Wednesday, April 24, 2013

Module SIX – Chapter EIGHT – RESEARCH FOR CONSERVATION THEME – PART ONE


THE TIBER RIVER: A DIFFERENT VIEW

Some days ago I took a long and free walk along the banks of the Tiber river which flows through the ancient heart of Rome toward the sea, only around 25 kilometres away. I followed the river course from the Vatican City downwards till the Isola Tiberina, the boat-shaped island which was once the location of an ancient temple to the Greek god of medicine and healing.

Water levels were still very high after the hefty rains of the past weeks and part of the banks submerged. Stone stairs connect the bridges to the banks which run along the basis of the tall walls. These stone embankments are about 12 meters tall and were built since the end of the 19th century to protect the city from the severe floods so frequent in the past.

The river banks are a sort of separate world in wintertime. High above, the busy city life, cars, people, buses. Down here almost nobody, discarded waste of every kind, trash, old rags, pavements heavily damaged by the water, naked branches, silence. In summer things change: structures are rebuilt, damages repaired, people stroll leisurely along the book stalls and the cafés.

I took a great number of photos not of the beautiful buildings high above, but of the vault of the bridges from below, of the trash, of the old food wastes, of the ravaged ferryboat piers, of the ruined bicycle path.

So this is going to be my conservation theme for the final wall-hanging, as discussed with Sian: the sad conditions of neglect of the Tiber in the very centre of Rome.

Here are drawings from some details and photos:


Drawing foto 2


Naked branches emerging from the muddy water


Drawing foto 3


A graffiti “embroidery” along one of the banks


Drawing foto 5 

Ravaged bicycle path


Drawing foto 4


Trash, rags, plastics

 Drawing foto 1
Drawing foto 7


Drawing foto 6


The multi-layered structure from down the bank

Drawing foto 9


Plastic bags trapped into the branches


Drawing foto 8



COLOUR PALETTE



From another set of photos I painted the colours I saw


Tabella colori 1





 DESIGN EXERCISE


Words suggested by Sian Martin


BW 5 BW 2
married, enclosed, rhythmical   …….. crushed, controlled, enveloped



BW 4BW 8
peaceful, soft, quiet, restful ……………………..controlled, strong, enclosed


BW 10BW 1
expelled, enclosed, separated, imprisoned ….. bend, separated, vigorous


BW 11  BW 9
frenzied, expelled, compressed ……………. bend, fast, vigorous, enclosed




Words which came to mind while looking at images collected



   BW 6BW 3
entwined, strong roots, world below -------------------------- hard and soft, solid and fluid, conflicting



BW 12      BW 18
gentle, imprisoned among branches, entwined, fragile cages --------------- gentle, rhythmical, fast, new life budding


BW 7 BW 13
confused, who knows?, afraid to get near ---------------- separated, parallel worlds, conflicting, alone in beauty



BW 14 BW 15
alone in beauty, graffiti embroidery, small world ------------- delicacy, spring coming, do not think too much



 BW 16 BW 17
layers of parallel worlds, unaware, shadow: shelter from life, arches like wombs, noise/silence, resilience strength (left)
underneath, forgotten, disrupt, crushed (right)



BW 23 BW 19
conflicting, delicacy of things forgotten, silence/noise (left)
still lagoon, softly remembering in the shade of your heart, in the warm pleats of your soul



BW 20 BW 21
vigorous, trust your strong roots, strong in current (left)
be strong when current draws you away, trust your strong roots, use what you can, do not think too much (right)


BW 22
unaware, cold and humid, winter at its end


Monday, March 18, 2013

Module SIX – Chapter SEVEN – USE OF DISSOLVABLE FABRICS



1 – TECHNICAL SAMPLES USING ONE TYPE OF STITCH METHOD


The photo below shows my technical samples of stitching on six different water soluble materials. The first three samples from left make use of fabrics I bought some years ago – Avalon, Solufleece and Soluweb – while the second group towards the right shows products that are more recent developments of the industry – Romeo, Guilletta and Water Soluble Paper. I stitched the same patterns on all of them: straight and zigzag stitch grids both in regular and free stitchery plus some other simple drawings.


PHOTO ONE – samples before dissolving

Technical sample before 2



PHOTO TWO: Avalon Soluweb and Solufleece after dissolving

Technical sample after 2



PHOTO THREE: Guilletta Romeo and Water Soluble Paper after dissolving

Technical sample after 1


All in all it does not seem to me that samples obtained are so different in appearance or quality. What it DOES change is the easiness of working on the newer materials: they are more stable, it is possible to draw on them – drawing on the water soluble paper is particularly nice - Romeo and Guilletta are both transparent and this is so useful when there is a need to follow lines or patterns placed underneath; Guilletta is lighter and less expensive, Romeo is more substantial but both can be used without a hoop – in case of heavy stitching Guilletta can be doubled - and I find this invaluable. Being thicker Romeo dissolves less quickly and this can be useful if a more rigid final effect is wished. Water soluble paper samples show some residues still trapped in the stitchery for a different effect.



2 - SAMPLES OF SOLUBLE LACE USING DIFFERENT STITCH METHODS


For this second series of samples I used only Guilletta and Romeo films without a frame. The numbers placed beside each of them follow the very useful system suggested by Sian.

1: regular stitching, 2: free stitching, 3: very open, 4: very dense, 5: only one direction, 6: opposite directions, 7: curved shapes, 8: straight stitch, 9: zigzag stitch, 10: cable stitch, 11: whip stitch, 12: metallic thread, 13: trapped bits


Combination sampler



 3 – SOLUBLE LACE SAMPLES BASED ON SEA AND SKY DRAWINGS


Guilletta is the film used for these samples. All measure approximately 10-12 cm on each side and some incorporate fragments of chiffon. I placed all of them on a white or cream background to show how they are look on their own, then on a coloured fabric to have a first idea of how these laces could be combined in a more complex way.
Before each of them there is the drawing on which it is based. Drawings are quite small in reality – squares of 4 cm – but I enlarged them to see patterns more clearly. I used mainly the same drawings of Chapter SIX  in order to see how they translate both in cutwork and free lace.  


SAMPLE ONE

Foto 1 dis 1


Straight stitch only

Lace 1



DETAIL ON BLACK BACKGROUND

Lace 1 detail



SAMPLE TWO

Foto 3 dis 2


Zigzag and straight stitch

Lace 2


Lace 2 detail



SAMPLE THREE

Foto 5 dis 1


This sample is actually a combination of three in white, blue and green then interlaced and overlapped.

Lace 3



DETAIL ON BLUE BACKGROUND

Lace 3 detail


SAMPLE FOUR

Foto 5 dis 3

Lace 4


DETAIL ON A MOTTLED PAPER

Lace 4 detail


SAMPLE FIVE


Foto 6 dis 1


Lace 5


DETAIL ON A BLUE FABRIC


Lace 5 detail