Posts Tagged ‘India Flint’

3-rose-booksAim: to investigate the alchemy of dyeing with rose petals and leaves on books

Method: interleave rose petals and leaves between the pages of 3 bundles of bound & unbound text blocks
bind the bundles with rose petals, leaves, stems & string in a big steel pot
add a piece of bound rusty iron as the mordant and fill the spaces with the rest of the rose petals
add lukewarm water, heat the pot gently to hot but not boiling for 90 minutes, turn off and allow to cool over night
remove bundles from pot, untie, dry and bind

Materials: 14 long stemmed Mr Lincoln roses
found piece of old rusty iron
flax & nettle string for binding bundles
paper interfacing & linen thread for binding old rusty iron
text block for crow book- acid free cartridge & Stonehenge watercolour paper
Rose Book 1- rough watercolour paper, acid free cartridge text pages, Moulin de Larroque handmade watercolour paper, nettle string
Rose Book 2- acid free cartridge text pages, Moulin de Larroque handmade watercolour paper, nettle string

Result: Rose Book 1 – the tea stained rough water watercolour produced a soft pink but indistinct print
the text block of spare acid free cartridge was dyed by interleaving Rose Book 2 in the drying process
Rose Book 2 – this book was bound with an oriental side stitch binding before immersion but was cut & unbound to dry
the carved cover did not enjoy the immersion
the pattern on the spare front cover & back cover was achieved by binding rose stems round the bundles which acted as as resist
Crow Book 3 text block- the acid free cartridge produced very clear results, this book was wrapped in silk, rose stems & flax string

Conclusion: I was hoping to make some beautifully perfumed books
this didn’t happen but massaging the covers of Rose Books 1 & 2 with Jurlique Hand cream does the job
I will do the same on the Stonehenge watercolour paper front & back pages for Crow Book 3
here’s the link to India Flint’s post from a couple of years ago which inspired me to try
you can see more details of my process herehere, here & here
and here’s some more photos
3-rose-books-1Text Block for Crow Book 3, Rose Book 1 and Rose Book 2 by Mo 2014
text-block-for-crow-book-3a soft print on Stonehenge watercolour paper 245 gsm will be the front page of Crow Book 3
rose-petal-printsthe clarity of the petal prints on the acid free cartridge is a surprise
rose-petal-book-1-insidethe rough tea stained watercolour paper produced a subtle print and the acid free cartridge used for drying the text block of Rose Book 2 made a pale  purple blue print
rose-book-no-2-insidethe clarity of the prints on the acid free cartridge is quite lovely
This has whetted my curiosity to explore some of these ideas further in early January 2015 when I attend India Flint & Roz Hawker’s Bower Bird Blues workshop

the-guardianGlen Skien’s Mytho-Poetic Crow is the silent guardian at the window
roses-almost-readythe Mr Lincoln roses are nearly ready
iron mordantthis piece of iron called out from the park to come home & act as the mordant in the rose brew
channeling-Morticiachanneling Morticia Addams in the old 60’s TV show The Addams Family I cut the heads off all the red roses
Morticia Addamsisn’t this a wonderful 21st C world!
filling-the-rosebook-with-petalsthen filled the pages of the rose book with petals, stamens, sepals and leaves
rose-bookbound the book & paper bundles with rose stems, silk, flax & nettle string and wrapped the iron mordant with paper interfacing and linen thread
(NB this bit is totally intuitive I have no idea what I am doing ( it may well all turn to mush!)
just having a go after seeing  India Flint’s wonderful rose book a couple of years ago!)
bound books & mordantin the pot ready to add lukewarm water
just-add-waterand here’s what the pot looked like after being heated gently for 1 & 1/2 hours
cookedthe bundles are held down by a heavy glass mortar Eric of Dragonglass blew for me about 25 years ago
now it’s time to let it cool down overnight and have a look in the morning!

roses-in-the-lounge-roomHere’s our lounge room this morning,  in the foreground you can see some Madonna Lilies & a Kentia palm ready to go out and work for our Happy Triffid indoor plant hire service but just behind them is a bunch of sweetly perfumed pink roses, the Mermaid’s Pet by the fabulous ceramicist Jenny Orchard and a bunch of aged champagne coloured roses which have no perfume but I love the colour, they look like an old sepia photograph!
The roses are my birthday treat from Old Man Crow,  left home this morning at 4:30am and walked to the train station by starlight, arrived at the Sydney Flower Market at 5:15  dodging forklifts and trucks to get to the flower shed and what a buzzing scene it is! Nearly a hundred flower growers and importers supply all the Sydney florists every day from 5-8am, there are so many flowers, it’s a riot of colour and people all haggling, didn’t take my camera but will next time!
Here’s some pics of the 5 bunches of roses and the bunch of blue water lilies I scored for under $40 all up… I will never ever go to a florist again & guess what everyone else is getting for their birthdays this year? am still buzzing hours later and the scents are simply divine!

roses-and-Jenny-Orchard-mermaid's-petcloser look at those roses and the Mermaid’s Pet
posy-in-the-mirrora pretty posy of scentless roses reflected in the bathroom mirror
talking to a friend who is a florist, the story is the roses breeders have sacrificed scent for longevity, these new hybrids can last in a vase for 10 days… but really what is the point of a rose without the scent? It’s like taking away it’s soul, the essence of roseness….
and here they are, the darkly scented deep red Mr Lincoln roses still tightly held in their buds along with a big bunch of blue water lilies
when I lived in the bush in the early 80’s these water lilies grew wild in the dam, I would gather them every morning at dawn…
water-lilies-and-rosesthe perfume is divine
Mr-Lincoln-petala Mr Lincoln petal torn to test the perfume, this will work!
here’s the little rose book I made on the weekend from the offcuts of the text block for Crow Book 3
rose-book-by-MoIt’s an oriental  side stitch binding, the cover is thick Moulin de Larroque handmade watercolour paper with a scan of an old rose drawing I did for Old Man Crow back in 1996 reduced to size, incised with a scalpel blade, carved with a graver and burned with a pyrography tool. I will simmer this little book in a big pot of Mr Lincoln rose petals with some of the petals, leaves and stems interleaved and see what happens!
India Flint made a beautiful little rose book a few years ago and I have been wanting to have a go ever since, now’s my chance! Some of the text block for the new Crow Book will be immersed in the rose pot as well to give Old Man Crow a little time out to sniff the roses every time he opens it to write the next song!

I am going to celebrate The Blues with India Flint & Roz Hawker in early January next year!
This is a dream come true!
Roz Hawker and India Flint are two of the most inspiring artists working in Australia today,
they share a deep respect for nature and their work reflects this with such soul and quiet integrity.
Here’s links to
Roz’s blog & shop
India’s blog & website
& their Bower Bird Blues blog
Roz made Old Man Crow and I these crow foot & feather talismans last yearRoz-Hawkers-crow-foot-and-feather-talismans they hold good magic

India Flint is doing a giveaway!

Posted: December 5, 2013 by Mo Crow in It's Crow Time
Tags: ,

India Flint AGNSW 2012India Flint at the AGNSW in August 2012
The ever inspiring & generous textile artist India Flint is doing a giveaway
over at her “Not All Those Who Wander Are Lost” blog
& you can see a set of stunning photographs of her most recent work
in Christi Carter’s “Sweetpea Path Photography” blog

The alchemical cloth conjuror India Flint gave a terrific talk last night at the Art Gallery of NSW about her eco-dying process. She is brilliant, her knowledge of plants, process, colour and cloth is deep and her enthusiasm contagious. Her mark making is very much influenced by a passionate respect for the environment & resonated with my favourite Australian artist John Wolseley whose work is part of the 18th Biennale of Sydney this year also at the AGNSW.
a detail of John Wolseley’s Murray Sunset Refugia with Ventifacts, 2008–09
more Ventifacts from Mallee Scrub after Fire, 2007–12
John Wolseley “Murray Sunset Refugia with Ventifacts, 2008–09
Artist Statement : “I want to give speech to the distant sand hill country of northern Victoria where, as the climate changes, there are subtle changes in the dynamics of wild fires in their underlying patterns and behaviour. Over several years, I have found ways in which the burnt scrub and my paper collaborate to make drawings … Rather than holding and moving the charcoal over a fixed piece of paper in the conventional way, I have moved the paper against the charcoal – against and within the branches and stems of burnt trees. I then release them, together with other unmarked sheets of paper, to blow free for weeks and months, to rise and fall with the desert winds. When I ‘harvest’ them, their stories are then inscribed with a dark calligraphy.”
This recent interview with Moira Roth is fascinating and some more links  here, here & here