Page 90 - The Digital Cloth Issue 3

There are times however when I just feel the need negative space as possible. To create the
for experimentation. With Procion, Indigo, Rust structure, the damp threads are laid over
dyes or fabric paints I apply colour to the vessels and allowed to dry, only then will I
pre-loved textiles I’ve collected. Natural fibres know if it is strong enough to hold its shape.
are my choice although I do deviate at times to
explore Lutradur, Tyvek and synthetic organzas.
I love to pipette colour onto cloth, spraying with
soda water and watch as the colours merge. It
never ceases to amaze me how we can all begin
with the same pot of dye powder but individually
create something unique.
Another favourite technique of mine is to cram
fabric into jam jars with drops of Procion dye,
enjoying the wonder of what has been created
after steaming it in the microwave. Colouring and
dyeing cloth and threads usually occurs in the
summer months when I can work outside to make
use of both the space and the weather,
resulting in a mixed bag of starting materials
ready for when inspiration strikes in the winter.

Moonlight - right
In this piece, the silhouette shapes of fern and
wheat were created with Cyanotype printing.
Silver Madeira thread has been used to hand
stitch texture, pattern and depth to the fern and
the moon which can be seen when closely
observed. The background is created by a
mixture of dye techniques including Procion and
Indigo dyeing, with the selection and
arrangement reflecting the essence of a grassy
meadow hand stitched together with metallic
thread. Cow Parsley and white flowers were
created with free motion stitching onto Romeo
Aquafilm trapping fleece, wool neps and medical
gauze with white and silver threads layered to
create depth. This was attached by hand as a final
stage. Contrasting white amongst the deep blue
captures the ethereal moonlight within the
meadow.

Stitched Bowls
Free motion stitched bowls are made by trapping
dyed medical gauze, threads, foils and any
leftover materials between layers of Romeo
Aquafilm. The process of making these vessels has
become a therapeutic method to let off steam. I
enjoy the challenge of testing the capabilities of
the technique exploring how few stitches can be
used to maintain the 3D structure once the
Aquafilm is washed away, leaving as much