Senyor Pablo [1]
Senyor Pablo lives in Madrid, Spain, and makes knitwear.
Senyor Pablo.
Profile of Senyor Pablo.
After working in advertising, the film industry and broadcasting production, costume design and at Alrezzo, he decided to change his career path and work in pre-technology.
He has created three knitwear collections using a Knitting machine. They combine graphic prints and were shown at Ego's showroom during the Mercedes-Benz fashion week in Madrid.
A Senyor Pablo knitwear creation.
Pablo has made knitwear for other designers such as Carlos Diez Diez and Krizia Robustella. He has also taken part in the project 'Eastpak Artist Studio' and at the international festival 'BYOB' (Bring Your Own Beamer) in Matadero, Madrid. He promises to continue knitting to make winters nice, warm and friendly!
Senyor Pablo knitwear.
Detail of the above knitwear.
Senyor Pablo's knitwear.
Detail of the above knitwear.
Senyor Pablo's knitwear.
Detail of the above knitwear.
Reference:
[1] The Pattern Base, Kristi O'Meara (Ed. A. Keiffer) Thames & Hudson (2015).
Preamble
For your convenience I have listed below the annual reviews that span the life of this blogspot.
It's Been An Exciting Year (2010/2011)
Another Cheer - Another Year (2011/2012)
Where Did The Year Go? (2012/2013)
The Year of the Horse (2013/2014)
Cold and Windy - But on the Dawn of Renewal (2014/2015)
A Time To Reflect - A Time To Select (2015/2016)
A Time to Remember (2016/2017)
To Be or Not to Be (2017/2018)
The Night Too Quickly Passes (2018/2019)
The Year of Living Dangerously (2019/2020)
Attempt The Impossible Since Failure Will Still Be Your Success (2020/2021)
A Year of Climate Extremes (2021/2022)
I Love A Sunburnt Country (2022/2023)
Australian Rules (2023/2024)
Introduction
Australian Rules football is a game that is unique to the Australian landscape. Australian Rules football evolved in Melbourne (Australia) in the mid-19th century. An Aboriginal game known as marngrook, and Gaelic football played in Ireland, have been cited as inspiration for the game.
In the winter of 1858 students from Scotch College and Melbourne Grammar competed against each other in several games of football. These matches are credited as the first organised games of Australian Rules football. The game was initially known as Melbourne, or Victorian, rules football. To put the origins of the game in better perspective, it should be noted that Melbourne was a burgeoning city built on the riches of the 1850s gold rush by the time Australian football first appeared in 1858. As with other areas of British settlement during the 19th century, cricket emerged as the primary summer sport. Concerned about off-season fitness, cricketer Thomas Wentworth Wills (1835–80), who was born in Australia, but educated at Rugby School in England, where he captained the cricket team and excelled in football—believed that a football club should be formed to keep his team mates fit during winter. The Melbourne Cricket Club agreed with Wills’s suggestion, and as there were no standardized football codes at that time, appointed a committee to devise a set of rules. The Melbourne and Geelong football clubs were established in 1858 and 1859, respectively, and are two of the oldest football clubs in the world. The rules agreed to by the committee on May 17 1859, were a compromise between those of several English public schools, notably Winchester, Harrow, and Rugby. Players were allowed to handle the ball but not to run farther than necessary to kick it. In 1866 H.C.A. Harrison (1836–1929), a cousin of Wills, rewrote the rules. These rules imposed no limit on the number of players, though in the 1880s, 20 men per team became standard.
An Australian Rules football match between Carlton and Melbourne Football Clubs in 1881.
By the 1870s crowds of 10,000 people were attending games at the Melbourne Cricket Ground (MCG) to watch this uniquely Australian game.
MCG, ca. 1914. The 1881 'Members Stand' is the smaller building on the left.
The first grandstand at the MCG was the original wooden members' stand built in 1854, while the first public grandstand was a 200-metre long 6000-seat temporary structure built in 1861. Another grandstand seating 2000, facing one way to the cricket ground and the other way to the park where football was played, was built in 1876.
By the 1870s football was well established in Melbourne. Clubs formed around suburbs, hotels, churches, schools and workplaces, and in a society of recently-arrived immigrants, provided a sense of belonging and community. Games began to be played regularly and an unofficial system of senior and junior clubs emerged. The starting time for senior games was soon fixed at 3pm on a Saturday afternoon, enabling some manual labourers to play.
Players and spectators represented the full gamut of Melbourne society. The games were still played on open parkland, there were no admission fees and crowds of 2,000 to 3,000 spectators regularly gathered to watch. Women too were regular attendees, parading in their finery around the playing area. However, the rising popularity of the game was making it increasingly chaotic. Enthusiastic spectators encroached onto the field and disrupted the game, sometimes intentionally.
In 1869 two matches were played on the Melbourne Cricket Ground (MCG). One took place between Melbourne and the Victorian Police Force, the other between Melbourne and the 14th Regiment.
Cricket clubs had refused regular requests to allow footballers onto their grounds on the basis that the unruly players and spectators would ruin the turf. Unfortunately, those first games at the MCG did nothing to convince them otherwise. Football was again banished to the parks.
In Carlton in 1876 the football club fenced off a new ground and smoothed it out. An admission fee was introduced to cover costs and, although it was largely resented by spectators, 5,000 paid to watch Carlton play Melbourne.
The modern day Australian Football League (AFL) includes many teams that date back to the beginnings of the game. Apart from the Melbourne Football Club (1859) other early clubs still in existence in the AFL include: Geelong (1859), Carlton (1864), North Melbourne (aka Hotham) (1869), Port Adelaide (1870), Essendon (1872), St Kilda (1873), South Melbourne (now the Sydney Swans) (1874), and Footscray (now the Western Bulldogs) (1877). St Kilda Football Club was established in April 1858, and played for a number of seasons until they no longer had a ground in 1864. In 1872 when a new ground was found it was reformed. Many of the players from St Kilda in 1865 then played for the South Yarra Football Club (1858). In April 1872 there was a motion to join both clubs.
On 3 July 2006 the AFL announced that it had formed an International Development Committee to support overseas (non-Australian) football leagues. The AFL also hope to develop the game in other countries to the point where Australian football is played at an international level by top-quality sides from around the world. The AFL has hosted an International Cup regularly every three years, beginning in 2002, with the third game in 2008 corresponding to the 150th anniversary of the code.
The 2023 AFL season was the 127th season of the Australian Football League (AFL), the highest level Australian rules football competition in Australia. The season featured 18 clubs and ran from 16 March to 30 September 2023, comprising a 23-match home-and-away season for the first time in league history, followed by a four-week finals series featuring the top eight clubs. The premiership was won by the Collingwood Football Club for the sixteenth time, after defeating Brisbane Lions by four points in the 2023 AFL Grand Final.
The 2023 AFL grand final between Collingwood and the Brisbane Lions football teams had more than 100,000 spectators in attendance.
2024 season AFL ladder. Collingwood Football Club finished on top and so are called "Premiers" (P) with my team, Essendon, finishing eleventh on the ladder.
It is customary for Australian children to be christened at birth, and then later to be christened to a team. Since we lived near the suburb Essendon (which is the original home of the Essendon Football Team) I naturally became an Essendon supporter. Of course one criteria for a happy wife and therefore for a happy life was that one's spouse also cheered for the same team. Needless to say, my hubby was an Essendon supporter before we knew each other.
For the record, Essendon Football Club holds the distinction of being the only club to win a premiership in their inaugural season (1897). Unfortunately, Essendon has not been able to achieve significant on-field success in recent years. It won its last premiership in 2000 and last final in 2004.
Essendon football club's jumper.
The game has a humerous side. In an outback country pub, two men were discussing Australian Rules Football. One had been to Melbourne (the home of the game) and the other had never been down that way. "Tell me," said the latter, "is the Melbourne game (AFL) anything like Rugby or American Football." "No, its quite different," replied his friend. "In the Melbourne game there are thirty-six players, and at least thirty-six thousand umpires!"
Australian Rules
The number of categories on this blogspot keeps growing. They are as follows: (i) ArtCloth, Art Quilts, Textile Art; (ii) Art Essays; (iii) Art Exhibitions/Installations/Talks; (iv) Artist's Profiles; (v) Art Resources; (vi) Art Reviews; (vii) Book Reviews/Interviews; (viii) Craft and Quilt Fairs; (ix) Fabric Lengths; (x) Glossaries; (xi) Guest Artists/Authors/Creatives; (xii) Guest Editors; (xiii) Opinion Pieces; (xiv) Prints on Paper; (xv) Resource Reviews; (xvi) Technical Articles; (xvii) Wearable Art; (xviii) Workshops and Master Classes (i.e. my students outputs).
Note: Not all of these categories are present in any given year. For example, this season there were no Book Reviews/Interviews nor were there new Glossaries, even though several of the Glossaries were substantially increased in content (e.g., click on the following link - Glossary of Art, Artists, Art Motifs and Art Movements - to view the increase in its content.
I do realize that judging a post by a single criterion, namely, the most number of viewers, is not necessarily the smartest approach, since the length of stay of a viewer on that post might negate the former statistic. How often have you heard yourself say - oops I really didn't mean to google this hunk of a man when I innocently searched for "drawers!" Nevertheless, this one statistic makes it easier for me to make a judgement about which posts were popular, and so it will be used as the final arbitrator, except in the case when two posts differ by less than two viewers in total. Then I will decree that both are joint winners!
Note: Within each category we are only talking about differences in number of views, rather than the absolute number of views.
ArtCloth, Art Quilts, Textile Art
There were eight posts in this category in the 2023/2024 season. The two that got the largest number of page views were: African Stitch Resist, and Yoruba Stitch Resist, with the former the winner by eight more page views than the latter.
Dogon woman's indigo-dyed stitch-resist cloth from Mali.
Note: The embroidery on the cloth is a phrase from a popular song.
Art Essays
There were four post in this category in 2023/2024. The two posts that received the largest numbers of page views were published approximately two months apart, namely, Media and Society and Navajo Rugs of the Western Reservation. The winner by only eight page views was the latter.
Maker: Ella Yazzi Bia.
Comment: Ella Yazzi Bia of White Clay, Arizona, was commissioned to copy a design in Read Mullan's catalog. In six months the job was done but with tiny differences in design.
Size: 39 x 63 inches.
Courtesy: Tom E. Kirk Collection.
Art Exhibitions/Installations/Talks
There were eight posts in this category in 2023/2024. The two posts that received the largest number of page views were published within a fortnight of each other and they were: ATASDA's ‘A Touch of Gold’ 50th Anniversary Exhibition Part I and ATASDA’s ‘A Touch of Gold’ 50th Anniversary Exhibition Part II, with the former having 21 more views.
Artist: Marie-Therese Wisniowski.
Image: Amaranthine (Full View).
Technique and Media: Screenprinted - employing transparent, opaque and metallic pigments on supplied Batik block fabric.
Size: 22 x 22 cm.
Artist(s) Profile
There were ten posts in this category in 2023/2024 season. The two most viewed posts in this category was in 2023, namely: Cycle and Silk Designs of James Leman, with the former having five more views.
Cycle at work.
Art Resources
The Art Resources posts are generally the first post in any given month and so numerically they dominate the category of published posts in any given season. Hence there were eleven published posts in this category in the 2023/2024 season. Of course it is not surprising that the two most viewed posts in this category were the two that were longest on this blogspot, namely, Classification of Pigments - Part I and Classification of Pigments - Part II, with the former having sixteen more views than the latter.
Australian Yellow.
Guest Artists/Authors/Creatives
There were two posts in this category in 2023-2024, both being outstanding contributors to the world of art, namely, Mary Edna Fraser, and Janet De Boer. Visit both posts by clicking on their respective links given above.
There were only fifteen page views between them, with Janet having more visitors. Janet's sense of being true to herself with humour really comes to the fore in her post.
Janet's comment about this picture: "Oh yes - and I kayak. Note: Dismounting is not what it used to be and you should see me getting in it!"
Prints on Paper
There were five entries in this category this season, with the topmost two that were viewed belonging to the same series namely, Posters from World War II On, Since 1940s - Part I and Posters from World War II On, Since 1940s - Part II, with the latter having five more views.
Print of Churchill garning support for nation during World War II.
Wearable Art
There were only two posts in this category this season and both were related namely: Everyday Wear (Winter, 2003) - Part I and Everyday Wear (Winter, 2003) - Part II, with the former having 246 more views.
Stella McCartney.
Preamble [1]
'Melbourne Now' was an art exhibition mounted by the National Gallery of Victoria (Melbourne, Australia) in 2014. It takes as its premise the idea that a city is significantly shaped by the artists, designers, architects, choreographers, intellectuals and community groups that live and work in its midsts. The aim is to explore how Melbourne's visual artists and creative practitioners contribute to the dynamic cultural identity of this city. The result is an exhibition that celebrates what is unique about Melbourne's art, design, and architecture communities.
The intention of this exhibition is to encourage and inspire everyone to discover some of the best of Melbourne's culture. To help achieve this, family-friendly activities, dance and music performances, inspiring talks from creative practitioner's, city walks and ephemeral installations and events made up the public program.
This and other posts in this series concentrate on the participating artists rather than on other features of the exhibition event (e.g., family-friendly commissions developed especially for children and young audiences that aimed to encourage participatory learning for kids and families etc.)
For your convenience I have listed below other posts on thie blogspot that features Melbourne Now exhibitions:
Melbourne Now - Part I
Melbourne Now - Part II
Melbourne Now - Part III
Melbourne Now - Part IV
Melbourne Now - Part V
Melbourne Now - Part V [1]
Contemporary Jewellery
Along with Munich, Amsterdam and other cities, Melbourne (Australia) is recognized as a leading centre for the production of contemporary jewellery. Established training courses have contributed to this pre-eminence, but the community of local jewellers also includes those who are largely self-taught or whose work has emerged as a result of training in other creative fields. In addition, there are makers whose practice has evolved out of millennia-old cultural traditions, and others who trained overseas and have introduced new ways of working to the local scene.
This diversity of backgrounds among the jewellers represented in 'Melbourne Now' is mirrored by the variety of their technical, material and conceptual approaches to making jewellery. Necklaces, bracelets, rings and brooches of precious and semi-precious metals sit alongside others made of resin, porcelain and recycled materials. In this personal and dynamic jewellery merging craft, design, tradition and innovation, the intimate connexion between maker and object intersects with that which develops between object and wearer. Melbourne architecture firm, Muir Mendes, was commissioned to design the contemporary jewellery project for 'Melbourne Now.'
Contemporary jewellery project for 'Melbourne Now.'
Robert Baines, Rosanne Batley, Nicholas Bastin, Bin Dixon-Ward, Mark Edgoose, Maureen Faye-Chauhan, Stephen Gallagher, Allona Goren, Jo Hawley, Kirsten Haydon, Marian Hosking, Carlier Makigawa, Sally Marsland, Vicki Mason, David Neale, Tiffany Parbs, Nicole Polentas, Phoebe Porter, Emma Price, Lousje Skala, Blanche Tiden, Meredith Turnball, Manon van Kouswijk.
Daniel Crooks
New Zealand born, Daniel Crooks has lived and worked in Melbourne (Australia) for more than twenty years. A multi-disciplinary artist, Crooks is well known for his arresting video works in which he masterfully splices and rearranges once-familiar environments into undulating cacophonies of movement. Demonstrating a complex awareness of motion, control, physics, design and mathematical code, Crooks' work elevates time into physical, malleable dimension and challenges our understanding of it as a linear construct.
Commissioned for 'Melbourne Now', Crooks' most recent video work focuses his 'time-splice' treatment on the city's famous laneways. As the camera traces a direct, Hamiltonian pathway through these lanes, familiar surroundings are captured in seamless temporal shifts. Cobblestones, signs, concrete, street art, shadows and people are gracefully panned, stretched and distorted across our vision, swept up in what the artist describes as a 'dance of energy.' Exposing the underlying kinetic rhythm of all we see, Crooks' work highlights each movement once, gloriously, before moving on, always forward, transforming Melbourne's gritty and often inhospitable laneways into hypnotic and alluring sites.
A Garden of Parallel Paths - Still shot (2012).
Note: this commisioned work for Melbourne Now was supported by Julie, Michael and Silvia Kantor.
Georgina Cue
Georgina Cue is known for her diverse practice encompassing large-scale installations which combine embroidery with motifs of film noir and architectural space. Since 2007 she has exhibited regularly in Mebourne (Australia), where she lives and works.
The 'Aleph' (2010) is a large installation of embroidery on tapestry canvas that uses trompe l'oeil to create the sense of entering a room. Heavy, patterned drapery and carpets create an atmosphere of time past, and the subdued palette and dark shadows evoke the mystery and suspense of film noir. The work was first shown in an exhibition in Melbourne titled, 'Indicium,' meaning indication or sign in which the artist re-interpreted early twentieth century police photographs of New York crime scenes in embroidery, exploring how mystery and drama imbue everyday objects in these locations. While the melodrama and passion of the crime is absent once the body is removed, the space resonates with the memory of the event, like a stage set after a performance.
The Aleph (2010). National Gallery of Victoria (Melbourne, Australia).
Juan Davila
Juan Davila was born in Santiago, Chile, in 1946, and migrated to Melbourne in 1974. In drawing upon a striking array of historical art and cultural references - religious, modernist and avant-garde art, Latin American folk art traditions, pornographic and pop-cultural motifs and postcolonial and psychoanalytical discourse - Davila has been a leading protagonist in the development of critical form of post-conceptual painting since the late 1970s, and continues to be at the forefront of cultural and political critique in contemporary art internationally.
More recently, Davila has turned to the genres of landscape and historical painting, as well as portraiture and urban forms, to questtion the sweep of modernity and colonisation, the rapaciousness of late capitalism, and environmental degradation. Recent paintings - such as 'After Image, Ecran' and 'After Image, Kreon,' both 2013 - continue to explore indifferent relations between Indigenous, European and migrant communities. In the symbolic and increasingly spectacular forms of advertising and publicity in today's media, Davila identifies a new form of colonisation: of subjectivity itself. With technical virtuosity, his paintings achieve monumental significance - encapsulating beauty and emotion, while invoking society's intolerance of non-commercial enjoyment or desire.
After Image, Kreon (2013).
Christopher Day
True to the origins of documentary photography, East Melbourne-born photographer, Christopher Day works with everyday objects; his unique use of imagery and choice of subjects, however, turn the genre on its head. Self-taught, Day, shoots his own source images, carefully selecting objects that resonate with personal memories, before collaging them into psychedelic dreamscapes. The results are surreal, absurd and often humourous, touching on both contemporary and historical narratives and reprocessing artefacts from popular culture. Recent solo exhibits in Melbourne include 'Permanent Deferral' (2013), 'End' (2012), 'After the Breadcrumbs' (2009), and 'A Little Boob' (2008).
Day's suite of works in 'Melbourne Now' are taken from the 2013 'Permanent Deferral' series. The black-and-white photo-collages offer insights into the contemporary media landscapes and evoke almost childlike wonder in the viewer. In the broadest sense, the works offer escapism and the chance to choose your own adventure.
Untitled: Permanent Deferral (2013).
Courtesy of the National Gallery of Victoria (Australia).
Supported by the Bowness Family Foundation.
Destiny Deacon and Virgina Fraser
Destiny Deacon is one of Australia's leading artists, whose work has been presented in major international exhibitions including the prestigious 'Documenta 11,' Kassell (2002). Virgina Fraser is an artist, writer and curator whose practice focusses on film, video and installation using light in various forms. In 2010 Fraser was a Fellow at the National Film and Sound Archive, Canberra, Australia.
Adapting the quotidian formats of snapshot photography, home videos, community TV and performance modes drawn from vaudeville and minstrel shows, Deacon's artistic practice is marked by a wicked yet melancholy comedic and satirical disposition. In decidedly lo-fi vignettes, friends, family and members of Melbourne's Indigenous community appear in mischievous narratives that amplify and deconstruct stereotypes of Indigenous identity and national history. For 'Melbourne Now', Deacon and Fraser present a trailer for a film noir that does not exist, a suite of photographs and a carnivalesque diorama. The pair's playful political critiques underscore a prevailing sense of post colonial unease, while connecting their work to wider global discourses concerned with racial struggle and cultural identity.
Title: Blakula's Daughter and Joey (2011).
Reference
[1] T. Ellwood, Director, National Gallery of Victoria (Melbourne, Australia).
Preamble
For your convenience I have listed below the posts in this series:
Everyday Wear (Winter, 2003) - Part I
Everyday Wear (Winter, 2003) - Part II
Introduction
The 2003 Winter Edition of Belle Armoire featured elegantly crafted Wearable Art by some of America's and Canada's leading artists in the field. I hope you enjoy these stunning creations.
Everyday Wear (Winter, 2003) - Part II
Creator: K.C. Lowe.
Description: Moth Wing (Shawl).
Location: Anchorage, AK (USA).
Creator: Judy Sweeney.
Description: Winter Holiday (Reversible Coat).
Location: London, Victoria, British Columbia (Canada).
Creator: Charlene Schurch.
Description: Winter Holiday (Vest).
Location: Middletown, CT (USA).
Creator: Layna Bentley.
Description: Iridescene (Scarf).
Location: Omaha, NE (USA).
Creator: K.C. Lowe.
Description: Barely Vested (Vest).
Location: Anchorage AK (USA).
Creator: Colleen Davis.
Description: Misoni (Cardigan).
Location: Encinitas CA (USA).
Creator: Karen Garris Cook.
Description: Gold and Silver Jacket (left) and Black Jacket.
Location: Bend OR (USA).
Reference:
[1] Belle Armoire. Winter Edition (2003).
Preamble
On this blog spot there are posts that center on my “Wearable Art” (e.g. scarves, digital or analogue created fabric lengths etc.) For your convenience I have listed these posts below.
A Selection of My Scarves
Leaves Transformed: A New Collection of My Digitally Designed Fabrics
My New Silk Rayon Velvet Scarves@Purple Noon Art And Sculpture Gallery
My Fabric Lengths@QSDS
My Fabric Collection:"Oh, Oh Marilyn and Mona!"@Spoonflower
2013 Australian Craft Awards – Finalist
My Scarves@2014 Scarf Festival: "Urban Artscape" Pashminas
My New Scarves and Fabric Lengths
New Range of Silk Neckties - Karma and Akash
AIVA: My New Hand Dyed and Hand Printed Fabric Design
New Colorways For My 'Cultural Graffiti' Fabrics
Byzantine Glow: A New Collection of My Digitally Designed Fabrics
Wall Flower: A New Collection of My Digitally Designed Fabrics
Ink Fern - A New Collection of My Digitally Designed Fabrics
Celebratory Fireworks
My New Silk ArtCloth Scarves
New ‘Unique State’ Silk ArtCloth Scarves
UBIRR - My New Hand Dyed & Printed Fabric Design
Renaissance Man - My New Hand Dyed & Printed Fabric Design
Banksia - My New Hand Dyed and Hand Printed Fabric Design
Ginkgo Love - My New Hand Dyed and Hand Printed Fabric Design
Garden Delights I & II - My New Hand Dyed and Hand Printed Fabric Design
Wallflower III - My New Hand Dyed and Hand Printed Fabric Design
Rainforest Beauty - Collection My New Hand Dyed and Hand Printed Fabric Design
Spring & Autumn Flurry Collection - My New Hand Dyed and Hand Printed Fabric Design
La Volute Collection - My New Hand Dyed and Hand Printed Fabric Design
Urban Butterfly - My New Hand Printed Fabric Design
Acanthus Dream - My New Hand Printed Fabric Design
“Cascading Acanthus” - My New Hand Dyed and Hand Printed Fabric Design
My New Hand Dyed and Hand Printed 'Rainforest Beauty' Pashmina Wraps Collection
My ArtCloth Tea Towels: A New Collection of Digitally Designed Products
Through the Land it Roared . . . ArtCloth Shawl
My New Hand Dyed and Hand Printed ‘Urban Codes - Series 1’ Collection
Urban Moonlight - My Post Graffiti Doily
My New Hand Printed Fabric Design - "Morocco" ArtCloth
‘Vine Glow’
“Bush Banksia’s” Collection"
Releasing My New - ‘Unique State’ ArtCloth Scarves
‘LRSP’ A New Collection of Digitally Designed ArtCloth Textiles
If you like any of my artworks in the above links, please email me at - Marie-Therese - for pricing and for any other enquiries.
Introduction
The usual format of this blogspot is that the first post of the month is an "Art Resource" post (for example, click on - Selected Fresco Palette for Permanent Frescoes. However, today we are breaking with our usual tradition since this is my 700th published blog.
Background image from my ‘Celebratory Fireworks’ collection of digitally designed fabrics.
I started this blogspot on August 26, 2010, nearly fourteen years ago with my first post highlighting an exhibition, namely, ArtCloth: Engaging New Visions - An International Exhibition which highlighted an international ArtCloth exhibition that I curated and was also a contributor. This exhibition was concieved by me in 2008. It was exhibited at the Fairfield City Museum and Gallery (NSW) 29th August - 11th October 2009, Orange Regional Gallery (NSW) 9th of April - 30th May 2010, Redcliffe City Art Gallery (Queensland) 11th - 28th August 2010 and at the Wangaratta Gallery (Victoria) between 11th December 2010 and 23rd January 2011.
I gave the opening address at the exhibition which was held at the Redcliffe Art Gallery.
Since then this blogspot has grown to incorporate a number of resources for beginners, for those who dabble and for those who are experts in the fields of ArtCloth and Prints on Paper.
Creator and Title: Violet Petyarr, Mountain Devil Lizard Dreaming (1997).
Technique: Batik on silk.
Size: 115 cm (width) x 203 cm (length).
Click on - ArtCloth from Utopia - to view the post.
Creator and Title: Marie-Therese Wisniowski, Veiled Curtains: Benazir (prints on paper).
To view the post click on - Veiled Curtains
I published a number of glossaries to add a further dimension to this blogspot. I was at a lecturer in Fine-Arts at the University of Newcastle and so I wanted my students to have access to data bases in order to give them resources to inform their artwork. There are currently eight data bases on this blogspot, namely: Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms.
These glossaries are being continually updated.
Click on - Glossary of Art, Artists, Art Motifs and Art Movements Edition 5.0 in order to access all the glossaries.
From time-to-time, I have invited guest artists to write a post about their own work.
Blog Title: 'My Voice using Disperse Dyes on Cloth.'
Guest Artist: Jennifer Libby Fay.
Click on - Libby Fay - to see the post.
I am happy that my hard work to create these posts has not gone unnoticed. In fact, the Art Quill Studio blog spot has been selected by FeedSpot’s panelist as one of the ‘Top 30 Australian Art Blogs’ on the web.
To see Feedspot’s top 30 Australian Art blog sites and to read more about FeedSpot and its activities click on the follwing link - Feedspot.
I would like to thank all our followers, contributors, supporters and general readership for their continuing patronage over the last 700 blog posts/fourteen years. As usual, on our anniversary post in August we will post highlights of your favourite posts over the past year. It is your patronage and on-going support that inspires me to continue with this blogspot. Many thanks!
Marie-Therese Wisniowski.
‘LRSP’ A New Collection of Digitally Designed ArtCloth Textiles
I have been designing my hand dyed and hand printed fabric lengths using a range of fabrics and multiple surface design techniques. As a professional senior graphic designer/illustrator in a previous career, I have always had an interest in creating imagery, prints, illustrations, posters, and publications using digital processes. This interest has led me to some fascinating explorations in the field of digitally created fabrics and textiles. I have uploaded my new digitally designed ArtCloth fabric collection, ‘LRSP’, on this blogspot.
The ‘LRSP’ collection of digitally designed prints on cloth were based on one of my personal and unique prints on cloth, which employs my signature Low Relief Screen-Printing (LRSP) technique. Over the years, I have been experimenting with various improvisational screen-printing techniques using low relief texture items and so I developed (and termed) a new signature method of screen-printing which employs these low relief images using fabric paints. My LRSP images produce only one print that can result in a mono print series of prints. By incorporating interesting colour combinations and items, these low relief mono prints are imbued with a painterly, multi coloured, richly textured and organic aesthetic, which in turn impart these unique qualities to digitally designed fabric creations.
The individual mono prints were scanned, and digitally reworked in Photoshop to create a superb complimentary colorways suite. There are five color-ways in the ‘LRSP’ collection. The colors have been sensitively and painstakingly created to encompass the rich textural qualities and organic aesthetic. The contemporary fabric designs can be used for interior design, clothing items and other decorative purposes. The designs employ a mirror repeat pattern technique.
The printed designs are available in a range of approximately 28 natural and synthetic fabric types from Spoonflower which include – chiffon, celosia velvet, cotton lawn, cotton poplin, cotton twill, petal signature cotton, linen cotton canvas, organic cotton sateen, sport lycra, performance velvet, poly crepe de chine, and satin. Fabric widths vary from 40" (102 cm), 42" (107 cm), 54" (137 cm), 56" (142 cm), and 58" (147 cm) depending on the chosen fabric. There is no minimum order, and the printed fabrics range from a test swatch (8" x 8" or 20 cm x 20 cm) to a fat quarter (21" x 18" or 53 cm x 46 cm) or to whatever your yardage requirements may be.
These fabric designs can be used for wearable art, accessories, furnishing and interior design projects. If you would like to purchase fabric lengths from my ‘LRSP’ collection, please email me at - Marie-Therese - for pricing and any for other queries.
My ‘LRSP’ ArtCloth design/s - for wearable art, accessories, interior and other decorative design projects - are shown below. Each image in the collection below shows a fat quarter (21" x 18" or 53 x 46 cm) view of the printed fabric design. There are also additional images of the fabric designs which have been crafted into throw pillows, dinner napkins, placemats, table runners, throw blankets, sheet sets, and duvet covers. Other items available in the range include curtains, wall hangings, tea towels, and tablecloths. Images courtesy Spoonflower.
To view more of my Digital ArtCloth Fabric Collections please click on the following link - My Fabric Collections on Spoonflower
LRSP 1 (Fat Quarter).
LRSP 1 (Throw Pillow).
LRSP 1 (Throw Blanket).
LRSP 2 (Fat Quarter).
LRSP 2 (Duvet Cover).
LRSP 2 (Curtain Panel).
LRSP 3 (Fat Quarter).
LRSP 3 (Tablecloth).
LRSP 3 (Placemat).
LRSP 4 (Fat Quarter).
LRSP 4 (Table Runner and Napkins).
LRSP 4 (Tea Towel).
LRSP 5 (Fat Quarter).
LRSP 5 (Sheet set and Pillow).
LRSP 5 (Standard Pillow Sham).
Senyor Pablo.
Profile of Senyor Pablo.
A Senyor Pablo knitwear creation.
Senyor Pablo knitwear.
Detail of the above knitwear.
Senyor Pablo's knitwear.
Detail of the above knitwear.
Senyor Pablo's knitwear.
Detail of the above knitwear.
