By Meg Swansen
A meeting of Lace ДОМ и СЕМЬЯ, ХОББИ и РАЗВЛЕЧЕНИЯ, РУКОДЕЛИЕ Год выпуска: 2005 Автор: Meg Swansen Издательство: XRX Books ISBN: 978-1893762244 Формат: PDF Качество: хорошее Количество страниц: 182 Язык: английский Размер: 21.2Книга по вязанию шалей, шарфов и палантинов.скачать с www..com скачать с www.uplouding.com eighty five
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Additional resources for A Gathering of Lace
Our language and literature depend on such textile references, and our lives are often deﬁned by them. The Revd Jesse Jackson, the American politician and civil-rights activist, described the national landscape and psyche in such terms: ‘America is not like a blanket – one piece of unbroken cloth, the same color, the same texture, the same size. ’2 This connectedness of life, place and textile – the positive textile presence within the environment – is what excites me. Stitch plays its part in this intervention.
Cut work, with two-thread cording on the Cornely ‘L’ machine, forms the lacelike border of this cape. The cording thread consists of two ﬁne Cordonnet cottons on the cord-carrier spool. There is no pad thread; the tightly twisted thread is what makes the cord stand up in such relief. The fabric is a highly ﬁnished woollen facecloth, of a quality rarely seen today except in military dress uniforms. (Right) Detail of the same cape. A very ﬁne example of continuous line design. The detail illustrates how well the characteristics of the Cornely machine were understood by the designer.
The heaviness of the stitch adds a relief and contour to the print; like some growing parasitic organism the stitch possesses the fabric, becoming the living, mutating part. As with the work of Inga Likšaite, there is a relationship between simple line and changes in stitch direction on the ﬂat textile, which imposes a dimensional sense of scale and perspective. It also deﬁnes the pictorial space, whether this be a glimpsed ﬁgure or a cityscape. Both artists use photography to design their imagery: Clare Lane retains a background of digital print, while Inga Likšaite’s photographic reference is redrawn in stitch.