Monday, 22 September 2014

Absence / presence - dying

Absence/Presence continued …

Reference: Rebecca Cross

This excerpt from Fabric of Memory [1] explores further concepts of absence presence, loss and another artists personal journey through these landscapes.


    
"Silk, for all its incredible lightness, is pound-for-pound stronger than woven steel. Even so, Rebecca Cross stretches the fabric to its limit in her forthcoming show Presence/absence, where it is made to hold such weights as grief, memory, and celebratory love. The exhibition, opening next week at the Morgan Conservatory, is dedicated to Cross' daughter, Emma Rose Coleman, who died suddenly last November at 19.
Cross recalls walking with her daughter last fall, collecting pieces of slate the artist would later use to weigh down sections of organza to allow gravity to work the fabric into its desired shape. One piece of this type (pictured, detail) is a field of translucent white, broken by cresting peaks. Cross says the stone's weight has left a permanent impression on the fabric — a history or memory, even after the stone has been removed. She is comforted by the fact that human relationships work in a similar way.
"The actual presence has been removed, but all their information still resonates," she says. "It's about embodied memory."
The installation takes up all three walls of the Morgan Conservatory's exhibition space. It cannot be easily divided into individual pieces, only sections that place accents on any of the several themes Cross examines — musicality, grace, the power of words and objects to evoke memory, and the artist's own biography. Cross has chosen to exhibit fragments in this exhibition …. Traces. One segment of wall is devoted to the word "Emma," painted over and over again; while reading it, the reader is ushered into the world of the mourner. It is powerful and profound, especially when taken with Cross' examinations of the personal traces left on objects.
Originally from the Pacific Northwest, Cross transplanted to Ohio to study at Oberlin College and Kent State, where she now teaches. Her undergraduate degrees were in English and voice, and the written word, music, and dance still inform her work.
Where many artists use fiber and paper to represent something ethereal, Cross is unique in her drawing attention to the physicality of these airy materials, and the history of their conception. Though intensely personal and biographical, the show warmly invites viewers to consider the materials of their lives, and their intersections with dear ones.
Presence/absence opens with previews on Tuesday, May 29, and a reception will be held Friday, June 1, from 7 to 9 p.m. The show continues through Saturday, July 7, at 1754 East 47th Street. Call 216-361-9255 or go to morganconservatory.org to learn more.

Like Cross I am drawn by the ephemereal qualities of fabrics like organza, cheesecloth and muslin …. Like the membrane they too are permeable, they evoke the sense of a veil, a separation, delicate yet enduring. I set about dying some fabrics with natural materials firstly with onion skins – that was a process for sure – then I just experiemented with dying with tea bags ….

Onion skin fabric  dying recipe[2]
The Recipe

onion skins (the more the better)
water to cover 
bring the water to a boil and let simmer for an 1 hour
remove the onion skins from the pot (I suggest using a colander)
soaking the dyestuff a few days before is an alternative or aid in extracting color from dyestuff
evenly soak fibers in hot water before placing them in the dyebath (this helps achieve even color)
place pre-wet fibers into the dyebath 
heat dyebath for 1 hour, using a spoon or stick to submerge fibers and free air bubbles
to achieve even color avoid crowding the dyepot 
let the fibers cool in the dyebath this will give brighter results 
most dye artist let the bath sit and cool overnight or even a few days, longer is stronger
remove the fibers from dyebath, rinse with cold water until water runs clear
hang to dry.

I also experimented with using red onion skins ….. here are the results


 
Boiling up the onionskins then simmering min. 1 hour

Leaving the organza and the cheesecloth over night





Results of onionskin dye on the cheesecloth 


Organza & cheesecloth from second dye bath which also had red onion skins - organza hardly took dye whereas cheesecloth went very dark














organza drying




















Muslin dyed in tea bags 








[1] Clark, J 2012, Fabric of Memory, viewed 25 August 2014, http://www.clevescene.com/cleveland/fabric-of-memory/Content?oid=2974551

[2] Ambrose MG, 2012, Natural Dyes – yellow onion skins viewed 25 August 2014 http://www.folkfibers.com/blogs/news/6652230-natural-dyes-yellow-onion-skins

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