We made a road trip from Darwin to Perth in late 2012. Ever since, I have been trying to respond to my observations and feelings about Australian colours and landscape through my work. I didn’t want to represent landscape, although one or two pieces have recognisable elements in them, such as trees. I don’t want to blog about my thoughts when I was planning the work except to say that each has to function as a flat or hung painting, and each piece must be wearable.
This, I began to realise, poses a problem. British light + clients don’t always respond well to the colours of Australia as wearable textiles. Australian colours are often vivid, highly contrasting and very, very bright. It’s to do with the intense heat, the light, the colour of the earth, sky and sea. British wearers often choose muted and more subtle shades to wear. These suit our pallid, sun-starved complexions and go very well with incessant rain.
So I have no idea if these vivid scarf-paintings will find a UK market.
I have been working with steam-fixed dyes on silk crêpe de Chine, using wax-resist. I have layered up the wax and dyes until the fabric is as stiff as a board. Each wax layer is made from hundreds of waxed brush strokes which undulate over the surface. The layers have sometimes been 8 deep. Before I de-waxed the last piece I weighed it out of curiosity because it seemed really heavy. I found that it had lost 107 grams of wax after I had steamed and soaked out the last wax residue. The piece shown above (all the images are from the same piece) took me several days and was very time consuming, but I am pleased with the technique of multi-layered marks.
This particular piece is about the colours of Broome, Western Australia, where the desert meets the sea in an astonishing cymbal-crash of bright rusty red and turquoise blue. The landscape sketch shows patches of mangrove: crocodiles are often seen in the area.