Ana Lupas: The Solemn Process 1964 – 2008

Ana Lupas is a Romanian artist.  In this work she worked with communities in the  Transylvanian village of Salistea Sibiului, she consider herself  and her role as the ‘initiator’. She would invite local people to use old traditions and build monumentally scaled wreaths onto wire netting which had been stretched over a premade skeletal structure (made / designed by her?). Once made, these artefacts would be displayed in the home, on farmland as objects of interest. Over several years, such objects were made. the idea would be passed on through families and villages but after 10/12 years, due to a worsening economic climate –  the making of the works stopped.

Lupas, knowing these works were now deteriorating, she started to draw them to restore them and perhaps act as a commemoration.

For the last (latest) stage of the work, the wreaths have been gathered and stored in metal containers which are formed in the shape of the original wreaths.

Lupas states that it reflects ‘behavioural patterns, engendered by a tradition that has been validated for several millenia by being kept alive in the community’s consciousness’

Tate etc. Vol 2017. Issue 39. p93


A practical post

Having to make and invent your own studio facilities and tools seems to be an integral part of engaging as an amateur with a creative hobby.

This post that I found helped me work out a way to create quilts on frames when short of space. 

feeling stitchy: Stitchy Snippets – Antique Textiles

This is the work of Louise Saxton who takes old embroidered textiles and re-uses elements. They seem to have a backing and are pinned rather than stitched heavily to give a raised movement. I appreciate its practical approach in technique despite its complex visual impact.

This post is a repost from the Feeling Stichy blog:

Scrap Studies.

I have done a few more painted studies, this time of the leftover bits of fabric from a new quilt that is being developed.

Quite pleased with these, not because they are life like but I get a real sense from looking at them of the stage of quilting I was at the time of halting to make these studies.

Study of Piece Leftovers 1. Gouache on Paper. [Perren, 2016]
Study of Fabric Remnant Stack. Pen on Paper. [Perren, 2016]

Alison Mayne

PHD researcher in Sheffield exploring womens crafting experiences. Presented a paper at Glasgow FTC, November 2015.

Mayne, Alison: ‘Exploring the personal identity and collaborative offline/online communities of thread and yarn based craftswomen’

Some links sent by Nic R.

And possibly this one too?

ummm, not sure about this

I have used the quilt top / sandwich to develop some ideas with sequins. Think in this case it has not worked, not sure why but it feels like it is two separate things forced together. I am going to keep going with this though but it will need more thought. Once I get a little more time I would like to work on a piece a lot more heavily, at the moment it seems too polite.  Need to take it to extremes.

Applied Sequins onto a Quilted Top. Cotton, sequins. 70 x 40 cm [Perren, 2015]
I need to gain more control of the straight line, particularly the machine sewn ones. I am ok with the mix of machine and hand sewn lines but it just needs a lot more of a lot more things?