Printing onto Silk

I like the idea of pushing the theme of my work a bit further whilst learning a completely new process.
If my images were printed onto the soft and delicate surface of shimmering silk fabric, the seduction and attraction element would be exaggerated further. The fact that the fabric is so touchable and alluring also has the effect of drawing the viewer towards it. This would then contrast abruptly with the discovery of the objects and realisation of their meaning.
I went to visit Lisa Hill in the 2D studio and she gave me a thorough and detailed introduction to the processes involved. Although she gave me a printed sheet of instructions, she was patient enough to sit with me at my laptop and advise me on how to prepare the image for printing.

When learning a new skill, if I was just handed a sheet of information like this, I would be disinterested and not inclined to read it. But as Lisa gave me step by step instructions, I have learnt the process perfectly and will be able to do it again in the future, using the written information as back up.

I had to make sure my image was in the form of a TIFF file in RGB maximum 8 bit.

I set the resolution at 300 dpi.

The printer can handle a piece of fabric up to 150 c.m in width, but you have to allow for a 3c.m border on both sides. So I sized my images to 130 in width. The length is not an issue, as you feed a continuous roll of fabric in.

There were further instructions about the overall process of printing onto fabric using reactive dyes.

But instead of just leaving me to read and try to follow the instructions, Lisa got me to go through the different stages myself while she instructed me. This is the best way for me to learn new skills as I definitely learn by doing-kinaesthetic learner.

Once the fabric had been printed,it has to be wrapped in calico and put into the steamer for about 45 minutes. This reminded me of the fish smoking huts on Hastings beach!

When it came out of the steamer, the pattern still looked quite 'orange' in tone, but that was because there was excess dye in it.

After steaming to fix the dye, the fabric is washed at 40 degrees. I felt very nervous at this stage; it is hard to believe that such seemingly delicate fabric can be so robust! 

Out of the washing machine, and the fabric felt lighter and more fluid-I started believing this was going to work!

I left it to dry over night, came back the next day and ironed it flat. I was so nervous of using the iron on the silky fabric, but again it didn't seem to mind!
I laid the fabric on the workbench and cut the two images apart using a steel ruler and magic pen markers which fade to nothing in about 10 minutes, so you have to work fast.
 I really enjoy practical tasks like this. I like the sense of putting my own physical effort into it.

Walter Benjamin in 'Art in the Age of Mass productionXXX talked about how an original work of art possessed an 'Aura' from having been touched by the hands of the artist. I felt that I was creating an aura for my pieces by carefully smoothing, caressing, and ironing...

Once the fabric had been ironed, it was slippery and quite difficult to handle-quite fluid. This worked well with the theme, being hard to control and get in order.

The next task was to hem the top edge, leaving a space to pass a wire through it for hanging on display.

I have done a lot of sewing in the past, making clothes for myself and my children. It was very therapeutic to sit quietly sewing, adding more of myself to the piece.

Once tacked in place, I hemmed the edge on the sewing machine.

Again, this experience re-kindled old skills I thought I had forgotten, but it was rewarding to realise that it came back to me quite  quickly. In fact, this was quite a positive experience as I have felt pretty stupid trying to learn digital skills so slowly since the start of the M.A. This was more empowering and satisfying,  as I was doing something I am better at.

Once completed, I rolled the pieces and packed them into a carrier bag. 

the song came into my head…"Pack up your troubles in your old kit bag and smile boys, smile…'

That WWI song is so full of pathos as the soldiers sang it  marching to the trenches and probable death. 

I was packing up all my shit, beautifully represented on silk and putting it away for a while. That did make me smile. I never thought I would get to the stage on this course of study where my work and my life crossed over and intertwined, but it seems to have happened. Many artists, including Louise Bourgeois and Yayio Kusama, two artists I respect, have talked about this use of personal life experience and how the process is a form of therapy. perhaps it will help me?