by another batik
STRATA – batik on cotton, 100 x 147 cm. (39″ x 58″), 1981
In the previous post about batiks and in the conversation with commenters, I recalled a commissioned batik hanging I’d done. Marly’s question about it inspired me to hunt and luckily find the only photo I think I have of it. It is not a good photograph, lacking sharpness and taken hanging in front of a window to utilize some bright backlighting, and thus revealing a shadow from the window frame running down on the right of the tree. Askew too, but straightened thanks to photo-editing software. Fortunately I’d written a wee bit of information (size, date) on the back of the photo… which leads to my next observation.
All this digging out and revisiting of older works this past few weeks has reminded me about how negligent I used to be in my early years regarding documentation of my work with high quality photographs and slides along with written material about the techniques and materials used, sizes, dates, and even ownership if sold. I think I was not taking myself and my work seriously enough. As a serious artist, even as a craftsperson which I felt to be with batiking, I should have been professional enough to keep proper records.
Later, when I joined the Art Institute program at Capilano University, I learned all about this and have been quite meticulous with my record-keeping. In fact, those records are extremely handy when I need to look up information about a piece of work without having to pull it out of storage…. to measure it, for instance. The biggest challenge for me was achieving good slides, then the expense in having duplicates made for submissions to juries. Nowadays I’m very grateful for much improved digital photography and computer technology and that digital files are accepted everywhere (that took a while, too).
May 31, 2012 in Being an Artist, Care of Art Works by Marja-Leena
This one really is a spectacular piece of work. I’m wonder how you ever managed getting such a large area of fabric dyed without much sign of was crackles everywhere? The finish just incredibly smooth to me and he scene portrayed is beautiful.
I never did get over my negligence until after I’d lost the evidence of a lot of my early work. It turned out the Kodachrome slides I’d taken with such care weren’t reproducible. Then my original portfolios plus all the drawings and paintings I hadn’t sold were destroyed in a storage accident when we moved to the west coast. I’ve been more careful since 1993.
Susan, thank you so much! I don’t think the photo is very clear in showing the crackles, but I may have also used more beeswax in proportion to paraffin to reduce the crackling, since I wanted more control. It’s so long ago now but I do remember it was a challenging and time-consuming project.
I’m so sorry you lost much of your early works’ records re the slides, then the originals after – how very awful!
I know very little about Batik but have often been in awe of the results. The colours and texture here make me want to know more. I wonder about the fortunate owner of this one and where it is now.
Joe, I’m glad this is of interest, I’m sure you can find out lots about batiks, which I think originated in Indonesia. A consulting engineering firm owns this piece, but I don’t know if it is still hanging there over 30 years later. Batiks can fade and interior design ideas change so I suspect it’s not in that office anymore. I hope it’s still being enjoyed somewhere.
Marja-Leena,
I’ve never tried batik, but I have seen people bringing home from Bali or Thailand batik-cloth.
I believe the people are the once bit by cothesmaking flea, as we say here in backyards, but yes, especially in summer I see it often.
We have these adult institutes, which teaches most everything and many years they have had batik in the program. It’s considered handicraft. Those courses cost a lot, so that counts me out of them.
Your work was art work, and I believe there are in South East Asia still people who also practise that. What I have heard is that it’s important what colors mean, and for what kinda festivities some cloth is planned for.
Beautiful design. I always thought crackles were part of the charm of batik…
A beautiful batik. It’s always interesting to see an artist’s older work and trace how they have changed and deepened.
(I hope I have finally figured out this new comment system)
Marjatta, yes to all you say. The cost of batiking is mostly in the dyes and beeswax, if used. Paraffin is quite cheap. It is messy and can be labour intensive if using many colours. Tie-dye used to be popular alngside and avoided the mess of wax. I remember the huge challenges of working with large groups in a classroom – you have hot plates to keep the wax melted (a fire hazard), and dyes that can make a dreadful and permanent mess.
Lucy, oh, yes, crackles are characteristic of batik. Yet with certain designs one wants control of where the crackles fall. This one has so much detail that broad large crackles would have destroyed it.
Anne, I’m so pleased to have you back, and I’m sorry it was so difficult. Yes, it is interesting for me too to look back. I do shudder at some things though.
Thanks for digging! Very interesting to see… Those look like Marja-Leena colors to my eye. And that’s a big piece–must have been challenging.
The counterpart for me was throwing away years and years of poems. I regret that now…
Marly, I recall some art prof saying to us – keep everything! Trouble is, then there is too much to store and leave for the next generation to clear out after we move on. I can see it if one becomes as famous as a Picasso, every scrap might be worth a lot – yet his worst stuff should have been scrapped, I think. But writings don’t take up as much room….