There’s an Artist
in every lineage throughout the world and lots of periods there’s an Artist deep down inside all of us as well. So grab your children, your brothers, your sisters, your aunties, uncles and moms and dads, and come and see how some of best available Craftsmen in Australia do what they do.( Music Plays) We’re in the beautiful metropolis of Sydney this reveal to discover an amazing craftsman so come along and enjoy the extraordinary expertise that Sydney has to offer. Well g’day witness, and accept back to Colour In Your Life. We are at the studio of a young lady announced Meredith Woolnough. Meredith, thank you for being on the reveal. Hi, happy to be here. Great to be here. As you can see in the background here, there are some amazing I necessitate, I call them’Also has a Bachelor’s degree with first class Reputations in Arts, which is pretty cool. So she’s going symbols behind her call by the highway, and also you’re a master of learning as well? Mmmhmm, yep. So you’re not only talented, good-looking, but you’re smart as well? You’re making me blush Graeme.( Tittering) That’s ok. But what we’re going to do, is we’re going to spend the day with Meredith on how she actually settles these formations together. And she does it on a hemming machine and uses materials, and strand, and actually exerts materials that actually terminate. Can you only describe to me how all this exists about? Ok. So the textile that I work on is this stuff. Patently, “it’s a lot” of it. It’s a water-soluble textile. It was initially developed by the medical industry. They used it as the bags that they would soak the surgical material in, so when they had adulterated enacts, it would go inside these bags and be sent off to be sanitized and then the bags would just dissolve and no one would have to touch the waste. Like better than good abilities it comes from the military or the medical industry.
But then certainly this had lots of other lotions, so now it’s been pushed out into the textiles macrocosm. And it’s sold in sewing browsers as a basic stabilizer, but then I’m consuming it as basically my base textile. So I don’t ornament onto cloth; this is my cloth and then it’s afterward removed. It’s amazing. And I can see by the influence of a lot of your work, you’re certainly very much in mood, but like me, very much into the mathematics of mood as well. Yeah. I don’t pretend to be good at maths; you know, art and maths, spray and petroleum[ Tittering] Yeah. But I think it is naturally fundamentally involved in all of us. And certainly, it is in good a mood. You know, we were talking earlier about the Golden mean, Fibonacci sequence, and they come up in things like the Nautilus without even trying, and yeah, that’s definitely part of it. I don’t even know if it is a self-conscious decision or not.
It’s wonderful, but you’ve certainly developed You’ve said that this isn’t something that’s yours, but I think that you’ve developed this to an extent, I necessitate, as we go through and we screen up much more of Meredith’s work as we go along. I have never seen, when I firstly find Meredith’s work I only was utterly stupefied, cause it really is art and statue and information and it’s difficult to describe. It doesn’t really fit into a category by any means, it’s something that you’ve truly come up with yourself. Yeah, it’s hard to categorize. I see any employ or artwork that’s based in textiles, it’s really easy to introduce into that textiles or workmanship bracket rather than Art, but textiles is a superb medium, it is used in so many things, and I think it’s really exciting. And maybe it’s exciting because it’s not seen that much in the broader artwork. Yes. It’s amazing, and as I’ve said, you dive, “there’s going” dive, you look at the stuff under the spray. You know, you’ve got this absolutely superb I necessitate, if you look around Meredith’s studio, there’s little bits and pieces of animals and eggshells, and sponges.
There’s stuff everywhere, which is just great. But we’re going to go through the process today. You’re going to show us how you do one of these Really, it’s only a small one. Mmmhmm, yep. It takes a long time to do. Yeah, and you sort of and as you’ve said before, you’re fairly limited by the length that you can actually create because of the hem machine extremely. Yes, yes. But a lot of these, as you can see, they’re quite three dimensional in their appearances. And she exerts all sorts of things to create these, but makes start from the beginning, and tell us how you go about actually putting one of these together, and then we’re going to go through the process of how Meredith does this today.
Ok. Ok, so, to start off, I’ve got my water-soluble textile. Yeah. It’s normally a lot neater flattened than this. And where would you buy this from? I buy this in the majority, and so buy 10 of meters at a time, and I also buy a really long segment of it. But you can get this only from a hem patronize. Oh ok. Generally in smaller, more feasible sizes. Beings use it for lace making and situations like that. So, this is just high standards embroidery band. You require a band because otherwise, it’s just going to So that’s where it came from. come ground up by the machine when you seam. You need to keep it delightful and close-fisted. So, I pull this out as excellent I can. It’s like a lightweight interfacing if anyone’s familiar with that. And if I appear any sort of spongy flecks I’ll only contribute it an extra tug. Just pull it through IF you tug too much it will trend. Like, it will send quite easily. And if it separates, well, you’ll deal with that when I think you’ve got enough there only to sort of go home and get it on again.
Yeah. We can misstep. Ahhh what the hell. So that’s going to be what we can work on. So make sure this is no longer wrinkled or anything like that. And I can draw onto this. You have to be very careful what you depict with. Some confines will dissolve the fabric because they’re highly sodden, and you want to draw gently. But you’ve got to be careful, cause if you do draw onto this when you dissolve it, it might come across onto your work. Experiment. Ok. So you’ve got a tightener there. Do you tighten that up at all? If it needs it. It’s pretty snug. But as if I’m sewing a big patch, with countless parts, the patch will be coming thicker, cause it’s got the embroidery on it, and I might need to adjust it. So what kinds of pencils do you use to do this thing? And who obligates it? And what is it all about? I only use a basic outline pencil. Oh, ok. So, you know, they’re pretty good, only a basic felt tip, because they’re not highly sodden and they’re very fine. So I can only very lightly draw on it and it’s not going to soak through too much.
As far as your patterns are concerned, I know you’re working off mood, you know, situations like Mandelbrot fractals, but we won’t travel into the mathematics about it. But it is quite fascinating. But a lot of this is just free hand? Do you do stencils at all? Sometimes I’ll sometimes pull up situations so I will draw up big patterns. Oh, there “there going”, ok. Choose up big patterns. So, for example, the leaf, I’ve describes it firstly. Oh wow, look at that. That’s superb. And intention from there. There’s my nautilus. Oh ok. Ok. So I can sort of illustration that out. So, you know, I do sketch situations and I do save sketchbooks of skill ideas and situations like that. It’s what you’ve gotta do. Another spot being as well, how do you get that, if you’ve got the stencil, onto this? What do you do to get it on there? How would it run? You can see through it.
Oh, their “there’s going”. So you are able to find it straight on. That was easy-going, wasn’t it? We like the easy things. From there, what are we going to draw onto this one? Have we got one ready? Well, we can depict straight onto this, or I’ve gone one where I have drawn it up already. Cool, ok. Just to save experience. I’ve just drawn up a basic coral scheme. It likely doesn’t look like very much at the moment. This is one that I’ve just sketched up, only to make it easier So this is just consuming the pencil consuming an outline pencil. It’s just a basic coral scheme that I’ve just drawn from my brain, certainly to fit this space. For today I’m going to be limited by the shape of my band, and help that to influence the design.
So, we are going to seam. That’s the best way to set it. And you use differently is it polyester threads that you use? Yeah, it is a polyester. And, also, I was quite surprised when you made this out. It’s a little bit like a color chart for a thread, isn’t it? Yeah, it’s lots of enjoyable. But it’s amazing. It’s a beautiful chart on its own, but you can see all the lights in the threads themselves. Yeah, they’re good. Polyester is certainly a very strong fiber, and you need something that’s going to be strong. You also, for longevity, require something that is going to be colorfast and not going to degrade like a natural fiber would over time.
Polyester is not going anywhere. Ok. And, the hem machine. What type of sewing machine do you use and why are you consuming that sewing machine? I use a Bernina. It is basically best available firebrand for your basic home-style machines before you move on to industrial machines. All the persons are metal, it lasts a long time, and also, it is smooth when it sets, which is really important for me stimulate I range the machine very hard and fast. And the one thing that you certainly do need to do with this would be to make sure that those threads are quite bound together. Yeah, it’s really important, because if you could see, I’m not consuming a base textile at all.
The base textile is going to disappear. So if everything that sets aren’t linked together, when I dissolve it the whole stuff is going to fall apart and it’s just going to turn back into threads. So, you’ve got to make sure that everything’s connected and there’s no flaws and all that sort of stuff. So has that actually happened to you before? Sometimes. Or sometimes I’ll forget to go back over a piece and I’ll dissolve it and then I’ll realize there’s a bit that I haven’t done or you know, you learn from your gaffes, though.
Ok, well, from there we’re going to go You’ve already sketched one up. Weill goes to the sewing machine and actually see how the committee is done. Cool. Resonates cool. I’ve just got it set up. I’ve actually went different qualities on the top and the bottom. Oh ok. The intellect for that is, you know, these are basically my depicts but they come in one colour. So if I want to have variations I can blend them together when I seam. So I’ve got it only set up in a way so that it’s just the needle going up and down. It’s not on anything fancy or anything like that. I’m depicting with this machine. Oh ok. So I’ve, as we are aware, got it all elongated up. I ever accompanied my threads up to the top, cause these threads will get all knotted if you don’t.
And do you save comprising those threads at all? Or do you give them to travel? What I’ll do is I’ll only sew a little bit, and then I’ll snip them off. And then they’re out of the highway. Oh ok. I’ll only start depicting; it might get a bit noisy. That’s ok. Fire away. I’ll merely do a little bit so you can see. Well as you can see, Meredith had recently only partially completed the requirements of this regulation. And it’s just amazing how she follows the little red-faced lines and gets all the patterns done. But because of the elegance of Tv and that this young lady is incredibly well prepared, what Meredith has done for us, because it makes quite a long time to do this, at least a period or so’s work to actually seemed that like thatO What she’s done for us is that she’s actually prepared one.
And as you can see, wholly finished and cut out of the formulate itself. Now, there’s a really special technique that is going to happen, which I’ve never seen before and which I see will be quite fascinating, you get rid of this material, don’t you? Yeah. It is actually highly very easy. Tell us how this done. Basically, I am traditionally doing this under the passing spray, but so we don’t have to shoot in the bathroom, I figured this would be much more Tv friendly. So, it needs to be warm spray, so I’ve just stewed the pitcher. And I’ll only get that quite warm. So, basically, it’ll be there and then it won’t be there. So I’ll only introduce it in a little bit, and you can see straight away it only kind of disappears. It turns into like a gooey, gluey essence. So I’ll only kind of move this about in here. That’s amazing. If I don’t soak it out enough, there will be a little bit of residue textile there, but I don’t want to soak it out wholly because of it actually kind of turns into a bit of a toughening glue that will give it a bit of shape.
It’s just amazing. It just disappeared that abruptly. Yeah, it’s just gone. Here one minute, become the next. Now as you can see I’m not particularly amiable with them. And now this is quite humid. There’s a bit of quality that has come out, but that’s not from the strand, that’s from the pencil that I used to draw it with. So now all I do I only use some baking article, so that I don’t make a huge mess of the bench.
And I’ll only lay this down and basically blot off the plethora spray. So formerly I’m happy with what I’ve taken off, some bits I’ll let to go really sculptural, and crunch them up to give them some additional influence. This patch, though, because it is was intended to write, and I miss it to be quite a defined influence, in the beginning, I’ll actually pulp it flat.
And to do that I’ll only double layer my article towel, my greaseproof article sorry. I’ll make sure it’s all delightful and flat, as excellent I can. This bit’s a little bit fiddly if it’s a really fine design it only misses this to do its own stuff. Do you are willing to hold that there? Yeah. That’d be good.
Sure. I’ll set that down. It’s really annoying formerly you pull something and then you find that bit that’s folded over, and it doesn’t like to be humid again once it’s evaporated. So formerly that’s done, my very high tech pressing apply; a big heavy record Michelangelo. Yes, highly inspirational. Ok, from there, we’re going to go to the mounting process. Mmmhmm. And you’ve already got one that’s huge. It’s just enormous. It’s a beautiful leaf. Yeah. So the committee is I’m really kind of fascinated with leaves, and the internal formations of leaves at the moment, so I’ve done a slightly higher one today.
And I truly quite like this when it’s floppy, but we need to setting it. So I’ve just prepared the board members. It’s just fabric article affixed to suds core, to make it some stability. And formerly I figure out which highway I miss it, which I could invest hours doing, it’s only a matter of preparing it on. Now when it’s flat, it kind of loses a lot of its whatever obligates it special. So I ever like to mount them so it’s a bit I only use standard rods. These are just rusted rods; rusted so that they’re last for a long time. I require my pliers.
I need my thimble. And now, basically these rods I’m just going to push through at the locations where I know it’s going to be needed to be lifted up. So formerly I’m happy with however countless I’ve got, I’ll go around and propagandize each one down so that they redden, and tightly pulled in. And you’ve really gotta, I’d read, have quite clean hands stimulate they’re so refined and everything you do is so accurate. I’ve acquired I can’t wear nail burnish. If I do, I’ll get a colorful little lump on the working paper, and you’ve gotta be really prudent with the working paper. It will pick up every little petroleum from your hand.
So now I need to basically propagandize them all up again, and I only gentlyO Just push Oh look at that! Yeah, and it’ll just sort of pop up. How contest that. And there it is, only moving. Yeah. It’s just magnificent. Now it’s not going to stay there on its own. Eventually, you know, it’d likely it might sag, so I space them out. And I’ve just got my little container of these are just like little glass poles, like beads.
So with these, what I’m going to do is I’m now going to pull all of these out, and unwind that half of the leaf. I was going to say, you wouldn’t do it all, cause it would just sorta tends to flop wouldn’t it? Yeah. If “there’s” bits that aren’t this thick-witted I might do it one at a time. And then I just sort of travel along, threading these on to the rods and then poking them back through in exactly the same flaws that they were in before. So you merely missed it only up to that high-pitched? Yeah, with this one I’m going to keep it quite close because it’s so dense.
And I truly miss the rods and the seats to not be noticeable. I only want it to look like it’s moving, but not truly be aware of it. So I’ll do this on one side and then I’ll get it on for the rest of it. It was attached to itself Ok, so now I’ve got all my beadings in, I’m just going to go and push all these down, and only with a pair of pliers, I’m just going to carefully stoop the rods around so that they’re not poking out. Ok. And then, formerly I’ve bent the rods around I’ll only fasten them in place with a little bit of videotape. I’ll hold that for you. Yeah, thanks. Entails it won’t knife me, or my framer. And it just sorts of regards everything into the home then as well doesn’t it? Yeah, it’ll grasp it all into a home, and that takes a little bit of experience, and then after that, it’s just a process of painting in the rods so that you can discover them.
Just propagandize them down. That’s amazing. It’ll only sit off just enough that in different kinds of illuminated, you’ll get darkness that gets cast, and I sometimes see the darkness are just as important. There’s another one that you’ve got here as well that I’d just like to look at, which is the nautilus husk. And this is just going through, once again another process, certainly, all those rods ought to have nailed down.
Yes, they’re all out of the highway. But this one, I truly adore this. Now describe to me how you actually obligate the nautilus husk. And as you can see the other going darkness that comes across this, what Meredith has done is actually pinned these into an influence, but how did you actually get this initial arch in there as well? With this patch, I basically mold it around some cushion, to make it more influence and organization to get that influence pattern.
Sometimes I’ll, say this is just a little patch I started playing with. So this is just a lump and it started off as a flat patch, like a net influence, then when I evaporated it I molded it around the lump and give it bake like that. So this one I’ll probably just stitch together to make it save that influence. But with this one yeah, it had that space and instead of using seats I’ve just pinned it directly on to the board this time. You also do your work in resin as well. Mmm, yeah. Regrettably, we didn’t have time to do that today. No. Let’s have a look at what you’ve got. Do you miss the framed employ as well? The framed one? Yeah, that’d be great. Sure. Bring that one over. I feel like a game show host.
And then[ chuckling] And then a couple of your resin pieces. Yep. And as you can see, these are just beautiful as well. This is certainly material but she has embedded it inO is it acrylic resins? Epoxy resins. Epoxy resins. And you certainly sell these You do the business substantiates, the galleries as well? An a number of halls. And you’re becoming quite successful, and it’s fairly comprehensible why. The employ and the finish that Meredith settles in She’s an extremely meticulous craftsman; “they don’t have” other highway to introduce it.
And I think that they are so well presented and just beautiful, beautiful bits. Your work is very reasonably priced as well I see, for the amount of attempt you put into it, it is quite amazing. Well, another superb period spent with a highly very talented young lady. Meredith, thank you so much for being on the reveal. Thank you. It’s just been amazing. And I utterly think that what she does is remarkable. Just calculated, refined, the presentation is just wonderful. You have a website, what would that be? It’s www.meredithwoolnough.com.au.
We will also have Meredith’s work on the Colour In Your Life website, as our line certainly starts to spread across the planet, which is pretty great. So if you want to come in and discover her employ as well there, you can go to colourinyourlife.com.au. Some great things coming up, retain our seminars. If you want to be involved in the Colour In Your Life seminars with all these talented people, hopefully, Meredith will be involved in some of these as we go along as well. Come in and discover us on the website and we’ll take it from there. But, as I ever read, retain Make sure you set some color in your life! We will see you next time.
Colour In Your Life is an Australian owned and produced TV art show.
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