Isabella Whitworth

March 25, 2013
by Persicaria 2 Comments

Historical Dyeing at Leewood

Over the next few months I am working on a set of historical dye experiments at Leewood in the Dartmoor National Park with friend and colleague Jane Deane. Leewood is a beautiful 30 acre smallholding in the Dartmoor National Park owned by artist Nick Viney. It is set on the bank of the river Walkham with water-meadows and ancient woodland, and offers a versatile environment for events, creative study and sustainable (but definitely comfortable!) camping. You can see Leewood’s website here.

Jane and I are conducting a set of detailed dye experiments at Leewood using traditional dye recipes and several varieties of fleece. Using the dyes of woad, indigo, cochineal, madder and weld we are comparing amounts of dye absorbed by individual fleeces. This information will be of interest to contemporary makers and textile conservators. It will be a long project which could run into a second year so any conclusions will be arrived at slowly.

We did a starter session with weld earlier this month.

Isabella (left) and Jane Deane sorting fleece at Leewood, Dartmoor National Park. Nick Viney’s painting of shearing can be seen to the right

Equal dye and dyeing conditions for five different fleeces

Comparing results from different batches

Our weld session left us with rather more questions than it answered, but we are on our way. The sessions at Leewood are open to visitors – although we may politely ask them to stop asking questions from time to time while we struggle with the maths, at which neither of us excels.

The next session is on April 11th, and we will be using madder.

March 20, 2013
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Wax and dye course at West Dean

Two weekends ago I tutored a new course at West Dean called Silk Scarves: Brilliant with Pattern. I taught a number of pattern-making ideas which combined various elements of wax resist work with shibori. Most students were new to both techniques and I was initially concerned that I had tried to squeeze too much material into too short a time; however they told me at the end of the course that they didn’t agree. As always, I tend to learn as much as I teach and it was fascinating to see different results achieved with the same information – but processed by different creative minds.

Sample of student’s work in which accordion pleated silk was dipped into wax and then dyed

A variety of students’ work including wax resist and shibori

Sample square using wax resist applied with brushes, stamps and found objects

Variety of itajime (clamped) shibori scarves worked on silk gauze by students

Below is a sequence I worked out for creating what I call a double scarf. By working the scarf folded double, you automatically create a symmetrical design. It will only work effectively on a sheer or very light silk as the wax needs to penetrate through the double layers easily.

Finished scarf

Scarf folded in half and stretched on frame.

First layer of wax

One layer of dye, second layer of wax

Second layer of dye

If you want to try it:

Press the scarf in half along its length
Pin the scarf to a frame. For the piece above I pinned the rolled edges of the blank to the frame edge. The fold was aligned down the open centre of the frame
Support the folded edge with clips and masking tape. Do not put pins through the centre fold or it will mark with holes. You can only see the clips in the final two images
Once the folded scarf is firmly attached you can work a wax design through both layers. Remember that you can work half a design element across the fold (in this case, a semi circle)
Work several layers of wax and dye. In the example above I gradually altered the dye colour for the background to work from one colour to another
When dry, de-wax and steam the scarf. Very important: do not attempt to open up the scarf until the de-wax process. The heat of the iron will allow you to peel the layers apart; otherwise you may irreparably damage the silk

West Dean will be hosting an entirely new creative event on June 22 – 23 called Fusion. Details and booking info here. There will be demos of craft and cookery, garden tours, a shed trail (the Poetry and Knitting Sheds sound intriguing), performance, music, a family area, visits to the internationally renowned Tapestry Studio, and so on. And there will be craft workshops. I will be demonstrating my wax resist work on the Saturday and offering three 90 minute workshops in wax resist on the Sunday. Bookings through West Dean, and there’s an Early Bird advance discount. See you there?

March 4, 2013
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Natural dye extracts with wax

There’s a lot going on. A deadline for the Journal for Weavers, Spinners and Dyers meant last-minute articles had to be reviewed and proof-read. This coming weekend I am teaching at West Dean in West Sussex, the course is full, and there is a lot to do in advance. Immediately after getting back from West Dean I start a series of structured historical dyeing experiments at Leewood with colleague Jane Deane – more about the project on this page. The house smells of hot sheep at the moment as I have been scouring fleece. Next week I deliver new work for the spring exhibition at Redearth Gallery… and so it goes on.

Reading that lot, I am not quite sure how I found time to do a little work with Aquarelle liquid extract natural dyes (see my blog post on them here). But I used spare hours to paint the extracts directly onto mordanted silk, using wax as a resist between the layers of dye. The instructions for Aquarelle give details on heated dye baths for fixation but this is not an option with wax resist, because the heat of the dye bath would melt the wax. My plan has been to place dye-painted and partially dewaxed work in the fabric steamer to replicate the heat and damp of a dye-bath. To start with I just used two of the dyes: the liquid indigo ‘Saxon Blue’ and the Himalayan Rhubarb.

NOTE: My comments on the outcome must be read as they stand: they are emphatically not a comment on the effectiveness of the dyes themselves but on the dyes used in this unconventional way. There is a lot more work I need to do having seen the results.

My working method was as follows:

Silk scarf blanks mordanted in 8% alum 2% cream of tartar
Dried scarves stretched on a frame
Wax applied – in this case and in each layer simple stripes and lines across the scarf
Different dilutions of Himalayan Rhubarb (HR) and Liquid Indigo Saxon Blue (SB) applied to create variations of blue – green
After several layers using a similar technique, wax partially removed by ironing cloth between newspapers
Work rolled in paper and steamed for one hour (note: I don’t have a thermometer in the steamer. It is brought to the boil every two minutes and turns off for about two minutes)
Work dipped in White Spirit to remove residual wax, and rinsed several times

Four Aquarelle dyes

Work in progress showing wax over white areas; gold areas are Himalayan Rhubarb;greens are created by dilutions of Saxon Blue

Saxon Blue has bled into waxed area

The maroon bands in the ochre/yellow areas appear to be a chemical split in the dyestuff during steaming

Spots of dye on the surface of waxed areas transfer to silk surface during steaming

Splashes of Saxon Blue seem to have travelled through the steaming paper

Interesting range of greens and blues with pale dilutions of both dyes

Scarf showing its steamer paper

Scarf showing its steaming paper

Observations:

The good news is that the dyes have set in the steaming process. Repeated rinses after the White Spirit dip run entirely clear. I lost some of the SB in the first rinses, but this was almost certainly because I notched up the SB concentration to extremely high levels in some areas and probably overdid it. I always think of dyes and dye-sites like a game of Musical Chairs. When the chairs run out, the dye has nowhere to sit, molecularly speaking. It’s more to do with the fibre than the dye.

This experiment shows that it is possible to build quite dark tones by increasing the concentration of dye in selected areas. There are some deep greens. I had wondered if this would be possible, and it looks as though it is.

However, the HR has lost its lovely golden hue (see the original colour centre top) and has dulled to ochre. If you look at the images you can see some in which the steaming paper has picked up a lots of pink from the HR painted areas. The dyed steaming paper is lovely in itself: the red component of the dye has leached into the paper and didn’t fix to the silk. I have no idea why. It could be the mordanting. It could be the paper. It could be that I steamed too long, or steamed too hot. It could be that it would always happen, whatever the steam-time and heat. I now need to dye silk with all the Aquarelle colours, using their recommended dye bath, to evaluate their ‘true’ colours.

The centre image shows small blotches on a brownish area. These are created by small spots of dye on a wax surface which I failed to wipe off. These are travelling through to the silk surface as remaining wax melts in the steamer, and they then fix. In this case it is not too big a blemish, but it can look smudgy and ruin a design.

On the centre right image there are ugly blue splashes. These weren’t present when the fabric went into the steamer. I think loose dye may have travelled all the way through the steaming paper and I shall use two layers next time.

More puzzling is the bleeding of the SB into areas that had been waxed onto white. You can see these top right and centre left in the images. This can happen with synthetic dyes if the work has been placed too close to the outside of the paper roll. If you imagine the rolled paper in the steamer (see here for an idea of how it looks) there is more moisture reaching the roll on the outer surface when it is in the steamer. If the steamer isn’t up to heat, work on the outer part of the roll receives a lot of moisture, doesn’t begin to fix and starts to wander around – playing Musical Chairs. The solution is to wrap additional paper around the outside of a steaming roll. I didn’t do it this time. I am not sure whether the bleeding is a result of the steaming process or an issue to do with the dyes themselves. This didn’t seem to happen with dyes on the inner part of the roll, so I tend to blame my lack of foresight.

Conclusion

There is a lot to do but I am enthusiastic about the potential for working with Aquarelle with wax. The colours I achieved aren’t particularly exciting because of the dullness of the HR after steaming, and I need to research this aspect. But they have fixed efficiently via the steamer, it does seem possible to use wax as a resist, and to achieve some strong, dark tones. So I am optimistic; I just need a 36 hour day.

February 21, 2013
by Persicaria 6 Comments

Changing knowledge, changing attitudes: lichen dyeing

Because it looks like the inside tissue of human lungs, the lichen Lobaria pulmonaria (also known as Lungwort) was once commonly used in the treatment of chest infections. The historic rationale of using herbs that resemble parts of the body to treat illnesses of those parts of the body is called ‘the doctrine of signatures’. According to Wikipedia, a theological justification was made for this philosophy in Christian European metaphysics: It was reasoned that the Almighty must have set his sign upon the various means of curing disease which he provided. The ‘signature’ on the plant was that of God, as a means of guiding the healer’s hand.

Buying usnea lichen in Quito with Paul Gamboa of the Universidad Central del Ecuador

Lobaria pulmonaria

The substances in lichens used for both medicines and dye are normally acids; each lichen species can contain several types. The Wikipedia article (linked above) contains contemporary references to possible medicinal uses for L. pulmonaria, which has indeed been found to have anti-inflammatory and ulcer-preventing properties. So, perhaps it did assist in the treatment of chest infections. When I was in Ecuador I saw usnea lichens sold for the treatment of sore throats.

I took a serious interest in lichens when I began to study the orchil trade five years ago. You can read how it all came about here. Back then I joined a one-off lichen study walk, arranged by the local branch of the British Lichen Society (BLS). On the walk we were shown L. pulmonaria growing on just one ancient oak; the presence and abundance (or not) of this particular lichen is considered an indicator of forest age as it is normally found only in ancient woodland. It has been badly affected by habitat loss and pollution and according to Dominique Cardon, in many European countries it is a Red Data Book lichen.* Those of us on the lichen walk were asked not to broadcast the precise location of this rare specimen, but as the BLS Lobarion Interactive Map reveals L. pulmonaria at Rosemoor, I can confirm that’s where I saw it – without incurring enduring wrath from the BLS.

In 1960, Eileen M. Bolton published a little handbook for handweavers called Lichens for Vegetable Dyeing.** The book is no less than a classic. It is scholarly from botanic and chemical perspective and it’s also beautiful. It is illustrated with Eileen Bolton’s carefully observed drawings and paintings with several lichens appearing on the same page along with snails, butterflies and curling fronds of ferns or flowers. Through these she shows a thorough knowledge, love and and respect for lichens, and her text includes comments relevant to the US as well as Europe. She makes no general statement on the wisdom and ethics of gathering lichen although she does advocate taking only a little of the L. pulmonaria ‘as it takes years to grow, and forestry operations are likely to make the plant even more scarce.’ She also refers to some species as being ‘less plentiful’.

In 1991 the book*** was reissued in the US due to the efforts of Karen Diadick Casselman. The fascinating story of Eileen Bolton, her family, and tracking down the copyright to her 1960 book, is told in the preface. I strongly recommend reading the preface but the whole book is available to read online here where you can also see Eileen Bolton’s illustrations. The re-issued book was updated to included the status of rare and potentially endangered lichens; L pulmonaria is noted to be endangered in Britain by 1991.

Ten years later, Karen Diadick Casselman’s 2001 book**** on lichen dyes is prefaced by two pages on the ethical approach to dyeing, a useful chapter on ethics and identification, and an epilogue which briefly exposes some conflicting attitudes and raises questions that potential lichen dyers might consider. I would just add this: I have learned a little through my contact with mycologists while researching orchil and one of these is the utter complexity of lichen reproduction. It still isn’t properly understood. It isn’t known that a ‘windfall’ lichen can no longer reproduce, or for how long it might reproduce once fallen. Gathering windfall lichen seems less of a wise move than once it did unless you are actually rescuing it from the bonfire. I now place windfalls back into the crevices of trees.

Old and new imagery

Eileen M Bolton’s 1960s book on lichens for dyeing

Last but not least: the pronunciation issue

Is it lichens (to rhyme with kitchens) or lichens (sounds like likens)? I have always said lichens to rhyme with kitchens. Maybe it’s a generation thing in the UK. I am not sure about pronunciation in the US (I’d like to hear from you!) but I think the likens pronunciation is more common. At the Royal Botanic Gardens, Kew, where I have worked with mycologists, they also say ‘likens’. But they also say I am not wrong, and as I have no intention of changing at my age, that’s just as well.

Books referred to in this post

*Natural Dyes: Sources, Tradition, Technology and Science; Dominique Cardon; Archetype Publications; 2007; p 518-9

** Lichens for Vegetable Dyeing; Eileen M. Bolton; Studio Books 1960

*** Lichens for Vegetable Dyeing; Eileen M. Bolton; second edition edited by Karen Leigh Casselman and Julia Bolton Holloway; Robin and Russ Handweavers 1991

**** Lichen Dyes: The New Source Book; Karen Diadick Casselman; Dover Publications 2001

February 14, 2013
by Persicaria 13 Comments

Ten things I learned about blogging

What do I have in common with two new-road-protesters, a writer seeking a publisher, a foster-carer, a few craftspeople and a family history researcher ? We all met last night at the Devon Guild of Craftsmen, attending a beginners’ workshop called ‘Writing an engaging blog.’ The workshop was given by Cosmic ethical IT, a local social enterprise company.

The presenter faced a diverse group. Many of us were familiar with material she had prepared, but to others it was new and puzzling. Some of us operated blogs; others would like to, but didn’t know where to start. Few understood the full potential of interaction with other social media or the best use of tags, categories, search engine optimisation (SEO) and Rich Titles (which are nothing to do with last week’s bones in the car park).

I have distilled the evening into my own LIST of 10 useful / interesting pieces of information:

Over a glass of Rioja or similar, identify 15 words or phrases that anyone would need to find your blog, and use them regularly in posts, tags, categories. Do this before too much of the Rioja disappears
Decide who you are, and who your audience is, and always speak to that audience
Words in titles of posts carry more ‘weight’ for search engines than the body of the post. Making ‘rich titles’ means including key words or phrases in the titles as well as the post
Google spiders, which regularly trawl the internet, take sophisticated ‘snapshots’ of sites and compare them next visit, giving greater weight to updated content. Updating regularly is vital
Having links from more prominent organisations into your site will carry more search engine weight than the other way round. Spiders can, and do, cancel out reciprocal links in their calculations!
Pinterest is becoming a particularly important social media tool in the US. Workshop participants commented on how time-consuming it can be to maintain a Pinterest board
The Facebook business page can be used to generate very useful statistics on the traffic into a site or blog
You can search Google specifically for blogs with the content you want
Using YouTube is considered very valuable and it is easy to add (properly attributed) video content to your site
Certain types and formats of post are very popular with readers. One of these formats is THE LIST.

This is cheating, as it will make 11. But the other thing I learned was that when you wrap text around an image in WordPress, you can set a border so that the text doesn’t crowd in on it. I have disliked this but haven’t known how to avoid it. I learned how to rectify it last night by using the ‘Advanced’ settings for images. You can set the border to be white as below, not the default black. Warning: In the ‘dashboard’ stage my version looks awful, with the photo overlapping the text. But when uploaded it comes right.

Studio scene complete with empty Rioja bottles

The evening left me wondering who exactly I am in this blog, in terms of my 15 useful words or phrases. Natural dyes, history of natural dyes, dyeing, synthetic dyes, wax resist, shibori, orchil, orchil research, silk painting, indigo, Devon, teaching, workshops, lectures, talks makes 15, and I’ve used them, and it is all the serious stuff.

But it leaves no room at all for nonsense, which will surely creep in amongst the worthy natural dye and shibori. For instance, take a look at the Guardian comment generator, found via the Twitter feed of the admirable @SimonNRicketts. Press the buttons and you will generate some gems, such as this one from Gwyn Trig-Hampsteath of St Andrews:

After spending three years in a Tibetan Buddhist monastery, I find that I am able to see much more clearly the interconnections between today’s geo-political imbalances and many of our social predicaments – for instance: Isn’t it amazing that we can find £30bn to spend on Trident but we can’t afford even basic woodwind lessons for all Primary school pupils?

You see? There is currently no danger of me joining Facebook and going viral.

Thanks to Fiona of Cosmic, and to the Devon Guild of Craftsmen for organising this event.

February 6, 2013
by Persicaria 5 Comments

A purple tent and Mr Ibsen’s haplotype

A journalist friend once told me that when bored in the newsroom, colleagues would set each other random words or phrases to insert as logically as possible into the day’s articles. The game was to sneak them past the wily editor, and everyone bought the winner a beer. With no colleagues to deal me a rum hand, I idly set myself a trio. A purple tent; sheep’s dung and Ibsen’s haplotype.

As only the wily and super-smart read this blog, they will instantly smell a rat and I will not win the beer tonight.

Yesterday I received a draft paper on a set of sixteenth century tapestries at the Historic Royal Palaces – in this case, Hampton Court. During conservation work last year, dye analysis was carried out on a tapestry and orchil was found. Because tapestries were such lavish purchases, (a series might cost the equivalent of a super-yacht in today’s money), the use of such a light fugitive dye is surprising. But it’s not the first instance I know of. In the book accompanying the V&A’s 2010 exhibition of the Sistine Chapel Tapestries,* the (pitifully small) commentary on the dyes included the finding of orchil.

In the case of the Hampton Court set, further analysis was to be carried out which involved dyeing and testing wool samples. I assisted by teaching the making of an orchil vat and demonstrating how to dye with orchil. It was fascinating to be involved in such a project and when the paper is published I will say more about it. Alexander and Hephaestion were the key figures in the tapestry, standing in front of a purple tent. The tapestry is one of a series called the Battles of Alexander.

And onwards to the sheep’s dung. My initial contact with Hampton Court was through a recommendation. The natural dye / natural dye history world is very small and everyone knows each other’s particular dye obsessions. Deb Bamford is an expert natural dyer, member of the Online Guild of Weavers, Spinners and Dyers and always seen at the DHA (Dyes in History and Archaeology) conferences. She has worked and advised at Hampton Court before and was able to recommend me for my involvement with orchil. Deb will be a tutor at the Summer School of the Association of Weavers, Spinners and Dyers in August this year. I have a place on her course Turkey Red and all that Madder. One of the challenges in natural dye is in obtaining good shades on cellulose and I hope to learn a lot about the various methods and recipes for Turkey Red for which one ingredient used to be sheep’s dung.

My involvement with dyes, history and chemical analysis has increased over the past five years and it is astonishing what modern analysis can reveal about dyes, colour, and even the variety of a species used to dye a textile. I have been similarly intrigued by the strands of research and archaeological evidence that included the DNA analysis of Michael Ibsen and the identification of Richard III’s bones. One of the first novels I ever read was The Daughter of Time by Josephine Tey, which questions the ‘Shakespearian’ version of Richard III and considers how history is constructed very much in the interests of its authors.

Its title is based on a quotation from Sir Francis Bacon: Truth is the daughter of time, not of authority.

* Raphael: Cartoons and Tapestries for the Sistine Chapel; Evans, Browne and Nesselrath; V&A Publishing 2010; pp 36-37

February 1, 2013
by Persicaria 4 Comments

New toys, no time to play

Last week I took one of my regular looks at Jenny Dean’s website Wild Colour. Jenny is an authority on natural dyes and author of several practical books on the subject. I respect her work and long experience and her website invariably includes something new and interesting. Her book Wild Colour was reprinted by Mitchell Beazley in 2010 with updates and revisions – and I wouldn’t be without it.

Jenny’s entry for January 8th 2013 was about a set of natural dye extracts in liquid form. They are called Aquarelle, they are from Botanical Colors and certified compliant with the Global Organic Textile Standard (GOTS). Jenny’s images show colours on wool yarn and silk fabric; some are mordanted and some are not. The colours look very good, especially on the wool, although the silk looks paler.

Twitter was then tweeted to see if any dyehards had experience of Aquarelle. Positive input arrived from several people including Jane Deane (no relation to Jenny and note the different spelling!) who tested the dyes last year. Jane probably told me all about them then, but I’m afraid I had forgotten.

I have used raw dyestuffs or powder extracts, but never a liquid extract which might suit my work better so I ordered a set of dyes which arrived yesterday. There is only one stockist in the UK, as far as I know, and that is D.T Crafts who import the dyes from the States. Unfortunately I just don’t have the time to try them out at the moment, so I took a photo instead.

Four Aquarelle dyes

Natural dyes on georgette; wax resist

A satisfying way of combining natural dyes with wax resist continues to be a challenge for me. I am at my most confident when designs originate in a drawing or sketchbook study and gradually evolve into an image, a texture or an arrangement of shapes, defined by wax as a resist. The original drawing drives me onwards through several incarnations of an idea, although I occasionally fizzle out, exhausted or bored when something doesn’t merit further exploration. Synthetic dyes are my medium for this type of work; they are painted on in layers alternating with the wax, and then steamed. They go where they are put, they stay there, the overdyes are predictable and they don’t change colour. It’s not at all like that with natural dyes, which, of course, is part of their allure.

Natural dyes normally require heat, and heat melts the wax, so there is an instant difficulty with the natural dye / wax technique. Each separate dye requires individual handling and the colour may not turn out the same as the last time you used it. One dye can affect another, unexpectedly altering a colour or tone and overdyes aren’t always predictable. The timing of the indigo layer is crucial, as is mordanting. I have achieved a few pieces that I am happy with and these can be seen in the gallery section, and above. The central piece suffered from too much alkali in the indigo vat and the silk went harsh. That’s yet another problem with the technique.

I will certainly be posting on the results of work with Aquarelle when I have time to try them out.

January 27, 2013
by Persicaria 4 Comments

Mud on the dog, blood on the ropes

The mud? Our snowflake melted, the moor is waterlogged, ditches and streams are overflowing, and although water is trying to flow downhill, it has to queue up and wait its turn. Water has nowhere left to go. The dog ploughs happily through it all, acquiring an abstract expressionist look to her fur. The final dog walk event nearing home must be in the ditch we call the Dog Wash.

Damp in the Devon air oozes into cob, thatch, wood and stone. I am a church bell ringer and it also oozes into the bell ropes if they are not kept dry between ringing sessions. We have an extraordinary system to keep our ropes dry in the main tower – ropes are held within a large tube and a piano heater placed inside. But we ring in other places where there is no heat available. Damp ropes become hard and tight and they also shorten in length. It makes them particularly hard to ring and is wicked on the hands, often resulting in blisters and friction burns – hence occasional drawn blood. We had a long practice session on Saturday and I scored a four-plaster pair of hands this morning. Later, during the day’s ritual dog-mudding, I wondered what fibre is used for bell ropes.

These two quotes are from the website of Mendip Ropemakers Ltd

Flax has become the most widely used natural fibre for Church bell ropes. Flax is widely available at a reasonable price but the quality can vary depending on a wet or dry harvest. Flax is hard wearing and soft to handle. It is liable to absorb moisture and stiffens in damp or humid conditions. Longer ropes can change in length as a result of wet & dry weather.

Hemp is the traditional material for bell ropes. It is a superior quality of natural fibre rope, giving greater strength and abrasion qualities. Hemp is not as readily available as flax and is therefore more expensive. Hemp rope may seem a little hard on the hands initially, but softens with use. Hemp is also liable to absorb moisture and stiffens in damp or humid conditions. Longer ropes can change in length as a result of wet & dry weather.

The team prepares to ring for a wedding. They are holding the sallies

A bride arrives in the tower

The other side of the wedding

The bell mechanism

View from our church tower

There are several companies that make ropes, among them Ellis Bell Ropes in Leicestershire whose site shows how the sallies are made, by inserting coloured wool into the rope. The sallies are the tufted lengths which ringers grip while ringing; you can see some of them in the images above. They are often striped, which makes it easier to see them whizz up and down in dark bell towers.

Man-made fibres are also used: I saw references to pre-stretched polyester and something called Dyneema which is a ‘polyethylene core shrouded with a polyester sheave’. You can also buy combination ropes, where the bottom of the rope is flax and the top of man-made fibre.

Why do I ring? I enjoy being part of a team following an ancient tradition. I love old churches, and ringing in different places gives me the opportunity to climb towers. And, crusty old cynic that I am, I enjoy the ceremony, celebration and hope signified by a wedding and the theatrical moment when a peal of bells announces the emergence of the newly-married couple into the daylight. In our small town, there is normally a large crowd waiting.

January 22, 2013
by Persicaria Leave a comment

Of shibori and Eisenia fetida

Britain has embarrassingly ground to a halt under the assault of several frightening snowflakes. If you live in continental Europe, our annual impotence in the face of white stuff falling from the sky is the subject of tittering merriment from Montpellier to Munich.

If you live further afield I should explain that snow is not at all unknown in Britain. But gritters, snowploughs, de-icers etc are on the endangered list having been overfished, over-harvested or hunted to extinction. As a result schools close, public transport fails, there is panic buying in the shops and local news teams go searching for slopes covered in merry tobogganing children.

Last week’s accelerated endeavour to make shibori scarves for Friday turned out pointless; the morning meeting at which I was to hand them over was cancelled because of a large snowflake between Exeter and Bovey Tracey. A major road was ‘too dangerous’ and we were all advised to stay in our homes wrapped in blankets and listen to our radios. Nevertheless, getting ahead and completing scarves did give me unexpected studio time and I have been working on a set of samples to demonstrate techniques for my March course Brilliant with Pattern at West Dean. I am combining shibori and wax resist with a new set of techniques that occurred to me in one of those middle-of-the night eureka! moments.

I occasionally think of useful things in the middle of the night but normally I lie awake beset by obsessional anxieties over pieces of paper I may or may not have lost, people I may not have upset and whether the worm composter needs emptying at 4 am before the entire population of Eisenia fetida drowns. And talking of the worm composter, it did a Boris Johnson last week and some seeds germinated inside to form an extraordinary growth of thatch. It was quite a picture inside, so I took one. And here are a couple of others of work from weather week.

What’s happening in the worm composter

Folded, clamped and tied

Shibori techniques and wax

January 17, 2013
by Persicaria 2 Comments

Reflections

I happened to mention to a friend that I only look tidy for an hour once every six weeks. This unusual sixty minutes occurs immediately after my haircut – and today was haircut day. Friend suggested that I astonish my blog readership with an image of me during tidy-hour, but I am a bit shy to do that. Instead you shall have a reflection of the svelte-for-a-moment-me in the cylinder of my fabric steamer. I loaded it up this morning with nine shibori scarves, and the three waxed ones which I completed since New Year. The image is wonderful, for in the reflection process I have lost three tons and almost look thin. Other images show the lead up to the steam with making the shibori scarves, removing wax from the waxed pieces and other bits and pieces.