yesterday i collected up an armful of sticks and lit the fire out in the studio for a nice boil-up. just for a change i decided to collect water from the various vessels that had been standing about in the open - and so had been kindly filled by the heavens
one of those vessels is made of copper
the dyebath comprised various prunings [lavender and roses], tempered by a pocketful of windfall eucalypts and a handful of Oxalis pes-caprae [that's soursob if you're Australian, Bermuda buttercup if you hail from across the ditch]
a pile of bundles were cooked and then allowed to cool in the brew overnight...on fishing them out this morning i discovered that the shiny new clips i'd used as resists had been beautifully coated with copper and even the black bulldog clips had acquired a very nice patina
nature's alchemy at work
i rather like my colours dark and murky, influenced by a few fragments of iron in the dyebath but had a sudden attack of hysterical giggles as i laid the samples out for a look.
i've only had two [publicly] grumpy students in the last 12 months. one walked out of a workshop in the first hour, claiming she "could have done this at home". fair enough, but if it had been me i would have stayed and gotten my money's worth...the first hour in any workshop i run is largely taken up with establishing dyepots, allocating space, saying hellos and how-do-you-dos and talking about the work ahead.
the other made the comment that her husband could have achieved the same effects using the cloth as cleaning rags in his workshop. sounds like a very talented chap, i think he could be on to something there....just imagine a huge pieced cloth, stitched together from oil-soaked rags.
i can picture it hanging in the Venice Biennale in some deliciously dilapidated old building...wouldn't mind seeing my own work there, either!