Ready to Explore Eco Dyeing? Eco Dyeing Is Fber Art with Elemental Appeal, Combining Simplicity of Technique with Enticing Complexity of Outcome

BUILD YOUR FIBER ART LIBRARY ECO DYE Traditional Dye Work through a Contemporary Lens

Fiber Art From our archives now VOLUME 2 elcome to Eco Dye, our second WFiber Art Library download! We hope that this eBook will provide inspiration and information for you, whether you are looking for dyeing resources or are just ready to be inspired by the work of other artists.

You will fnd stories related to natural dyeing that have been previously published in Fiber Art Now and a full natural dyeing resource, researched and assembled by artist, teacher, and author, Wendy Feldberg.

The FAN team is looking forward to sharing more free eBooks with you in the coming months, each concentrating on different areas of fber arts and textiles. CLICK HERE if you missed out on Fiber Art Now downloads, Volume 1: Book Reviews from the Archives.

Fondly,

Marcia Young FELDBERG WENDY OF COURTESY PHOTO Marcia Young ABOVE: Purple smokebush and fall leaves on paper. & The FAN Team

“Eco dyeing is fber art with elemental appeal, combining simplicity of technique with enticing complexity of outcome. With eco dyeing, even a frst print can bear amazing results!”

CREDIT 1 CREDIT —Wendy Feldberg, Researcher, Eco-Dyeing Expert

contentsLIBRARY DOWNLOAD VOL. 2 2016: ECO DYE ARTICLES 4 STEAMING & SIMMERING 6 ECO PRINTING Fiber Art Now, Spring 2012 8 UNEARTHING ECO DYES Fiber Art Now, Summer 2013 14 DYEING: CORROSION TO CREATION Fiber Art Now, Spring 2012

RESOURCES 20 Artists 22 Plants 23 Publications: Articles, Journals and Magazines, Books 25 Tutorials & Demonstrations 26 Sources for Natural Dyes, Mordants, Fabrics & Fibers 26 Links & Resources 26 Health & Safety 26 Permissions

Fiber Art now EBOOK PRODUCTION STAFF

Marcia Young ...... Publisher and Editor in Chief

Leanne Jewett ...... Managing Editor

Rosemarie Steele ...... Editor

Larissa Davis ...... Designer

This eBook was developed by Fiber Art Now, a print and online magazine, resource, and community with a passion for contemporary fber arts, textile design, and mixed media. PHOTO COURTESY OF WENDY FELDBERG WENDY OF COURTESY PHOTO

ABOVE: Sumac leaf eco print. COVER PHOTO: Plants and dye powders on linen by Wendy Feldberg.

STEAMING

& Simmering BY WENDY FELDBERG

CO DYEING (also known as eco printing) is a form of direct or contact printing, usually on cloth or paper. Steaming, simmering, soaking, or composting plant materials with water or dye extracts their pigments and produces strong Espontaneous prints, both lifelike and abstract. Metals, minerals, and soils are also materials that produce eco prints.

BINDING: Plant materials are wrapped tightly in fabric–creating thick textile bundles–and tied with string, which give it interesting marks, prior to steaming. CREDIT 1

To obtain the basic eco-dye print with plants, these (and other) materials are bundled or layered in frm contact with pre-mordanted cloth or paper, placed in a covered cooking vessel, then steamed or simmered in water or natural dye, or perhaps soaked or composted for a time, in or out of the sun. Even a frst print can be successful! Ready to explore eco dyeing? Eco dyeing is fber art with elemental appeal, combining simplicity of technique with enticing complexity of outcome. It in- volves the whole person in creative processes that are earth-friendly, mindful, meditative, and kinetic. Body, mind, and spirit engage ABOVE: Plant leaves and fowers on silks and papers. in harmonious cycles of activity: growing dye plants in the garden and/or foraging them in season, tending a simmering dye pot, perhaps stitching stories, ideas, and feelings into fragrant, dyed cloth or as- sembling printed papers into artist books to satisfy mind and hand. With second-hand equipment, recycled fabrics and papers, easily-obtained local plants, and non-toxic mordants, ecology-conscious artists with a love of experiment can create extraordinary art that derives from and respects nature, and delights them with its surprises. Use this eBook to access a wide range of information relating to the work of artists and natural dyers who are not only delving deeply into the eco-dye genre but also generously sharing their experiences, inspiration, and practical direction.

ABOVE: Rust and maple eco-printed scrolls on paper.

©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use FIBERARTNOW.NET | BUILD YOUR FIBER ART LIBRARY VOL. 2 5 6 BUILD YOUR FIBER ART LIBRARY VOL. 2 | FIBERARTNOW.NET ©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use ©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use FIBERARTNOW.NET | BUILD YOUR FIBER ART LIBRARY VOL. 2 7 HERE: Yvonne Dalton, Untitled (eucalyptus stained drapes); 2009–2012; torn cotton sheeting stained by eucalyptus species; E. cladocalyx; E. cneorifolia; E. diversifolia; E. leucoxylon; various lengths approx 260 x 45 cm. RIGHT: Fabienne Dorsman Rey, Vulnerability Cloth; 2013; organza silk, pongee 05 silk and wool gauze, hand dyed tussah silk threads, eco dyed and eco prints (leaves of eucalyptus, maple, and goldenrod, onion skins, logwood, madder), iron, and copper scraps; hand-stitched and intuitive embroidery; 25 x 34 in.

“My printed and stitched textiles and papers, like scrolls, become botanical records uncovering nature’s UNEARTHING mysteries—making art, like science, in order to reveal the invisible.” Eco Dyes — artist and author, Wendy Feldberg BY WENDY FELDBERG

Eco printmakers work in slow rhythm with the seasons, using materials they grow, fnd, share, or responsibly forage, discovering in them wide artistic applications. Tey juggle many variables, balancing their control of the process with the chance dye-magic of natural colors that surprise with varied shades and tones. Tese are challenges to relish. Te originality, immediacy, and directness of eco printing complements creative and frugal re-use of secondhand, natural materials such as linen, cotton, silk, wool, and other materials as substrates.

Te artists intend that each element, including concept, material, and process, contributes meaning to the whole work. A print may seem fnished as soon as the bundle is opened, or it may become the frst stage in an art journey that continues with traditional techniques to make art for display or to wear such as wall art, sculpture, artist books, garments, or textiles for the home.

From a wider perspective, eco printing links contemporary fber art, not only to respect for natural environments, but also to the recovery of lost dye- and plant-knowledge, and to an appreciation for handwork carried out from the heart and without hurry.

Gleaning Techniques Making art with non-toxic and environmentally friendly materials “in” and “of” the Earth is the objective of the seven international fber artists featured here. Tey have adopted eco printing as a technique for direct or contact mark making on textiles or paper, employing a variety of approaches. Using kitchen-friendly extraction processes and readily available materials, the artists utilize natural dyes from plants, lichens, fungi, soils, mineral-rich rocks, and rusted metals to obtain a print. Teir work is a contemporary application of traditional dye knowledge gleaned from natural dye practitioners such as Dominique Cardon, Karen Diadick Casselman, Jenny Dean, India Flint, Lois Jarvis, J.N.Liles, and Kimberly Baxter Packwood, among others. Te artists use various terms besides “eco printing” (e.g., “eco dyeing”, “natural printmaking”, “organic printmaking”) to refer to their individual methods of obtaining nature’s marks.

Te Mark Making Process Te mark making processes begin in nature. Arlee Barr forages along railroad tracks and down Canadian river ravines for leaves, berries, fungi, and lichens to mark fabric that she later richly

FAYE MC GOLDRICK embroiders; Yvonne Dalton shins up Australian acacia and eucalyptus trees to swaddle their

8 BUILD YOUR FIBER ART LIBRARY VOL. 2 | FIBERARTNOW.NET ©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use HERE: Yvonne Dalton, Untitled (eucalyptus stained drapes); 2009–2012; torn cotton sheeting stained by eucalyptus species; E. cladocalyx; E. cneorifolia; E. diversifolia; E. leucoxylon; various lengths approx 260 x 45 cm. RIGHT: Fabienne Dorsman Rey, Vulnerability Cloth; 2013; organza silk, pongee 05 silk and wool gauze, hand dyed tussah silk threads, eco dyed and eco prints (leaves of eucalyptus, maple, and goldenrod, onion skins, logwood, madder), iron, and copper scraps; hand-stitched and intuitive embroidery; 25 x 34 in.

FAYE MC GOLDRICK embroiders; Yvonne Dalton shins up Australian acacia and eucalyptus trees to swaddle their

©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use FIBERARTNOW.NET | BUILD YOUR FIBER ART LIBRARY VOL. 2 9 dye-rich bark in old cotton sheeting with art in its future; Fabienne Dorsman Rey, in the Netherlands, grooms organic garden dye plants and textile fragments for printed and stitched collages; Irit Dulman gathers native Israeli soils and eucalyptus leaves, bundling them together in cotton and felted wool garments, sometimes mordanting them in the sea; Elena Ulyanova explores felds and shores near the Black Sea in search of bounty to investigate for natural printing potential; Patricia Vivod hefts old chunks of American farm machinery to wrap, rust, and ingeniously pattern lustrous silk panels; I study boreal landscapes for native plants to print in scrolls and artist books.

To obtain a print, the artists wrap or layer dye materials closely with textiles or paper, perhaps steam their bundles over water, simmer them in a dye-pot, or just leave them for a time to work things out with nature.

Complex Outcomes Te complexity of results obtained from the simple processes is astonishing. Many factors cooperate to produce captivating layers of forms and nuanced colors that change with each printing. Te outcomes vary with the age and part of the dye plant, water properties, growing conditions, fber structure (cellulose or protein), processing temperatures, and duration. If used, chemicals or dye assistants are also known to produce, modify, or fx dye colors safely (e.g. alum, soya milk, a copper pot or iron pieces, etc.).

By sharing their mindful journeys, the artists hope to return with gratitude what they have received from teachers, mentors, and companions on the same road. the species of tree, the length of time the fabric is left in situ, and the type Featured Artists of material used, all infuence the stains produced. No chemicals are added to infuence the results. I use the fabric in my sculptural work, to stitch wall Arlee Barr, Calgary, Alberta, Canada pieces, build vessels, and sew clothing.” “I create with natural forces in mind—you can’t escape the attrition marks in these surface design techniques. In perceptions of a mark, a day’s change Fabienne Dorsman Rey, Den Dolder, Te Netherlands brings new potential to images on the cloth. Stitch augments the designs, “Combining my acupuncture background and my work in textiles, I a method I call “Finding the Image.” Natural dye marks and eco prints are explore the way we mend ourselves and heal, using eco dyed stitched cloth innate grafti to be interpreted on the cloth. Even an eco print that doesn’t as an analogy. I make soft garments for protection. I gather plants from my work is subtext for telling a story. I use the Japanese principle of ‘Shizen’ garden and, with scraps of metals, I imprint the cloth. Adding a layer, by when naturally occurring patterns and rhythms form part of the design: hand-stitching, mirrors how we piece ourselves together into a beautiful being of nature, but distinct from it because of my translation.” cloth of experiences and emotions. Te stitched marks are reminiscent of Yvonne Dalton, Kenyeton, South Australia long walks through inner emotional landscapes, revealing beauty, hope, and fnally peace.” “A very important consideration and obligation for me is to minimize my impact on the environment, as concerns of landscape are central to my art Irit Dulman, Tel Aviv, Israel practice. I use mostly discarded cotton sheeting and clothing to wrap the local “To print the garments I make in cotton and felted wool, I need balance eucalypt and acacia trees. Over winter, the frequency and quantity of rainfall, between investigation and chance, freedom and control; a deep and sympathetic bond with the chosen tree or plant; a kinship with the earth where it grew in a particular season or sunlight. My garments give their TOP: Irit Dulman, wearer a new skin, printed with symbolic, tattoo-like images that clarify their Wild Thing; 2012; bond with the body, making connections between primitive and modern. I cotton, eucalyptus bark. give the materials non-verbal experiences, allowing the fabric as art object to ABOVE: Elena Ulyanova, Untitled-1; 2013; silk, speak a language of my making. I let the thing live and happen.” leaves, sea water, contact dyeing (eco printing); Elena Ulyanova, Kherson, Ukraine 27 x 35 cm. “Seeking independence from non-renewable materials, I searched for RIGHT: Wendy Feldberg, Sumac; 2012; more organic ways to make art. Wax batik and rust were the turning Rhus typhina and Prunus points that moved me to explore the dyeing and printing potential of virginiana eco print on watercolor paper; everything that comes from the earth. Tis is my way of “fnding a bridge 10 x 14 in. HERE: Patricia Vivod, Pond Ripples (gallery view, Jacoby Arts Center); 2010; shibori to nature” (F. Hundertwasser). I translate my experience into an art form, rust printed silk dupioni, black tea leaves, vinegar, fermented sumac juice, elderberries, thus opening myself to a world without mistakes, where anything is string. Direct object printed using adapted arashi shibori technique on rusted pipe; 175 x 55 in. RIGHT: Fabienne Dorsman Rey, The Elves Garden; 2011; pongee 05 possible. I enjoy communicating my fndings; this is how I can pass on silk shawl, eco printed with logwood, eucalyptus, and iron scraps;18 x 72 in. inspiration and help others on their path.”

10 BUILD YOUR FIBER ART LIBRARY VOL. 2 | FIBERARTNOW.NET ©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use PHOTO CREDIT: ANDREW DOBSON CREDIT: PHOTO dye-rich bark in old cotton sheeting with art in its future; Fabienne Dorsman Rey, in the Netherlands, grooms organic garden dye plants and textile fragments for printed and stitched collages; Irit Dulman gathers native Israeli soils and eucalyptus leaves, bundling them together in cotton and felted wool garments, sometimes mordanting them in the sea; Elena Ulyanova explores felds and shores near the Black Sea in search of bounty to investigate for natural printing potential; Patricia Vivod hefts old chunks of American farm machinery to wrap, rust, and ingeniously pattern lustrous silk panels; I study boreal landscapes for native plants to print in scrolls and artist books.

©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use FIBERARTNOW.NET | BUILD YOUR FIBER ART LIBRARY VOL. 2 11 PHOTO CREDIT: ANDREW DOBSON CREDIT: PHOTO RIGHT: Arlee Barr, Patricia Vivod, Troy, Illinois, United States Mother’s Heart; 2013; “failed” rose “I fell in love with rust as a graduate student in printmaking over a decade ago leaf and iron eco after burying three yards of silk under walnuts and berries for a month, later print, natural dyes and rust on cotton, overprinting the fabric with old farm tools. Organic printing with rust, tea, hand embroidery, and other tannins inspired spontaneity and began to inform my ideas about dimensional appliqué, process as well as my farming heritage. Now working larger, and treating the 12 x 12 in. fabric as a vast landscape, I have adapted shibori to wrapping rusted pipes, BELOW: Shibori in the process of rusting tucking leaves and sometimes elderberries into folds, creating rich color, on a pipe in Patricia contrast, resists, and prints that develop from the inside out.” Vivod’s outdoor studio with other rusting tools in the Wendy Feldberg, Ottawa, Ontario, Canada background. “Eco printing and dyeing with plants from my garden and environs keep me close to nature in every season. I print seed heads also intended for sowing next season; blossoms to make summer color and perfume reappear in new forms in a winter dye-pot; fallen leaves so as to bring out unexpected pigments. My printed and stitched textiles and papers, like scrolls, become botanical records uncovering nature’s mysteries—making art, like science, in order to reveal the invisible.”

Wendy Feldberg prints, dyes, stitches, gardens, and forages in Ottawa, Ontario. She writes about eco printing and textile art at www.wendyfe.wordpress.com, www.wendyfeldberg.ca.

Fiber nowArtfibers | mixed media | textiles | textiles | mixed media nowfibers FIBER: CONNECT IT’S HERE DIMENSIONAL GOOD

mbracing the phenomenon of nature as simultaneously fndings: ordered and irregular, sculptor Amy Genser interprets her

O I impressions with her medium of paper. D

Using techniques she has developed N

TO f rare orchids ned, she tears, cuts, rolls, stacks, S f Y

E A and re

WEAVING G , an installation reaching seven and a half feet, she presents her and collages small tubes of papers to LEFT & BACKGROUND: Peacock my Gross livesSpora an examined Mutatusfowers, life. And body through parts, bees her andshadow honeycombs, box still mushrooms,lifes, her meticulous molecules, vivaria, time, and present intricate abstractions of natural, color coated; 2015; copper, brass, most recently geographic, and celestial interpretations. plastic flaments and dyed fshing line, double beaded and embroidered Her key environmental inspiration tends cloth weaving method; visual poetry—imagination. to be fowing water viewed from above. FIBER23 xHAPPENING 23 x 8 in. Te infuences of topographical and aerial OPPOSITE PAGE FOR maps, as well as views from space, are clear. CENTER: Gross points out a vivarium. It resembles a closed terrarium, so popular with Victorians for showing o Angle Up Constantly observing the physical world Close; 2006; patina Aor ferns. Suspended under a sparkling glass dome is a precious specimen. Although far from a transpiring tangle of copper and fshing line, WITH THE and seeing it through the eyes of others double cloth weaving as well, Genser points to glass artist Josh method; approximate iewing All of Everything: Todd Oldham Fashion archived the ensembles, along with purses, shoes, hats,bracelet and size. jewelry. Simpson and his interpretations of earth – (April 8 September 11) at the Rhode Island School On the walls of one of the galleries at RISD, videos feature from photographs taken by his astronaut BOTTOM: Azure’s of Design (RISD) Museum you wouldn’t guess that Cindy Crawford, Tyra Banks and Naomi Campbelljewelry metals swishing station. wife. However, Genser usesf point those rather multi-talented designer had given up fashion. Tat’s down the runway in Oldham’s designs. Turn around and you see fies, just three-fourths of an inch long. But despite vivarium’s meaning of references as a jumping-o how timeless his designs are. mannequins wearing the real togs: the Tuft Print Faux Fur with a than as a direct application. She has done faux fur leopard coat, printed blouse with Swarovski crystals, and Tere are even detailed some commission work that makes a V greens, it does seem botanical, with round components resembling hedge apples or various types of coral or burrs fow, Oldham learned how to sew and embroider by watching his satin pants bedecked with beads and sequins; and the Tuft Print, a of some kind. commitment to authenticity, but prefers fect grandmother and mother. While growing up in Corpus Christi, quilted coat, dress, and purse, all studded with Swarovski crystals. “place of life,” there is no life here. What we see is a construct of Gross’s observations, ruminations, sense of irony, to allow her work the free ebb and Texas in the 1960s he designed his own clothes from thrift store WEARABLE ART and penchant for detail. It is fascinating—both familiar and mysterious. and so to change a composition to re and trash can fnds. Adding to the glimmer are cases exhibiting 40,000 buttons her own imagination. Viewers may During a 2015 residency at Arrowmont School and belt buckles made in white metals and porcelains at recognize a bend in a stream or a rock Fast forward to 1989, it’s New York City and Todd Oldham has Oldham’s studio. O of Art and Craft, Gross gave a presentation on I formation and can imagine themselves in Z taken the fashion world by storm with his glittering styles. His AR M her inspirations, approach, and methods. She I

A described her twenty-four years as a textile designs were a tiered process: He would create the patterns, do Kate Irvin, the RISD curator, said this about him: “Todd Oldham N

E designer, the work gradually shifting from hand the cutting, and whatever is my favorite designer.” She D to computer generated. “I felt like I was using the serene setting of a memory. Yet the masterful manipulation of the composition keeps the eye moving stitching was needed. After went on to say, “Todd is gifted, ngers on each hand,” she told me as a way two f through the sculpture almost as if traveling through it to some future destination. that, everything was shipped to very giving, always curious, and When I’m rom her studio in a restored mill outside of Providence, of explaining her increasing dissatisfaction. Her a 400-year-old textile business so respectful of the expertise of Genser frst became enamored of working with paper in a class at Rhode Island School of Design while an Rhode Island, Anastasia Azure combines her experience FIBER ARTS frst step to get back in touch with texture was deep into in India where the hand other artists.” Te main gallery MFA student, where shefne fellartist. in loveI didn’t with feel the I medium.had anything She neverprofound looked to say.back. But In playingGenser’s with words,f theected “Ipaper never in jewelry metal arts with her instincts in weaving on a making embroidered jewelry. At about the same OF DAN LECCA FOR TODD OLDHAM STUDIO COURTESY embroidering was done. From showcases the RISD Ensemble, thought of myself as a fnd a way of creating the images I saw in my head, and of the beauty I saw in the conventional time she moved from New York City to South a project there the designs went to an a dress designed by sixty woven YOURf sculpturally allowed me to sculptures. In Azure’soor loom words, to create“Essentially, graceful, my undulating work is woven Florida, where nature’s abundance is both lush foor home studio has hundred of artist in Texas to be coordinated. RISD textile students under dimensional fabric. I weave and integrate structural form into fabric world. I never would have taken the turn had I not taken that papermaking class, and been open to creative F Once the ensembles were Oldham’s tutelage. Te linen and I also shape the fabric afterward. I feel that my weavings truly and threatening. I feel like Te work exploration.” She admits to an ongoing obsession with color, pattern, and texture that is clearly re returned to Oldham he hand skirt was hand painted in hues breathe life when they exist in the third dimension.” “Our contact with nature is usually benign, I can’t in her art. Although she works mainly with mulberry paper, her third- stitched beads and sequins or of greens, blues and pinks, the fect of a highly textured painted canvas. Azure’s workspace is tucked in a corner studio of an active, urban composed, but even a simple walk outdoors papers collected from all over the world. “I treat the paper as my pigment,” she shares. frst layer of texture embedded Swarovski crystals. top knitted with strips of the artist and is multi-leveled and subjective,” Gross says. work fast skirt material. Te students business community. I “What catches our senses is chosen and Each rolled and shaped section takes on the layered e divided her studio into a jewelry-making and metals area and ALLusually begins withOF a choice of substrate, EVERYTHING canvas or wood depending on the dimensions, and is painted In 1997 Oldham walked away hand embroidered the dress a weaving space. Upon the writingn this of thislong, article, narrow she space, is eagerly she has heightened by our individual life stories.” fect needed as various from fashion saying it was with sequins. Consider a tree branch fallen by the walkway. enough. The with the beginnings of a composition. A mixture of acrylic and gel medium creates the awaiting the arrival of a second ART QUILT Te rolls are then “too noisy.” He put his creative One woman, with careful gait, wonders if it TODDthat the paper will be OLDHAMadhered to. Next the papers are rolled. Pieces are cutFASHION or torn into about 12-inch sparkle in her eye, “I have measured carefully and have just enough talents to work in other ways: Fashions here run the gamut f will impede her exercise. Another’s attention images of strips of varying widths and then stacked with other colors from her stash of multi-colored papers to room to snug the new one up next to theoor current loom. loom. She remarks I can’t wait!” with a provide contrast and visual interest withinBY FRANCES each roll. She keeps J. FOLSOM in mind the overall e authoring twenty-four books, from the Old Master-New is drawn to the broken limb by a woodpecker’sTEAR, CUT, ROLL FORGED Azure began focusing on jewelry making in high school. A stint at what I levels of color are combined in ever-changing ways as they are rolled with each other. hosting “Todd Time” on MTV, Mistress dress with a sheer tapping or coloration. She can hear the faint becoming creative director taupe blouse set of by the Revere Academy of Jewelry Arts in San Francisco, a major in “skritching” noise of insects, smell and observe sealed and cut into varying sizes to provide the “pigment” jewelry metal arts at the California College of the Arts (CCA), and Te paper at Old Navy, and designing 24-karat gold buttons, a skirt the wood’s decomposition, but she can’tTHE see the WORK OF AMY GENSER want to make for placement. a three-year artist-in-residence position for the Fibers Department BY TRUDI VAN DYKE furniture for La-Z-Boy, to name adorned with sequins and spores busily making tomorrow’s mushrooms. at the Appalachian Center for Craft informs the jewelry she has Amy tends to work on one composition at a time. a few. With Tony Longoria, his FIBER beads, and an embroidered constantly rolls are arranged, rearranged, and manipulated in groupings made for over twenty years. At CCA she explored larger-scale work Science and technology can reveal images of fed and then they are moved to the canvas. partner in life and business, he struck a deal with Target to sell image of the Mona Lisa, to the skimpy Love Ball dress of when she had the opportunity to take a weaving class from Lia REVERING intricate worlds invisible to the naked eye, but until she is satis Oldham’s Kids Made Modern art kits for children. interlaced red pipe cleaners, to the Peek-a-Boo Ensemble, a ash through THE SCULPTURAL WEAVING Cook. COMMUNITY! because they exist for us only conceptually, She prefers to work this way so that she can visualize the seemingly simple, elegant black dress of Chinese lace until Tat experience fundamentally changed her life’s work. Her

possibilities before adhering the pieces. How the cut rolls initial instinct was to dress the loom with indigo-dyedART! silk and a objective standards, such as scale, don’t exist. my mind. According to All of Everything curator Kate Irvin: “Tis exhibit viewed from the back, when it becomes satin hot pants beneath 16-gauge steel wire warp. She honed this technique to make jewelry is is where the artist takes over. “My plants are are arranged determines how they interplay with each other OF ANASTASIA AZURE LIFE’S T – Amy Genser took two years to put together. Todd was given an honorary an open-weave lace panel. with ikat-dyed yarns, nylon mono engineered by what I see and what I’ve learned,” and provide even more sense of change, color, and patterns. degree from RISD in 2014. I heardBY him talk about these RETROSPECTIVE Placing the now individual small tubes next to each other MARCIA YOUNG Azure was ready to push the capabilities of the loom. She continued says Gross, “heightened a bit by the theatricality f repeatedly to fashions and saw them as they came out of their storage boxes All of Everything ofers visitors the opportunity to see how far flament, and metals. develops a sense of movement and relationships. It is not 23 to search out materials that had more “give.” Living near one of the A of imagination. Translating my fascination with at his New York City studio. I thought this would be a perfect Todd Oldham pushed the fashion-design envelope. For more W

AK FIBERARTNOW.NET busiest S unusual for Genser to move pieces on and o as she sees P UNSEEN f A nature into sculpture, they come out shaped by OPPOSITE PAGE SUMMER 2016 • story to tell here.” information visit: risdmuseum.org. fshing ports in the United States gave her the solution that ; H showcases a body or reef TOP: Beeswax fnd just the right juxtaposition for the composition. She will she was craving. She stumbled upon a my stories.” e color ranges from T 2012; paper and 26 a walk along the New Bedford Harbor. acrylic on continue to go back to the rolling process on and o Te seventy-two fashions in the exhibit FIBERARTNOW.NET were previously seen by Aggregating Vivarium discovered the possibilities of commercial TREASURES: Masonite board; the public only once—on the runways of shows in New • SUMMER York 2016Fran Folsom is a journalist who writes about arts and culture. She fshing supply store after of embellished forms. best qualities of both metal and 18 x 18 x 1.5 in. particularly admires artists who incorporate textiles into their designs. Tis is where Azure Be Inspired & the fairest tints of red to maroon and russet, and from 1990 to 1997. After each of the shows Oldham boxed and that the transparent f f shing line. It o frst the contrasting light and dark denote opposite when dyed and thatf colorshing is line enhanced enthusiasticallybers. Evenwhen better,light accepts travels she discoveredvividf through color DIOS ers the

T e Work “sides,” the shift from freshly opened to overripe. S it. And with that, her new work was born, replete with luminous OPPOSITE PAGE Each object requires hours of cutting shapes, TONE color, unexpected three-dimensionality, and continuity—lacking a S T Y TOP LEFT: Love Ball Dress created by interweaving and looping red pipe cleaners together. 1991 Image courtesy of RISD A beginning or end. TOP RIGHT: Cindy Crawford wearing Todd Oldham’s Positano Tile Dress from his Spring 1996 collection. Oldham hand stitched sequins, beads and GR Swarovski rhinestones to it. • SUMMER 2016 BOTTOM LEFT: Dashiki Ensemble; The embroidered stole is studded with sequins. The stretch satin top and trousers glimmer with beads and sequins. ofBY SUZANNE Amy SMITH Gross ARNEY FIBERARTNOW.NET ; 2014; fabric, beads, embroidery 22 BOTTOM RIGHT: Old Master-New Mistress Ensemble; Taupe lame shirt offset by 24-karat gold buttons. The image of the Mona Lisa was hand embroidered onto the skirt. Fall 1992 collection. Image courtesy of RISD Aggregating Vivarium O THIS PAGE: Todd Oldham I Z

; 2011; fabric, beads, embroidery thread, lace, yarn, paper, wire, pom poms, plastic, polymer AR M ; 2015; fabric, beads, embroidery thread, yarn, paper, wire, straight pins, plastic; embroidery, beading, sewn I

Collection A

N COURTESY OF DAN LECCA FOR TODD OLDHAM STUDIO COURTESY 6 FIBERARTNOW.NET • SUMMER 2016 SUMMER 2016 • FIBERARTNOW.NET 7

Spora Mutatus AN

E PAPER & D (Detail) ABOVE: SUMM ER 2016 Spora Mutatus ail) • FIBERARTNOW.NET TOP: (Det and pinned to spheres; 90 x 70 x 14 in. OPPOSITE PAGE TOP: 27 clay; embroidery, beading,Aggregating painting, Vivarium manipulated paper, sewn to spheres, all objects within 8 in. BOTTOM: thread, yarn, paper, wire, straight pins, glass dome and painted wood base; embroidery, beading, sewn and pinned spheres, suspended from top of glass dome; 17 x 17 x 11 in. BACKGROUND: • SPRING 2016

FIBERARTNOW.NET MIXED MEDIA ART 32 QUILTS

Get Connected PAPER A print & digital fber arts ART MIXEDsubscribe now! magazine & community MEDIAwww.fiberartnow.net exhibition listings, artist submissions, artist interview program, CONTEMPORARYDigital version is FREE with the print magazine! events calendar & map, jobs board & more! BASKETRY SUMMER 2016 We have student & institutional discounts! VOL 5 | ISSUE 4 | $12US / $14CAN

12 BUILD YOUR FIBER ART LIBRARY VOL. 2 | FIBERARTNOW.NET ©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use Missing a past issue of Fiber Art Now? Get any single back issues today! shop.ﬁberartnow.net

COLLECTOR’SFiber EDITION Art FLIP BOOK! now Fiberfibers Art | mixed media | textiles SCULPTURAL EMBROIDERY fibersnowFRÉDÉRIQUE | mixed media | textiles MORREL: RUST DYEING: Corrosion to Creation BY WENDY FELDBERG

BACKGROUND: Rio Wrenn, Inventory; 2010; silk, rust, patina, stainless steel; 24 in x 70 ft.

FAR TOP RIGHT: Cecilia Heffer, Identidad; 2010; rusted silks and cottons, eucalyptus and natural dyes; photo transfer, machine stitched onto a soluble substrate; 950 x 1200 mm.

FAR BOTTOM RIGHT: Alice Fox, Tide Marks Book #29 (detail); 2013; artist’s book: paper, rust print, collagraph print; hand stitch; 15 x 210 cm.

14 BUILD YOUR FIBER ART LIBRARY VOL. 2 | FIBERARTNOW.NET ©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use | www. fberartnow.net amiliar themes in fber art, concepts such as decay, impermanence, and the feeting nature of memories, have found apt expression–literal and fgurative–in works that use pigments obtained from rusted metals exposed to ageing conditions such as heat, acid, weather, etc. FRust’s (iron oxide) long history in mark-making across cultures continues to excite interest among contemporary fber artists, including those using other natural dyes. REGINA BENSON ______

A committed environmentalist, fne artist Regina Benson has developed an impressive body of rusted art textiles distinguished by carefully planned, complex markmaking and an enveloping physical presence. Her large-scale rust-pigmented and printed environmental installations celebrate nature and the history

of human culture and, while mourning losses, warn us about PAVLOU PAUL future dangers. For Benson, art, like science, reveals the invisible. Her mastery of complex processes (many of which she freely shares), rooted deeply in expert knowledge of dye chemistry, local Colorado geology, terrain, and plant life, allows her to replicate results without stifing artistic spontaneity. Burying, burning, painting, folding, and successively layering her textiles with rust are methods she uses to communicate powerful and passionate messages about the preservation of beauty and value in human culture in general and in her own natural surroundings in particular. Benson tells us: “As in much of my work, I marry image to process.” Tus, the iron oxide pigment (which she prepares after harvesting it from her “rust garden”) that prints, stains, and dyes her textile substrates is intended as both messenger and message. In works that call attention to the threat of environmental pollutants such as acid rain, Benson presents a paradox via beautiful textiles that surround the viewer with their presence. Hard Rain and Western Rain express her profound attachment to Colorado naturescapes. Tough digital communication age? Explore more of Regina Benson’s seductively attractive in terms of color and markmaking, work at www.reginabenson.com. rust in these works stands not only for the pleasure of standing in a heavy downpour, but also for the ALICE FOX ______destructive efects of acid rain as it leaches into Alice Fox’s art practice combines traditional textile genres such as the soil. Representing loss but with the hope of hand embroidery and weaving with print processes that include recovery, the rust-marked works Unearthed, natural dyeing and eco printing. Ancient Message, and Eroded Message witness to cultural values scarred and Rust printing is one of several processes in Fox’s mark-making eroded yet surviving in new form. repertoire, chosen to convey a personal message about time and a

Benson’s treatment of ancient sense of place. During her recent art residency at Spurn Point OSI PHOTOGRAPHY structures seems to express a in northeast England, the coastal landscape attracted contemporary concern: Fox to use rusted metal objects washed up on the What have we lost or shore nearby. Because Spurn is a nature reserve gained since the and plants are protected, Fox sought other advent of natural or found materials, not only the for their interesting markmaking potential,

©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use | www. fberartnow.net FIBERARTNOW.NET | BUILD YOUR FIBER ART LIBRARY VOL. 2 15 REGINA BENSON

ALICE FOX

THIS PAGE ABOVE: Alice Fox, Tide Line (one of 25 units); 2013; tapestry weave in cotton with found metal and seawater; 6 x 12 cm. RIGHT: Regina Benson, Western Rain; 2009; silk; dimensional curved concave work hangs from ceiling; 54 x 42 x 21 in. OPPOSITE PAGE TOP: Cecilia Heffer, Abuelo; 2010; rusted silks and cottons, natural dyes; photo transfer, machine stitched onto a soluble substrate; 18500 x 1650 mm. Photo image: Mapuche Indian in Chile, 1860s by Odber Heffer Bisset

16 BUILD YOUR FIBER ART LIBRARY VOL. 2 | FIBERARTNOW.NET ©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use PAUL PAVLOU PAUL

but also for their capacity to convey an authentic sense of place, In Hefer’s series Rust Suite, rust is employed as a signifer especially the coastal landscapes of Spurn: “I wanted to make color and token of memory. Pictorial and abstract “lace postcards” that was of the place. I couldn’t pick the plants but there was loads entitled Abuelo, Retrato, and Identidad tell the story of Hefer’s of rusty stuf on the beach.” transition from Chile to Australia, with memories represented by rectangular fragments of travel documents, rusted textiles, In Spurn Cloth, Shifting Sands, Tide Line, and Tide Marks, Fox used and old sepia-toned photographs stitched together. Te lace-like shoreline fotsam and jetsam, seaweed, and seawater to make marks openwork structure, symbolic of lost memories, contains gaps on textiles and papers, incorporating the prints into artworks. to be flled in like postcards yet to be written to herself as she Using natural fibers and dyes, Fox usually colors her collections of recalls a receding past through the fractured records of her earlier printed and stitched textiles and artist book papers in a soothing range cultural identity. of neutral grays, tans, soft reddish-browns, gentle blacks, creams, and Notably, it is the colors of rusted metals imprinted on cloth whites. Hand-stitched encrustations, rich and full and melded with that represent traces of distant memories while stronger, newer layers of seaweed, rust, and tea-tannin printed marks, ofer tactile impressions often appear in parallel reds and browns of the and visual experiences of simplicity, minimalism, and purity of line. Australian landscape. Hefer’s work could be read as colored Fox is prudent when working with rusted metals and natural dyes, rectangles signifying windows in the heart, simultaneously aware of the need for studio safety and using rust cautiously, chiefy opening onto all the landscapes so far traversed on her personal in the context of found materials on the seacoast. As for her art’s journey. Her metaphors suggest that diverse memories of home longevity: she believes that both she and her rusted works come can merge into one overarching and universal memory of a naturally with a “Best Before” date. longed-for place, as yet unattainable. As a new member of the prestigious UK Textile Study Group, Fox Rust dyeing (achieved by composting textiles with metals, is planning collaborative works as well as a book about her artistic sometimes combined with eucalyptus dye and tannins) features processes, including rust printing. Visit www.alicefox.co.uk to keep strongly as both material and metaphor in some of Hefer’s up with Fox’s new work. larger textile works. Her installations of “alternative” lace panels integrate traditional textiles with emerging technologies: “My CECILIA HEFFER ______work pays homage to the history of antique lace; I rework it into new lace forms as tokens of its origin.” Rust pigment prints and dyes in Cecilia Hefer’s work act as changing signifers of home: the home in Chile she left as a child, Lace Narratives: Rust is a rusted lace panel made of strips. Lace and her beloved adoptive home in Australia. Narratives: Ebony Lace alludes to the naturally deconstructive,

CECILIA HEFFER

HERE: Rio Wrenn, Demeter Slip; RIO WRENN Collection 2009; silk/cotton, rust.

“lacefying” efects of rust on metal and is made of hundreds of silks as metaphor for human skin and her use of rust to allude to hand-cut circular motifs, irregular in shape and traced from stones masculine-industrial power, she treats the female body as canvas collected from remote Australian beaches. Te motifs embed in her RAW Underwear Collection of rust-printed underwear, the abstract markings found on the stones. Both “alternative corsets, dresses, skirts and bustles. Her sense of humor emerges lace” panels are outcomes of Hefer’s deliberate deconstructionist powerfully in skilled and provocative rust prints made from old manipulations: the circles and strips are reassembled onto a soluble Chevy car parts in Indigenous Autos. substrate and then free-motion machine stitched; a new lace work Te artist’s rusting process mirrors her concepts in art that speak emerges as the substrate backing dissolves in water. of birth, death, decay, and re-emergence under new forms which, Cecilia Hefer is Senior Lecturer and a researcher in textiles in turn, re-enter the cycle of life. She composts her substrate and new technologies at the University of Technology, Sydney, materials with everyday metal objects, often including plants as Australia. Learn more about her lace work and other creative additional pigment sources, and leaves marks to develop from the undertakings at www.ceciliahefer.com. efects of heat and time. RIO WRENN ______Wrenn’s current interests are in the historical roots of textile art and iron oxide print traditions of several cultures, including Italy, Discovering rust as an art medium provided Rio Wrenn with India, Japan, parts of Africa, and others. Explore Wrenn’s mixed powerful metaphors that continue to underpin a conviction that media, installations, and other work at www.riowrenn.com or “personal strength grows in courageous acceptance of one’s own learn about her production dye studio at www.rawtextiles.com. fragility.” Trained in fne art and sculpture, for many years Wrenn has been exploring the potential of rust pigments in combination Capturing personal realities through the use of rust, works by with natural plant dyes to mark materials, especially silks, as these four artists convey spiritual intent and contribute maturity records of cycles of human existence. Her works invite the viewer of thought, feeling, and expression to the contemporary genre of to share a spiritual viewpoint that we are each in and of the earth, eco-dyeing. and that one day, we must return there. Wrenn’s works sensitively, but with wry humor, depict aspects of human life in stages of natural decay; her Saturation series of huge Fiber artist Wendy Feldberg creates eco printed and embroidered art rust-printed skeletons on silk is an example. Touching delicately cloth and artist books as botanical records of natural dyes from native but frmly on the irony of association between her use of fragile plants. www.wendyfeldberg.ca, www.wendyfe.wordpress.com.

18 BUILD YOUR FIBER ART LIBRARY VOL. 2 | FIBERARTNOW.NET ©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use ABOVE: Regina Benson, Unearthed; 2010; silk, cotton & polyester; dimensional wall work; 44 x 44 x 8 in.

LEFT: Alice Fox, Shifting Sands (detail); 2011; rust and seaweed dyed silk, wool felt; hand stitch; 15 x 15 cm.

Artists The following artists’ websites and/or blogs offer informative content about eco dyes, eco prints, and natural dyeing. Several among these artists have also written books, offer classes, made YouTube videos, etc.

Arlee Barr Michel Garcia Embroidered eco-printed textiles; shop; Natural-dye expert; information, classes, workshops. instructional DVD. www.albedoarlee.wordpress.com http://naturaldyeworkshop.com

Regina Benson Sherry Haar Large-scale rust-printed textiles and Professor, Department of Apparel, Textiles installations. and Interior Design, Kansas State University www.reginabenson.com Sustainable textiles and eco-printing research. Irit Dulman http://krex.k-state.edu/dspace/browse?v Felted, eco-printed and dyed wearable art; alue=haar%2c+sherry+j.&type=author workshops; video/demonstration. http://iritdulman.blogspot.co.il Cecilia Heffer Innovative openwork lace structures; Wendy Feldberg analogue textiles and digital technologies; Embroidered eco-printed textiles, papers, rust printing and natural dyeing. and artist books; plant lists; tutorials. www.ceciliaheffer.com ABOVE: “Tattoo” by Irit Dulman. Eucalyptus on www.wendyfe.wordpress.com cotton. www.wendyfeldberg.ca Lois Jarvis Rust printing and instructions. Alice Fox http://rust-tex.com Mary Marlowe Leverette Embroidered, woven, and rust-printed Organic natural dyes organized by color; papers, textiles, and artists’ books. dye colors with corresponding plants. www.alicefox.co.uk http://laundry.about.com/od/ naturalfabricdyes/a/how-to-dye-fabric- with-natural-dyes.htm

Kimberly Baxter Packwood Natural dyeing; eco or bundle dyeing; rust printing; YouTube videos; instruction books. www.kbaxterpackwood.com

Elena Ulyanova Eco-printed textiles and wearable art; scientifc approach to natural dyeing; health and safety information for natural dyers and rust printmakers; shop; workshops. www.pddblog.wordpress.com

Patricia Vivod Eco-printed (including rusted) large-scale textiles. www.patvivod.blogspot.com

ABOVE: Detail of “Not A Hive Mind” by Arlee Barr.

20 BUILD YOUR FIBER ART LIBRARY VOL. 2 | FIBERARTNOW.NET ©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use RESOURCES

BELOW: Eucalyptus.

Sandy Webster Celia Wilson Earth pigments as art materials; artists’ Eco color with earth pigments. books, shifu threads. www.celiawil.wordpress.com GET SOCIAL www.sandywebster.com Many eco dye artists also Rio Wrenn Isabella Whitworth Rust-printed textiles; large-scale maintain accounts on Silk painting and resist-dyed textiles with installations; wearable art; shop; blog; social media sites such natural dyes; sources and talks; historical process notes. as Facebook, Twitter, dye studies. www.riowrenn.com https://isabellawhitworth.com www.rawtextiles.com Flickr, Tumblr, Instagram, www.rawtextiles.wordpress.com and Pinterest. So next time you are browsing for inspiration, take a moment to look them up.

Many eco dye artists also maintain accounts on social media sites (Facebook, Twitter, Flickr, Tumblr, Pinterest, etc.) Plants Plants not traditionally used for dyeing can I extract natural dyes from plants, soils, and Documentation of my experiments can be yield a colored eco print, while traditional minerals by various non-toxic processes, found on my blog “Threadborne.” This blog dye plants can yield unexpected color when inducing them to mark textile and paper provides an “in-progress” alphabetical list eco dyed. Commonly used fowers, trees, substrates. Many plant pigments can be and photos of plants that I use successfully and herbs include: alder, sedum, yellow modifed with iron, ammonia, or vinegar, to eco print textiles and paper. goldenrod, iris, clematis, marigold, basil, which is added to the dye pot or selectively and eucalyptus. Some plants will reveal applied to the fbers, pre-, during, or post https://wendyfe.wordpress.com/plants- several colors in a single print. processing. for-eco-dyeing-and-eco-printing/

lilac eucalyptus alder

violets basil golden marguerite PHOTOS COURTESY OF WENDY FELDBERG WENDY OF COURTESY PHOTOS rose pot marigold crabapple tree

22 BUILD YOUR FIBER ART LIBRARY VOL. 2 | FIBERARTNOW.NET ©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use RESOURCES

Publications JOURNALS ARTICLES AND MAGAZINES Feldberg, Wendy. “The Alchemist.” Hand Swantko, Kathlyn. “From Garden to Fiber Art Now Magazine Eye Magazine. (January 2011). Garment.” Textile Insight (November Print and digital magazine created to A description of eco dyeing and a tutorial. 2011): 18 inspire and connect the contemporary fber Article about Dr. Sherry Haar on natural arts and textiles community. Feldberg, Wendy. “Revealing the Eco dye research conducted at Kansas State www.fiberartnow.net Print: Contact Dyeing with Plants on University. Textiles.” The Journal for Weavers, http://digital.turn-page.com/ Hand Eye Magazine Spinners and Dyers (Summer 2014): issue/48673/18 Textiles, especially in sustainable 17–21. international development. Print article about eco printing and Whitworth, Isabella and Christina www.handeye.org instructions. Chisholm. “Growing and Dyeing with www.thejournalforwsd.org.uk Japanese Indigo.” The Journal for The Journal for Weavers, Spinners and Weavers, Spinners and Dyers. (Winter Dyers Feldberg, Wendy. “Eco Printing with 2011): 14–17 Journal of a UK fber arts association with Native Plants.” The Turkey Red Journal Article with growing and dyeing instructions an international readership. (Winter 2014) for Japanese indigo. For free download, www.thejournalforwsd.org.uk Eco prints with dyes from North American search back issues, article index. native plants. www.thejournalforwsd.org.uk Shuttle Spindle & Dyepot www.turkeyredjournal.com/archives/ A journal of the Handweaver’s Guild of v18_i2/index.html America, Inc. www.weavespindye.org Flint, India. “Yvonne Dalton’s Dyeing Technique.” Hand Eye Magazine. Yvonne Dalton’s technique of wrapping trees with fabric to obtain pigment stains. http://handeyemagazine.com/content/ wrapping-trees

Kadolph, Sara J. and Karen Diadick Casselman. “In The Bag: Contact Natural Use the following resources for information about Dyes.” Clothing and Textiles Research potential plants for your dyeing experimentation. Journal. (January/March 2004): 15–21 Plants For A Future Plants An academic report on eco dyeing This comprehensive database also notes A U.S. government online database (Casselman’s original term) as a sustainable plants used for dyes, inks, and paints. USDA, NRCS. 2014. The PLANTS technique for textile creation. www.pfaf.org Database, 14 October 2014). National http://ctr.sagepub.com Plant Data Team, Greensboro, NC Dye plants (with images), a website 27401-4901 USA. Kritis, M., & Sherry J. Haar, S.J. “Material for eco printing http://plants.usda.gov Benefts: Textile Printing.” Printmaking http://wendyfe.wordpress.com/dye-plants- Today. (Summer 2012): 30–31. for-eco-printing-and-eco-dyeing/ Dyes From American Native Plants: Technical paper with 6 images. A Practical Guide. Portland, Oregon: Timber Press, 2005 Most useful as a reference for North American plants that yield dyes. Richards, Lynne and Ronald J. Tyrl.

BOOKS

Beresford-Kroeger, Diana. Bioplanning Diadick Casselman, Karen. Craft of the a North Temperate Garden. Kingston, Dyer. New York: Dover,1993. Ontario: Quarry Press, 1999. Dye plants to forage and/or grow; dye Ecologically-sensitive gardening with methods; classic reference for North regional plants. American and northern European dyers. dianasjourney.com Duerr, Sasha. The Handbook of Natural Buchanan, Rita. A Dyer’s Garden: From Plant Dyes. Portland: Timber Press, Plant to Pot, Growing Dyes for Natural 2011. Fibers. Colorado: Interweave Press, Everyday plants for dyeing. 1995. permacouture.org Growing dyes for natural fbers. Flint, India. Eco Colour: Botanical Burgess, Rebecca. Harvesting Color. Dyes for Beautiful Textiles. Colorado: New York: Workman, 2011. Interweave Press, 2008. How to fnd plants and make natural dyes. High inspiration for eco printing; irresistible fibershed.com eye candy images. prophet-of-bloom.blogspot.com Cannon, John and Margaret Cannon. Dye Plants and Dyeing. London: A&C Hardman, Judy and Sally Pinhey. Natural Black, 2002. Dyes. Marlborough: The Crowood Press, Reliable information and beautiful 2009 illustrations for common dye plants, despite Thorough instructions, plant and dye non-current advice on using toxic mordants, process information; exquisite botanical tin, and chrome. illustrations; excellent health and safety advice. Cardon, Dominique. Natural Dyes. www.sallypinhey.com Sources, Tradition, Technology and Science. London: Archetype, 2007. Lambert, Eva and Tracy Kendall. The Indispensable reference on dye chemistry Complete Guide to Natural Dyeing: and dye plants worldwide; information Techniques and Recipes for Dyeing about available pigments to suit technical Fabrics, Yarns and Fibers at Home. and non-technical readers alike. Colorado: Interweave Press, 2010. Natural dyeing on all kinds of natural fbers; Dean, Jenny and Karen Diadick comprehensive coverage. Casselman, Consultant. Wild Colour: www.thistleandbroom.com The Complete Guide to Making and Using Natural Dyes. New York: Random McGrath, Judy Waldner. Dyes from House, 1999. Lichens & Plants: A Canadian Dyer’s Discussions and instructions (with images) Guide. Toronto: Van Nostrand Reinhold of useful dye plants, materials, equipment, Ltd., 1977. techniques, methods and safety Natural dyeing with plants of the Arctic www.jennydean.co.uk McGuffn, Nancy, Ed., 2004. SPECTRUM: Densmore, Frances. How Indians Use Dye Plants of Ontario. Burr House Wild Plants for Food, Medicine and Weavers and Spinners Guild: 2004. Crafts. New York: Dover, 1974. An Ontario fber arts guild’s

PHOTO COURTESY OF WENDY FELDBERG WENDY OF COURTESY PHOTO Native American dye plant knowledge. recommendations for gathering and ABOVE: A sampling of favorite fowers and processing common dye plants, with leaves in Wendy’s dye garden. caveats. burrhousew.blogspot.ca

24 BUILD YOUR FIBER ART LIBRARY VOL. 2 | FIBERARTNOW.NET ©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use RESOURCES

Tutorials & Demonstrations McLaughlin, Chris. A Garden to Dye For. Dharma Trading Wendy Feldberg How to Use Plants from the Garden to Videos and instructions on natural dyeing. Tutorials on eco prints on cloth and paper. Create Natural Colors for Fabrics and www.dharmatrading.com www.wendyfe.wordpress.com Fibers. Pittsburgh, PA: St.Lynn’s Press, 2014. Irit Dulman Kimberly Baxter Packwood Gardening, dye plants, natural dyeing. Demonstration video on eco printing. YouTube videos and demonstrations on http://iritdulman.blogspot.co.il natural dyeing and bundle dyeing. Moerman, Daniel E. Native American www.kbaxterpackwood.com Ethnobotany. Portland: Timber Press, Sherry Haar 1998. Dyeing and Printing with Plants powerpoint Cassandra Tondro Encyclopedic academic work on the use presentation on eco prints; various Leaf monoprints on paper tutorial. of native plants (including natural dyes) techniques for eco printing, including www.tondro.com by First Nations/native peoples of North fower pounding. America. http://krex.k-state.edu/dspace/browse?v Sandy Webster www.timberpress.com/author/daniel_e_ alue=haar%2c+sherry+j.&type=author Demonstrations and YouTube videos on moerman/253 earth pigment printing. www.sandywebster.com Vejar, Kristine. The Modern Natural Dyer: A Comprehensive Guide to Dyeing Silk, Wool, Linen and Cotton at Home. New York, NY: STC Craft, 2015. User-friendly techniques for natural dyeing. WEB RESOURCES Baxter Packwood, Kimberly. Webster, Sally. Earthen Pigments: Compost Dyeing and Other Handgathering and Using Natural Colors Fermentation Techniques. in Art. Atglen, PA: Schiffer, 2012. Numerous aspects of natural dyeing, Eco dyeing with pigments from soils. including bundle or eco dyeing; sandywebster.com self-published instruction books and YouTube videos demonstrating natural dye techniques. Visit your favorite online bookstore www.kbaxterpackwood.com for more resources on eco dyeing Material Color Resource-based site with links to natural dyers, suppliers, conferences, etc. www.materialcolor.org

PHOTO: “Walking the Earth,” eco-dyed and hand- stitched tunique by Fabienne Dorsman-Rey. .

Sources for Natural Dyes, Mordants, Fabrics & Fibers NORTH AMERICA UNITED KINGDOM Botanical Colors Maiwa, Vancouver, B.C, Canada DT Craft and Design Natural dyes, tutorials, workshops and A full range of natural dyes, mordants and dtcrafts.co.uk resources. modifers; instructions; classes; symposia. www.botanicalcolors.com Fabrics. Handweavers Studio and Gallery www.maiwa.com www.handweavers.co.uk Dharma Trading, USA. Natural dyes, fabrics, books, instructions Michele Wipplinger, USA The Woad Centre and videos. Natural dyes, instructions, classes, dye www.thewoadcentre.co.uk www.dharmatrading.com culture. www.earthues.com Jane Deane Pure Tinctoria Dyes G&S Dye, Toronto, Canada www.earthhuescolors.blogspot.com www.janedeane.co.uk/puretinctoria. Wide selection of natural fabrics (especially html silks); pre-reduced indigo; dye thickeners, Prochemical and Dye, USA etc. Dyes for a variety of fbers and reactive and www.gsdye.com painting dye kits. EUROPE www.prochemicalanddye.com Couleurs de Plantes www.couleurs-de-plantes.com

EveryLinks effort has been & made toResources ensure current links are used. However, the internet is fuid, so links cited may change without notice. Have you found an out-of-date resource here? Please let us know: [email protected]

ReadersHealth should ensure that& the plantsSafety and chemicals they use for natural dyeing are safe for them to handle, and that established safe studio practices are observed. The terms natural dyeing, eco dyeing, eco printing and rust printing do not imply safe or non-toxic.

Permissions to gather certain plants locally or from the wild may be required. Sometimes, propagation or collection of certain species may be prohibited by local law. Readers are therefore advised to check regulations for their area regarding protected, invasive, and toxic plant species. PHOTO COURTESY OF WENDY FELDBERG WENDY OF COURTESY PHOTO ABOVE: Green from the leaves of sumac, a trusty dye source.

26 BUILD YOUR FIBER ART LIBRARY VOL. 2 | FIBERARTNOW.NET ©Fiber Art Now | All rights reserved | Fiber Art Now grants permission for any or all pages in this issue to be copied for personal use | www. fberartnow.net Fiber Art NEW IN 2016! now Selected work will have the opportunity to be shown at two museums in the US. EXCELLENCE IN Venues to be announced. Multiple jury groups will ensure even representation of all fber areas.

SUBMISSION DATE a juried exhibition in print OCTOBER 1, 2016 A portion of the revenues from EXCELLENCE IN FIBER 2016 will go toward:

Craft Emergency Relief Fund 2016 www.craftemergency.org Selected works will appear in an exhibition catalog, part of the Friends of Fiber Art International, Inc. Fiber Art Now Winter issue (Sent to all FAN subscribers, sold on www.friendsoffber.org over 400 Barnes & Noble newsstands in the US, 200+ Chapters Books in Canada, and on select newsstands in the UK). The catalog Kiva also will be presented to curators and directors of 200+ museums Kiva (kiva.org) microloans help grow and support businesses and galleries that feature fber work and a select group of fber and around the world. Kiva is a fne craft collectors. non-proft organization with a mission to alleviate poverty through microfnance, helping www.fiberartnow.net/Excellence create opportunity worldwide.

ComeJo within us to Italy! JOIN FIBER ARTFiber NOW ON Art AN ADVENTURE-FILLED Now TRIP TO ITALY – THE BIRTHPLACE OF FIBER ART! for aBASK MediterraneanIN THE MEDITERRANEAN LANDSCAPE, VISIT MUSEUMS, SHOP AT OPEN MARKETS, AND ENJOY FRESH ITALIAN FOOD & WINE! te x tiIt’s le aall dv happening e n tu in fall, r e 2016. ! It’s all happening TAKE FELT-MAKING WORKSHOPS, VISIT THE TEXTILE MUSEUM, SHOP AT OPEN MARKETS, ENJOY FRESH ITALIAN FOOD & WINE – FiberALL IN THE TUSCANYArt REGION! now www.fiberartnow.net/www.fiberartnow.net/tuscanytuscany

A fiber arts magazine & community print & digital magazine | exhibition listings |artist submissions artist interview program | events calendar & map | jobs board & more! subscribe now! www.fiberartnow.net