The hills, flora, and fauna of Lucca, Italy; made into a linocut and printed in cyanotype.
Clematis cyanotype print on paper, and canvas made into a beach bag.
Easter 2017; a collection of dye-plant seeds introduced the wild into Chelsea printroom. The seeds were chosen for a diverse range of colours; Weld (yellow), Woad (blue), Coreopsis (orange), Chamomile (yellow) and Hollyhocks (purple-black). We already had a 2-year old Madder plant whose roots would soon be ready to yield red. The seeds germinated into a straggly array of plants, which rapidly needed more space and light. The fortunate plants were potted into recycled dye buckets, and taken outside. The remainder stayed on the printroom windowsill; reminding students of the provenance of natural dyestuffs.
Tiny quantities of Coreopsis and Chamomile flowers were ready to harvest in July. Majority of the silk was pre-mordanted with Alum.
Research showing one of my recent designs, printed in natural dye pigments, as a 3-colour separation onto silk.
Fustic–cutch (yellow-brown), brazilwood–logwood (red-purple), chlorophyllin–citric (green-silver).
Exhibition in the Triangle gallery at Chelsea College of Art: February 2016.
Exhibition in Chelsea Cafe Gallery: Summer 2016
Research exploring screen printing with natural dye extracts. An ongoing project; to consider some different, more sustainable and environmental practices in the print and dye workshop.
The hanging fabric scrolls are workbooks showing different dye mixtures and concentrations. Dye colours may change depending upon the type of fabric they have been printed onto.
In the cabinet are experimental prints; undertaken to understand how the natural dyes react to each other, to the fabric, and to different chemicals.
Eight natural dye extracts have been used in this work; cutch, madder, weld, lac, chloropyllin, fustic, logwood and brazilwood.
Fabric was mordanted prior to printing with either alum or aluminium acetate.
Each dye extract has been given a unique print design; this allows the dominant dye extract to be identified in an experimental sample.
Colour can be altered by additions of other natural dyes, or by using colour modifiers, for example:
Iron – saddens and darkens
Citric acid – brightens or discharges
Cream of tartar – brightens and lightens.
Painted onto the screen mesh with dissolved natural dyes; brazilwood, logwood, madder, fustic, and chlorophyllin. Overpainted with washes and citric acid. Printed onto mordented silk.
Using Wild Colours natural dye extracts to screen print vibrant colours.
Dyeing at West Dean
Foraging, and concocting; with help of expert tutor Penny Walsh, I learnt to use mordants and natural dyes to produce an array of colours. I was astonished at the depth and vibrancy of the colours achieved.
A selection of work shown at the city lit staff show in May 2015
Painted intercut paper collage inspired by the sketches of Lucca and Barga.
Pattern and rhythm inspired by Lucca sketches; acid dye on silk
Painting dyes through the screen onto silk – one corner inspired by the work of Augustine and Bridgland at Jealous gallery.
Sketch of Lucca
Fabric development for jazz with a view; acid dyes on silk.