The Berlin Rug - interpretation

The Berlin Rug fragment

Silk on linen (28 ct) foundation,  1568  movements per square inch. Dimensions of the embroidery 4,75 x 8,5 ins (11,875 x 21,25 cms); embroidered by Kathryn Blackmore Borel, L’Art de l’Aiguille, Canada, 2012

This piece took me through all seasons, beginning in late Spring with the last of the snow on the garden and finishing in early winter as the first snow arrives.  At no time did I tire of this densely-stitched piece.  The colours were clean, the lines defined precisely.  There were rest periods where I could just stitch without referring to a chart, and other times where each movement had to be measured and counted.

It took an estimated 120 hours through close to 6 months of 2012 and  more than 60,000 movements of the needle through the fabric.  The eye concentrates on the precision of each stitch but the mind, at times, wanders and settles elsewhere.  The therapeutic aspect to this creative exercise allows ideas to find order where chaos reigned previously.  It is as if the thread gives linearity to jumbled thoughts and fixes them into a relative perspective.  It is regenerative as if I have eaten a nourishing meal where I might have been hungry;  food for the mind.  

The time I spent on this piece made me mull many of the fundamental questions I have.  What is original? What is a copy?  What defines ‘art’? Where does embroidery as a creative expression find itself in the ‘art’ world?  Is it part of the higher arts?  Is it a decorative art?  Is it not art at all but ‘craft’?   What is the vocabulary appropriate for this discipline?    What are the influences, the evolution, the social significance, the iconography.  What is the role of textile and specifically embroidery in our world?   

I often think that there is little artistry in a counted-thread work.  The art is in the preparation of the chart.  So full credit goes to Frank Cooper and a chart I discovered in his book ‘Miniature Carpets’.  To interpret the design, I chose different materials, working on a scale almost half as small as his design, using a lightly twisted silk thread rather than wool on a linen ground fabric as opposed to a cotton canvas.  As I worked, I felt less and less as if I was copying since what was jumping off the fabric was a work that had its own character, its own particular beauty, its own  specificity. 

I kept a photograph of the 15th century carpet fragment in my vista while I worked.  It was a reminder that there is very little original under the sun and most creative works are the result of an influence, conscious or subliminal, of something already seen and experienced.   Between this original piece and my work, there are only two degrees of separation;  Mr. Cooper's preparation of a chart and my interpretation of it.  But I did not copy the chart to the letter.  Aside from the adjustment in materials, I chose to not finish the right side, leaving the piece intentionally incomplete  The goal was to acknowledge that what remains of the original carpet is just a portion of it, and in so doing to broaden the conversation around my interpretation.

My fragment sits on my work table waiting for framing.  I love it.  I actually marvel at its simplicity and its beauty.  It envelops so many of the elements I hold dear:  pure fibre, clean lines, meaningful iconography, lustrous colour, small proportions.  It was an adventure into a far past which enriched much of my studio time in 2012, both intellectually and creatively, and, more importantly, while it lives alongside me, it will impart that essence of beauty which I crave daily.

The Berlin Rug

http://en.wikipedia.org/wiki/File:Phoenix_and_dragon_carpet_Anatolia_first_half_or_middle_15th_century.jpg

The link above gives the history of the piece which inspired the following work.  The chart from which I am working is included in  Frank M. Cooper's book on 'Oriental Carpets in Miniature'.  I'm tempted to leave my work incomplete and give it some additional significance recognizing that it is a copy of a fragment of the original carpet dating back to the 15th century also, understandably, incomplete.  I am not yet decided on this idea.  Here is my progress.

I am using Pearsalls Silks, rich blue, red, off white and golden yellow.  The silk gives a lusciousness to the work, and the light reflected by this pure fibre is of great clarity.  No room for error on this piece since the silk sits so exactly, if there is a change in tension, or incorrect placing of the needle, it will be visible.

Iris - progress 1

We've been travelling for the last couple of weeks, so there was no time to be in the studio.  


We were in France.  The first couple of days were spent in Normandy, in Bayeux and I finally had the chance to wander through the Museum to view 'La Tapisserie de la Reine Mathilde', after all these years during which I have frequently studied the pages of David Wilson's magnificent book on the story related in this 1000 year old embroidery.


The last week was spent in Paris, with family,  a reunion of sorts with the focus of a posthumous celebration for my father-in-law, whose courageous work during difficult times during the war was recognized and honoured.


We returned to the forest last Wednesday and I quickly organized myself to start work on the iris.   It's not that easy and I'm not sure yet about the effect of my work, but I am enjoying the experimentation with various types of silk thread, Pearsalls, Pipers and some chinese silk, Eterna.


This project is also a departure from my usual style given that it is so dense in its design.  Usually I work on simple lines and single subjects suspended on the linen.  I am having difficulty seeing the final picture in my mind despite the fact that I have done a watercolour study and thought a lot about the technical interpretation.   I am however enjoying the freedom of letting the colours and the various silks take me where they seem to want to go.  The result will surprise me;  hopefully in a good way.

Iris - a study

I took this picture last summer.. the colours were magnificent and thoroughly inspiring for a study in embroidery.


To do a first analysis, I took out my watercolour pencils and began experimenting.  In order to render a visual image in thread, I have to simplify it without sacrificing any of its pristine beauty.  Although I can't get much density in the colouring,  just fiddling around with the pencils and merging with water, I had a better understanding as to how I would tackle the subject with silk thread.

So here is the first throw with the coloured pencils.  I had difficulty deepening the colours.  Although I was working on a 140 lb paper, I was concerned that more water would break up the fibres and take away some of the clarity I was looking for.  It is a little like working a silk thread too much, it breaks up and loses the luminosity.  


But the exercise was invaluable.  I was able to remove some of the busy background and single out what I think is worthy of embroidering.  However,  I already anticipate some difficulty interpreting the leaves and the earth... 


Next step is to transfer the drawing to linen and choose the palette of colours.    Stay posted for progress.

William Morris - The Hare

Beth Russell has developed some beautiful charts inspired by William Morris.  Here is 'The Hare Pillow', photographed with two other designs which I have shown in earlier posts.    

Blue poppies - finished

This was such an enjoyable piece to embroider.  The threads just lead me on quickly to the end.   I am now ready to pick up something more complex having had the rest that this project afforded me all the while keeping the fingers moving.

Blue poppies - a rest

As a contrast and as a rest, I have started the poppy motif again but this time I am working with cotton floss and with a palette of grey-blues.  It is very restful, thanks to the ease with which cotton floss can be worked and the colour scheme.


I also do not anticipate any difficulties with the colour running so I feel quite at ease using the darker blues and greys for petals and stems.


I can also work on the 4 inch hoop in my hands, which also means that I can work sitting in an armchair and move from room to room with greater ease depending on whether I need to huddle by a warm fire (the temperatures have been around - 25 degrees Celsius) or quietly downstairs in the studio with the radio or the news.  


This was the progress of just one evening.  It'll be finished, barring any unforeseen problems, within the week,  I'm sure.

Poppies - finished with sadness

I put the final touches on the poppies this morning and went through my usual cleaning exercise conscious of the fact that the deep colours might bleed.


I took great care to blot the wet fabric to take away any excess dye that might want to spread into the surrounding background fabric.  I left the work to air dry for an hour.


When I returned from a brisk walk and some snow clearing (15 cms of snow fell in the night), I saw that some of the reds had seeped as well as one area of black.  I quickly threw it into cold water again, but to no avail.  In a certain light, these flaws are not so evident.  It is a dynamic piece and I was happy with it both technically and aesthetically.  However, I know the flaws are there.  The piece does not have that pristine quality I try always to attain and I am really disappointed.


However, I post the final picture alongside the watercolour study with the intent of explaining that sometimes there are things that fall outside of one's control and the consequences can be very saddening.   This is one such time.

Poppies - progress (2)

Poppies- progress

In listening to the news last night, while I was continuing my work on this piece, I realized that the poppies as a theme has returned at the same time that the conversation around the earthquake in Haïti of January 2010 has returned.


This has been purely coincidental but it did beg the question whether on some subliminal level, I have held on to the idea of remembering or more specifically, of  'not forgetting' the impact of those tragic events  so that the efforts to rebuild, to help, may continue.


I had been embroidering my first 'poppy' subject in January 2010 as the devastation of the earthquake was being felt.   Now I take up a new project, same theme, different interpretation, same time of the year and it is imbibed with all the same desires for hope, and that this country may reclaim a certain normalcy in its daily life.

The work table

It was a busy afternoon and this is the result on my work table around 5 p.m.










I made good progress on the poppies which I began last night.  It was an afternoon of experimenting with colour and how to render the light on the petals and the movement of each of the blooms.  Thus the reason for all the spools of thread around the frame.

Poppies

This watercolor has been looking at me for a while.


I began this tonight while watching 'The King's Speech' for the umpteenth time.










It will be an adventure in reds and blacks.  Already I have completed a couple of petals.  I have a good feeling and I am optimistic, not just about the piece but about life in general.

In full bloom

I stitched this small project quickly.  It was a rush of movement, of fine thread and delicate colour on the fabric.  I see the fury with which I sewed a little like the poet who is compelled to put her words on paper before they elude her.


There is something obsessional about how I worked this. Something to do with the downtime after the busyness of Christmas festivities and the departure of the children leaving the house quiet, maybe too quiet.  


But the silence was a motivator and while I marshall my thoughts to attempt an original work,  I was happy to find this design all ready to go, a place to put the immediate energy, to not waste time, to remain productive while cogitating the next creative burst.

Silk leaves - finished

I had set myself a target of Christmas to finish both the Phoenix and this piece.  I had started this one so many months ago, set it aside, came back to it, set it aside again and then finally completed it last week.


There was so much detail and I had chosen to work with Piper's 90 denier silk floss, a thread so fine that to cover a square inch takes at least 50 or 60 movements of the needle.  Most of my work takes an inordinate amount of patience, but this project called on everything I had.  Now that I look on the overall effect, I am happy I persisted.


With this now off my work table, I can start another design that has been calling for my attention.  I had drawn it at the same time as the Phoenix, another design from the 2005 catalogue from the Japanese Embroidery Centre in Dunwoody, Georgia  (www.japaneseembroidery.com).







I plan to work on white linen this time, once again with Piper's silks, but in apricot hues and bronze golds.  This piece is entitled 'In Full Bloom'.  It will be an exercise in precision since the dimensions are small and the interpretation intricate.