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Tips to photograph textile art

     

 

Presenting your textile art is more important than ever before. Entire careers can be made from your online presence but for many artists

showing the detail and real colours of their work can be a challenge.

I caught up with photographer and web designer Katie Vandyck for some tips on how to get the best from your artwork. Here is a brief summary

of her very helpful blog post (see below for the link). Feel free to download the image above as a checklist.

 

1. USE A TRIPOD – Lighting is key to making your art look amazing a tripod is essential for holding your camera steady while the camera deals with the shutter speed. They don’t have to be brand new. If you look on second hand sites you can usually pick them up for a reasonable amount. 

2. DIRECTION OF LIGHTING – When using daylight position your textiles opposite a window in a white room if possible as it gives no colour cast to your image. 

3. AVOID USING A WIDE ANGLED LENS – This causes distortion. 

4. POSTIONING YOUR TRIPOD – Place your tripod far enough back to take in the whole image and ensure your camera is level with the middle of the image. 

 

Katie explains this perfectly and in more detail (including lighting) on the blog on her website at https://katievandyckwebsites.co.uk

 

 

 

 

Interview with S.E.W

 

[Centre image: From left: Art by Cat Frampton, Emily Tull, Elizabeth Griffiths, Frances Palgrave, Sarah Gwyer, Kate Tume, Dr Jessica Grimm, Rowena Liley. Sculpture in foreground by Lou Baker. Dolly by Annie Taylor]

 

Cat Frampton and Emily Tull started S.E.W in 2018 to help promote and support artists who use stitch and show the art world that stitching is art. I couldn’t agree more, which is why I interviewed them to find out more.

 

What exactly is S.E.W? 

S.E.W stands for Society For Embroidered Work, a society for artists who have a stitched element in their work. We were unaware of a Society for artists who stitched, there are for painters, graphic art…and also Guilds and various groups for textile artists but nothing for those who fall in-between the gaps, or don’t necessarily sit neatly in the description. Unfortunately still in these times it can be frowned upon if an artist has stitch in their work, and many artists can feel that they don’t fit into a category. Our member’s artwork cover a broad spectrum from traditional textiles to art in which concrete, bark, paint or household items are stitched into. The aim of S.E.W is to promote and support artists who have an element of stitching in their artworks, hand or machine and traditional or contemporary forms of embroidery but also to host exhibitions to show the art world that stitched art is art!

 

When and why did you start it?

S.E.W was started after we (Cat Frampton and Emily Tull) got chatting on Instagram, in 2018. We didn’t know each other well and had in fact never met, only connecting over a shared anger at being rejected from a couple of exhibitions, rejections that felt as if they were based in a misapprehension about embroidery. We both understood that rejection is a normal part of being an artist, but when no embroidery is selected for an ‘open’ exhibition, or there is not even a tick box on the exhibition submission form for your medium, it becomes frustratingly obvious that you are not working in a level playing field. 

Stitched art is art, but being an artists who uses a needle in their work, you are constantly having to fight against the idea that it’s a lesser art form than, say, painting or sculpture. People have a weird perception of embroidery and the Society for Embroidered Work was born out of wanting to change that. 

 

How many members do you currently have?

We currently stand at just over 460 members worldwide.

 

What are you looking for in members?

We are looking for members who take their work seriously. We don’t care about what stitches people use, what they stitch into, if the work is wholly stitched or only has a small stitched element, we don’t care if the artists is stitching into fabric or embedding embroidery into concrete. 

What we are looking for is artists who have a clear vision and strong individual style. From established artists to beginners showing strong promise, we are  looking for those that are making art using stitches. 


If people are interested in applying to join how does it work?

We hold  membership open calls. The submission required consists of good quality clear photographs – we want to see the art not the reflection in the glass of a frame. An artist’s statement, we want to learn what motivates and inspires you work, we are not concerned with grammar or spelling or pretentious waffle just that you see yourself as an artist making art. We also ask for social media and website links just in case we need to see more work.

Is someone is interested in applying to our next call out we just ask for them to really consider what images they put forward – do they really sum up your practice? Although we ask for web links we don’t look at everyone’s as there is a large number to go through and so first impressions really do count.

 

When is your next exhibition?

Our current exhibition plans have been shelved for the next few months. We did have a few things planned, but obviously, right now, exhibition planning is up in the air. We hope to have another excellent exhibition as soon as we possibly can. 

 

To find out more visit www.societyforembroideredwork.com

 

Penny Mateer & Martha Wasik

         

Above: Full quilt and detail of ‘Fight the Power! #15 Protest Series. 58 x 77 inches Penny Mater & Martha Wasik

 

Until I saw Penny Mateer’s and Martha Wasik’s quilt I didn’t know about the 1968 Olympics where Americans Tommie Smith and John Carols and Australian Peter Norman made their silent gesture about human rights. Skip forward a generation to recent times and another silent gesture from American Football former quarterback Colin Kaepernick. Inspired by both events, this powerful quilt ‘honours unarmed African-Americans who died at the hands of the police to exemplify Kapepernick’s message and raise awareness.’

As well as this Penny has also created the series #intodaysnews. On the inauguration of President Trump she compiled a daily collage of images from The New York Times all of which are being exhibited.

 

Fight the Power! #15 Protest Series and #intodaysnews and #socialjustice will be exhibited at the Brew House Association (http://brewhousearts.org/gallery/) until March 21st. THIS Revolution Will Not Be Televised #13 Protest Series will be exhibited in the Contemporary Art of Quilting at the Ann Street Gallery (https://www.safe-harbors.org/ann-street-gallery/) March 7th – April 18th.

 

 

The art of batik

 

Using a medium you don’t usually use is always good practice and if you are ever travelling in Malaysia it is the ideal place to do some batik. It is available in many places but very few allow you to do the pouring of the wax which can be a lot harder than painting on the silk or cotton. For those visiting Kuala Lumpur it’s well worth a visit it Jaki Batek. You can choose a design, or do your own, then trace the outline with wax and spend a happy few hours painting.

www.jadibatek.com

Laura Thomas

Laura Thomas, photographed by Mohamed Hassan

 

Laura Thomas has an impressive number of commissions. We asked her advice for other artists interested in being commissioned.

With all the public art commissions I’ve undertaken, I’ve had to apply for them and then when shortlisted, attend an interview to present my proposal in person. It’s essential to put yourself in the shoes of the commissioning organization. What are they looking for? It’s your job to try and figure this out and answer their needs. Analyse the brief so that you understand it inside out back to front. If the brief is sparsely written, then you need to dig deep and find out more before you make your proposal. Do a site visit, understand the practicalities, speak to the project manager and make sure you fully grasp who the end user is. Ensure that your proposal is realistic, coherent, practical and inspiring. You also need to make sure that you as a person inspires confidence. Will you be a pleasure to work with? Can you manage a big budget? Are your costings realistic? Can you lead community engagement activities that so often are a part of public art projects? Think about what the commissioning organsiation needs and wants from the artwork, and make sure you answer it in your proposal.

To find out more about Laura’s beautiful art read her profile here