Tuesday, December 13, 2016

Quilt Art on Silk - White Tara

White Tara is the goddess of compassion and represents in Buddhism the feminist ideal:

“Goddess Tara, a female Buddha and meditational deity, is arguably the most popular goddess in the Buddhist pantheon. She is considered to be the goddess of universal compassion who represents virtuous and enlightened activity.”

"White Tara"
74" x 26"
silk

The goddess Tara is known in many countries under different names. In China f.e. she is known as Kuan Yin.

For me the feminist aspect was very appealing. You won’t find too many personalities in history and the devine pantheon which are feminine authorities in this world of male predominance. So my inspiration for this work resulted in depicting this image of a very sympathetic goddess other than the female aspect being interpreted as that of seduction and evil as in christian beliefs, a witch or revengeful spirit as in Greek mythology and other myths.

The second theme of this quilt is the lotus flower. Lotus is a symbol of purity and has healing powers.
“In Buddhist symbolism the lotus represents purity of body, speech, and mind, as if floating above the muddy waters of attachment and desire. The Buddha is often depicted sitting on a giant lotus leaf or blossom. According to legend, he was born with the ability to walk and everywhere he stepped, lotus flowers bloomed” (Wikipedia)




While the image of the goddess Tara was adorned with jewellery and lotus buds and blossoms allover, her skirts additionally were embellished with tiny beads. The patterns on her skirts were hand painted with metallic pigments.



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Wednesday, November 30, 2016

Quilt Art on Silk - Apsaras

This artwork is an original silk wholecloth art quilt and it is called "Apsaras".


"Apsaras"
52" x 69"
silk, painted

It is quite strange. While other artists, coming from the media “painting” suddenly turn their interest into working with fabrics and textiles, it was totally the other way round in my case. While I may go back to quilting from time to time and test my inspirations on rather unusual themes and materials again, it was the creation of fabric images and quilting that brought me back to painting, that I stopped doing for various reasons many many years ago.

Especially this art quilt motivated me to try my hand on painting again. Maybe you can compare it (although that comparison really sucks but I could not find any better) to those child’s painting pattern books, where the motifs are already outlined and the kid only chooses the colours to fill up the forms.

The longer I think about this I realize painting quilts can be really pattern painting. You already have a form outlined with the quilting lines. Now you only need to fill out the forms. That’s how I started to paint the quilts. Later on – depending on the image – I worked the other way round: first finished the painting, finally did the quilting after that. But this is an entirely different story and the techniques are others than in this art work.

At this stage I did still a lot of experimenting. First of all I had to cope with working on silk which is not only slippery but reacts to quilting lines completely differently than a piece of cotton or any other fabric. Silk produces a relief and does not stay flat, unless you use a stabilizer on the back, which is normally glued to the fabric, using the heat of an iron.
But I did not want to do that – I wanted the relief and those lovely shadows it would produce and I wanted that 3-dimensional feel.

Here are some details:





So painting on this piece of cloth was a real experiment, especially as I did not want the colours to flow beyond the quilting stitches. I did not want to use a resist either because then I would have had to wash the quilt again or would have got it dry cleaned which I did not want to do either. Each washing cycle or dry cleaning would take a little bit off the shimmer of the silk.

But with a special technique, painting with quite dry brushes, I achieved exactly what I wanted.



The “Apasara” motifs existed in my head a long time before I even travelled to Southeast Asia. Memories from the 70’s and Indian influences that flooded the western countries during the hippy era did already exist in rudimentary pieces in my brain. Through the years of travelling I developed a greater interest for the culture of the Khmer and I studied many photo documentaries in books and on film.

Although I have never been in Cambodia physically I got to know the country and its people through tales and contacts outside the country itself – many Cambodians still live in exile and have found new homes.
And although the heritage of the Cambodian people is subject to the UN and their tasks to protect the world’s biggest human heritages, there is still a huge deficit regarding the education and support of the people. Suffering from decades of murder and suppression of the Pol Pot regime the Cambodian people just starts to re-define its identity and build up a new valuable life. But they still need help.





In order to keep up the memories about a culture that has been nearly extincted I decided to create this silk quilt. I kept close to the rather flat style of presenting figures as can be found in basreliefs and paintings. Intriguing for me was the incredible detail of the Apsara figures, the detail of their jewellery and clothing. I love details in any respect be it in paintings or photography. Details are often overlooked but they are the essence of the bigger picture. It means you have to look close in each direction in order to perceive the complete picture.
I tried to reproduce that same love for detail that the ancient artists had for the wonderful sculptures in Khmer art.

The art quilt has been hand quilted with silk thread and hand painted. The reverse side of this art quilt has been appliqued with leaves and branches made of satin.


As usual the artquilt started as a drawing:


The motif was then transferred to the silk, all 3 layers of top, batting and back mounted together and then handquilted along the lines and finally painted.

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The original silk Art Quilt can be found here
and
A Fine Art Print of the quilt can be found here

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Saturday, May 14, 2016

Silk Paintings - Mesopotamia

This is another piece from the Magic Symbols series, a series about the icons and secrets of ancient cultures. The silk painting was called Mesopotamia:


"Mesopotamia"
40" x 13"
silk, stitched

Ancient cultures are tremendously fascinating, specifically when they keep their secrets, when no-one has been able yet to decipher them. This leaves enough space for speculation and theories. The less is really known about an ancient culture the more it incites curiosity of course, especially when precious treasures might be involved which could be very attractive for public and media and thus a valid argument to fork out new research grants.

Now we are talking about Mesopotamia – the land between Tigris and the Euphrates river. A while ago we heard something about the axis of evil, now we hear about the axis of chaos. The land between the Tigris and the Euphrates yet was also the axis of human culture from where civilization was brought into the adjacent regions. The ancient empire of Mesopotamia even once included parts of the Mediterranean sea, conquered by King Sargon who founded the city of Akkad. Doesn’t it seem a bit paradox that we are talking about the very same countries here which are now called Irak and Iran?

More than 5000 years ago, the southern part of the land between the rivers was only marsh land. No rock, no metal, nor hard woods for constructions could be found there, but nevertheless here was the cradle of the earliest advanced culture: the land of Sumer. Sumerian cities and temples were embellished with gold, silver and precious stones which were organized through long-distance trade.

Sumerian culture was a mix of foreign and local elements. The Sumerians were highly innovative people, creative in their response to the natural challenges of the two rivers and their immense flooding each year. Many of the great Sumerian legacies, such as writing, irrigation, the wheel, astronomy and literature, can be seen as adaptive responses to the great rivers. And now, today?

These formerly highly developed countries disappear in clouds of utter poverty of the population due to religious power plays. How is it possible that civilizations with greatly evolved societies fall back into medieval habits? Shouldn’t this be a warning for any civilization which starts to neglect freedom and tolerance?

 (image source: http://www.garone.net/tony/disc.html)
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“The Sumerians were the first people known to have devised a scheme of written representation as a means of communication. From the earliest writings, which were pictograms (simplified pictures on clay tablets), the Sumerians gradually created cuneiform–a way of arranging impressions stamped on clay by the wedge-like section of a chopped-off reed. The use of combinations of the same basic wedge shape to stand for phonetic, and possibly for syllabic, elements provided more flexible communication than the pictogram. Through writing, the Sumerians were able to pass on complex agricultural techniques to successive generations; this led to marked improvements in agricultural production.
Another important Sumerian legacy was the recording of literature. The most famous Sumerian epic and the one that has survived in the most nearly complete form is the epic of Gilgamesh. The story of Gilgamesh, who actually was king of the city-state of Uruk in approximately 2700 B.C., is a moving story of the ruler’s deep sorrow at the death of his friend and of his consequent search for immortality. Other central themes of the story are a devastating flood and the tenuous nature of man’s existence. Laden with complex abstractions and emotional expressions, the epic of Gilgamesh reflects the intellectual sophistication of the Sumerians, and it has served as the prototype for all Near Eastern inundation stories.” (Excerpted from Iraq: A Country Study. Helen Chapin Metz, ed. Washington, DC: Federal Research Division of the Library of Congress, 1988).
This may explain why the name of “Mesopotamia” seems to be connected with so many myths and secrets as well as with the Bible. Kings such as Nebukadnezar and Sanherib, cities such as Ur, Ninive, Assur and Babylon are all to be found in Mesopotamia.
But the Bible tells only a tiny part of Mesopotamia’s history and soon the people of Sumer sank into oblivion, until the oldest tablets (dating from ca. 3500 bc) were found in Kisch (see map). The typical cuneiform was developed much later, around 2700 BC.
It took another 4500 years until the tablets could be deciphered by a German philologist in 1802, by Georg Friedrich Grotefend..


But Mesopotamia possessed even more superlatives. It was probably the land with the oldest tree-of-life symbols. Since nearly 5000 years and in probably every society the tree was the symbol for life itself. The tree did not only deliver construction material for houses and all kinds of containers, but it was also needed for the supply of food, for transportation and many other requirements. All bigger civilizations such as Sumerians, Assyrian, Egyptians and Chinese, Greeks and Romans would not have developed without their forests!

The tree as a symbol for life had an additional meaning: in every country on this world the tree was always the link between heaven and earth. While its roots went deep into the soil and its branches reached high into the sky humans considered this as the tie between the two plains. All the known myths are talking about this and so it even seems to be the band that all humans are connected through.




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