tag:blogger.com,1999:blog-62378028616668470542024-03-14T01:12:30.084+11:00Julie Ryder TextilesJuliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.comBlogger139125tag:blogger.com,1999:blog-6237802861666847054.post-53294390263955839772019-03-25T11:26:00.000+11:002019-03-25T16:57:28.362+11:00Parallels and IntersectionsOn March 8th I had the pleasure of giving an artist talk on International Women's Day at my solo exhibition 'The Hidden Sex' at Craft ACT. I highlighted the role of women in the discovery and collection of Australian macroalgae, and the way many women's careers had been submerged due to their gender. That very afternoon I was winging my way to Brisbane to attend the opening of 'Parallel', a weaving and natural dye exhibition by Australian weaver,<span style="color: red;"> <a href="http://www.kayfaulkner.com.au/" target="_blank"><span style="color: red;">Kay Faulkner</span></a></span><span style="color: red;"> </span>and US weaver and my natural dye teacher and mentor, <span style="color: red;"><a href="http://www.ellistextiles.com/" target="_blank"><span style="color: red;">Catharine Ellis</span></a> </span>at the Redlands Art Gallery, Cleveland.<br />
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<tr><td class="tr-caption" style="text-align: center;">Kay Faulkner and Catharine Ellis at 'Parallel' opening</td></tr>
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Kay and Catharine have been working independently on dyeing woven cloth using shibori techniques for many years. In 1998 they both presented at a Convergence conference - Kay with her "Controlled Loom Weaving" and Catharine with "Woven Shibori". They were astounded to find that they had each been interested in exploring the same technique on opposite sides of the world, and hence a true professional and personal friendship was born. I will be writing a review of 'Parallel' for the Textile Fibre Forum magazine in the coming months.<br />
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<tr><td class="tr-caption" style="text-align: center;">Catharine Ellis - Woven shibori in Weld dyebath</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Kay Faulkner - detail of "Give them Voice"</td></tr>
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I first met Catharine in 2012, when I undertook an intensive workshop with her and Joy Boutrup at Penland in North Carolina on 'The Art and Science of Natural Dyes'. What I was most interested in was the application of mordants and natural dyeing for direct printing, and since 2012 this is what I have based my dye and print practice on in order to produce work for exhibition and teaching what I have discovered along the way. I owe my deeper understanding of the chemistry and its application to natural dyeing to both Catharine and Joy, and, as many of my students will testify, I have always encouraged others to seek this dynamic duo out if they ever get the chance to attend one of their workshops. Catharine and Joy have now published a <a href="https://www.angusrobertson.com.au/books/the-art-and-science-of-natural-dyes-joy-boutrup-catharine-ellis/p/9780764356339?gclid=EAIaIQobChMInsfih_yb4QIVFYiPCh3X8AGqEAQYASABEgIIRPD_BwE" target="_blank"><span style="color: red;">technical book</span></a> through Schiffer, and this is now my new 'bible'. What I love about this book is it is not a 'pretty coffee table book' like so many others on the market at the moment- it is truly something you can turn to to get the answers and recipes you need for natural dyes and mordants.</div>
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So, with my personally delivered copy of the book from Catharine under my arm, I set forth to teach at Grampians Texture in hall's Gap, Victoria. This was my first time teaching here and it does not follow the usual format of the other residential workshops I am known to teach in. Students and tutors do not live in the one place, and instead are scattered throughout the picturesque and magnificent towering cliffs of the Grampians. Classrooms are also similarly dispersed, but we all manage to get together at some point during the artist slide nights, or a casual (yet competitive) game of petanque!!</div>
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<tr><td class="tr-caption" style="text-align: center;">View of the Grampians from the Information Centre</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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Staying in one of the many caravan park resorts we were surrounded by all manner of flora and fauna. Many a night I was woken by the cough coughing of a huge kangaroo outside my hut window, or the surprise of seeing a deer with her faun as we drove into the resort at dusk.</div>
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Birds of all descriptions made themselves at home on our verandah, which amused our international tutors no end. Of course, the down side was the need to be vigilant and drive really slowly at all times because the kangaroos rule around here, and when they decide they want to cross the road, you just have to be prepared to stop.<br />
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My class was full very early on in the registration period, and I got used to other students coming up to me saying they tried to enrol but missed out. I had a wonderful group of women and we were lucky to each have a table to ourselves to work on in a huge hall with kitchen. The first two days are often the hardest for students new to the concepts of mordant printing, mordant strengths and natural dyes, but once we started the dyeing process, the lights go on and they are all hooked!<br />
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<tr><td class="tr-caption" style="text-align: center;">Naturally dyed and mordant printed by Althea H.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Naturally dyed and mordant printed by Christine McR (left - weld) and Lodi L (right - madder).</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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My photos don't do justice to the wonderful work the students managed to achieve but I was very proud of them all, and I hope to see more of their work in the future.<br />
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My next upcoming workshop will be a Textile Printing using Photographic Stencils workshop in Ballarat in late June. For more details click <a href="http://fibrearts.jigsy.com/julie-ryder" target="_blank"><span style="color: red;">here</span></a>, and an Indigo Resist and Shibori workshop in Mittagong for the Sturt Winter School, click <a href="http://www.sturt.nsw.edu.au/courses/05-organic-indigo-vats-shibori-resist-printing-with-julie-ryder" target="_blank"><span style="color: red;">here</span></a><br />
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All upcoming events and workshops are also listed on my <a href="http://www.julieryder.com.au/" target="_blank"><span style="color: red;">Website</span></a><br />
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<br />Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-86443180043210652642019-02-06T13:11:00.000+11:002019-02-06T13:11:33.377+11:00The Hidden SexI have been extremely quiet on this blog since October, when I put my head down and started working my fingers to the bone to get my work ready for my solo exhibition, 'The Hidden Sex', which opened last Thursday at Craft ACT in Canberra. As it was the first exhibition for the year, it was a crowded opening, so thanks to all of you who braved the heat to come and see the work. The exhibition is on until 16 March 2019, and I will be giving a floor talk at 12pm sharp on International Women's Day, 8th March.<br />
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<tr><td class="tr-caption" style="text-align: center;">'Collecting Ladies I-III' series, 2018-9<br />Watercolour, marine algae on Arches 300gsm</td></tr>
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'The Hidden Sex' is an exhibition that was inspired by my 2016 <span style="color: red;"><a href="https://pateblog.nma.gov.au/2016/07/27/introducing-julie-ryder-our-artist-in-residence-for-2016/" target="_blank"><span style="color: red;">arts residency at the National Museum of Australia</span></a>.</span> My original project was to look at their botanical holdings but I quickly became inspired (obsessed!) by their two unprovenanced seaweed albums. I have posted about these previously so will not go through my findings again here. The exhibition concept was to highlight the invisibility of women in both society and science in the 19th century. Women were not allowed to attend university, and were hardly ever acknowledged for their contribution to our knowledge of our Australian flora. All the kudos usually went to men, such as Government Botanist, Ferdinand von Mueller; William Henry Harvey, the great Irish phycologist; Joseph Hooker, of Kew; and Carl Agardh of Sweden. However, not many know that Mueller conscripted over 225 women and children to collect for him, and some of these women sent their collections directly overseas to other scientists. Hence the collections by some of our most noted women collectors, such as Jessie Hussey of Encounter Bay, SA; Louisa Ann Meredith, from Orford in Tasmania, and others are also in overseas herbaria.<div>
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<tr><td class="tr-caption" style="text-align: center;">'From Land and Sea: Rhodospermae, Melanospermae & Chlorospermae'<br />Three pairs of vintage kid leather gloves, embroidered with silk</td></tr>
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Thinking about women collecting algae and vascular plants in challenging conditions wearing their heavy garments, skirts, boots and gloves inspired me to embroider some vintage leather gloves myself. Gloves were made in supple yet tight-fitting leather so that they could mould the hand into the proscribed shape - dainty, with long tapering fingers; not flaccid yet not too muscular. They also kept the skin unblemished from the sun. Indeed, I had trouble finding a 'glove model' for my photo shoot, as even the largest glove would not fit today's narrow hand! These gloves could not get wet, so there is a paradox between the gloves and the act of collecting. The three sets of gloves represent the three classes of seaweed, but the scientific name for them has altered slightly. I have chosen to use the classifications instigated by Harvey in the 19th century - Rhodospermae (red); Chlorospermae (green) and Melanospermae (brown).<br /><div>
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Women of the 19th century had proscribed pastimes to help them while away the hours - botanical painting and collection, needlework, music and languages. In the mid 19th century, a craze for collecting seaweed was at its height, having taken over from fern collecting, or pteridomania. Botanical collections were pressed in special albums, on cards and in books, and became the subject of watercolours and dioramas. The series 'Collecting Ladies' references the etiquette of dress (handkerchiefs and gloves!) and the pastimes of lace-making, embroidery and botanical collecting.</div>
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<tr><td class="tr-caption" style="text-align: center;">Installation view, The Hidden Sex, Julie Ryder.</td></tr>
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On the left of the installation photo are a series of large cyanotypes, made with seaweed I have collected on my travels. The cyanotype process was the first photographic process invented by Sir John Herschel, but it was pioneered by <a href="https://en.wikipedia.org/wiki/Anna_Atkins" target="_blank"><span style="color: red;">Anna Atkins</span></a> in the 19th century, who used this new technique to produce handmade volumes of photographs of British Seaweed that she had collected. <a href="https://www.nypl.org/events/exhibitions/blue-prints-pioneering-photographs-anna-atkins" target="_blank"><span style="color: red;">The New York Public Library</span></a> are currently holding an exhibition of these images from the two editions they have acquired, but they are only on for another week. My work references the life-sized work made by Anna, but I have enlarged them to make a bolder statement.</div>
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<tr><td class="tr-caption" style="text-align: center;">'Submerged' 2018-9, Julie Ryder<br />Vintage handkerchiefs, cyanotype, seaweed</td></tr>
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In 'Submerged', a series of 42 vintage handkerchiefs, I have used the cyanotype process again to reference women's work. The title refers to both the seaweed being submerged beneath the waves as well as the plight of women in academia and society.</div>
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My interest in Victorian Glass Microscope slides has also been described in previous posts, but for this exhibition I had always wanted to produce a series that contained real seaweed and referenced the lace making done by women that appeared on handkerchiefs and clothing. </div>
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<tr><td class="tr-caption" style="text-align: center;">'Flowers of the Sea, I-VI', 2019<br />Glass, seaweed, hand engraving.</td></tr>
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Each of the six large (25x70cm) glass microscope slides have been engraved with the place of the collection (Orford, Encounter Bay, Ballinskelligs, Frank's Beach, Macmaster's Beach and Bicheno). Some of these related directly to our past women seaweed collectors, whilst others are favourite places that have personal resonance with my seaweed collection obsession. I will show some details in a later post.</div>
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Lastly, as an avid collector of anything that the waves throw up, I have made a large wall installation 'Hortus conclusus' (which literally means hidden or secret or walled garden}. Made entirely from cuttlebones, these have been collected over a period of years and reference the aggressive passion for collecting multiples of everything by scientists and amateur scientists of the 18th and 19th centuries - even to the detriment of the species, and many species did go extinct, as did many ferns and other botanicals.</div>
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<tr><td class="tr-caption" style="text-align: center;">'Hortus conclusus' 2019 Julie Ryder<br />Cuttlebone, carving.</td></tr>
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In my collection there are two 'types' of cuttlebones that can be found - smooth ones, and furrowed ones, which are very labial in appearance. These are not known to be 'male' and 'female' types, in fact conversations with marine biologists have not shed any light as to why there are two sorts. As they are NOT seaweeds I was wondering whether they belonged in the exhibition at all, despite my initial intuition and strong intention that they should be. Whilst researching I came across an unusual feature of the Australian cuttlefish that not many people know about that clinched it's addition to the exhibition. During mating times, once a year, all the cuttlefish gather en masse in Whyalla, SA, for an orgy. Well, not really an orgy, because males only mate once, and then they die. As there are more males than females, competition to hand her their 'sperm sac' (yes literally, with their tentacles!) is fierce, with the larger, more dominant males guarding the females from other weaker males. However, these 'inferior' males have come up with a unique and very sneaky strategy to sidle up to the females in order to hand over their genes. They camouflage themselves as females, even to the point of having a fake egg sac, so that they can mingle with them and avoid fighting with the stronger male. Ingenious. Hidden Sex..... <div>
There is an amazing podcast out at the moment which gives further insight into this gender swapping hosted by Benjamin Law, called Look at Me. Click <a href="https://www.theguardian.com/environment/audio/2019/jan/31/the-amazing-life-and-death-of-the-oceans-greatest-camouflage-expert-look-at-me-podcast" target="_blank"><span style="color: red;">here</span> </a>, and listen to the end where a very poignant story is told by underwater photographer, PT Hirschfield (IG: @pinktankscuba)<br /><div>
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I do hope you will get to see my exhibition at Craft and if you are on Instagram, you can follow my whole journey with the making of work for the exhibition @julierydertextiles</div>
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I love hearing your comments, critiques and thoughts about my work, so please don't be shy! And if you have enjoyed this post, or my work, please pass on my blog and Instagram details to others 💚</div>
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Cheers</div>
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Julie<br /><div>
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Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-23553228338531998272018-10-31T21:26:00.001+11:002018-10-31T21:26:57.459+11:00New WorkSince I've been back from my wonderful research trip and arts residency in Ireland, I have been getting my thoughts together for an upcoming solo exhibition, to be held at Craft ACT in late January 2019. This exhibition will reflect the research I've been undertaking over the past two years on women botanical collectors, especially the collectors of seaweeds.<br />
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<tr><td class="tr-caption" style="text-align: center;">Looking at my seaweed collection for inspiration</td></tr>
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I also made a significant purchase to help distill my thoughts...the gorgeous Minton tea cup and saucer in the photo above. Believe me, the tea tastes so much nicer! Looking back through my Irish specimens I decided to have another look at the cyanotyping process that I did with my friend Aroona and her delightful daughter Ruby in Belfast. The blue photo above is one of the Irish Moss specimens (Chondrus crispus) that I made as a teaching example for them. This time, I decided to try it out on fabric to test out the limitations, colour and definition using the Canberra winter sun.<br />
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<tr><td class="tr-caption" style="text-align: center;">Testing out the cyanotyping with my seaweed in Canberra</td></tr>
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The process is basically the same on textiles as it is for paper, however there are differences in the way that the various fabrics uptake the cyanotyping solution. Drying was also longer than I expected, but I wasn't in a rush so just made a note of that for when I do the final pieces. I made three different types of tests using different fabric bases including some man made materials, just so I could compare the results. I also guessed how long to expose them for and chose 6, 7 and 8 minutes to see what differences that would make. After the fabrics had been exposed I rinsed them in cold water for several minutes and then hung out to dry.<br />
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<tr><td class="tr-caption" style="text-align: center;">Developing the print...WOW!</td></tr>
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I was really happy with the results and eager to start making the final pieces for the exhibition once I collect all my fabrics and dried seaweeds together, and make the hard decisions on what to include and what will get left out.</div>
Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com1tag:blogger.com,1999:blog-6237802861666847054.post-37567866654587602042018-08-20T13:47:00.001+10:002018-10-31T21:25:26.277+11:00Local Colour : Experiments in NatureAs soon as my plane touched the Canberra tarmac I was back into the whirlwind of getting work finished for the '<i>Local Colour: Experiments in Nature'</i> exhibition at UNSW Galleries in Paddington, which was curated by Liz Williamson. My fractured wrist and time away was not conducive to lots of intense stitching, so it was head down and needle to the fore to get the final pieces in place before delivering to the gallery.<br />
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<tr><td class="tr-caption" style="text-align: center;">Liz Williamson opens Local Colour at UNSW Galleries<br />
Photography: Silversalt Photography</td></tr>
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<i>'Local Colour'</i> opened on 27th July and both Dr Julie Montgarret and I gave artist presentations to a large crowd beforehand. I spoke about my arts practice and the interaction of nature with my work, and Julie Montgarret spoke about the work of Elsje van Keppel, which was also included in the exhibition. It was such an honour to be included in this curated show, to be with some amazing textile artists such as Elsje, Rowland Ricketts, Holly Story, Hildur Bjarnadottir, Dorothy Caldwell and India Flint to name a few.<br />
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<tr><td class="tr-caption" style="text-align: center;">My work ' <i>Aranda to Frost Hollow</i>' triptych, 240cm x 150cm<br />
Photography: Silversalt Photography</td></tr>
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My triptych, <i>'Aranda to Frost Hollow' </i> was a pieced work that utilised plant-dyed fabrics that had from the suburb of Aranda in Canberra. My favourite bushwalk when I lived near the Aranda Bushland was to start at the very top of the ridge and walk all the way down through the Frost Hollow snow gums and back up the very steep hill past the powerlines. For almost 17 years I did this walk about once a fortnight, noting the species of trees and shrubs, grasses, terrain and avoiding collisions with kangaroos! It was a walk I often took visitors on when they came to stay. After my cloths had been pieced, I then mordant-printed the map of the area where I walked on top. The middle textile ('<i>Frost Hollow') </i> is composed of hundreds of tiny naturally dyed scraps all hand-sewn to the base fabric to metaphorically continue the journey between the two hills. <br />
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<tr><td class="tr-caption" style="text-align: center;">My work, next to the work of Gabrielle Mordy (centre) <br />
and Rebecca Mayo (far right)<br />
Photography: Silversalt Photography</td></tr>
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There were some gorgeous baskets produced by two groups of indigenous basket makers, curated by Dr Louise Hamby, and these black ones from Mullingimby were so unusual but so beautifully displayed hanging in space.<br />
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<tr><td class="tr-caption" style="text-align: center;">Photography: Silversalt Photography</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The ethereal work of Rowland Ricketts showing his complete mastery<br />
of indigo dyeing onto felt<br />
Photography: Silversalt Photography</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Work of Hildur Bjarnadottir (large wallhanging) and<br />
the sculptural work by Lucy Simpson in the fore.<br />
Photography: Silversalt Photography</td></tr>
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The day after the opening saw many of the artists give floor talks about their work in the gallery and this was so well attended by the public. It gave great insights into the works and why and how they had been created. One of my very favorite pieces is the work of Judith Kentish, which also happened to be hanging next to my work ! The simplicity and honesty that that emanated from these small weavings illustrated Judith's mindfulness and practise of being right in the state of making by weaving her plant dyed yarns from Cobb Creek on a card loom. Poetic.<br />
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<tr><td class="tr-caption" style="text-align: center;">Judith Kentish's weavings reflecting the Cobb Creek environment.</td></tr>
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Unfortunately, there is no catalogue (yet) but if we keep nagging perhaps one will become available! If you can't get to the exhibition then the catalogue is a fantastic way to see the very best in contemporary plant-dyed textiles.</div>
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'Local Colour' is being exhibited until 15 September, 2019.<br />
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CNR OF OXFORD ST & GREENS RD, PADDINGTON NSW 2021 </div>
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TUES TO SAT, 10AM-5PM. CLOSED PUBLIC HOLIDAYS</div>
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Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-44388584505028090902018-07-20T16:26:00.000+10:002018-07-20T16:26:12.922+10:00Following Charles MorrisonTime in Belfast was spent at the Ulster Museum repository looking at 19th century seaweed albums, including those connected to Charles Morrison (see previous posts!) Although I was staying one minute's walk away from the Museum, all their albums are housed in a secure facility many miles away. Luckily I had a lovely curator to look after me who drove me there each day and facilitated my access.<br />
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<tr><td class="tr-caption" style="text-align: center;">My working table within the UM repository.</td></tr>
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This is the album I came to see at the Ulster Museum, so it was an
emotional moment for me, having discovered a lot through reading about
it only through published papers.<br />
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After my research at the Ulster Museum, I left Belfast and drove north to each and every known site that Charles Morrison had collected the seaweeds he put in his many albums.....the Giant's Causeway, Portrush, Moville, Greencastle to name a few. <br />
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<tr><td class="tr-caption" style="text-align: center;">The spectacular Giant's Causeway</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Northern Ireland Coastline</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Portrush</td></tr>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-XMZjlSaW_L4/W1F25LOx02I/AAAAAAAAB2w/JEEsC76BRuUNmkmegGzhA4hhbwyr3KyvQCLcBGAs/s1600/Rycer_GC2_2018.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="800" height="300" src="https://3.bp.blogspot.com/-XMZjlSaW_L4/W1F25LOx02I/AAAAAAAAB2w/JEEsC76BRuUNmkmegGzhA4hhbwyr3KyvQCLcBGAs/s400/Rycer_GC2_2018.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rockpools at the Giant's Causeway</td></tr>
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Not only did I follow in Charles' footsteps along the wide beaches, rocky shorelines and isolated promontories, I also collected seaweed samples myself from each place so that I could have my own contemporary collection that mirrored his. Except not as prolific...!<br />
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-Wi0XkR06z_0/W1F5SMUC2cI/AAAAAAAAB3E/N1SLhM0G_e8pTncF4RR0W-F36IzxwIC-wCLcBGAs/s1600/Ryder_NISeaweed_2018.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="691" data-original-width="800" height="345" src="https://3.bp.blogspot.com/-Wi0XkR06z_0/W1F5SMUC2cI/AAAAAAAAB3E/N1SLhM0G_e8pTncF4RR0W-F36IzxwIC-wCLcBGAs/s400/Ryder_NISeaweed_2018.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Some of my Northern Irish seaweeds</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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Charles Morrison also collected along several sites along Lough Foyle, so I spent a few days at Derry-Londonderry (the 'PC' version of Derry....one radio announcer also coined the popular term "Slash City"). I was delighted to walk along one of the streets which incorporated this street art of lovely marine pavers. One side of Lough Foyle is in County Derry, the other is in County Donegal. <br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-kuqZulrd-YY/W1F7x7ktiEI/AAAAAAAAB3Q/dw6UxOEjI1gBubmQ9-YslW8jksgNTgsJgCLcBGAs/s1600/Ryder_Derry_2018.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://1.bp.blogspot.com/-kuqZulrd-YY/W1F7x7ktiEI/AAAAAAAAB3Q/dw6UxOEjI1gBubmQ9-YslW8jksgNTgsJgCLcBGAs/s400/Ryder_Derry_2018.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Marine inspired street art on a pavement in Derry-Londonderry</td></tr>
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He also collected at Lough Swilly, also in Co. Donegal. One of the most spectacular beaches I have seen on my travels was near Portsalon, on the far north coast of Lough Swilly. It was a really rough and winding road to drive down, and up, as the roads were so narrow. Added to this was the temperature - over 30 degrees, something Irish roads are not used to. The very bitumen was melting as we drove along, sticking to our tyres and also our shoes! But it was worth it in the end to walk on this beautiful and relatively deserted beach near Ballymastocker Bay.<br />
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-gNxu8aCsylI/W1F-oeO84WI/AAAAAAAAB3c/duyvMipTcw8LliiP1TNFQ3phlnlM4hquACLcBGAs/s1600/Ryder_Ballym_2018.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://4.bp.blogspot.com/-gNxu8aCsylI/W1F-oeO84WI/AAAAAAAAB3c/duyvMipTcw8LliiP1TNFQ3phlnlM4hquACLcBGAs/s400/Ryder_Ballym_2018.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Beautiful Ballymastocker Bay, Co. Galway</td></tr>
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Back home now but still processing photos and seaweed for further posts....and getting data together for my research.<br />
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Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-81670059319408544292018-06-23T18:39:00.001+10:002018-06-23T18:39:20.410+10:00Belfast LinenI was having an Instagram conversation about the scarcity of linen to be found in Ireland and that same day I went to the <a href="http://www.titanicbelfast.com/" target="_blank">Titanic Experience </a> in Belfast. Little did I know the two events would be linked, and supported by another walk through the Ulster Museum....<br />
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-FwsySq33wIs/Wy3we1mNRdI/AAAAAAAABz8/4jx5u_aXTrMowuiEyIqxNGXbFxg8N7ZnACLcBGAs/s1600/IMG_1501.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="240" data-original-width="320" src="https://2.bp.blogspot.com/-FwsySq33wIs/Wy3we1mNRdI/AAAAAAAABz8/4jx5u_aXTrMowuiEyIqxNGXbFxg8N7ZnACLcBGAs/s1600/IMG_1501.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Titanic Belfast Experience</td></tr>
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In 1711 a Linen Board was established in Ulster to direct the development of the linen industry and new methods and better seeds were imported by the French Huguenots who settled in the north of Ireland at the end of the 17th century. Flax was grown in the countryside alongside food crops.<br />
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-Vh16az-egKM/Wy3zJGIDIXI/AAAAAAAAB0s/fnn7zZWU9-M9iMRUEtSycBPLcDAb-R3tgCLcBGAs/s1600/Image-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="320" data-original-width="320" src="https://3.bp.blogspot.com/-Vh16az-egKM/Wy3zJGIDIXI/AAAAAAAAB0s/fnn7zZWU9-M9iMRUEtSycBPLcDAb-R3tgCLcBGAs/s1600/Image-1.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Flax seeds through to brown and bleached linen</td></tr>
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Flax seeds were sown in spring and harvested around 100 days later. The mature flax was pulled from the ground rather than cut, so the extra length could be obtained. It then underwent a retting process which used moisture and bacteria to eat away the hard woody stem so that the inside fibres could be removed easily. Scutching then removed the outer skin of the flax, leaving only the silky inner fibres. These were combed over pins, known as roughing, and then hackling gave the flax a more thorough combing to remove superfluous organic matter.<br />
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Growing flax and turning into linen cloth was a long and laborious process with many stages. Traditionally women and children prepared the flax and spun the fibres into thread at home on spinning wheels whilst men then wove the thread into linen cloth on hand looms.<br />
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/--4nB2c3T5S0/Wy3wesbgs9I/AAAAAAAABz4/AWhnY6VGnew8HDK6DWMBBVUMgT_u1BVkwCLcBGAs/s1600/FullSizeRender.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="240" data-original-width="320" src="https://2.bp.blogspot.com/--4nB2c3T5S0/Wy3wesbgs9I/AAAAAAAABz4/AWhnY6VGnew8HDK6DWMBBVUMgT_u1BVkwCLcBGAs/s1600/FullSizeRender.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Working from home<br />Image from Titanic Belfast</td></tr>
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The brown linen was taken to markets to be sold for bleaching and finishing then usually exported, mainly to England where it was prized for its fine quality.<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-tq45G6WDMz8/Wy3weyiw2WI/AAAAAAAAB0A/8VRR4PFdE4ENCSrIGCpHLEgVR3yKhT8cQCLcBGAs/s1600/IMG_1505.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="240" data-original-width="320" src="https://1.bp.blogspot.com/-tq45G6WDMz8/Wy3weyiw2WI/AAAAAAAAB0A/8VRR4PFdE4ENCSrIGCpHLEgVR3yKhT8cQCLcBGAs/s1600/IMG_1505.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Flax Mill c.1840<br />Image: Titanic Belfast</td></tr>
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In the early 1840's linen cloth production moved from a home-based occupation in the country to a large scale factory-based one in the city. The different processes linen had to undergo before being made into cloth meant there were a series of hierarchical jobs within the mills accompanied by differing standards of working conditions and pay.<br />
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-NwN0L5qAfBo/Wy3wg1w3uPI/AAAAAAAAB0U/X-_eijqsAc4qqnd26jauHNfE8UagoxCkwCLcBGAs/s1600/IMG_1519.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="240" data-original-width="320" src="https://2.bp.blogspot.com/-NwN0L5qAfBo/Wy3wg1w3uPI/AAAAAAAAB0U/X-_eijqsAc4qqnd26jauHNfE8UagoxCkwCLcBGAs/s1600/IMG_1519.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mill production<br />Image: Titanic Belfast</td></tr>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-l34gFBLbk9Q/Wy30RI3hULI/AAAAAAAAB08/4eaKV7rQSB4iXcwXJzsSG9LMAkIk-pOxgCLcBGAs/s1600/IMG_1524.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="320" data-original-width="240" src="https://3.bp.blogspot.com/-l34gFBLbk9Q/Wy30RI3hULI/AAAAAAAAB08/4eaKV7rQSB4iXcwXJzsSG9LMAkIk-pOxgCLcBGAs/s1600/IMG_1524.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mill Production<br />Image: Titanic Belfast</td></tr>
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During the 19th century people flocked to Belfast to work in the new linen mills and by 1900 Belfast was producing and exporting more linen than anywhere else in the world. There were over 65,000 mill workers at the turn of the century, many employed in Belfast, and around 900,000 flax spinning spindles in Belfast alone in 1900. Mill workers worked 6 days a week from 6.30am to 6pm for very low wages, many of whom were women and children who were often known as "half-timers" because they attended school as well. Dust inhaled when preparing the flax could trigger disease, and the hot humid conditions necessary for the spinning and weaving of linen caused chest infections. Working barefoot in water in the spinning rooms often led to painful foot conditions.<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-3O7Dd78FGIg/Wy30RWN0cvI/AAAAAAAAB1A/nBebtiiQoLM4blFFcsuxb-RY2qRvRHsKQCLcBGAs/s1600/IMG_1527.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="240" data-original-width="320" src="https://1.bp.blogspot.com/-3O7Dd78FGIg/Wy30RWN0cvI/AAAAAAAAB1A/nBebtiiQoLM4blFFcsuxb-RY2qRvRHsKQCLcBGAs/s1600/IMG_1527.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mill Production<br />Image: Titanic Belfast</td></tr>
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Embroiderers were often lowly paid but their working conditions were healthier, and they were considered socially superior.</div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-5zdtFVp2d4A/Wy4DrRv6JHI/AAAAAAAAB1k/foLa1w6C6-IQIy6jSIGlN56fefjPI7YHQCLcBGAs/s1600/IMG_1565.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="320" data-original-width="320" src="https://1.bp.blogspot.com/-5zdtFVp2d4A/Wy4DrRv6JHI/AAAAAAAAB1k/foLa1w6C6-IQIy6jSIGlN56fefjPI7YHQCLcBGAs/s1600/IMG_1565.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Examples of fine linen embroidery at the Ulster Museum</td></tr>
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The Titanic needed huge quantities of linen for her maiden voyage and these were all made in Belfast. The First Class passengers had damask linen tablecloths and napkins, patterned with the White Star emblem. Linens were also used for all the bedding as well as in the kitchens and dining room. The Titanic carried thousands of aprons and tablecloths and over 10,000 kitchen cloths, as well as 18,000 bed sheets and 45,000 table napkins! There were no facilities on board to wash anything, so there were separate stores for clean and dirty linens, and a drying room for wet linen so they did not become mouldy on the voyage.</div>
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The information above came from the Titanic Belfast Experience Museum. More information about the history of Irish linen can be found <a href="https://www.fergusonsirishlinen.com/pages/index.asp?title2=history-of-irish-linen&title1=about-linen" target="_blank"><span style="color: red;">here</span></a></div>
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Walking around the Ulster Museum I came across an enormous hand-woven contemporary Irish linen artwork - The Game of Thrones Tapestry that opened at the museum in July 2017. </div>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-O9PPXMrhAa0/Wy4Dp7uQ8_I/AAAAAAAAB10/OyMc2_dy6po2Ny6pEJt5XKQkcSIz-qoUgCEwYBhgL/s1600/FullSizeRender.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="240" data-original-width="320" src="https://4.bp.blogspot.com/-O9PPXMrhAa0/Wy4Dp7uQ8_I/AAAAAAAAB10/OyMc2_dy6po2Ny6pEJt5XKQkcSIz-qoUgCEwYBhgL/s1600/FullSizeRender.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Game of Thrones Tapestry, Ulster Museum</td></tr>
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Now, I have not seen Game of Thrones, but I thoroughly enjoyed walking around this incredible tapestry which snaked back and forth across walls within the exhibition space. It is now 66 metres long, and consists of six 11m panels, one for each of the six series currently produced. By the time it is finished it will be longer than its inspiration, the Bayeux Tapestry which measures 77m. Here are some images of some of the series - are you a fan and can you recognise any of the scenes??</div>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-7rLm0lPS8xg/Wy4Dp74AyUI/AAAAAAAAB1s/rgliLDsJ4Gwq-NB0PdO7F_2zCbMt8hnLACEwYBhgL/s1600/FullSizeRender%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="320" data-original-width="240" src="https://3.bp.blogspot.com/-7rLm0lPS8xg/Wy4Dp74AyUI/AAAAAAAAB1s/rgliLDsJ4Gwq-NB0PdO7F_2zCbMt8hnLACEwYBhgL/s1600/FullSizeRender%255B1%255D.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Night is Dark and full of terrors....</td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-xgWuhQ-PUw8/Wy4DqCYkReI/AAAAAAAAB1o/tXEcvVI3yx8aI3rjdErkxWqgQ0PLsr4BACEwYBhgL/s1600/FullSizeRender%255B2%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="320" data-original-width="240" src="https://1.bp.blogspot.com/-xgWuhQ-PUw8/Wy4DqCYkReI/AAAAAAAAB1o/tXEcvVI3yx8aI3rjdErkxWqgQ0PLsr4BACEwYBhgL/s1600/FullSizeRender%255B2%255D.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Have you been paying attention...?</td></tr>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-gnqwIlI1q3Q/Wy4Dq2m3CFI/AAAAAAAAB1w/t86ftdr5UbcTVD564p7Ya8ogapOOmm6dwCEwYBhgL/s1600/FullSizeRender%255B3%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="240" data-original-width="320" src="https://4.bp.blogspot.com/-gnqwIlI1q3Q/Wy4Dq2m3CFI/AAAAAAAAB1w/t86ftdr5UbcTVD564p7Ya8ogapOOmm6dwCEwYBhgL/s1600/FullSizeRender%255B3%255D.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Exquisite weaving and embroidery</td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-g5oFeqYynz8/Wy4DrdPRbzI/AAAAAAAAB10/8ZCFy0umjyE-MULs-It7SGzDQmst-KxgQCEwYBhgL/s1600/FullSizeRender%255B4%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="240" data-original-width="320" src="https://1.bp.blogspot.com/-g5oFeqYynz8/Wy4DrdPRbzI/AAAAAAAAB10/8ZCFy0umjyE-MULs-It7SGzDQmst-KxgQCEwYBhgL/s1600/FullSizeRender%255B4%255D.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The End....for now......</td></tr>
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Read more about this amazing tapestry and how it has reignited the awareness of Irish Linen and promoted Irish tourism <a href="http://www.ireland.com/tapestry" target="_blank"><span style="color: red;">here</span></a></div>
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Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-3529795006416250332018-06-18T17:08:00.000+10:002018-06-18T17:08:08.915+10:00The Wild Atlantic Way <div class="separator" style="clear: both; text-align: left;">
It was so hard to tear myself away from Cill Rialaig, but right at the nth hour I had a message on Instagram that one of the people I have been following, Susan (@todayinireland) was in Ballinskelligs and could we catch up for a coffee? I have been following Susan because she really gets about this part of the world, and to be honest, I thought I would bump into her on the beach one day or walking around in Waterville, but of course, it was literally just as I was leaving town. It is so lovely to meet people face to face that you have connected with on IG!</div>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-FsR3-5R5hTQ/WydMiBi3RaI/AAAAAAAAByk/fXYfO1E4t80ynMSPix46_KZRrQAXeIZlQCLcBGAs/s1600/IMG_1169.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="240" data-original-width="320" height="240" src="https://2.bp.blogspot.com/-FsR3-5R5hTQ/WydMiBi3RaI/AAAAAAAAByk/fXYfO1E4t80ynMSPix46_KZRrQAXeIZlQCLcBGAs/s320/IMG_1169.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A coffee catch up at Barbara's on the beach, Ballinskelligs</td></tr>
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Back into the car for 45 minutes and it was time for another goodbye at Caherdaniel from John and Kerryann (@<a href="http://www.atlanticirishseaweed.com/" target="_blank"><span style="color: red;">atlanticirishseaweed</span></a>). I love these two people who are so passionate about seaweed and making a living from educating others about the benefits of eating and bathing in it!<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">The Blind Piper, Caherdaniel</td></tr>
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We met downstairs at The Blind Piper, a true Irish pub - a bit early for a pint for me but not for some I could mention! Kerryann gave me a bag of seaweed to eat and a couple of seaweed bath bags to try out so luckily most of the places we have stayed have baths.<div>
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<tr><td class="tr-caption" style="text-align: center;">Sneem for lunch at the Bakery</td></tr>
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Back in the car we passed through Sneem and stopped for a quick lunch before heading to Kenmare, where I was keen to see the <a href="http://www.kenmarelace.ie/" target="_blank"><span style="color: red;">Kenmare Lace and Design Museum</span></a>. </div>
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In the 1800's sisters of the Poor Clare convent in Kenmare introduced needlepoint lace to the women and the girls of the locality as a response to the poverty that followed the Great Famine. This was an incredible initiative of the nuns who also arranged for tuition from tutors from the Kensington School of Design in London and the Crawford School of Art in Cork, leading to the establishment of a school of design in Kenmare.</div>
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<tr><td class="tr-caption" style="text-align: center;">Gouache painted designs by the nuns of the Poor Clare Convent, Kenmare</td></tr>
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From this school came designs that won acclaim in exhibitions around the world. Kenmare lace graced royal functions and liturgical occasions, however eventually economic factors brought about its decline and apparent demise. These designs have been revived and local lacemaking continues today.<div>
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<tr><td class="tr-caption" style="text-align: center;">Lace design and lace on display in the local church.<br /></td></tr>
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Next it was off to Bantry to have a look around <a href="https://www.bantryhouse.com/" target="_blank"><span style="color: red;">Bantry House</span></a>, the private estate still owned by the descendants of the Earl of Bantry.</div>
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<tr><td class="tr-caption" style="text-align: center;">The view of pantry House from the rear Garden.</td></tr>
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Home to the White family since 1739 this house has a garden with seven terraces, overlooking Bantry Bay, with many works of art both inside and outside the house. After many years of neglect the garden terraces were overhauled in 2016 and work continues on the garden restoration today. The inside of the houses was magnificent, but photos were not allowed.<div>
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Onwards to our destination, Kinsale, where we spent two nights. Kinsale is a gorgeous seaside town, known for its colourful buildings and fine dining. </div>
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<tr><td class="tr-caption" style="text-align: center;">Kinsale Harbour</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">One of the many pubs in Kinsale</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Cute cottages</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Colourful buildings</td></tr>
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Our next journey is to Kilkenny, to see the famous Kilkenny Craft and Design Centre, kiss the Blarney Stone and then head towards Belfast for my research at the Ulster Museum herbarium.<br /><div>
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Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-1520498558816428822018-06-11T19:23:00.001+10:002018-06-11T19:23:15.017+10:00Slán Cill Rialaig<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">5am view from Cill Rialaig</td></tr>
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When I first arrived at Cill Rialaig to start my two week residency, the islands and neighbouring headlands were mostly covered in mist, conjuring up the mythology of Hy-Brasil. For the past week though, the view to the islands have all been exceptionally clear as we have had hot and mostly sunny days. I have spent some time this week on Ballinskelligs beach, fossicking for seaweeds, sea glass and other flotsam and jetsam to put on the studio windowsill.<br />
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<tr><td class="tr-caption" style="text-align: center;">Ballinskelligs Beach</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Egg cases from the Nursehound catshark</td></tr>
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One of the interesting finds has been some egg cases from the Nursehound catshark. Also known a 'mermaids purses' shark egg casings come in all shapes and sizes. Most Australians will know the Port Jackson shark egg cases as being architecturally spiralled, like a giant ceiling or wall plug, but dark brown. These egg cases are beautifully adorned with long curly tendrils from each of the four corners. The Nursehound Catshark (<i>Scyliorhinus stellaris)</i> is near threatened in Ireland and the north-east Atlantic. Their eggs are laid amongst the seaweeds just under the low tide mark and take 9 months to hatch. Pity I can't bring these home with me....</div>
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Other finds have been a diverse array of seaweeds, including <i>Himathalia elongate, </i>often known as Sea Spaghetti or Thong Weed. It is delicious the way Kerryann from <a href="https://www.blogger.com/"><span id="goog_400154267"></span>Atlantic Irish Seaweed <span id="goog_400154268"></span></a>prepares it with sesame oil and soy, but I was just eating it straight from the sea as well - it has a delightful crunchy nutty texture.</div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Himanthalia elongata</i></td></tr>
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And of course, you can't come to Ireland without finding Irish moss, or <i>Chondrus crispus, </i>the source of carrageenan used extensively in the food, cosmetics and textile industry.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Chondrus crispus</i></td></tr>
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During my time at Cill Rialaig I have also connected with Alexis and Stephen from <a href="https://www.fermoylepottery.ie/" target="_blank">Fermoyle Pottery and Garden</a>, just a few minutes out of Dun Geagan. They invited me to come to their studio to decorate a few ceramic platters and it was a great opportunity to try my surface design skills onto a new substrate. It also gave us time to play around with the seaweed I had collected and to experiment with some ideas that might go into production for them.</div>
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<tr><td class="tr-caption" style="text-align: center;">Painting one of the platters at Fermoyle Pottery</td></tr>
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Alexis and Steve have a lovely house and extensive garden complete with a huge poly tunnel which enables them to grow vegetables all year round and try out plants that would not survive the harsh winters. The whole family hangs out there in the long summer nights and it also doubles up as a unique area for drying clothes when the weather is wet (which it hasn't been!). They keep chooks and guinea fowls and grow vegetables, fruits and herbs in an effort to be self-sustainable and to provide their kids with a knowledge of where their food comes from. The poly tunnel is the kids favourite place to hang out because that's where the strawberries and new peas are growing right now!<br />
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<tr><td class="tr-caption" style="text-align: center;">Playing around with seaweed inspired ceramics</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Stephen perfecting the edges of my platter (yes he has shorts on!)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">One of the seaweed bowls we are working on.</td></tr>
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Stephen and Alexis are very encouraging and they are in the process of setting up a lovely Airbnb above their studio - perfect for a potter (hint hint) and are looking to collaborate with artists on a series of platters for a unique Artist range. They keep talking about what we will do the 'next time I come to Ballinskelligs'😊 and to be perfectly honest I can almost see that happening.....</div>
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For the time being it is a day to be finishing off work, as it is wild and windy, overcast and looking like rain outside. I have to start packing and tomorrow I head off to Kinsale, Cork and Kilkenny. Then next week I will be in Belfast at the Ulster Museum Herbarium ...stay tuned!<br />
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Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-15818661171411990092018-06-07T16:30:00.001+10:002018-06-07T16:30:16.043+10:00Seaweed LocavoreI am a recent convert to Instagram (thanks to all my workshop students who have been nagging at me for years...!) and the full meaning of how it can bring like-minded people together hit home yesterday when I finally got to meet two people I have been following - Kerryann and John Fitzgerald from <a href="http://www.atlanticirishseaweed.com/" target="_blank"><span style="color: red;">Atlantic Irish Seaweed</span></a>. They operate out of a teeny tiny village called Caherdaniel on the wild Atlantic coastline, about 45 minutes from Cill Rialaig.<br />
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<tr><td class="tr-caption" style="text-align: center;">John and Kerryann Fitzgerald</td></tr>
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When I realised that they were close to Cill Rialaig whilst I was planning my trip, I immediately emailed John to see if I could attend one of their seaweed foraging workshops. John explained that these workshops are ideally timed according to the best tides for seaweed collecting, so an exact date could not be scheduled until I got here. Unfortunately, the tides were against me attending a regular workshop, but John had another idea in store for me....they had been approached by Tourism Ireland to showcase their locavore business and it just so happened that the film crew were coming to film while I was here. Would I be interested in participating??? You bet! <div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">Atlantic Irish Seaweed office at The Blind Piper, Caherdaniel<br /></td></tr>
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We met upstairs at The Blind Piper pub, and in true filming style, we started with the end of the seaweed story first - that is, we got to eat the fruits of our, or rather Kerryann's labour, before we went foraging. This was timed perfectly because it was lunchtime, and I was eager to try the dishes laid out before us. By us I mean the four "tourists" for the day, so in me at least they had a bona fide model!</div>
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<tr><td class="tr-caption" style="text-align: center;">Getting our instructions for the filming from Simon the Cameraman.</td></tr>
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Kerryann had prepared an array of delicious looking foods using local ingredients as well as different kinds of local seaweeds. Her descriptions of each dish were mouthwatering in themselves but the hardest part was having to "pretend" to eat and enjoy for the camera, because of course we couldn't actually eat the food until the film crew were happy with the footage!</div>
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<tr><td class="tr-caption" style="text-align: center;">Some of the seaweed degustation menu </td></tr>
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I can't recall all the types of seaweed or foods we ate eventually, but we had a sauerkraut, top left, local pork prosciutto with samphire, thin slices of pepper beef with seaweed spinach and wild garlic and a rich labne with a seaweed pesto, all artistically presented on an eclectic mix of vintage and contemporary plates. We also drank a kombucha made with pineapple and seaweed, and for desert some chocolate seaweed bonbons and a seaweed toffee brittle. <div>
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After we actually did eat the lunch (delicious!) we headed down to nearby Derrynane Beach, where John talked us through the procedures of collecting the various seaweeds, safety precautions, and identified at least half a dozen types that we had eaten for lunch. </div>
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<tr><td class="tr-caption" style="text-align: center;">Derrynane Beach</td></tr>
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In a normal workshop, John would give a lecture first and then forage later, but this was an unusual day, and everything we did was not done once or even twice but many times to get the actions just right to sync with each take. </div>
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I certainly hope my acting skills were up to it, not that I needed to act because I was so interested in the identification of the seaweed and how to use it in everyday food. The health benefits of eating seaweed are enormous, and John had all the facts and figures off the top of his head, informing us about Vitamin B6, omegas and gut bacteria. Seaweeds were the very first vegetables humans ate and the precursors to all our land plants so it makes sense to include them back into our diet ....and they can be free if you collect in the right areas and prepare them correctly.</div>
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What a fantastic day and what a truly unique Irish experience for me - plus I got to meet my IG friends Kerryann and John. A day of laughter and banter was cemented over a few pints in Bridie's pub when we finally called it a wrap! If you are ever around Caherdaniel way I would recommend doing something completely Irish, local and authentic like the seaweed workshop because it is something you will remember long after each spectacular coastline and touristy destination becomes a distant memory.</div>
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Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-46785161207575910012018-06-05T18:08:00.000+10:002018-06-11T15:56:05.158+10:00Cill Rialaig Artist Retreat<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">Tigh Josie Cottage with the green door, Cill Rialaig</td></tr>
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Arrived at Cill Rialaig in Ballinskelligs last Thursday afternoon to start my residency - a short two weeks but hopefully a productive one. Cill Rialaig is situated in the restored ruins of a pre-famine village, on the edge of the Atlantic Ocean. It perches high above the ocean on a rugged clifftop and the only sounds are the birds, the waves, the wind and the sheep in the paddocks. The nearest town of Ballinskelligs is 7 km away and it has a population of around 600. The other town of Cahersiveen is 20km away and there are several supermarkets and other shops there for necessities.<br />
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<tr><td class="tr-caption" style="text-align: center;">View from the mezzanine bedroom window</td></tr>
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There are 8 restored cottages in total, one of which is the communal meeting house, Tigh an Comhra (Gaelic for House of Conversation). I've been inside but we have yet to have any communal gatherings or meals there. There is also a laundry, presided over by Michael who keeps everything ticking over at the retreat. Each cottage has a mezzanine bedroom which is accessed by split wooden stairs - actually much easier to traverse than single steps because the gradient is so steep! The cottages are spartan but contain everything you need - sofa, chairs, tables and basic kitchen and bathroom. The studio end of the cottage has a glass roof with views to the sky and rocky hill right behind the cottage. It is amazing to stand in the space and feel that you are outside in, if you know what I mean.</div>
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Since I have been here I have been exploring the nearby beach and surrounding towns, the magnificent coastline and the ruined abbeys and castles that seem to spring up around every bend in the road. Because of my recent injury (fractured wrist...!) I am taking advantage of being driving around, and unfortunately any adventurous hiking is also out because my hand is still in a splint and I don't want to risk undoing the healing that has been happening over the last 7 weeks.</div>
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<tr><td class="tr-caption" style="text-align: center;">Sunrise this morning at 5am</td></tr>
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Sunrises can be spectacular because the warmth of the rays starts burning off the mist that has settled over everything, obscuring the nearby islands and the other promontories. Slowly the landscape is revealed as the sun climbs higher. In contrast, I have been trying to capture the moment the sun sinks at around 10-11pm, but it is so elusive. It is not the spectacular sunset we are used to in Australia, well not while I'm here anyway, it is more a gradual sigh of release at the end of the day....you are not even sure if it is setting or if it is just a figment of your imagination. I go to bed in the light and sometimes I wake up at around 3am and it is dark, but not for long.<br />
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<tr><td class="tr-caption" style="text-align: center;">Sunset over the Atlantic</td></tr>
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On Sunday there was an art opening at Siopa Cill Rialaig, the Cill Rialaig Gallery, cafe and shop in nearby Dun Geagan. Two of the artists staying in the retreat, Jane Seymour and Bina Shah were exhibiting together. Jane is a ceramic artist whose works are evocative of landscape, mists and layering of texture and colour in monochromatic tones. Bina uses mixed media, cold wax, printing making and painting to evoke natural and urban environments. The opening provided the opportunity to meet Noelle Campbell Sharp, the founder of Cill Rialiag whose vision for an artist retreat has seen over 3,500 artists stay here.</div>
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<tr><td class="tr-caption" style="text-align: center;">Noelle Campbell Sharp introducing Jane Seymour and Bina Shah</td></tr>
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And in an amazing coincidence, I caught up with Irish textile artist, Nicola Henley, at the opening! I first met Nicola years ago when I had an exhibition at Timeless Textiles in Newcastle and she had arrived in Australia to also exhibit and conduct workshops. Since then she has returned to Australia many times and we had planned to catch up when I was in County Clare, but fortunately she is a good friend of Jane's and attended the opening and is staying for a few days at Cill Rialiag...small world!<br />
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<tr><td class="tr-caption" style="text-align: center;">Catching up with Nicola Henley</td></tr>
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I will post again with some of the amazing coastlines I have seen on my day trips around Ballinskelligs, beach fossicking, seaweed collecting and drinking in the inspiring landscape.<br />
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Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-13223083598059497142018-05-30T18:35:00.000+10:002018-06-01T17:22:45.363+10:00Glasnevin Botanic GardensSummer has hit Dublin with a vengeance and I am really enjoying the sunshine and long nights.....it doesn't get dark till around 9.30 or 10pm, so you can manage to fit so much more into a day.<br />
On Monday I had an appointment to view items in the Glasnevin Botanic Gardens Herbarium which I had already identified months ago. Many herbaria simply do not have the manpower or resources to accommodate random requests to view their collections, so one has to have both the knowledge of the collection itself and the ability to work independently within that environment to gain access. Lucky for me I have some cred...haha....after this I will call myself "the seaweed whisperer" ...all will be revealed....<br />
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<tr><td class="tr-caption" style="text-align: center;">Glasnevin Botanic Gardens, Dublin</td></tr>
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<tr><td style="text-align: center;">l<a href="https://lh3.googleusercontent.com/-k4GRGX4vVP0/Ww5Z9a4hTFI/AAAAAAAABto/wMQQShsUR94yzE9dQaqKAEiMDAiXQEtpwCHMYCw/s640/blogger-image-1936907372.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://lh3.googleusercontent.com/-k4GRGX4vVP0/Ww5Z9a4hTFI/AAAAAAAABto/wMQQShsUR94yzE9dQaqKAEiMDAiXQEtpwCHMYCw/s320/blogger-image-1936907372.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">View of the Palm House</td></tr>
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Like the Herbarium at TCD, Glasnevin Herbarium was furnished with gorgeous old wooden cabinets and drawers, although most of the collection itself is kept in a steel compactus. Items I had requested were waiting for me, but I was also given free range to the unincorporated material which, to my mind, holds the greater interest because it is material that is not broken up into taxa and distributed within the scientific working collection. For me, this is where I can find untold stories, mysteries and give rein to my inner supersleuth.<br />
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<tr><td class="tr-caption" style="text-align: center;">The Herbarium</td></tr>
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My primary object of interest was a 19th century album of Irish seaweeds collected by William Sawers, a collecting companion of my focal collector, Charles Morrison. I have documented approximately 15 Morrison albums now, and this album would enable me to pinpoint specific collection locations and times that they collected together. Comparison of handwriting on duplicate specimens will enable me to accurately interpret an album I will be viewing during my residency at the Ulster Museum Herbarium in a few weeks time. I have planned everything down to the nth degree for this trip as it is a once in a lifetime opportunity to get the final clues needed for me to finish writing a paper and focus on new artistic work for an exhibition next January.</div>
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<tr><td class="tr-caption" style="text-align: center;">Sawers Seaweed Album</td></tr>
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Here are a few examples of Sawer's album. Incredibly, there was also a letter attached from a botanist written in 1952 who was also trying to determine the same things I was - the differentiation between Sawers and Morrison collections! Unfortunately she has passed, but I wish I could go back in time to discuss my findings with her.<br />
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<tr><td class="tr-caption" style="text-align: center;">Looking familiar, same but different!</td></tr>
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The wonderful thing about life is it always throws you up something you don't expect, and on this trip so far there have been two collections which have not had information about them on file, but which I have managed to find provenance for, or add substantially to that knowledge. One collection was at TCD, and the other here at Glasnevin.<br />
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<tr><td class="tr-caption" style="text-align: center;">Encounter Bay Seaweed folio</td></tr>
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In a listing of holdings there was an item called "Encounter Bay seaweeds" - no other information.<br />
I had asked to view it but initially thought it must be a Jessie Hussey collection. Jessie Hussey was an Australian seaweed collector of some regard in the 19th century who lived at Port Elliot in SA and collected in Encounter Bay. She was a respected collector for Von Mueller and Agardh, the Swedish phycologist. I followed her footsteps last year, collecting at Encounter Bay, and introducing my husband's young nephew to the joys of mounting seaweeds and beach fossicking.<br />
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<tr><td class="tr-caption" style="text-align: center;">One of the many <i>Plocamium </i>specimens from Encounter Bay</td></tr>
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This huge folio of over 90 mounted specimens was definitely not her style - there were no collection locations or dates and the specimens were very repetitive - very much an amateur collection, yet impressive in its size ( each sheet was 75cm in length) and expensively bound. I carefully sorted through each fragile specimen. This was no easy task as many of these collections are either covered in soot or dust or, even more insidious, chemicals for preservation. This means that it is necessary to keep washing your hands at regular intervals....tiresome, time-consuming, but not negotiable. As I was sorting through the specimens, one of the pages had a name on it - the only one in the whole folio. It was Hon. G. Hawker....wow...who was that??? The Keeper and I had no idea but a quick internet search by me found that the Honorable G. Hawker had been a prominant and well-loved politician in the SA Assembly from 1858. He arrived from the UK in 1840 with a Bachelor of Arts from Trinity College, Cambridge, and went into sheep farming. At the time of his death he was one of the oldest JP's of the district, and was one of the longest serving member of the SA Parliament in history. I didn't find any direct refernce to seaweed collecting as a hobby, but it's early days yet and I haven't finished with the Hon. Hawker yet! More sleuthing abounds........<br />
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Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-896574347658248502018-05-27T20:35:00.002+10:002018-05-29T16:33:48.484+10:00Hello from IrelandMy blogging has been suffering ever since I started posting on Instagram, but I am about to make up for lost time during my 6 weeks in Ireland. Many of my readers will already know of my interest in seaweed, or more particularly, seaweed albums of the 19th century. This obsession started in 2016 when I had an arts residency at the NMA in Canberra, and fell in love with an anonymous seaweed album.<br />
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<tr><td class="tr-caption" style="text-align: center;">The Port Philip seaweed album, NMA</td></tr>
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This obsession lead to the discovery of many more albums by the same collector and I am now in Ireland to undertake further research on him as artist in residence at the Ulster Museum Herbarium in Belfast. I will also be doing an arts residency at Cill Rialaig near Ballinskelligs on the south west coast of Ireland, which starts at the end of this week. A big thankyou at this point to artsACT for supporting my travel to Ireland to undertake this residency.</div>
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I touched down in Dublin two days ago and have been walking around getting a feel for the city and its ambience. The predominant matter to hand has been the vote yesterday on the referendum to repeal the 8th Ammendment of the Constitution which bans abortion in all cases except to save the life of the mother. This is a vote to repeal, not a vote on abortion as such, and counting the votes starts today, but watching the news last night there were many counties with 50-75% turnout to vote, although voting was still open till 10pm, long after I had crashed!</div>
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<tr><td class="tr-caption" style="text-align: center;">Trinity College Botany Bulding</td></tr>
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My first full day yesterday was spent in the Trinity College Herbarium where I had organised to view their seaweed albums. This was a rare and wonderful opportunity, and although my collector was not represented there were several other intriguing albums to compare and contrast with our Australian ones.</div>
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<tr><td class="tr-caption" style="text-align: center;">Trinity College Herbarium</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Several of the 19th Century Seaweed albums in the collection</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">A page showing some beautiful red seaweed</td></tr>
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<span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">Trinity College Herbarium was the academic home of the emin<span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">e</span>nt Irish phycologist William Henry Harvey. Harvey notably wrote the 5 volume Phy<span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">c</span>ologia Australica, after spending two years from 1854-6 collecting over 20,000 Australian seaweeds. And yesterday I was privileged to handle his handwritten letters and his Traveling Set of Australian seaweeds. This has to be a 12 on a scale of 1-10 in amazing experiences, to know that my hands were touching the seaweeds he picked up from our shores all those years ago. I am so grateful to Staff at TCD for allowing me access entrusting me with these historical documents and objects. And don't worry, I will be going back on Tuesday to see the Book of Kells!</span></div>
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The Herbarium Library also contained the volumes of <span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">“The Nature-Printed British Sea-Weeds” by Bradbury and Evans, published in 1859. These intricate prints were created using the unique “nature-printed” process whereby a plant is pressed into a plate of soft lead, leaving an impression from which an electrotype is made. The resultant prints are incredibly detailed and realistic, capturing the fine detail of each seaweed, and it is possible to see and feel the raised surface of the printed inks on the paper.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Front page of one of the Bradbury Nature Printed Seaweed books</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">A gorgeous <i>Delesseria sinuosa</i>.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>Punctaria latifolia</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>Sphacearia scoparia</i></td></tr>
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<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Its been a great first couple of days here sightseeing, walking, walking and trying to decide whether the national pastime is smoking or drinking....! Off to the National Botanic Gardens tomorrow to see more suprises in their herbarium.</span>
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Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-44475011770932040952018-01-28T18:15:00.000+11:002018-01-28T18:15:53.106+11:002018 Workshops and NewsI could tell 2018 was going to be a busy year when it started off with a full class at Sturt Summer School. I had a great bunch of students, some of whom had never done any textile dyeing before, so I was really happy with the outcomes, and they were happy to learn all about printing with mordants.<br />
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<tr><td class="tr-caption" style="text-align: center;">Happy smiles all round! the Mordant Printing Class of 2018 at Sturt.</td></tr>
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Since then I have been contacted by several Textile groups in various parts of Australia for some private workshops and I have finally (!) put some of my own workshops up on my website.<br />
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<tr><td class="tr-caption" style="text-align: center;">Organic indigo vat and resist printing and intro to shibori workshop</td></tr>
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First cab off the rank will be an organic <span style="color: #073763;">indigo and resist printing workshop</span> 24th and 25th February - more information can be found <a href="http://www.julieryder.com.au/Julie_Ryder/IndigoResist.html" target="_blank"><span style="color: red;">here</span></a><br />
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<tr><td class="tr-caption" style="text-align: center;">Explore the local area, forage for dye plants that reflect the terrain</td></tr>
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On 11 & 12 August a new workshop entitled <span style="color: #783f04;">"Local Colour & Dye"</span> will combine foraging for plant materials and using scraps from the kitchen to create wonderful complex colours. Click <a href="http://www.julieryder.com.au/Julie_Ryder/Local_Colour.html" target="_blank"><span style="color: red;">here</span></a> for more information.<br />
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<tr><td class="tr-caption" style="text-align: center;">Learn how to print with mordants to achieve a variety of colours and tones in <br />the one natural dyebath.</td></tr>
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And lastly, the ever-popular <span style="color: #4c1130;">Introduction to Mordant Printing</span> workshop will take place on 8 & 9 September. More information <a href="http://www.julieryder.com.au/Julie_Ryder/Mordant_Printing.html" target="_blank"><span style="color: red;">here</span></a>.<br />
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I will be overseas in the middle of the year undertaking two arts residencies - more about that exciting news closer to the time!<br />
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I hope you make 2018 a year to explore your creativity and connect with like-minded people who share your passion for textiles!<br />
Best wishes<br />
JulieJuliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-21847751440964839542018-01-12T15:51:00.000+11:002018-02-03T16:44:34.584+11:00To Scour or not to Scour? A Galling question....<div class="separator" style="clear: both; text-align: justify;">
2018 was off to a good start as soon as I unloaded my van in preparation for the Sturt Summer School. I had a full class of students eager to learn the basics of natural dyeing and then to progress to mordant printing.</div>
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One of the most important aspects of all dyeing is the preparation of the cloth beforehand. All too often we are in such a hurry, we misinterpret 'scouring' to mean "a quick rinse or wash in the washing machine". Whilst any preparation has to be better than nothing on store-bought fabric, failure to take the time to ensure the fabric is free from grease, oils, dirt and sizing will result in patchy and uneven dyeing, leading to disappointment and waste of time and materials.</div>
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Below is a photo of already-whiter-than-white PFP (Prepared for Printing) linen tea-towels that I buy to print on with pigments. The water-based printing emulsion is mixed with concentrated fabric pigments which are screen-printed with a design. Once perfectly dry, the tea-towels are heat-set to bond the resin-based print-paste to the fabric. It will only ever sit on the surface of the fabric, not inside the fibres as in dyeing.</div>
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However, in order to dye these tea-towels (in either natural or synthetic dyes) they must be scoured thoroughly first. I figured not much would happen but at least I was doing a practical demonstration of the scouring process to the students, most of whom were beginners. </div>
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Was I wrong!! The photo below shows the water that the 5 teatowels were scoured in - can you believe the colour of it - almost looks like a dye itself!!! After this photo was taken I started the process again and scoured the tea-towels a second time. The second lot of scouring water was paler than the first, but not entirely clean. Given that each scouring should take around 2 hours, we rinsed them and went onto Galling the linen in a Gall Nut soak before we could mordant them the following day. This demonstration clearly shows that whilst the linen tea-towels may be PFP, they are not PFD (Prepared for Dyeing). This is an important distinction if you are buying fabric from a wholesaler to dye with.</div>
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<tr><td class="tr-caption" style="text-align: center;">Scouring water from the white linen tea-towels</td></tr>
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Another important process in fibre preparation for immerse dyeing that is commonly omitted for cotton is the galling or tanning of the fabric or fibre before dyeing. This process literally 'tans' the cloth so that the mordant will attach more readily to the fibre, which in turn attracts the dye. I must admit that I have been a culprit in the past, but Joy Boutrup and <a href="https://www.ellistextiles.com/about/" target="_blank"><span style="color: red;">Catharine Ellis</span></a> converted me to galling cotton when I attended a two week intensive course with them back in 2013. Galling can be done with a number of different plants but I prefer to use the Gall Nut method as it is fairly colourless.<br />
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I set up several experiments using store-bought tabby weave cotton fabric; fabric that had been untreated and unwashed; fabric that had been unwashed, unscoured but mordanted in alum; fabric that had been scoured and mordanted in alum; fabric that had been scoured and mordanted in Symplocos; and fabric that had been scoured, tanned in Gall Nut and then mordanted in Symplocos. We then dyed the pieces of fabric in a Weld extract dyebath for one hour and observed the differences between them once the samples had been washed, dried and ironed. </div>
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The richest colour and most evenly dyed sample was, not surprisingly, the one that had been scoured, tanned and mordanted in Symplocos. About one shade behind were the scoured and mordanted samples and the cloth that had been neither washed, scoured nor mordanted was the worst dyed sample of the lot. The differences were easily seen by eye, however did not really show up on camera, hence no photos.</div>
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In theory we should also have done a test that included a step with Turkey Red oil for the cotton, but in a 4-day workshop this was unfortunately one step too many!</div>
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In my next post I will show some examples of what the student's achieved in the four days, or if you are on Instagram I have posted a few of them <a href="http://julierydertextiles./"><span style="color: red;">@julierydertextiles.</span></a></div>
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Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-56799074318071435922017-12-02T14:37:00.001+11:002018-01-24T17:20:02.942+11:00Indigo reflections<div class="separator" style="clear: both;">
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I have been doing a lot of indigo dyeing now the weather has warmed up, and it has been really satisfying to wake up my three vats, warm them up and attend to their individual needs. These vats are all natural vats mostly using henna as the antioxidant, although one of the vats which I have had for a few years now, got a dose of over-ripe bananas last summer after my indigo workshop at Sturt Summer School.</div>
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This year I will be teaching Introduction to Natural Dyes and Mordant Printing, and there is only one place left, so if you are interested, go to the Sturt website and enrol!</div>
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Two weekends ago I ran an Indigo intensive Workshop from my home, where I am in the process of planning a purpose built studio. I wanted to test out how everything would work running classes from the downstairs space, and I had 8 eager students as my innaugural students.</div>
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Unfortunately our hot summery day disappeared and we had rain for most of the day but that didn't dampen our creativity or good humour! I ran through the process of making up an organic indigo henna vat from scratch (which then gave us the luxury of 4 vats to work from) and some beautiful pieces were made as you can see below.</div>
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One thing I stress to students is the attention paid to preparing the fabric before dyeing and also after dyeing in indigo. The finishing process is very crucial to ensure that the indigo is fixed inside the fibres and not just sitting on the outside, where it will quickly crock off. After rinsing in cold water several times after oxidation, and then neutralising in a vinegar rinse, it is important to then place the cotton fabric into very hot soapy water. As Joy Boutrup explained, this serves the dual purpose of getting rid of any excess indigo pigment on the surface of the fabric which has not been trapped inside the fibre, and at the same time swells the indigo molecule that is inside the fibre, ensuring that it is now trapped and cannot escape. In a recent Instagram post Aboubakar Fofana also stresses the importance of correct finishing of the indigo dyed fabric.</div>
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I'm off on a short holiday to Singapore and will post something on the textiles while I am there.</div>
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Cheers for now!</div>
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Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-84561915532931106102017-09-28T11:42:00.003+10:002017-09-28T11:43:43.196+10:00Mordant printing frenzy!I really enjoy teaching workshops on natural dyeing because I get such a buzz from inspiring people to look at nature in a different way, to learn more about the plants they use and exploring the many and varied ways to utilise natural colour for our enjoyment. However, when I am teaching I rarely get time to explore new techniques myself. So it was with great anticipation that my good friend, Sylvia Riley from Sydney, came up to Canberra for a long weekend so that we could have a print-fest at Megalo! Having her there enabled me to print the full width of fabrics on my textile screens - around 140cm wide.<br />
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<tr><td class="tr-caption" style="text-align: center;">Squeegee passing with my print-pal, Sylvia, at Megalo</td></tr>
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Megalo is such a great place to print because it has a full-width 8m table 👏 We both managed to get metres of fabric printed, although we were exhausted at the end of it. My meterage is to be used for one-off naturally dyed and stitched scarves for the upcoming <span style="color: red;"><a href="https://designcanberrafestival.com.au/event/kirstie-rea-lisa-cahill-julie-ryder-open-studio/" target="_blank"><span style="color: #cc0000;">Open Studio Day</span>.</a></span><br />
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<tr><td class="tr-caption" style="text-align: center;">Different mordants printed onto cotton</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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The only trouble with mordant printing is that when they dry, they are almost invisible, such as the alum above. The slightly stained part of the design is a very weak iron and alum mix. All the mordants are printed and aged before dyeing.<br />
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<tr><td class="tr-caption" style="text-align: center;">Process from print to dyed fabric using a range of mordants. </td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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The first dyebath I put this mordant-printed scarf length into was <i>Acacia catechu</i>, or Cutch. This gave me a lovely range of browns and tans, however I felt the scarf was a little 'dull' so once I washed and ironed it, I over-printed with some alum and another iron mix.<br />
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<tr><td class="tr-caption" style="text-align: center;">Adding more detail to the scarf with new mordants</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Barely visible now but will show up in the next dyeing.</td></tr>
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These small prints will add further highlights once I dye in my second dyebath, <i>Rajentot. </i>I am waiting for this mordant to dry as we speak and will show the finished cloth in a few days time.<br />
By the way, I am teaching an intermediate class on repeat printing at Megalo for the next two Saturdays, more details click<span style="color: #cc0000;"> </span><span style="color: red;"><span style="color: #cc0000;"><a href="http://www.megalo.org/new-events/2017/7/11/repeat-screen-print-on-fabric-with-julie-ryder" target="_blank">here</a></span><span style="color: black;">.</span></span> <br />
<br />Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com1tag:blogger.com,1999:blog-6237802861666847054.post-38697706472668329872017-08-28T10:15:00.002+10:002017-08-28T10:15:41.034+10:00Over to the Dark Side....<div class="separator" style="clear: both; text-align: center;">
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Wow, I have no idea where July and August went but we are almost into September and I thought I had better do an update on my blog. A couple of weekends ago I ran an <i>Introduction to Natural dyes and Printing with Mordants</i> workshop in Canberra which was well attended, including several participants who have continued to come along to build up their knowledge and skills of natural dyes. It was especially lovely that Pirjo came all the way from Darwin and braved the Canberra winter, lucky it wasn't the weekend just gone because we had both hail and snow here on Sunday.<br />
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<tr><td class="tr-caption" style="text-align: center;">Making the mordant mixtures for printing</td></tr>
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The lovely part about running the workshops is that we have a large kitchen with an open fire blazing away, so we can relax and eat yummy lunches and chat about our natural dye experiences. These conversations always seem to come back to the same gentle admonishments of why I am not on Facebook/Instagram etc etc etc.....<div>
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So....in order to keep Belinda, Jess and Ellen quiet....I now have an Instagram account : <span style="color: red;">#julierydertextiles</span>. And to be perfectly honest, I am enjoying connecting with other people, although because I am new to Instagram I am still learning Insta-etiquette. As Ellen commented, I have now crossed over to the Dark Side! So I am determined to show them I am not the luddite they think I am! Actually its more about finding the time to upkeep, but please connect with me on Instagram if you can. <br /><div>
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Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-74255535414809096062017-07-05T08:55:00.001+10:002017-07-05T08:55:09.747+10:00Australians "love" their beaches!<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-ohH1NmyDrVQ/WVwUEF4aIxI/AAAAAAAABoU/NGRsg-HfBsk1sHSeUKVRa2hYdT52vbk-wCLcBGAs/s1600/Unknown.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="129" data-original-width="389" height="131" src="https://1.bp.blogspot.com/-ohH1NmyDrVQ/WVwUEF4aIxI/AAAAAAAABoU/NGRsg-HfBsk1sHSeUKVRa2hYdT52vbk-wCLcBGAs/s400/Unknown.jpeg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Redhead Beach, NSW</td></tr>
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I have been up in Newcastle for a couple of days to organise some professional photography of my work in <i>Stitched Up</i> at Timeless Textiles (see previous post). I am staying at Redhead which is about half an hour south of Newcastle itself, about 200 metres from this gorgeous beach. So of course I have been walking along the beachfront everyday, seeing what seaweeds there are to collect, and catching glimpses of whales heading north. And just to put it into context for those of you in Canberra now....yesterday was about 24 degrees!!<br />
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<tr><td class="tr-caption" style="text-align: center;">The seaweeds collected from the tideline</td></tr>
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It has been my idea of heaven just slowly wandering up the beach, eyes peeled for small pieces of seaweed that have been thrown up by the high tide. Most of what you find on the beach is predominantly <i>Ecklonia</i> <i>sp.,</i> so pickings were few and far between along the 5kms I walked. Luckily I took a plastic bag with me though......<div>
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<tr><td class="tr-caption" style="text-align: center;">What I found on 'pristine' Redhead Beach</td></tr>
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I was shocked to find that rubbish outnumbered seaweeds on the beach, and I was glad for the plastic bag I took along with me to capture it all. Whilst I was walking along I would estimate there were about 50 other people wandering backwards and forwards with their partners/friends/dogs/ipods. Not one of them bent down to pick up the obvious rubbish off their beach. So it amazes me that people have the gall to say how much they love living by the beach and what it means to them but they don't bother caring for it. Here's what's inside the plastic bag.....<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">A full bag of plastics and rubber picked up from the shore</td></tr>
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What you can't see in this photo is the metres and metres of fishing line that littered the shore. Not too far from a man fishing from the beach......I was also shocked that the most prolific plastic item, apart from plastic bags and cigarette wrappers, was Chuppa Chup sticks....I mean seriously over a dozen of them, along with quite a few plastic straws.<div>
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Apart from dismay at how nobody else seemed to care about picking up rubbish, it also started me thinking about how items end up on shore and applying this thought to seaweed, shells and other natural objects. If plastics can be washed up miles from where they enter the sea, and we know they do not originate from the ocean, then do the seaweeds I find on the beach originate from that area, or have they too been in circulation from another beach until they are washed up? When I collect my seaweed I press it and label it with the date and location, as did Charles Morrison back in the 1800's. These details enable us to see what species were growing at a particular place in time. Or do they? If you are not dredging the seaweed from a location, then how reliable is it to posit that what you find not the shore comes from that particular beach/body of water?? This and other things to mull over whilst I collect seaweed......and rubbish.<br /><div>
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Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-91438658429211944282017-06-23T10:51:00.001+10:002017-06-23T11:15:05.899+10:00Stitched Up<i>Stitched Up</i> opens tonight at The Lock Up in Newcastle and unfortunately I can't be there, however I will be going up to see the exhibition in a few weeks time to get some professional photography of my work, "<i>Liberty"</i>. In the meantime, Anne Kempton has sent me some images of the work so that I can share it with you. As mentioned in my previous post, I think my work will be very confronting for some viewers, and this is probably exacerbated by it's position in the Lock Up venue - the leather padded cell......<br />
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<tr><td class="tr-caption" style="text-align: center;">Julie Ryder, <i>Liberty, </i>2017. Photo: Anne Kempton</td></tr>
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Yes, it seems a bit grim, but the work is not about deaths in custody, nor even that Mary Jane Wright, the girl I based my work on, hung herself. In fact, it appears that none of the girls committed suicide from reading the histories of the 193 girls that Jane Ison has documented <a href="http://nis.wikidot.com/inmates#toc2" style="color: red;" target="_blank">here</a>. So why the noose?<br />
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When I was visiting Timeless Textiles for my <i>Chromophilia</i> exhibition there last year, I walked through The Lock Up one morning before it was open to the public in order to get a sense of the place with a view to producing work for <i>Stitched Up</i>. Prior to this Anne Kempton and Wilma Simmons had organised for Jane Ison to talk to artists involved in the project about her research on the inmates of the Newcastle Industrial School (NIS) and together we walked up to the old site and discussed how it would have been in the late 1800's and how daily life was for these girls. It was a really informative session, and Jane's passion for research and her plea that every girl deserved to be remembered struck a real chord with us. Particularly with Wilma, who made 193 dolls to represent every one of the 193 girls incarcerated in the school. You can see images of Wilma's work in a newspaper article <a href="http://www.newcastlestar.com.au/story/4715542/girls-stories-stitched-up/" target="_blank"><span style="color: red;">here</span></a>.</div>
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Anne and Wilma have been passionate about organising this exhibition over the past couple of years and together have helped bring Jane's research to life. They have also spent time researching the types of materials and clothing that were worn by the girls at the NIS, and also by the people in local community at the end of the 19th century. They sent out swatches of fabrics and information to all the artists involved so that they could produce work that was authentic as possible.</div>
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So....back to the noose. The girl I chose to represent was Mary Jane Wright, and her story can be read online <a href="http://nis.wikidot.com/wright-3" target="_blank"><span style="color: red;">here</span></a>. When I was alone in the Lock Up I had a very strong sense of the desperation and hopelessness that must have been experienced by any inmate there. The small, cramped dark rooms with graffiti on the walls seemed to have absorbed the misery and sorrow from bygone days. I don't know what I had been thinking but I had an immediate vision of a noose - not as a device for death, but as a metaphor for 'hanging around, endless waiting to be released, a sense of foreboding and doom, as in "a noose hanging over one's head". And when I had that vision, I almost immediately realised that the noose would have to be made of human hair to symbolise the fact that many of the girls were incarcerated because of their femininity - locked up for their own good because they had no visible means of support or were living from hand to mouth through prostitution. The girls in the NIS often sewed clothing or mended clothes for the local community, and I had the idea of the hair noose ending with a hair-embroidered word, "Liberty", on an antique irish lace handkerchief. </div>
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<tr><td class="tr-caption" style="text-align: center;">Detail of <i>'Liberty'</i> hair embroidery on antique Irish lace handkerchief</td></tr>
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Because Mary Jane was arraigned for her own protection, I
imagined what she wanted most was freedom – Liberty – from the school, from her
mother, and her mother’s devious boyfriend, and from her circumstances in life.
Her family’s bad influence seemed like a noose around her neck, dragging her
down, ensuring she stayed in limbo between one authority and another. The noose
can symbolise intimidation, fear, condemnation and the suspension of time. The green ribbon that binds the plait of the red hair rope/noose is stitched in hair with the initials MJW and on the other side "saoirse" - Irish for freedom or liberty. <span style="font-family: "times new roman";">The irish word is something familiar and personal and therefore attached
to her body (hair) whereas the work she was made to produce – sewing – is in English
denoting the cultural and physical relocation Mary Jane underwent from Belfast to Australia.</span></div>
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<br /></div>
</div>
Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com1tag:blogger.com,1999:blog-6237802861666847054.post-18688457490883195852017-06-21T17:12:00.000+10:002017-06-21T17:12:45.818+10:00Re:WrappedThe scarf exhibition <i>Wrapped</i> is about to open at Barometer in Paddington so I just thought I would share a few photos of some of the install to whet your appetite and for those that can't make it tonight.<br />
Click <a href="http://barometer.net.au/exhibitions/wrapped-focus-on-scarves/" target="_blank"><span style="color: red;">here</span></a> for more details.A big thankyou to Barb Rogers for organising the exhibition (and everything else...!!)<br />
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Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-34111048256593650052017-06-18T22:50:00.000+10:002017-06-18T22:50:05.301+10:00Wrapped....and Stitched Up<div class="separator" style="clear: both; text-align: center;">
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Two group exhibitions that I am involved in will open this week, one in Sydney and the other in Newcastle.<br />
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<tr><td class="tr-caption" style="text-align: center;">A selection of my naturally-dyed and degummed scarves in <i>Wrapped</i></td></tr>
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<i>Wrapped</i> is an exhibition of scarves by <span style="color: #202020; text-align: center;"><span style="font-family: inherit;">Vivien Haley, Sylvia Riley, Barbara Rogers, Julie Ryder,</span></span><br />
<span style="color: #202020; text-align: center;"><span style="font-family: inherit;">Liz Williamson, Tradition Textiles and Deborah Emmett at Barometer Gallery, 13 Gurner St Paddington. Opening viewing and drinks are on Wednesday night 21st June 6-8pm.</span></span><div>
<span style="font-family: inherit;">Gallery hours are Wednesday - Saturday 12-5pm. The exhibition is open from 21 June to 22 July.</span></div>
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<span style="font-family: inherit;"><strong><em>Stitched Up</em></strong> is an exhibition featuring 24 contemporary international and national textile artists on show at<strong> <a href="http://www.thelockup.org.au/whats-on/stitched-up" target="_blank"><span style="color: red;">The Lock Up</span></a> </strong>from Friday 23 June 2017 until 6 August 2017. It coincides with the 150-year anniversary of The Newcastle Industrial School’s opening; and is resulting from a partnership between The Lock Up and Timeless Textiles galleries.</span></div>
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<span style="font-family: inherit;">This exhibition conceptually provides a <strong><em>voice</em></strong> for the 193 girls who attended the Newcastle Industrial School, translated into contemporary fibre art.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">A detail of my work in <i>Stitched Up</i>. Photo: David Paterson</td></tr>
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Above is a detail of part of my work for <i>Stitched Up</i>. It was hard to choose one girl out of the 193 that historian Jane Ison had researched, but eventually I decided on Mary Jane Wright, an Irish girl born in Belfast in 1853. According to her biography she had red hair and blue eyes, and more about her and the other 192 inmates can be read about <span style="color: red;"><a href="http://nis.wikidot.com/" target="_blank"><span style="color: red;">here</span></a>.</span> Some of the stories are shocking to read, reflecting the harsh and often brutal way of life for young girls who fell foul of the law, often punished for crimes they did not commit. I wanted my work to convey the sense of hopelessness Mary Jane must have felt, and so the rest of the work which is not shown in the photo above I hope will act as a metaphor for the stark reality of her plight. I believe my work is to be installed in one of the cell rooms and this should provide the right atmosphere for the piece. I will be going up to Newcastle to get the work photographed <i>in situ</i> and will then post an image of the entire piece once the show has opened.<br /><div>
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Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-9554353677921848712017-06-04T17:03:00.002+10:002017-06-04T17:04:46.382+10:00Out of the Box<div class="separator" style="clear: both; text-align: center;">
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Last Thursday and Friday were spent at the University of Canberra's <a href="https://www.canberra.edu.au/research/faculty-research-centres/cccr/events/outofthebox" target="_blank"><span style="color: red;">Out of the Box</span></a> symposium which aimed to share strategies for accessing natural history collections. It was a perfect arena in which to give a lightning talk about my current research on the Charles Morrison seaweed albums, and to introduce to others the way I work with natural history collections and objects.<br />
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<tr><td class="tr-caption" style="text-align: center;">Part of my presentation</td></tr>
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It was a bonus that Dr Christine Cargill, my scientist-collaborator, also gave a talk about the artists-in residence she has hosted at the Cryptogam Herbarium at the ANBG, including myself, so double exposure on my artworks!<br />
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<tr><td class="tr-caption" style="text-align: center;">Christine Cargill's presentation</td></tr>
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There were some very interesting talks from speakers who were involved with different aspects of natural history collections - conservators, researchers, writers, artists, curators, scientists, taxidermists etc - but the symposium itself was engineered so that everyone who attended could participate in discussions and workshops on how to make natural history collections more accessible, both in the physical and virtual sense.<br />
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These discussions raised issues about increased non-scientist access and security; the increased value of physical collections in a digital world (and also the importance of an online presence); the role of volunteers; the idea of establishing an Australian Natural History Museum; who the stakeholders of these collections are; and how and who we can lobby effectively for an increased awareness about the importance of these collections.</div>
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There were tours of three CSIRO collections: The Australian National Insect Collection; the Australian National Wildlife Collection and the Australian National Herbarium. I chose to go to the Herbarium again as I haven't been for a few years. The ANWC was fully booked as there were limited places and lots of delegates who worked in the fields of taxidermy and conservation of animals and birds. ANIC was also a very popular tour but I had been there not too long ago.</div>
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Brendan Lepschi, the Curator of the ANH, spent an hour taking us through the various aspects of the collection, which was greatly appreciated by the students and interstate visitors who had never been behind the scenes before.</div>
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<tr><td class="tr-caption" style="text-align: center;">Brendan Lepschi in the ANH showing how specimens are kept</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Herbarium sheets showing how small orchids are mounted</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Small plants can also be preserved in jars although they tend to <br />
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<tr><td class="tr-caption" style="text-align: center;">Specimen of Eucalyptus collected by Joseph Banks on<br />
Captain Cook's first Voyage</td></tr>
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There were also three practical workshops that you could register for : Conservation of physical specimens with Sheldon Teare (Australian Museum); Digital Sharing with Ely Wallis from Museum Victoria, and Creative Responses to Natural History with Erica Seccombe. I chose to go to the Digital Sharing workshop and it opened my eyes to online resources for collections I didn't know existed. It also gave me a broader understanding to other sites such as the Atlas of Living Australia, Trove as well as providing insight into how I could contribute online as a citizen scientist to several other websites.<br />
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As with most conferences, the highlight is always meeting like-minded people, finding common ground and talkking about collaborative projects that could be realised in the future.<br />
A very big thank you to Alison Wain for not only organising the conference but ensuring everything ran smoothly over the two days so that maximum time was spent sharing information and strategies for ensuring natural history collections are seen as vibrant resources of information, not dusty old exhibits locked away in dark cabinets of curiosity.</div>
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Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-37892061388515593912017-05-22T13:27:00.001+10:002017-05-22T13:27:51.569+10:00Creative Canberra Weekend<div class="separator" style="clear: both; text-align: left;">
Despite the warnings that the weekend in Canberra was going to be heavy rain and freezing, my Indigo resist workshop was a wonderful way to spend the days indoors with a lovely group of women eager to extend their knowledge of resist prints and indigo dyeing. We kept our strength up with delicious lunches and morning and afternoon teas in front of a raging open fire in the kitchen, just the perfect antidote to the crisp temperature outside. We explored many types of printing and monoprinting onto fabrics with two types of resist pastes and I encouraged students to layer their fabrics so that different intensities of indigo could be achieved.</div>
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<tr><td class="tr-caption" style="text-align: center;">Submerging the resist printed fabric into the indigo vat</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Exploring cut stencils and screenprinting rice resist paste.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Creative use of clay resist using the leaves from outside.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Our happy group proudly showing off one of their samples<br />produced over the weekend.</td></tr>
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If YOU would like to explore your latent creativity with textiles, my current list of wokshops is available on my website <a href="http://www.julieryder.com.au/Julie_Ryder/Workshops.html" target="_blank"><span style="color: red;">here</span></a><br /><br />Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-58776507674568771802017-05-04T15:07:00.000+10:002017-05-04T16:07:05.071+10:00Lights, Camera, ACTION!<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">The Old Post office building in Picton with Seaweed Album artwork</td></tr>
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Just thought I would share some photos with you from IlluminARTe in Picton last Saturday night. The two buildings I was asked to provide artwork for were the Old Post Office and the Old Bank buildings on the corner of Menangle Street. My inspiration for the Old Post Office was the Charles Morrison Seaweed Album from the NMA that I have been researching. The image above is reconstructed from the intricately tooled leather cover of the seaweed album that I have reconfigured to fit the building.<br />
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<tr><td class="tr-caption" style="text-align: center;">Animated seaweeds gracefully floating across the facade.</td></tr>
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I worked with Jerome Pearce from Just Pixels in Sydney who animated the images on both the buildings. The Old Bank Building on the opposite corner was inspired by the beautiful lithographs drawn by William Henry Harvey, the noted Irish phycologist, for his five-volume <i>Phycologia Australica </i>that he wrote after his 18 month visit to Australia, New Zealand and the Friendly Islands in 1854-5.<br />
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<tr><td class="tr-caption" style="text-align: center;">Underwater discoveries with HW Harvey lithographs</td></tr>
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I think Jerome had fun with this one and I thank him for taking some underwater stills off the beach near his house. This building was a little more difficult to read as the lower portions of the building could not be lit because they were so recessed, so a lot of the imagery towards the bottom got a little lost with people and signage etc getting in the way. </div>
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During the day the other artists and myself manned the pop-up gallery where we showed are our artworks and I thank Susan Conroy and Wollondilly Council for making this all happen. It was a great night, lots and lots of people and plenty of food and stalls to while away the hours.</div>
Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0tag:blogger.com,1999:blog-6237802861666847054.post-75828934030887767672017-04-26T15:39:00.004+10:002017-04-26T15:39:59.679+10:00IlluminARTe @ Picton<div class="separator" style="clear: both; text-align: center;">
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A one-day-and-night event is happening at the tiny town of Picton this coming Saturday, called IlluminARTe. Readers of my blog may recall a post on my images projected onto several of the historic buildings there in 2015. This year I was one of the invited artists to develop work specifically for the old Bank and Post Office Buildings in the main street and my theme this year will be all things seaweed, following on from my NMA residency and recent discoveries. There will also be a pop-up exhibition (details above) showing two large works on paper of mine. I will be manning the exhibition from 1-3pm on Saturday, and the other artists will also be minding the exhibition at some point during the festival. Picturesque Picton has a population of around 4,500, but I have it on good authority that nearly 20,000 people attend the illuminations! Should be a great night out.Juliehttp://www.blogger.com/profile/03433591198796508484noreply@blogger.com0