developing themes for my art
I enjoy commenting on the pitfalls of faulty or nonexistent reasoning that have gotten me mired in situations from which I long to extricate myself. In my better moments, I realize that if I get out of my own way, I can attain almost anything I desire. This piece speaks of that process. Teacup Fishing evolved over the course of a few years. The original visual conception (a woman fishing out of a teacup) descended out of the blue while I was working on something else. This rough sketch was made to aid memory. A year or so passed before I was able to photograph my sister, Bebe, in that pose. Fishing is symbolic of our search for and acquisition of the good things in life. Very often we don't feel it's possible for us to have the possessions or circumstances others have because of our class, our lack of education, talent, or beauty, our size, gender or ethnic group membership. To escape the pain of not-having, we often distract ourselves (here symbolized by magazine reading but it could be substance abuse, workaholism or any number of unexamined activities). Amidst distraction, our search is only half-hearted. We seek and accept less, thus limiting our own good fortune. Life in its abundance (symbolized in the finished piece by a large body of water) places no such limitations on us. We have only to keep trying -- in the right location -- and stay alert for opportunities (which usually arrive one step at a time as we prepare ourselves with thought and experience.) By the way, the idea of abundance doesn't only apply financially. We may wish for supportive relationships, vibrant good health or a fulfilling lifestyle. These are possible too, when approached with an open mind, a willing heart and effort.
The model used for the planning of Teacup Fishing is my sister. Reference photos were taken in an interior stairwell of her house and the first preliminary drawings used a similar set-up. There were no patterns on the clothing or walls but I thought patterns might make the piece more interesting. Using markers, I played around with color in various versions. I imagined a lake visible through the window, then the window was enlarged to make the water more obvious. When I felt satisfied with the results, the drawing, now with a small table added under the teacup, was transferred to the fabric.
Here is the drawing on fabric, pretty much as it was in the color study just above. Notice the grid drawn in pencil. It's used to replicate the proportions of the simplest of the preparatory drawings on paper. The window on the upper left and the baseboard on the lower right show clearly an interior study.
The canvas-stretcher is visible because I usually staple the fabric on behind it. This keeps me from leaving too many fingerprints on top of the fabric while handling it from day to day.
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By the time I'd stitched the image below on the right, I realized that it would be more dramatic to place the subject outside the house, closer to the water, perhaps seated on a pier. Also, I've decided against complicating things with too many patterns.
The canvas-stretcher is visible because I usually staple the fabric on behind it. This keeps me from leaving too many fingerprints on top of the fabric while handling it from day to day.
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By the time I'd stitched the image below on the right, I realized that it would be more dramatic to place the subject outside the house, closer to the water, perhaps seated on a pier. Also, I've decided against complicating things with too many patterns.
The 4"x6" non-digital photos and the line- drawing made from them seemed good enough until the image was transferred to fabric. Once on fabric the image was 58"x31" ---- much larger. Drawing errors were much more obvious and looked smudged when I tried to erase them. I fooled around some and made it worse. But after that much time, my heart was in it and I couldn't turn back. So I started stitching the feet and hoped for the best.
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I decided to keep the idea of the wood-framed pier (red straight lines) and add the table to raise the cup closer to the figure. I had already used gray pencil for the first version. Red and blue lines keep me from confusing the new versions with the old.
A little later, I thought that positioning the figure on a rocky ledge along the water's edge (the wavy blue dotted line) might better echo the distant islands. Hm,m,m,m. Taking time to come to a decision, I returned to tackle the face again. |
In order to get more visual information, I re-shot and re-drew the face upon Bebe's next visit to my house. She lived in another state so that took awhile. |
Later on, the figure would look more like her.
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At this point, I've decided a boat would make the theme even more ironic. She shouldn't be near the water; she should be on it! Since the fabric is already cut to fit the stretcher, the new design must fit within it. And now I need to figure out what a row-boat's interior structure would look like when viewed from the same direction my photo was shot i. I have to imagine the shape, size, depth of the boat, color, highlights and shadows since more than half of the stitching is already in place. When I guess wrongly, I have to pull out the stitches and re-apply them. The idea of using a table has by this time been discarded and the cup -- once again on the floor -- has no saucer beneath it.
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From the struggle above, you can see the importance of sufficient preparation. There is no shortcut.
Teacup Fishing is finished.
Teacup Fishing is finished.
