Saturday, January 29, 2011

Disperse Dye Workshops
Various Groups

Tutor: Marie-Therese Wisniowski

Preamble
This blogspot exhibits many of my students outputs from a variety of workshops. There are one, two and five day workshops as well as workshops that have a different focus. Nevertheless, it always surprises me how much I learn from my students and how enthusiastic they are to learn and so for your convenience, I have listed the workshop posts below.

The University of Newcastle Multi-Media Course
The University of Newcastle (Newcastle and Ourimbah Campuses, NSW, Australia) 2008 to 2010.

Five Day Workshop - In Pursuit of Complex Cloth
“Wrapt in Rocky” Textile Fibre Forum Conference (Rockhampton, Queensland, Australia) 29th June to 5th July 2008.

Five Day Workshop – In Pursuit of Complex Cloth
Orange Textile Fiber Forum (Orange, NSW, Australia) 19th to 25th April 2009.

5 Day Workshop – In Pursuit of Complex Cloth
Geelong Fiber Forum (Geelong, Victoria, Australia) 27th September to 3rd October 2009.

Two Day Workshop - Deconstructed and Polychromatic Screen Printing
Beautiful Silks (Melbourne, Victoria, Australia) 20th to 21st March 2010.

Five Day Workshop – Disperse Dye and Transfer Printing
“Wrapt in Rocky” Biennial Textile Forum/Conference Program (Rockhampton, Queensland, Australia) 25th June to 1st July 2010.

Two Day Workshop – Improvisational Screen Printing
ATASDA (Sydney, NSW, Australia) 28th to 29th August 2010.

Two Day Workshop – In Pursuit of Complex Cloth (Day One)
”Stitching and Beyond” Textile Group (Woodbridge, Tasmania, Australia) 2nd to 3rd October 2010.

Two Day Workshop – In Pursuit of Complex Cloth (Day Two)
”Stitching and Beyond” Textile Group (Woodbridge, Tasmania, Australia) 2nd to 3rd October 2010.

Advance Silk Screen Printing
Redcliffe City Art Gallery Redcliffe, Queensland, Australia) 10th April 2011.

One Day Workshop - In Pursuit of Complex Cloth
The Victorian Feltmakers Inc. (Melbourne, Victoria, Australia) 14th May 2011.

One Day Workshop - In Pursuit of Complex Cloth (Felted and Silk Fibers)
Victorian Feltmakers Inc (Melbourne, Victoria, Australia) 15th May 2011.

Five Day Workshop – Disperse Dye and Transfer Printing
SDA (Minneapolis, Minnesota, USA) 13th to 17th June 2011.

Five Day Disperse Dye Master Class – Barbara Scott
Art Quill Studio (Arcadia Vale, NSW, Australia) 15th to 19th August 2011.

Five Day Workshop – Disperse Dye and Transfer Printing
Fiber Arts Australia (Sydney, NSW, Australia) 26th September to 1st October 2011.

One Day Workshop – Improvisational Screen Printing
Newcastle Printmakers Workshop Inc. (Newcastle, NSW, Australia) 5th November 2011.

One Day Workshops – Low Relief Screen Printing
Various classes within Australia.

Two Day Workshop – Disperse Dye and Transfer Printing
ATASDA (Sydney, NSW, Australia) 23rd to 24th June 2012.

MSDS Demonstration at Zijdelings
(Tilburg, The Netherlands) October, 2012.

Five Day Workshop - Disperse Dye and Transfer Printing
Fibre Arts@Ballarat (Ballarat, Victoria, Australia) 6th to 12th April 2013.

Two Day Workshop - Disperse Dye and Transfer Printing
EFTAG (Tuross Head, NSW, Australia) 13th to 14th April 2013.

Two Day Workshop - Disperse Dye and Transfer Printing
Zijdelings Studio (Tilburg, The Netherlands) 9th to 10th October 2014.

PCA - Celebrating 50 Years in 2016
Art Quill Studio 2016 Workshop Program.

Image Dreamings: Basic Silk Screen Printing Workshop - Part I
2016 Art Quill Studio Workshop Program (Newcastle, Australia).

Image Dreamings: Basic Silk Screen Printing Workshop - Part II
2016 Art Quill Studio Workshop Program (Newcastle, Australia).

In Pursuit of: Improvisational Screen Printing Workshop
2016 Art Quill Studio Workshop Program (Newcastle, Australia).

In Pursuit of: Low Relief Screen Printing (LRSP) Workshop
2016 Art Quill Studio Workshop Program (Newcastle, Australia).

Art Quill Studio 2017 Workshop Program
2017 Art Quill Studio Workshop Program (Newcastle, Australia).


Introduction
This post follows on from last week's post and includes additional information on disperse dyes. It also covers some of the works created at my one and two-day disperse dye workshops with numerous textile groups.

Disperse Dye Information
Disperse dyes are lightfast, washfast, colourfast and produce strong hues on synthetics. They are produced in a powdered form (wear a mask when working with the dyes in their powder state) and mixed with very warm to hot water. The intensity of hue is determined by the amount of dye that is mixed with the water, less dye will result in a pale colour whilst more dye will result in very intense colour. The dyes are transparent (printing a blue area over a yellow will produce green) and so lend themselves to layering and overprinting to build up rich and complex surfaces as well as create delicate and subtle imagery. The dyes can be intermixed to create your own suite of palette colours.

Most brands are completely free of organic solvents making them an environmentally friendly option in the studio and as the process uses non-toxic materials, the dyes are safe to use with children (check material safety data sheets for information). The transfer printing process is also considered environmentally friendly as it produces little waste (the transfer paper). No expensive equipment is required as the heat and pressure can be attained with a household iron and photocopy paper. When washing out dye pots and palettes, the excess dye can be washed in the drain with no harmful effects to sewer or septic systems. Better still use up excess dye by applying the dye to papers. The painted papers can be stored and reused at a later date.


One and Two-Day Workshop Synopsis:
In Pursuit of Complex Cloth: Disperse Dye and Transfer Printing Workshops

This two-day workshop was an introduction to the dye sublimation process (transfer printing). A fun and exciting class where students created their own custom dyed fabric using disperse dyes via direct imaging, experimental and layering exercises. They applied painted, textured and printed imagery onto papers with disperse dyes and then transfer printed them to polyester and blended fabrics to create a suite of color and pattern studies via an iron or heat press. Studies included the creation of complex cloth using multiple printing and resist exercises. One such technique they employed was the tutor’s signature flora technique, which she has termed as MultiSperse Dye Sublimation (MSDS). See the participant’s outputs given below.

With these new skills they could then collage, layer, applique, hand and machine embellish their newly made fabrics into truly unique creative expressions.

All levels were welcome to this workshop.


Future Workshops:
Redcliffe Cultural Centre, Queensland April 2011, Victorian Felters, Victoria May 2011, Beautiful Silks, Melbourne May 2011, Surface Design Association's Confluence Conference, Minneapolis, USA June 2011.

Brigitte Haldeman: The tutor’s signature flora technique, MultiSperse Dye Sublimation (MSDS) employing flora and low relief items.
Textile Art @ The Guild, The Embroiderers Guild, Victoria.

Susan Hey: MultiSperse Dye Sublimation (MSDS) technique.
ACT Textile Arts Association Inc. Canberra.

Cathy Carnall: MultiSperse Dye Sublimation (MSDS) technique.
ACT Textile Arts Association Inc. Canberra.

Philippa Leask: MultiSperse Dye Sublimation (MSDS) technique.
ACT Textile Arts Association Inc. Canberra.

Rasa Mauragis: MultiSperse Dye Sublimation (MSDS) technique.
ACT Textile Arts Association Inc. Canberra.

Sandra Farley: MultiSperse Dye Sublimation (MSDS) technique.
ACT Textile Arts Association Inc. Canberra.

Ola Robertson: MultiSperse Dye Sublimation (MSDS) technique.
ACT Textile Arts Association Inc. Canberra.

Christine White: Resist, texture and colour study.
ACT Textile Arts Association Inc. Canberra.

Maureen Mutton: Resist, texture and colour study.
ACT Textile Arts Association Inc. Canberra.

Lorelle D'Arcy: Depth study employing multiple resist and numerous overprinted layers.
ACT Textile Arts Association Inc. Canberra.

Nicki Laws: Resist, texture and colour study.
Women on the Edge, Crows Nest, Queensland.

Robyn Deiner: Depth study employing multiple resist and numerous overprinted layers.
ACT Textile Arts Association Inc. Canberra.

Barbara Scott: Colour wash, overprinting and texture study.
Women on the Edge, Crows Nest, Queensland.

Diana Symes: Resist, texture and colour study.
Women on the Edge, Crows Nest, Queensland.

Jan Scudamore: A selection of painted paper plates and printed fabrics employing resist, texture and colour studies.
Women on the Edge, Crows Nest, Queensland.

Gail Grunske: Colour wash, overprinting and texture study.
Women on the Edge, Crows Nest, Queensland.

Jean Constantine: Stencil resist, layering and colour study.
Women on the Edge, Crows Nest, Queensland.

Saturday, January 22, 2011

Disperse Dye and Transfer Printing Workshop

Disperse Dyes - Five Day Workshop at the Wrapt in Rocky CQ Textile Forum

Tutor: Marie-Therese Wisniowski

Preamble
This blogspot exhibits many of my students outputs from a variety of workshops. There are one, two and five day workshops as well as workshops that have a different focus. Nevertheless, it always surprises me how much I learn from my students and how enthusiastic they are to learn and so for your convenience, I have listed the workshop posts below.

The University of Newcastle Multi-Media Course
The University of Newcastle (Newcastle and Ourimbah Campuses, NSW, Australia) 2008 to 2010.

One and Two Day Disperse Dye Workshops
Various Textile Groups (Australia) 2008 - 2011.

Five Day Workshop - In Pursuit of Complex Cloth
“Wrapt in Rocky” Textile Fibre Forum Conference (Rockhampton, Queensland, Australia) 29th June to 5th July 2008.

Five Day Workshop – In Pursuit of Complex Cloth
Orange Textile Fiber Forum (Orange, NSW, Australia) 19th to 25th April 2009.

5 Day Workshop – In Pursuit of Complex Cloth
Geelong Fiber Forum (Geelong, Victoria, Australia) 27th September to 3rd October 2009.

Two Day Workshop - Deconstructed and Polychromatic Screen Printing
Beautiful Silks (Melbourne, Victoria, Australia) 20th to 21st March 2010.

Two Day Workshop – Improvisational Screen Printing
ATASDA (Sydney, NSW, Australia) 28th to 29th August 2010.

Two Day Workshop – In Pursuit of Complex Cloth (Day One)
”Stitching and Beyond” Textile Group (Woodbridge, Tasmania, Australia) 2nd to 3rd October 2010.

Two Day Workshop – In Pursuit of Complex Cloth (Day Two)
”Stitching and Beyond” Textile Group (Woodbridge, Tasmania, Australia) 2nd to 3rd October 2010.

Advance Silk Screen Printing
Redcliffe City Art Gallery Redcliffe, Queensland, Australia) 10th April 2011.

One Day Workshop - In Pursuit of Complex Cloth
The Victorian Feltmakers Inc. (Melbourne, Victoria, Australia) 14th May 2011.

One Day Workshop - In Pursuit of Complex Cloth (Felted and Silk Fibers)
Victorian Feltmakers Inc (Melbourne, Victoria, Australia) 15th May 2011.

Five Day Workshop – Disperse Dye and Transfer Printing
SDA (Minneapolis, Minnesota, USA) 13th to 17th June 2011.

Five Day Disperse Dye Master Class – Barbara Scott
Art Quill Studio (Arcadia Vale, NSW, Australia) 15th to 19th August 2011.

Five Day Workshop – Disperse Dye and Transfer Printing
Fiber Arts Australia (Sydney, NSW, Australia) 26th September to 1st October 2011.

One Day Workshop – Improvisational Screen Printing
Newcastle Printmakers Workshop Inc. (Newcastle, NSW, Australia) 5th November 2011.

One Day Workshops – Low Relief Screen Printing
Various classes within Australia.

Two Day Workshop – Disperse Dye and Transfer Printing
ATASDA (Sydney, NSW, Australia) 23rd to 24th June 2012.

MSDS Demonstration at Zijdelings
(Tilburg, The Netherlands) October, 2012.

Five Day Workshop - Disperse Dye and Transfer Printing
Fibre Arts@Ballarat (Ballarat, Victoria, Australia) 6th to 12th April 2013.

Two Day Workshop - Disperse Dye and Transfer Printing
EFTAG (Tuross Head, NSW, Australia) 13th to 14th April 2013.

Two Day Workshop - Disperse Dye and Transfer Printing
Zijdelings Studio (Tilburg, The Netherlands) 9th to 10th October 2014.

PCA - Celebrating 50 Years in 2016
Art Quill Studio 2016 Workshop Program.

Image Dreamings: Basic Silk Screen Printing Workshop - Part I
2016 Art Quill Studio Workshop Program (Newcastle, Australia).

Image Dreamings: Basic Silk Screen Printing Workshop - Part II
2016 Art Quill Studio Workshop Program (Newcastle, Australia).

In Pursuit of: Improvisational Screen Printing Workshop
2016 Art Quill Studio Workshop Program (Newcastle, Australia).

In Pursuit of: Low Relief Screen Printing (LRSP) Workshop

Art Quill Studio 2017 Workshop Program
2017 Art Quill Studio Workshop Program (Newcastle, Australia).


Disperse Dye Information
This class of dyestuffs was developed for cellulose acetate around 1920 and was called “acetate dyes”. It did not get the name “disperse dyes’ until 1953 when the use of synthetic fabric increased. Commercial use of the transfer printing technique began in 1968 when transfer paper began being manufactured. Today many commercial textiles are printed using this technique.

Disperse dyes are not soluble in water but dissolve in the synthetic fiber. Penetration into the fiber is achieved by dyeing at a high temperature under pressure. Synthetic fabrics can only be dyed with disperse dyes. Today, disperse dyes are used to dye hydrophobic (water repelling) fabrics such as polyester, nylon, acrylic and acetate rayon. The transfer brands of disperse dyes are based on the ability of disperse dyes to sublimate. Under heat, they evaporate directly from solid state and move from one material to another. This reaction produces fastness properties that are permanent in synthetic fibres. Disperse dyes are lightfast, washfast and produce strong hues on synthetics. The dyes are transparent (printing a blue area over a yellow will produce green) and so lend themselves to layering and overprinting to build up rich and complex surfaces as well as create delicate and subtle imagery. The dyes can be intermixed to create your own suite of palette colors.


Transfer Printing
"In transfer printing, disperse dyes are first painted, screened, stamped, or stencilled on plain paper and dried. The paper is then placed face down against a synthetic fabric and dry heat is applied. The dye becomes a vapor, moves from the paper into the fabric and resolidifies. The print is deposited on only one side of the fabric leaving the other side the original colour. Transfer printing does not affect the hand of the fabric and is wash fast." (Holly Brackmann, The Surface Designer's Handbook, Interweave Press, 2006).

Five-Day Workshop Synopsis
This workshop was organized by the "Wrapt in Rocky" Central Queensland Textile Forum, Rockhampton, Queensland. It was held at the Rockhampton Girls Grammar School Campus as part of the 'Wrapt in Rocky' Biennial Textile Forum/Conference Program, 25th June - 1st July 2010.

Harmina Balch, Jan Collins, Chris Cooper, Sheree Dearden, Chris Evans, Vi Hall, Helen Kemp, Annette Sibson and Janet Williams attended the workshop.

The workshop participants created unique, one-of-a-kind ArtCloth fabrics of great depth and complexity employing the dye sublimation process using disperse dyes on polyester and synthetic fibres. A fun and exciting class where participants created their own custom dyed fabric using disperse dyes via direct imaging, experimental and layering exercises. They applied painted, textured, printed imagery onto papers with the dyes and then transfer printed them to polyester and blended synthetic fabrics to create a suite of colour and pattern studies via an iron or heat press.

The five-day workshop was an introduction to the dye sublimation process (transfer printing) which developed throughout the week long program. Participants were introduced to basic imaging processes and advanced to mastering highly complex multiple imaging and multiple overprinting relationships and techniques. One such technique they employed was the tutors signature flora technique which she has termed as “MultiSperse Dye Sublimation (MSDS)”. See participants outputs below.

Group Photo: From left to right: Harmina Balch, Chris Evans, Chris Cooper, Janet Williams, Helen Kemp, Jan Collins, Vi Hall, Annette Sibson.

Sheree Dearden.

Jan Collins (a) The tutors signature flora technique, MultiSperse Dye Sublimation (MSDS).

Jan Collins (b) MultiSperse Dye Sublimation (MSDS) technique.

Sheree Dearden (a) Texture, overprinting and colour study.

Sheree Dearden (b) Texture, overprinting, design and colour study.

Janet Williams (a) MultiSperse Dye Sublimation (MSDS) technique.

Janet Williams (b) MultiSperse Dye Sublimation (MSDS) technique.

Janet Williams (c) MultiSperse Dye Sublimation (MSDS) technique.

Chris Cooper (a) The tutors signature flora technique, MultiSperse Dye Sublimation (MSDS) employing low relief items.

Chris Cooper (b) MultiSperse Dye Sublimation (MSDS) technique.

Vi Hall (a) Texture, overprinting and colour study.

Vi Hall (b) MultiSperse Dye Sublimation (MSDS) technique.

Harmina Balch (a) MultiSperse Dye Sublimation (MSDS), multiple layering and overprinting employing resists, textures, colour washes and contrast colour study.

Harmina Balch (b) Detail View.
MultiSperse Dye Sublimation (MSDS), multiple layering and overprinting employing resists, textures, colour washes and contrast color study.

Harmina Balch (c) Resist, texture and color study on panne velvet.

Chris Evans (a) MultiSperse Dye Sublimation (MSDS) technique.

Chris Evans (b) Design study employing layered imagery and paper stencils on a gradated background.

Annette Sibson (a) MultiSperse Dye Sublimation (MSDS) technique in two panel format.

Annette Sibson (b) Detail View.
MultiSperse Dye Sublimation (MSDS) technique.

Helen Kemp (a) Depth study employing multiple resist and numerous overprinted layers.

Helen Kemp (b) MultiSperse Dye Sublimation (MSDS) technique.

Saturday, January 15, 2011

Nothing Is The Same I & II
(Exhibition - ArtCloth: Engaging New Visions)

Els van Baarle (The Netherlands)

Preamble
This blogspot contains posts of artworks that have featured in my curated international exhibition - ArtCloth: Engaging New Visions. For your convenience I have listed these posts below.
ArtCloth: Engaging New Visions (Marie-Therese Wisniowski - Curator's Talk)
Sequestration of CO2 (Engaging New Visions) M-T. Wisniowski
Sacred Planet I (Engaging New Visions) J. Dunnewold
Under Pressure (Engaging New Visions) L.A. Beehler
lo Rising II & Giza (Engaging New Visions) R. Benson
Etruscan Relic (Engaging New Vision) J. Raffer Beck
Catch The Light 1 & 2 (Engaging New Visions) J. Schulze
Emerge (Engaging New Visions) J. Truckenbrod
Breathe Deeply (Engaging New Visions) C. Benn
Die Gedanken Sind Frei 3 & 4 (Engaging New Visions) C. Helmer
Black Birds I & II (Engaging New Visions) C. Holmes
Autumn Visions I & II (Engaging New Visions) J. Petruskeviciene
Razing/Raising Walls, Warsaw (Engaging New Visions) N. Starszakowna
Quite Alone Oasis… (Engaging New Visions) J. Urbiene
Discharge Thundercloud (Engaging New Visions) K. Kagajo
Shroud Of Ancient Echoes I & II (Engaging New Visions) S. Fell-McLean
Cane Toad Narrative (Engaging New Visions) H. Lancaster
Visionary and Eclipse (Engaging New Vision) J. Ryder
Untitled ArtWorks (Engaging New Vision) Tjariya (Nungalka) Stanley and Tjunkaya Tapaya
Treescape (Engaging New Vision) A. Trevillian


Introduction
The European contribution to - ArtCloth: Engaging New Visions will be continued to be featured on a weekly basis.

The catalog of the exhibition is far more detailed in terms of opening addresses and artist’s biographies, curriculum vitae and statements etc. and moreover, is a holistic record of the exhibition itself.

Els van Baarle Website


Synopsis of Artwork: Nothing Is The Same I & II
My inspiration is based on antiquity and ancient times. Remains of structures ravaged by wind and weather offer compelling observations.

On the surface of the cloth we discern subtle colors and textures. This correlates to my technique of layering wax and dyes, paper and threads. Just like an old wall reveals a treasure of details when observed up close, so does my cloth. What at a first glance appears to be one color, becomes a layer of nances when studied in detail.


Techniques
Batik, dyed, silkscreened, discharchged, stitched on cotton velvet.
Size: 60 cm (width) x 350 cm (length) each artwork.

(a) Els van Baarle Delivering An Address at the Exhibition at Fairfield.

(b) Nothing is the Same I & II (Els van Baarle), right artwork.
Fairfield City Museum and Gallery, NSW, Australia (left artwork by Jurate Urbiene - see earlier post).
Photograph courtesy Cedric Boudjema, Director, Fairfield City Museum and Gallery.

(c) Nothing is the Same I & II (Els van Baarle), left artwork.
Orange Regional Art Gallery, NSW, Australia (right artwork by Jurate Urbiene- see earlier post).
Photograph courtesy Marie-Therese Wisniowski.

(d) Nothing is the Same I & II (Els van Baarle), left artwork.
Redcliffe City Art Gallery, Queensland, Australia (right artwork by Jurate Urbiene- see earlier post).
Photograph courtesy Marie-Therese Wisniowski.

(e) Nothing is the Same I & II (Els van Baarle), left artwork.
Wangaratta Art Gallery, Victoria, Australia.
Photograph courtesy Marie-Therese Wisniowski.

(f) Nothing is the Same I & II (Els van Baarle) - full view.

(g) Nothing is the Same I & II (Els van Baarle) - detailed view.

Saturday, January 8, 2011

Quite Alone Oasis…
(Exhibition - ArtCloth: Engaging New Visions)

Jurate Urbiene (Lithuania)

Preamble
This blogspot contains posts of artworks that have featured in my curated international exhibition - ArtCloth: Engaging New Visions. For your convenience I have listed these posts below.
ArtCloth: Engaging New Visions (Marie-Therese Wisniowski - Curator's Talk)
Sequestration of CO2 (Engaging New Visions) M-T. Wisniowski
Sacred Planet I (Engaging New Visions) J. Dunnewold
Under Pressure (Engaging New Visions) L.A. Beehler
lo Rising II & Giza (Engaging New Visions) R. Benson
Etruscan Relic (Engaging New Vision) J. Raffer Beck
Catch The Light 1 & 2 (Engaging New Visions) J. Schulze
Emerge (Engaging New Visions) J. Truckenbrod
Breathe Deeply (Engaging New Visions) C. Benn
Die Gedanken Sind Frei 3 & 4 (Engaging New Visions) C. Helmer
Black Birds I & II (Engaging New Visions) C. Holmes
Autumn Visions I & II (Engaging New Visions) J. Petruskeviciene
Razing/Raising Walls, Warsaw (Engaging New Visions) N. Starszakowna
Nothing Is The Same I & II (Engaging New Visions) E. van Baarle
Discharge Thundercloud (Engaging New Visions) K. Kagajo
Shroud Of Ancient Echoes I & II (Engaging New Visions) S. Fell-McLean
Cane Toad Narrative (Engaging New Visions) H. Lancaster
Visionary and Eclipse (Engaging New Vision) J. Ryder
Untitled ArtWorks (Engaging New Vision) Tjariya (Nungalka) Stanley and Tjunkaya Tapaya
Treescape (Engaging New Vision) A. Trevillian


Introduction
We shall return weekly to the European contribution to ArtCloth: Engaging New Visions.

The catalog of the exhibition is far more detailed in terms of opening addresses and artist’s biographies, curriculum vitae and statements etc. and moreover, is a holistic record of the exhibition itself.


Synopsis of Artwork: Quite Alone Oasis…
Nature has always inspired me - its forms, colours, surfaces and natural phenomenon awaken positive concepts and images. I have been exploring how Lithuanian traditional methods fit within the contemporary art.

For more than 20 years I have been interested in mottling and dyeing with natural dyes on natural textiles. Everything started in childhood. In my country eggs were mottled in such a way: one started with alder - tree bark which was cut, soaked, boiled for a while. We added rusty pieces of iron and then put wax painted eggs into it and left it for several days and thus one had blackish mottled Easter eggs.

That is the most genuine technique of batik and it should not have been originated from exotic countries. It has always been nearby; therefore I am inclined to call it the technique of “motley cloth” dyeing. Moreover, that the very word “batik” implies - “mottling”.

Following the old practice, in different countries, I find many similar recipes - the unity of the never-ending providence of nature; the cycle of life, the eternal cycles of the universe.

The intention of my presenting this work is my feeling for and about the Australian exotic character of nature, light, harmony, and self-invited fire. My ultimate purpose was to get ash-coloured texture with iron printing.


Techniques
Painted, drawn, discharged, iron stamped crepe-de-chine using natural dyes, cold wax resist and mordants.
Size: 60 cm (width) x 300 cm (length) each artwork.

(a) Quite Alone Oasis . . .(Jurate Urbiene) left artwork.
Fairfield City Museum and Gallery, NSW, Australia (right artwork by Els van Baarle - see future post).
Photograph courtesy Cedric Boudjema, Director, Fairfield City Museum and Gallery.

(b) Quite Alone Oasis. . .   (Jurate Urbiene) right artwork.
Orange Regional Art Gallery, NSW, Australia (left artwork by Els van Baarle - see future post).
Photograph courtesy Marie-Therese Wisniowski.

(c) Quite Alone Oasis . . . (Jurate Urbiene) right artwork.
Redcliffe City Art Gallery, Queensland, Australia (left artwork by Els van Baarle - see future post).
Photograph courtesy Marie-Therese Wisniowski.

(d) Quite Alone Oasis . . . (Jurate Urbiene).
Wangaratta Art Gallery, Victoria, Australia.
Photograph courtesy Marie-Therese Wisniowski.

(e) Quite Alone Oasis . . . (Jurate Urbiene) - full view.

(f) Quite Alone Oasis . . . (Jurate Urbiene) - detailed view.

(g) Quite Alone Oasis . . . (Jurate Urbiene) - detailed view.