Amazwi Abesifazne

Voices of Women – stitched cloth telling the stories of (often) poor black women from rural townships in South Africa.

There illustrations through stitch are supported with text.

Agnes Mosalo

On 16 December 1991, I was working at the plug firm for two years. We were working for whites and we were faithful to them but they were not to us. When they had to pay us they ran away with our money. We, the employees, were so hurt. We went to our respective homes. We stayed for about a month and three weeks with nothing to eat. After that we received letters from the authorities saying that we would have to meet with the people we used to work for to talk about our money. When we arrived there, there was no one. We never got anything until today.

Nokuzola Ngidi

It was 1986 in the years of Apartheid when we were living the bird’s life in Odendaalsrus, At that time people who did not have a passport (permission to be in a certain area) were arrested. My mother was sleeping over at the house.
The police and Boers used to arrive and wanted our parents. They said that we were “kaffirs” children.

What I won’t forget is when they took my father. He was going to work. They took him away and we did not know where he was or where they would take him. My mother did not report this at the place where he was working, Saaiplaas, as she was scared of being arrested. After a month we heard that there were a man that was found in Kroonstad and that he was at the hospital. He had an employee card with the name Zibonele Filane and the name of the place where he was working. That man was my father. He was injured. His waist and leg were broken. He died.

I do not want what happened to my parents to happen to my children.

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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

http://www.tate.org.uk/art/artworks/lupas-the-solemn-process-t14526

https://twitter.com/hashtag/analupas

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:
http://www.feelingstitchy.com/2016/07/stitchy-snippets-antique-textiles.html?platform=hootsuite

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.

sb13r
Study of Piece Leftovers 1. Gouache on Paper. [Perren, 2016]
sb12r
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’ http://www.shu.ac.uk/research/c3ri/postgraduate-research/current-research-degree-projects

Some links sent by Nic R.

https://newbieresearcher.wordpress.com
https://recoveredthreads.wordpress.com/about/

http://www.ftc-online.org.uk/wp-content/uploads/2015/01/n_61_Does-anyone-have-a-pattern-.pdf

And possibly this one too?

http://www.ftc-online.org.uk/wp-content/uploads/2015/01/n_77_Stitched-Together-.pdf