leaf love and a month-long magical mystery tour

Would you like to join me for a workshop?

A long one that lasts a month?

Want to learn different ways of bundling to

let those lovely string marks shine on your work?

Want to know to bring saved dried leaves back to life?

Would you like to ease into a daily morning writing practice,

connect with a whirled-wide community and

dance your way through February?

Why February?

It might be the shortest month but in the North,

though we all know that the earth needs a rest before

the abundance of spring, the long hours of dark together

with driech weather can get to your soul.

And not in a good way.

Here in the South we just feel the roasting

heat of summer will never end.

So once again I have dreamed up an adventure

that can be enjoyed from wherever you are in the whirled.

It begins now, with a wee bit of prep, then goes to sleep

while you deal with whatever

the Festive Season is throwing at you 😉.

Late in January I'll send a wakey-wakey email

to remind you that the fun is about to begin,

and then every day in February

an email will fly in from me, with instructions

for the mystery project that we are making together. 

All I will tell you now is that it is both beautiful and useful,

and that we will be using cloth from your stash

and your ragbag along with whatever threads

you want to stitch with,

and all of the beads and buttons your heart desires.

You'll begin each day with quiet moments of grounding,

light a candle, do a little writing and then work on your project,

step by step until it all comes together

and you take it out into the light of day

at the end of the month.

And did I mention pie?

There will be pie.

Want to know more ?

Please click on the heart below.

journeying

it's nearly 9 years (next March) since Eco Colour (a book i wanted to call 'botanical alchemy' but was told the title wouldn't sell) hit the bookstores. in that time what i initially referred to as 'ecoprint' has spread far and wide. thousands of people are making a living by printing with plants.

hilariously, though i was the first to publish the technique* i usually see myself referred to as an "also ran" in various media. a recent book about natural processes in textile art listed me merely as a "practitioner" of the technique (though instructions for ecoprinting are scattered generously throughout its pages).

i've seen colleagues absorb my work into their teaching practices, and observed "fashion labels" created after people have taken classes....sometimes only a one day class.

and there are so many people out there teaching "ecoprinting" (though much of it is not ecologically sustainable at all, as toxic adjuncts are increasingly employed) that i no longer offer basic "how to" classes. it would be like having to play "twinkle, twinkle, little star" over and over again.

not much fun for me, and ergo less for my students.

which is how 'being (t)here' took root and has grown into a retreat class that embraces being fully present and at the same time exploring the poetics of place.
it gives me such joy to be able to offer something more than just a class about printing with leaves.

for me, 'being (t)here' is a way of experiencing the whirled that helps open the cracks that let the light get in (thank you Leonard, for that phrase) no matter where you are. it offers a pathway to beauty that can be rolled out whether you're in a verdant forest, a shimmering desert, an urban wasteland or your own private paradise.

we observe and see, write and draw, print and dye. we fold paper into books...  the island book fold and its bigger cousin the river book, making a journals from single sheets of paper :: without having to thread a needle.

together we make discoveries, in ourselves AND in the dyepot. the other lovely thing that's been happening is that many of the students keep in touch with each other after the workshops. sometimes they make a facebook group, sometimes a blog. others just wrestle with an email list. but they maintain the connections and forge deep bonds. it's wonderful.

i've been teaching less through institutions (though i remain loyal to a select few), and more in beautiful and sometimes unusual places. the Yellow Ferry is one of these. there is something deeply magical about being on a boat, which is why i will be back there in February 2017.
i've reduced the class numbers and though the feedback from many people is that they consider the fee too high, the investment for the class is actually the same as for the first one, it's just that i have sourced a richer collection of materials for each person to work with, with treasures such as a limited edition silkymerino dress to take home.
 as a business proposition it is laughable because the expenses won't balance against the income...but to me it is absolutely worth it for the experience we will all have.

because it is the journey that matters, in the end.

and i am loving the ride.



*you'll see references to "nature printing" that are earlier, but that is a technique where the plant is dipped in paint or dye and pressed against a substrate of some kind

wishwash

i get a lot of questions about the laundering of contact-printed cloth...should it be dry-cleaned, is the dye washfast, what's the best way of cleaning it etc

the answer, in short, is to treat your plant-dyed cloth as you would treat your own hair.

not too hot, not too cold. no harsh detergents, no greasy soap. because if you use either of those you'll need to rebalance the pH with a vinegar and water rinse afterward (which is kind of what conditioner does for your hair. they only make it gluggy so it won't run off your hand in the shower)

 

be gentle.

wash by hand or using the wool cycle on a front-loader.

i recommended Aesop's APC Fine Fabric Care on my labels, cos it smelled divine and was wonderfully gentle on cloth. so gentle, in fact, that i could have used it in the shower.

sadly though i seemed to be the only customer buying it and so they discontinued the lovely stuff.

their animal wash does the trick, but doesn't smell as nice.

the other important thing is to dry your cloth in the shade.

unless you are washing sheets, in which case peg em out in the sun and the wind.

they'll be crispy white and smell like heaven.

just remember to avoid the dry-cleaner like the plague. the process is neither dry nor clean and will have your favourite silk negligible sloshing around in a vat of petrochemical nasties along with the filthy trousers worn by a travelling salesman for four weeks and somebody else's vomit stained car seat covers.

yuk.

and have a nice day.

eco, schmeco...ranting about plastic, rust and other things

i'm beginning to wish i hadn't given the name 'ecoprint' to the contact print that results when eucalyptus leaves are heated together with cloth in a damp environment.

since i first observed the phenomenon back in the early nineties the word 'ecoprint' has been adopted by countless commercial printing houses

and these days it seems everything is 'eco'

what concerns me too is that the method i've been teaching [which does not employ synthesized adjunct mordants] has been adopted by others who seem to be less concerned than i am about environmental concerns and student safety

if you teach, you have a duty of care

the bottom line is : printing with leaves using toxic adjunct mordants and layers of plastic is not environmentally sustainable*

and students participating in classes where fabrics pre-mordanted with Ferrous sulphate and layered with plastics for "clear leaf prints" may like to consider that as these bundles are heated, the vapours given off comprise a toxic cocktail of polyethylphthalates as well as the poisonous mordant in combination with whatever plant matter is being used. it is to be hoped that the latter has been identified and that toxic plants are being avoided but either way...you're breathing it in. i worry too about those teaching these methods...  Ferrous sulphate is a cumulative poison.

not all eucalypts are safe to use either...some contain cyanatogens, others offer small quantities of arsenic and E. nitens has been implicated as a possible carcinogen

remember that if you can smell something, you are breathing it in...and that the surface area of your lungs [if they were opened out] allegedly approximates that of a tennis court

i know that microscopic amounts are used to treat anaemia but overexposure to Ferrous sulphate can cause 

irritation eyes, skin, mucous membrane; abdominal pain, diarrhea, vomiting; possible liver damage 

is it worth it?

i use found iron as co-mordant to achieve dark colours. archaeological evidence supports this. time and again you'll read in texts about discoveries that cloth found in proximity to metal in the absence of oxygen was best preserved. whereas traditional plant dye advice was always to be cautious about using Ferrous sulphate  as it makes cloth brittle

iron soaked in an acid solution [vinegar, fermented fruit waste or an exhausted leaf-based dye bath] makes a safe mordant for dark colours

the current craze for rust has me worried too. rust particles are sharp and if breathed in, can cause bleeding of the alveoli [those little things in your lungs that take up oxygen]. be careful with it. and avoid wearing cloth that has been 'rust printed'. remember that your skin is your biggest and most absorptive organ

do your homework, make sure you are well informed and stay safe. 

and if you want clear leaf prints, put recycled paper between the layers. you'll have the bonus of making something gorgeous to write on.

* yes i am aware that my extensive travel is not sustainable. that's why i plant trees. lots of trees.

musing over the dyepots

I'm told a program broadcast by the ABC recently allegedly claimed that ecoprint bundling is a practice originating from and belonging to indigenous Australian culture. The truth is that it is derived from Latvian Easter Egg dyeing, a pagan tradition pre-dating Christianity, involving the wrapping of hens eggs with plant matter followed by boiling them in a pot full of onionskins and water. I transposed it to cloth (experimenting with steaming as well as boiling) substituting eucalyptus leaves for onionshells. They smell a good deal nicer, for one thing.

As far as I know metal pots, as well as woven wool and silk, only came to this country with the European invasion of 1788 (other than accidental arrival via shipwreck) and it wasn't until they became available that eucalyptus leaves could be boiled in water to reveal their extraordinary colour potential, now in such demand whirled-wide.

But maybe I'm wrong.  Perhaps metal pots were salvaged from the shipwrecks that occurred along the West Australian coast from 1622 onwards (though that first one, the Tryall, was quite a distance offshore). If you have information I'd be very interested to read it, especially if you can back it up with references. Dye history fascinates me.

I have a theory that dye traditions around the planet follow traditional regional cooking practices quite closely...for example the slow-brewed indigo of Japan relating to their fermenting of foods, the soup-like dye extraction traditionally used in Europe and the stone-ground ochres and stains of indigenous Australians that echoed the ground pastes of seeds that formed part of their diet. The absence of boiled food in aboriginal cooking pre 1788 seems to be a clue about dyes.

I'm not being picky, I really want to know.

Crockett Cottage Studio, Mansfield

Philadelphus filling the air with fragrance

 

i loved my time at Crockett Cottage Studio this year

(students came from France and New Zealand; West + South Australia and Queensland as well as Victoria and, for the first time in my visits there...Mansfield itself)

so much so that i've booked it again for 2015

in November the local gardens are awash 

with roses, peonies, philadelphus and magnolias

- even a huge liriodendron in full bloom

and the diversity of eucalyptus species available in the region is quite remarkable

i will offer a couple of workshops

one of which, by popular demand, is going to be about bloomers

and scanties and soft things to wear to bed

and also a retreat to which you can bring your own work

(provided it doesn't require noisy machinery or potentially toxic materials)

and share it with like-minded souls in the joy of the sewing circle 

more details soon but essentially

we'll share stories, i will brew daily dyebaths for you to work with

and be available to offer guidance if you need

i shall also be preparing lunch, as the studio has a fine

centrally positioned kitchen area from which i can answer questions

while i happily chop, stir and season

thus combining two of my (several) passions

Julie Pearson looking fabulous in her gorgeous top

the tray of our ute came in handy

not just for opening bundles but also as a very fine cutting table

local colour

it is very important to be nourishing the inner bear.

in other news, applications to attend the Retreat to Tin Can Bay

in Queensland next year are being received until December 9

Roz Hawker and i will be taking turns at sailing the boat

there'll be dyepots (i nearly wrote dyepoets!)

the opportunity to make small things in metal

or make bigger things in situ from found objects 

some quiet wandering and gentle writing

(i'm thinking that a class book may ensue as a memento for participants)

 if you'd like me to send you the bits to fill in

please drop me a line via the contact page on my website

dates : April 19th - 24th, 2015 (arrive on Sunday evening, depart Friday afternoon)

cost: (including vegetarian gluten-free food, 

twin-share accommodation and some materials) $1300

and ONE place is available in the Bower Bird Blues retreat

in the lovely Lud Valley in New Zealand

on the western edge

last week i was on the western edge

[although i will confess now that i did not find time to dip my toe in the ocean]

for another workshop in Jane Flower's splendid shed

this time our work involved shapeshifting

transforming pre-loved garments into celebration dresses

cutting and splicing

hand-sewing

delighting in transforming two-dimensional cloth

into something much more complex

Lizzie giving her lovely dress a quick field test

Rona making some adjustments in our 'fitting room'

each afternoon we fired up the cauldrons

so there would be presents to open in the mornings

[thank you Jonathan for collecting all those armfuls of twigs]

the wildflowers at this time of year are spectacular

i think they are [top to bottom]

Diuris brumalis

Caladenia sp

Drosera sp

Anigozanthos manglesii [which happens also to be the state floral emblem]

other local colour was also pretty stunning

work above by Chez

not sure whose the sample above was - but i DO know the roots were harvested on private property as 'salvage botany'

 the south west of our beautiful red island is home to something like 70% of all of the plant varieties on the continent.

but before visitors to this country [or locals for that matter] decide to leap in and avail themselves of this wonderful resource it is worth becoming familiar with the law as regards plant collection.

it is illegal to harvest native plants in the wild anywhere in Australia

- even though the irony is that timber fellers and builders of airports and freeways are permitted to completely destroy forests, wetlands and anything else that gets in their way

in some circumstances it is also illegal to harvest wild plants on private property [unless you can prove that you are a traditional owner...or that you planted them yourself]

and some places that you might think are private property

are actually leased Crown Land [this includes pretty much all of the outback] in which case you can't pick there either

the only plants you can legally take from the wild in Australia are weeds.

or windfalls [but not if they are rare or threatened species]

and if you think you can get away with it, think again

ecoprints make for indisputable evidence!

on the bright side, tip pruning street trees in urban areas

especially where they are overhanging or obstructing paths

might be seen as a community service

[unless, of course, there's a local bylaw...]

i found some of my favourite weeds growing in abundance

my visit to the far west was all too brief

due to an over-filled dance card

next time i wander that way i hope to make a much longer stay

...i'd have liked to see those dresses unbundled, for one thing

 

sockbundles

tis a fine thing
when the infants take an interest in the construction of things
especially when those things are warm and comfy
and are given to me

my Wild Rose [aka the Eldest of the Three] who has a B.Sc Hons and was recently awarded her wool classer's stencil
is not content with being able to do clever things with statistics and fling fleeces on tables
and [thanks to instruction by great-grandmother] churn out exquisite tatted lace at machine speed
has now turned her hand to knitting
and discovered a passion for socks.
- unlike me she can actually make two objects that are exactly alike.
 
the first pair went to her beloved.
i scored the second lot.

so of course
i bundled them up with some eucalyptus leaves

i love my socks

and was tempted to sling them in here as well

but i was firmly restrained.
they said enough was enough.
sigh.

guess i shall be wearing contrasting socks.

dyeing paper

much as i enjoy wandering

i also love being back in my studio

pottering about, stoking the fire

and of course opening up bundles

 at the risk of boring y'all

with too frequent references to my new book

i just wanted to make sure that those of you who had already bought it

knew there is now a lucky dip involved

[i'd mention it on the Blurb site if i could]

i wrote this book for those of you who don't have a chance to attend classes

as well as those who just like a refresher or

to read about the process in different words

and of course there's the field i haven't discussed in print before,

++ dyeing paper ++

being (t)here...again

it was lovely to come back to Newburgh

to work with Netti and Alison

who are like sisters and very kind to me

we worked on paper

first with words

and then with dyes

 local meadowsweet

made lovely colours

 we made a concertina river book

and a new sweet folded book

that i developed especially for the class

i call it the "island book"

because you have to sail around it to appreciate it fully

 trusty studio assistant Jazz cooling off

 wonderful peonies

 and the beautiful river

fresh and full of new stories each day

 we wrote and shared poetry

 found hearts in the streets

laid bundles in patterns here and there

and generally had a wonderful time.

Isabel [who works at the charity shop]

told me how the church [where our workshop took place]

used to be the drill hall for the "territorials"

and then that the Poles lived there during the war

and that there was a dance held there

"and the floor was ever so slippery"

+

the trouble with having good friends scattered around the whirled

is having to say goodbye. 

but not forever, merely ae fond farewell [misquoting Robert Burns] until next year

you can see more pix from class

here

and

here

And please, Father Christmas, may I have a bear like this?