Nina's Textile Trail

My OCA Textile Tales

Part 4 – Textile Structures – Research Point – RUTH ISSETT

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I have looked at Caught Vista III 2013, Equal on all 4 sides 2013, Equal on all 4 Sides Paper 2013, Foliage 1 2013, Shropshire Tree 2011.

Some examples of her work can be seen on Pinterest here

Material paper (tissue, cartridge, watercolour, handmade cotton-rag, lokta, kozo, abaca & lens tissue), fabric, usually natural fibres (cottons, silks, hemp, jute, linen, viscose, rayon), thread (medium-weight threads, couched or stitched by hand, cotton, silk, viscose cord, gimp, unusual knitting yarns, bamboo, hemp, rayon and cotton mixtures, stitch, dyes, inks, acrylics, Markal Paintstiks, coloured pencils and pastels, resists.

Colour vivid use of colour, often contrasting, dyed, painted, stitched. In these pieces, cool primaries are dominant but often combinations of warm and cool colours can be found in her work and always vibrant. The transparency, translucency and opacity of colour is exploited to enrich and enhance the use of colour. Transparent fabrics like silk organza, silk crepeline, synthetic chiffon and silk chiffon are layered to give deeper tones.

Technique Using cloth & paper, dyeing printing, painting, collage, thread and stitch. Uses a number of sketchbooks simultaneously, some for drawing and/or painting, to document dyeing recipes, fabric samples and colour combinations.   Papers are torn, folded, crumpled, layered or collaged to create rough and smooth surfaces, numerous trials have been undertaken to establish how different weights of paper react to different media, such as inks, coloured varnishes, acrylic and wax resists. A variety of different white or neutral fabrics are layered and stitched in their original state before dyeing, to investigate and note their differing qualities and surfaces.   Others are layered and stitched after dyeing.

Imagery Abstract, reflecting her personal observations of places and times. Translation of careful observation of colour (eg in changing light, of objects).

 Consider how she has used the elements listed above to express the concepts behind her work .

Her Artist Statement on the Textile Study group indicates that “her work is anchored in her observations of different environments. These are interpreted into colour studies, noting variations achieved using collective media and process.”

Years of meticulously documented experimentation with the elements listed above in pursuit of the perfect colour have enabled her to build up a vast knowledge of how different mediums behave and colours are achieved. This thorough knowledge of materials and colour have underpinned her ability “to understand colour and its application to different surfaces to achieve the ultimate visual effect” which has always been her priority according to the Artists Statement on the Textile Study Group website.


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