recently I have been feeling inclined to create a series illustrating my different Homes. Places I’ve lived, places I feel safe, etc. This is the beginning of this series, basically an improved recreation of that first Home embroidery. I will create one for every place I have felt at home. I have very high expectations for myself and this series and hopefully I will be able not only to live up to those expectations, but also be able to create a coherent statement to accompany them.

Troubleshooting

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Exposing. 

As easy as cyanotypes are, they can be touchy about a few things… This project has led to a lot of troubleshooting, but since I feel very strongly about the idea I will continue until I get it right.

This project involves printing politicians faces on menstrual pads. To start, I had to find images (that didn’t have copyrights) on the internet and make negatives out of them. The transparencies I found are a little lacking in quality, and may need to be upgraded before this project reaches completion, but for now I think they will work!

The first attempt at this project back in January(ish) I used just the pads I had available and attempted to expose using black/uv lights indoors. Two problems with this, the pad I had did not contain enough cotton so the chemicals rinsed out with the water (I don’t know how I didn’t think of this). And the UV light exposed the image too slowly to capture the contrast I needed.

Second attempt, I got 100% cotton single use pads. Now, something happened during the drying process, either the area they were hanging in got too humid, or the chemicals went bad in the heat of the week I made them. Either way, the chemicals were almost completely exposed by the time they were dry. I tried to expose them anyway (above image) and discovered that the chemicals stayed, but the pads were exposed and no image was visible. The last problem I ran into, was that the pad began to fall apart during the rinse.

So, my plan over the next few days: I am going to get cotton, reusable pads. Cloth. These will be sensitized and dried in an area that has better (and less humid) circulation. I will test only one to start, just in case my chemicals have gone bad. Then expose from there!

I am weirdly loving this frustrating challenge and I cannot wait to show off the results. After posting this image on Instagram I have gotten a lot of positive responses for the project, which just pushes and inspires me to make this the best I can. Wait for more updates on this project!!

Feeling Blue… Cyan Specifically

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Cyanotype making! 

One of my very favorite photographic processes is the Cyanotype. It’s probably one of the most simple processes – Add equal parts solution A to solution B, a small dash of C if you want some contrast, coat or soak, dry, expose, rinse with water. Thats it. Children can do it. I love the simplicity because it gives me so much more room to experiment with concepts, what the chemicals are going on, i.e. fabric, paper, really anything that can soak up liquid and hold dye, and the infinite possibilities that those hold.

My favorite thing to use is fabric, because it holds the chemicals so well and can be easily folded, embroidered on, have previous patterns show through, etc. It brings in a whole new set of possibilities that paper just can’t always offer.

Currently, I am working on an idea thats a little more experimental and also a little political. Yesterday I was doing some more tests, the last batch failed, so hopefully I made the proper adjustments! The medium will be drying today and within the next few days or so I will expose them and post again, so watch for the next steps!

 

I use the term “studio” loosely…

As a recently graduated, definitely in debt, artist I do not have a studio space. So, creating impromptu studio space around my one bedroom apartment is usually how I work. But, I believe having a work space that inspires you and creates minimal distraction is very important. For me that entails…

  1. being in the room my significant other is not.
  2. surrounding myself with materials, inspiration, anything I may need.
  3. making myself comfortable.

I am easily distracted by sounds, so something I usually do is turn off any tv, music, all that. I find that music and tv distract me from my process, I can’t think in depth about what I’m working on if I’m singing along with my favorite tunage. That said, I don’t work in a sensory deprivation chamber. I usually have pretty lights strung up, other art I’ve made, books, any visual inspiration totally surrounding me.

My work space this morning, notice my stack of book references, extra pens, extra birds, and of course coffee!

Continued Progress

I have continued work on the various drawing series that I previously posted and I have been enjoying them immensely. Even though I have never thought of myself as a drawer, this has become the media in which I have been working most. I am still learning a little bit in this media, but the process has been something that I love.

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Supposed to be skinny, Pen drawing, 2018
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So fucking sad, Pen drawing, 2018
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It is what it is, Pen drawing, 2018
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A monster, Pen drawing, 2018
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House Sparrow, Pen and Watercolor pastels, 2018
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Ruby Throated Hummingbird, Pen and Watercolor pastels, 2018
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Mourning Dove, Pen and Watercolor pastels, 2018
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Great Blue Heron, Pen and Watercolor pastels, 2018
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Oriole, Pen and Watercolor pastels, 2018
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Goldfinch, Pen and Watercolor pastels, 2018
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Chickadee, Pen and Watercolor pastels, 2018
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I believed you, Pen drawing, 2018
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So I stayed, Pen drawing, 2018
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It wasn’t, Pen drawing, 2018
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You never wanted me, Pen drawing, 2018

 

BadBrainPress

My best friend and soul mate is an extremely talented printmaker based in Texas, and when she sent me a literal box of her artwork I couldn’t have been more excited to share them. This particular series, titled “Imprints,” is my favorite of what she sent me. These specific pieces were created through a technique called blind embossing (embossing creates a raised texture through pressure instead of ink).

 

Though this process is specifically supposed to get a raised texture, I am so totally in love with the indents on the opposite sides. Delicate and sad, they are a memory of the plant that was used to create each piece. They are what remains, both in shape and with the actual leavings from each plant. I love that you can feel where each plant was, feel its shape, feel how prickly or hard it was even though the paper its self is soft.

BadBrainPress makes a huge variety of artwork, beautiful, funny, bold, sassy.

Check her out at:

https://www.instagram.com/badbrainpress/?hl=en

and

https://www.etsy.com/shop/BadBrainPress

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“Imprints” Blind embossing on handmade cotton paper using native Texan plant
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“Imprints” Blind embossing on handmade cotton paper using native Texan plant
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“Imprints” Blind embossing on handmade cotton paper using native Texan plant
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“Imprints” Blind embossing on handmade cotton paper using native Texan plant
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“Imprints” Blind embossing on handmade cotton paper using native Texan plant
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“Imprints” Blind embossing on handmade cotton paper using native Texan plant