A series
of bespoke silk scarves exhibited at L’Aiguille en Fete in Paris 6th
- 9th February 2014 and Stockport Link Gallery 22nd March - 10th May.
Ruth Murray
Inspiration
The abstract designs were
inspired by my own collection of rocks taken from the south coast of England. I have
presented an exploded view of their unique surface patterns, which become curious
and ambiguous with imaginative potential. Other found natural forms such as
flowers, leaves and seeds feature in my work cascading into the surrounding
space. I have focused on their intimate details, revealing the wonder of these small modest
forms.
Manchester Museum’s collection of
butterflies and birds inspired my vivid colour palettes. In particular, the exotic
species and close arrangement of different specimens offered diverse
juxtapositions of colour. Furthermore, my
sequin embellishment reflects the decorative structure of coral with its pattern
of clusters. The Museum’s display on
coral revealed how this hidden sea beauty has value and ornamental appeal.
Process
Through a combination of textile
processes, I have explored the relationship between the drawn, printed and
stitched mark.
These designs were translated onto crepe-de-Chine through hand and digital print, and then embellished to create an intricate surface. My embroidery emulates qualities from the printed pattern; I stitched flowing lines and marks on the industrial Cornelly machines using vary threads and shifting yarn colours. Additional shimmering sequins create an opulent, encrusted surface. These were cut from plastic on an eyelet machine and sewn into clusters that disperse across the design.
Drawing was an important starting
point: Resist techniques with ink, bleach and masking fluid enabled me to build
up multiple layers of marks using a variety of brushes and sponges. This
provided a painterly quality to my designs, which, alongside the intense
colours and fluid tones, have a very lively and expressive feel.
These designs were translated onto crepe-de-Chine through hand and digital print, and then embellished to create an intricate surface. My embroidery emulates qualities from the printed pattern; I stitched flowing lines and marks on the industrial Cornelly machines using vary threads and shifting yarn colours. Additional shimmering sequins create an opulent, encrusted surface. These were cut from plastic on an eyelet machine and sewn into clusters that disperse across the design.
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