by batiks
Needing a break from all the ‘spring projects’ and while waiting for the fumes of varnish to dissipate, I felt the call of my studio. Impulsively I delved into the bottom drawer of my old wooden flat files where I keep a variety of work from other artists, part of my collection, and some small older works of my own. I found these two batiks that I had made in the early 80’s. I have few left from those days when I was really ‘into it’ for a few years. Many were given as gifts or sold. It is kind of interesting, if even a wee bit embarrassing, for me to look back on these pieces, and to show them here. It has me remembering that time in my life when I was an at-home mother before I returned to printmaking. I still have those supplies stored somewhere but have not done any more batiking since then.
UPDATE, 11:00 am May 29th, 2012: Suddenly remembering some posts I had written on batiking back in 2006, I searched and found three about Annabel Carey’s beautifully made and researched batik art based on the stone circles around the UK. As you know, ancient stones are a favourite subject of mine. (My examples here do not compare!) It is an interesting story if you would like to visit/revisit these links in their order of appearance:
– a batik exhibition
– update on batik show
– more on Annabel Carey’s Spirit of the Stones
May 28, 2012 in Being an Artist, Care of Art Works, Other artists by Marja-Leena
They’re very interesting. The mouthless people with their shadowy eyes are sort of sad and a little disturbing, and sit oddly with the circular framing, which is more reminiscent of traditional embroidery type of designs, like the blue flower.
What an endless source of treasures your studio is!
I too remember discovering the art of batik – for me it was in the early 70s when we lived on West 8th. Making dresses for myself and a few friends had become a springtime project and cotton jersey was the fabric of choice. Since the stuff was only available in white I used my coloring skills to batik panels which I later cut and sewed. Getting the wax out was a bit tricky but I seem to remember both vinegar and washing soda being part of the process.
I really like the two samples you’ve posted and appreciate you reminding me of a wonderful time.
Lucy, about the circular framing, those are embroidery frames. I hit on this idea as an easy way to hang these batiks in windows, so that the backlighting would make these glow – something I loved about batiks. Sorry the second piece, being larger, did not fit completely on the scanner.
Susan, glad this brought back some fun memories from the tail end of the hippy era. I never tried jersey though I did make the odd garment with woven cottons – a wrap around skirt was a favourite I remember. Yes, removing the wax was always a challenge – I’d practically boil it out 🙂
I started batiking in 1969 with a crash course from the home economics/textiles teacher who taught next door to the art room in a high school in northern BC. I was the new art teacher and the program included a few new-to-me areas from the one I had taught in Manitoba previously, included batiking. I also had to learn pottery including firing so I took some private lessons from the principal’s wife. It was all fun, and I was learning along with my students. Later years at home I was trying to develop batiking as an art form with large cloth panels, as well as these small hanging circles.
How busy you have been while I was out wandering the world! How will I ever catch up?
What did you do with the cloth panels? I’m fantasizing hydrangea curtains. Or bed curtains!
Marly, wandering the world sounds like fun, but it’s great to be home again, I bet! Blogging and art archiving have slowed down lately with all the work around the house and garden. We’re not finished yet but trying to clean up. This afternoon our daughter and granddaughters arrive from London.
Of the batik panels I had made, one was a commission, a hanging in the middle of an office to divide the space. Others were wall hangings. I have only one small one left of those. Then there are a couple of faded tablerunners.
What a treat, to see these old batiks of yours! That’s one textile art I’ve never tried, but I have a number of batik fabrics collected over the years…I’ve been thinking of you, Marja-Leena, since receiving a postcard from friends traveling in Ireland. It’s of gigantic carved rocks, very very old, inscribed with circles and patterns that no one has yet deciphered. I just know you would love these!
Beth, you know me well – I’d love to see those ancient Irish rocks so inscribed. I’ve seen some in books but seeing the real thing would be magical. As for batiks, I also have a few that were gifts brought from SE Asia and even Africa which are really well done. I did not develop my skills long enough to compare with them.
Enjoy your family visitors! So lovely that they come so often…
A hanging to divide the space: must have been of ambitious size, then! Pictures?
Marly, thanks, they arrived yesterday afternoon. It IS lovely that they come home for the summer, during these few years they are living in England. We’re hoping son-in-law will make it later this summer. Getting adjusted to the happy sounds of children in the house again!
I did not always take photos of my work in the earlier years, but I think there might be one of this particular divider/hanging somewhere, if I can find it… I don’t even remember the exact size, something like a bedsheet. Shame on me. Since I turned to printmaking, I’ve learned to do my photo and work documentation!
The two figures on yellow are fantastic, Marja-Leena! How exciting to rediscover these past works.
Nothing is really the past where art is concerned, it’s just one never-ending river flowing. Work we did many years ago is just as valid as anything done today and is inseparably linked. I can never understand the insistence of some galleries and/or art ‘authorities’ on separating an artist’s present work from its past.
Natalie! I’m glad you like that batik, and yes, it’s quite enlightening to rediscover older works. With this one, I do see a connection to the way I still work, it is still ‘me’, part of that flowing river, as you say.
It’s a bit of a pet peeve for me about galleries only wanting to see the very latest work, sometimes just made for the show you have booked two or three years in advance! I love retrospectives which show the development of the artist’s work and all the cross connections between different series of works over a large period of time.