Archives for posts with tag: martine letoile

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A film still found of striped fish was the inspiration to the following piece of art, dyed in complementary and analogous colors.

goldfishI mixed yellow and red Jacquard’s paint dye and painted the fish onto a cotton, linen remnant.

goldfish1I then painted over the fish with melted wax and where ever I wanted it left white.

goldfish2The dye bath was a light mixture of Caribbean Blue.

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goldfish7I let it dry and placed it in the window to see the image clearly.

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goldfish10I brushed on the melted wax where I wanted the light blue to remain.

goldfish11Then, dyed it in a darker shade of Caribbean Blue.

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goldfish13Hung it up to dry. Here the light and darker blue show well.

goldfish16The next dye bath was an even deeper shade of blue.

goldfish15In the window all the colors can be seen.

goldfish16The last dye bath was Black and Golden Yellow.

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goldfish18When dyed over the Caribbean Blues, it turned the cloth into a deep green hue.

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goldfish19I painted over the fish with more orange dye after boiling out all the wax, to brighten it up a bit.

goldfishfinalFinal piece back lit from afternoon light in window.

goldfishfinal2This was a challenging piece because of the amount of wax applied and with the final dye, I didn’t know what color would emerge. One can do test pieces, but I like the surprise. I did crumple up the piece before the final dye quite a bit which let in more darkness than wanted, so I ended up adding another layer of orange to the fish.

Here is a link to a more instructional way of doing batik. Fish in the big blue ocean, batik style

To see batik gallery visit this site Batik as Contemporary Art

 

Batik is one of my favorite hobbies. I started early this year, usually I get into these projects around the new year when it’s too cold to do anything outside.

I started with a film still from a video found on YouTube.

fishoceanschool2I drew out the design in pencil on a piece of linen and painted red and yellow fish with Jacquard’s painting dye. Let it dry to set. Then, melted wax to 350 degrees and brushed it over the fish so they would not be dyed in the subsequent dye bath, or, wherever I wanted to keep the image white. The wax acts as a resist to the dye.

fishocean1I dyed it in a light Caribbean Blue for an hour, agitating it here and there.

fishoceandyedarkWith each dye bath, first mix up the Procion MX dye in a container and add this concentrated dye to about 2 quarts of warm water, which is enough to cover about 14 inches of cloth. Add a little salt to the dye bath, then put the fabric in and let it sit for about 10 minutes.  Take out the fabric and add about a teaspoon of Soda Ash to the salty dye and mix it up. Put the fabric back in the dye solution and agitate. Let it be in the dye for at least 30 minutes to an hour.

fishoceandyefirstiiHang the fabric and let the dye adhere to the fabric, about 10 to 30 minutes or it can dry overnight.

fishocean2Wash the fabric with Synthrapol and let it dry.

I added wax to the piece where I wanted to keep it light blue.

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fishocean4I made a darker shade of Caribbean Blue for the next dye bath.

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fishoceandryingwaxlightblueHung fabric for a least 30 minutes to let the dye adhere to the fibers, washed it out to get rid of excess dye and let it dry. Then, I added more melted wax to the piece where I wanted it this shade of blue.

fishoceanfirstwaxAfter adding the wax I put it in a dye bath of Robin’s Egg Blue, Wisteria Blue and a little Scarlet Red. When dyed over the Caribbean Blue, it produced a purplish hue.

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fishoceandyebLet the dye adhere to fabric. Wash it and hang it up to dry.

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fishoceandryingwaxaI added more wax to keep the purple color and put it in a Black dye bath for at least an hour. The final dye is tricky because it’s your darkest shade that will make the other colors pop, but it’s also saturating  fibers, that by now, are filled with a lot of dye particles, so you have to wash the fabric out thoroughly with a little extra Synthrapol, add more dye than usual and keep it in the bath longer.

fishoceandyefirstiiFinal dry. I washed it out and then boiled the piece for a few hours.

fishoceanlastwaxBoiling will get out most of the wax. If not, iron the piece between pieces of thick paper until all the wax is gone.

fishoceanboillFinal piece in window.

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fishoceanfinalOne piece of Batik can take a few days to finish, this one took me a couple of weeks. I’ll let the fabric dry overnight sometimes and  just work on the piece whenever I can. The end result is always a surprise. It’s a little bit like developing film in a dark room.

Happy New Year!

To see more batik, visit Wax Painting Gallery. Batik as contemporary art.

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“loveline”

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“learning on the line”

 

 

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From the ink sketch, I knew that I wanted to keep this image as simple as possible. The horizon line was the most important part of the scene, it needed show how expansive this space can be.  After adding more layers of wax to get that eroding feeling of things past, the picture became a heavily textural piece with the overhead viewpoint just askew. When there is plenty of texture, it seems to create a more energetic feeling with a sense of time moving along.

When I first started to paint and feel around for subject matter, rooms were always something that came to mind since they are often in my dreams. I noticed, going over the ‘wall’ sketches, ones that I had done several years ago, were the beginnings of another series called bleedthrough (past). This is a group of paintings about memory, where imaginary objects in large, expansive spaces are in a process of dissolving or decaying with layers of wax being scraped away to get a worn, used effect.

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Here are the very first ideas of ‘walls’.

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"wall III"

“wall III”

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"wall I"

“wall I”

"wall II"

“wall II”

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This one above, being the cross over idea of a factory setting with a ship sitting outside the window, led to the sketch below, an actual mill building, in Easthampton, Massachusetts.

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The idea of a dress form was important for this story. I wanted a room of labor with the machine to the left, in foreground, attached to the dress form, a robotic, objective element. Desks in a row are production lined up and the white sheet that hangs from the machine is illustrated with a body laying down and small figures around it, giving it life. The sense of escape or release is the ship, waiting patiently outside, a steady way to transcend into another world.

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“bleedthroughit” 1999

During this retrograde period I have been going over completed and undone sketches of the past.  With some of them, like this one, there was a very simple idea that grew out of itself. The ideas for Stage were about searching for an emotional light, trying to capture the feeling of being alone and all the power within that. Finished in 2005.

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bothofus1998 “both of us”

Being obsessed with cloth flowing in the wind, detaching itself from a clothes line and wanting to capture a kind of soul to the cloth, this obsession gave way to, or you could say, channeled Static Line, a series of paintings about releasing what may bind you and at the same time, allowing a sense of stillness. These scenes of clothes lines became a simple, silently descriptive subject matter, filled with intent.

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webartdetach12002 “firefly”

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detachartstack2003 “detach”

The following sketches of “passing” were completely abstract and severely bold in color, the idea, however, morphed into a more literal piece with out lines, shading and softer color tones.

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passingon2005 “passing on”

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sinking2005 “sink”

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2006 “static lemonade”

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let's go2005 “let’s go”

Looking back during this retrograde period and coming upon these older sketches, I am considering expanding the series to outdoor steps, yard scenes, where the releasing factor takes hold again.

Here are some sketches done in the past.

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