Natural dyeing – a workshop with Jeanette Schäring and a glimpse of my personal journey

Jeanette Schäring´s works of art and materials at the workshop (May 2013). Photo: slow creations

Jeanette Schäring: shibori (resist-dyeing) at the workshop (May 2013). Photo: slow creations

Jeanette Schäring´s works of art and materials at the workshop (May 2013). Photo: slow creations

As many others, I first encountered plant dyeing in the 70s and, for me, 80s. I clearly remember going with my mum to courses and afterwards starting our own dyeing, boiling plants on the beach at the summerhouse on Gotland. I remember the plant collecting, the smell from the cooking, the feeling of community and of course the results (still have some yarns left…).

Since some years now, there is a growing awareness of the dangerous effects that conventional textile dyeing has on the environment and health of the textile workers as well as wearers. One response to these facts is to take up natural dyeing, an usually slow and transformative process. 

The methods of natural dyeing has been renewed since the 70s-80s. Many artists and independent fashion designers (as well as a few highly commercial labels such as Levi´s Made and Crafted (as far as I can see focusing on indigo) work with different processes of transforming this aspect of nature and its mysteries to textiles and clothes. 

Usually, rather mild mordants are being used (in comparison to the earlier often harsh methods of the 70s-80s) and some doesn´t use them at all, relying on the process itself and also maybe not in need of colour fastness (for example in some textile art works) – or striving for that (instead pursuing the process, patina and beauty of “aging” textiles). Sometimes artist and designers also work with additions as rust (as in rust water or rusty objects) and other matter such as bicarbonate and sour things such as lemon juice that change and add to the colour effects.

Rust as dyeing component. From a workshop by Jeanette Schäring. Photo: slow creations

My own old new interest and fascination of natural dyeing began with inspiration via fiber artist Abigail Doan, one of the now active most important, generous and inspiring artists for me, and her network, for example Sasha Duerr, founder of Permacouture Institute. I started experimenting after buying Duerrs´s book this winter. I also saw works by Swedish artist Jeanette Schäring at the exhibition The National Association of Swedish HandicraftSocieties 100 years (see for example my previous post)  and was astonished. I just could not forget her art works! They were truly mysterious, beautiful at the same time as they were a bit strange and with a very special feeling. I dreamed of one day to have some sort of contact with Jeanette... Little did I know what would happen as I this late spring (May 2013) had the wonderful opportunity to study for her at a workshop hosted by Etnografiska museet (Museum of Ethnography) in Stockholm. Arrangers were Anna Lauri and Eva Melldahl (from Nämnden för hemslöjdsfrågor) with the starting point in the rich collections of the museum (especially the exhibition"Magasinet") and evoking questions about collecting practices and modernity versus ”tradition”.
 

This post will tell and show a little from that workshop which was intended for students at several Swedish art and crafts institutions (as I´m not such a student I was very happy to be allowed to participate anyway). 

Jeanette Schäring´s works of art and pomegranate at the workshop (May 2013). Photo: slow creations

Jeanette Schäring´s materials at the workshop (May 2013). Photo: slow creations

In connection to her on-going exhibition Matter in Motion and the mysticism of Nature´s colour at Göteborgs botaniska trädgård (until 22 September), Jeanette has said: In my work I combine cultural heritage, millennium-old, dynamic dyeing techniques with digital media and high-tech analysis. By highlighting new opportunities and make way for the natural color as an environmentally friendly alternative to our often toxic and, out of the viewpoint of resources, impoverishing, synthetic pigments, we can take back a forgotten craft tradition in a new way. Herbal colours offer an environmentally-friendly alternative to synthetic dyes when it comes from plants, that are renewable, non-toxic and biodegradable. (Quote from Göteborgs botaniska trädgård´s Facebook page, translated by me).

Besides giving erudite, excellent, mind-blowing lectures on the more theoretical part of natural dyeing and the environment as well as opening up questions about both dyeing and cultural history and the future of human existence itself in this time of extreme consumption, fast fashion, and climate challenges, Jeanette Schäring first of all invited us to go out in the beautiful surroundings of the museum to collect material (parts of plants). 

One of the stages in my attemps of "plant bundles". Photo: slow creations

We all made bundles of cloth (mostly cotton) with plants tied up (shibori) and putting them in for example a tea solution. One of the principles of new natural dyeing is to besides boiling/simmering the dye stuff and textiles as in the older method, also pouring hot eater on the plants in a glass container. 

Glass container with onion skins to dye with. Photo: slow creations

Ideally this could ripen over days and weeks in the sun in a window (solar dye) or outside, adding some fresh air now and then to the infusion which will take on its own life, still unexplainable for the scientists how it evolves and what really happens in the chemistry. As far as I know this is especially suitable or effective for onion skins and red cabbage (something I´ve tried myself with good results), but also other plants. One of the challenges of natural dyeing (especially for me being a beginner) is the randomness nature and not having a guarantee which is most exciting and thrilling, I think. Of course there are some “recipes” (as in Duerr´s book and also others, such as pioneer India Flint) and rules but the individual processes and circumstances (which water, temperature, plant stuff, eventual mordants and colour modifiers, which material used, i.e. silk or cotton etc) are considered most important.

Work-in-progress at the workshop. Photo: slow creations

Like a birthday party, unpacking our bundles of plants and textiles... Photo: slow creations

Unpacking my bundle with among others Japanese maple leafs

In short, to be given the opportunity to attend this workshop with Jeanette was one of the landmarks in my life in connection to creativity.  My meeting with Jeanette evoked so much for me! Love and spirituality... inspiration and exchange of ideas on both a personal and professional level. 

My journey continues and some of the results of my work-in-progress and finished pieces can be seen on my Facebook page. Together with my artist and designer friend Agnes Nissen, we have since spring (2013) been evolving a collaboration process. On our journey together we did a small exhibition in June at Agnes´pop-up store SwapShop in Stockholm about natural dyeing in our project called “Kitchen Couture Collab”  (Facebook event), a glimpse of our process up until then, a process which hopefully will result in a blog and a bigger exhibition in the future.

Slow fashion (onion skins, Japanese maple leaf, red cabbage on second hand shirt). Dyeing and photo by slow creations

Kitchen Couture Collab small exhibition (Agnes Nissen and slow creations), June 2013 in Stockholm. Photo: slow creations

Slow art exhibition in Stockholm

Mafune Gonjo (b 1984). Beauty has a thorn. 2008. Glass, metal, cotton
Shown at Slow Art, Nationalmuseum, Stockholm
Photo © slow creations

Things are maybe getting better! There is something going on… slowly and strongly... Concepts like slow art, slow fashion and so on are gaining more recognition, concepts and principles that is very far away from the consumption stress and hectic life-styles of many of us. Maybe somewhat provocative for some people, these concepts are about choosing to live with respect for our environment and our planet, choosing to use your hands, materials and time of your life, for maybe weeks, months or years to make one piece of art.

One of the most creative and important artists in this field is American-born Abigail Doan who at the beginning of this year wrote "Slowing down is ironically a better way for me to examine my ideas about what seems essential for making headway in the studio and beyond." in her always fascinating and beautiful blog. 

I would like to pay attention to an amazing, immensely well-curated exhibition at Nationalmuseum in Stockholm, Sweden. It ends on Sunday February 3rd so you would better hurry (if you are in town). I saw information about it when it opened last autumn, but nevertheless, I ironically ended up hurrying to see Slow Art just the other day... Nationalmuseum is going to close for well-needed renovations (for some years) and the house is filled with eager visitors of all ages. The atmosphere when I was there was warm and nice.

Slow Art, Nationalmuseum. Light by Gert Ove Wågstam
Photo © slow creations

The exhibition Slow Art shows almost 30 pieces made of silver, textile, glass, paper and ceramics, most picked from the collections, and "celebrates a contemporary movement in fine craft where technique, materials and the work process are considered especially important". And it really lives up to that. Most of us cannot imagine how much time is needed to make these pieces. The immense skill, and patience, that was need in making them, is paired with exquisite eye for creation. That is, I mean, they are not only well done, so to speak. The works are poetic and evokes feelings like tenderness for life´s fragility and evanescent beauty but also of strength and often, even more astonishing, all of this at the same time.

The curator, Ph D Cilla Robach, has done the most when picking out and juxtaposing the objects, some of them shown without show-case. She also seem to have a deep understanding for the creative process judging from the labels and the catalogue that, besides being sold, is very generously free to down-load here (in Swedish). There is also an app in connection to the exhibition.

Eva Hild (b 1966). Ceramic shapes no 2. 2000 .
Helena Hörstedt (b 1977). Broken Shadow. 2008. Silk, leather.
Slow Art, Nationalmuseum, Stockholm. Photo © slow creations

Among the artists are Helena Hörstedt, Mafune Gonjo, Eva Hild, Helena Edman, Sebastian Schildt, Helena Sandström, Annika Ekdahl, Pasi Välimaa, Gunilla Lagerhem Ullberg and Karen Bit Vejle.  

Gunilla Lagerhem Ullberg (b 1955). Images. Herbarium, 2011. Petals, glue . Slow Art, Nationalmuseum, Stockholm. 
Photo © slow creations

My "old" favourite, Finland-born Pasi Välimaa, is contributing with an embroidery that took him about a year to create, working on it now and then. I think Pasi Välimaa is a perfect example of slow art!

I really encourage everyone to visit Nationalmuseum and I am looking forward to more exhibitions in the future curated by Cilla Robach. 

In a later post I will try to explore my own relation to "slow" which is something I work with in my own way, to challenge my impatience and keep me grounded.

Pasi Välimaa (b 1968). Embroidery. 2001. Cotton, linen. Slow Art, Nationalmuseum, Stockholm. 
Photo © slow creations

Many new images at Tumblr!

Winter is here in Stockholm, Sweden and I hope for new snow...

Please, come have a look at my many new images at Tumblr (some of them from other Tumlbr bloggers, using the nice custom of "re-blogging", re-using others pictures). My visuals are tagged slow creations - just search them or click in the heart symbol under the image.

Very welcome! I am looking forward to seeing you there, too.

Painters: Twombly, Monet, Turner at Moderna museet

Cy Twombly at Moderna museet, Stockholm (detail)

Today I re-visited one of my favourite art exhibitions, Turner, Monet, Twombly. Later paintings at Moderna museet, Stockholm, Sweden, featuring Cy Twombly, Claude Monet and J. M. W. Turner. First, I must say that the photos are by me with one exception and not to be regarded as anything else than my own interpretations of the fantastic art works, which I of course cannot capture. So I decided to do my own modification of the images.

I was certainly not alone there, it was rather crowded...

But somehow a kind of peaceful as well as powerful atmosphere could be find amidst the many visitors. The paintings are so visually strong and, also, sometimes very subtle. 


Cy Twombly at Moderna museet, Stockholm (detail)

Image by slow creations

As long as I can remember, I have liked Claude Monet, especially his more dissolved motifs of for example hay-stacks and cathedrals. As the exhibition shows later works, some were really intriguing.




Claude Monet at Moderna museet, Stockholm (detail)

I find the paintings by especially Monet and Twombly to be very sensual (but not in the usual tiresome sexual meniang, of course). This is really Painting in its own right, creating a new universe to become absorbed in. Something in it makes me think of surfaces, textiles, weaving and yarn. Well, I do often think of that... I admit, but this is really in the word´s right sense inspiring. 

Reflections... 

No pictures can show the light shining through Monet´s work...


Claude Monet at Moderna museet, Stockholm (detail)

Sunset by slow creations

My street by slow creations

Cy Twombly at Moderna museet, Stockholm (detail)

Moderna museet has a very good and famous children´s and youngsters place called Verkstan. It is wonderful and awesome to experience how young persons are treated with so much respect and that enough time and space is given to create for them.

From Verkstan at Moderna museet by slow creations

As is probably obvious, Twombly is the one that caught my eye most. I was not actually well aquainted with his work before this exhibition so I am very grateful for this.

Cy Twombly at Moderna museet, Stockholm (detail)

Shawl by slow creations (woven)

The exhibition Turner, Monet, Twombly. Later paintings (until January 15, 2011) is created/curated by Moderna museet (Jeremy Lewison, assistant curator: Jo Widoff) and will travel to Staatsgalerie Stuttgart and Tate Liverpool in late winter/early spring. A must-see. To be recommended!

From the interior of the exhibition

Cy Twombly

Untitled, 1987

© Cy Twombly

Inspiration and fascination...

Tata Christiane Couture. Check out his hairdo, too... 

Intriguing fashion/art and fiber projects like the label Tata Christiane Couture by Julie Bourgeois and Hanrigabriel (Berlin) caught my attention in a new post at Wearable Art Blog. This blog usally features nice stuff, some of it is organic/sustainably made or re-using materials.

The label often features crochet and patchwork like in this one:


Tata Christiane Couture: leather patchwork and crochet

 For me, this seems to be a new turn on the age-old crochet technique, a funny and exciting design that surprise us in its material combinations and colours. The designers work with serial and unique pieces, costume design and cooperations in art performances, film, photography and music. Not very surprisingly, they showed in Tokyo this recent summer.

The label says it is "a vision of the street costume, it proposes an absurd and disturbing vision of beauty, with decline, maladjustment, extravagance and immoderation. It plays with the borders of elegance and bad taste, digging up our old memories, recycling the waste of our civilisation, and becoming a monomania, a machination and a monstruous and sublime unique piece." Wow!
Ambiguity is the word.




Abigail Doan´s work-in-progress



Colours! Nice in autumn and always. Not so wearable, but always fascinating and very creative recent work by Abigail Doan features work-in-progress for Vogue in a post in one of her blogs. Also, often check her very active blog ecco*eco!