Creating and interpreting shadows:
Finding shadows – Light sources: Sun, moon, fire, candles, and lamps of all kinds.
‘Leaf Dragon’ off Facebook! Isn’t it lovely?
Items that use light and shadows: sundials, sextants (shooting the sun/stars) shadow puppets and by extension, silhouettes. Magic Lanterns – cinema?
Painters: Caravaggio and Joseph Wright of Derby used chiaroscuro and Wright used firelight: forges. One modern artist we came across this summer at the Biennale is James Richards, whose installation Music for the Gift was in the Welsh pavilion – a disused church, Santa Maria Ausiliatrice. It included some inkjet monoprints
I didn’t really understand it, or indeed like it, although my husband liked the audio part of the installation.
These are photos of the exhibit in the Russian Pavilion. Again, I didn’t understand it, but admired the modelling and use of shadow.
Poetry: R.L. Stevenson I have a little shadow who goes in and out with me
Edgar Allen Poe Eldorado (the third line of every verse contains the word shadow)
The only wire I could find was very fine and had beads etc. wound in it, but I also had some pipe cleaners. I couldn’t find much to do with them, particularly since the only source of light was a neon/LED desk lamp. (My husband has just produced some thicker copper wire.)
I have a little shadow who goes in and out with me,
And what can be the use of him is more than I can see.
He is very, very like me from the heels up to the head,
And I see him go before me as I jump into my bed.
Single and double shadows combined
Page full of wire shadows
Page pleated one way
and the other
Cut along the folds and pieced at random
This was a bit make-it-up as you go along: I started with a piece of transfer-dyed polyester satin, assembled some toning threads and fabrics and traced and stitched the design. Two of the fabrics were appliqued on using a small zig-zag, one shows, one doesn’t. Two areas of vermicelli whip stitch, background visible through. Two areas of twin needle and some thicker stitching. Then I covered it with a piece of net secured with a machine pattern. I hope this is what was wanted.
The second sample includes Angelina fibres, printed sheer, plain sheer (too pale, doesn’t really show up under the random granite stitch) green lurex, solid stitching, an area of whip stitch with a pale random top and a white cystal bobbin thread (also a bit pale) and a zapped and stitched organza on top. A printed sheer with granite stitch looks good (use elsewhere?), and the zapped organza on top of the lot, which was then bondawebbed to green slubbed furnishing fabric. This was very pretty.
This was a very strong shadow although the division into four is a bit ‘ordinary’.
Handmade peach paper using free machining and patterns; zapped blue organza similarly stitched on top; torn black tissue paper trapped under pale blue chiffon with net stitched on top. Not something I might have tried un-prompted, but I like the complementary colours.
Fabrics as shadows:
Shapes extracted from the wire shadow work and built up using transparent organza, three shades of metallic silk, one of silk with gold embroidery and purple chiffon.
I hope this is what was required.
Stitching as shadows
Blue metallic and random
The black stitching is less satisfactory as it fights with the background, but either of the others work. Possibly a grey would be preferable, as it might be slightly softer than the black.
Line to define areas
Big Ben (p.18)
Background with sheers
Topiary Garden, Jardim Botanico, Madeira
Background with sheers
Granite and satin stitch
Cold and frosty morning
Whip and granite stitch
Fibres as Shadows
Shadows in Angelina