A follow-up on the n-word. {via completely cauchy}

The power of a word to incite and excite. There’s a racy discussion going on over here that is well worth a read and a reflect.

A follow-up on the n-word. | completely cauchy..

Racist invectives have always intrigued me, being a ‘mongrel’ mix of Southeast Asian and Caucasian, myself, but I have never been able to relate to the charge of emotional energy that surrounds  these words, and to the viciousness that permeates and grips the opposing armies of this issue…probably because I don’t believe there is such a thing as a pure-blooded, pure-race human being…of ANY race.

I think that drawing imaginary racial lines between one  skin color and another is dangerous, period.

This cuts both ways, and also applies to Reverse Discrimination…that often patronizing and condescending form of support for one group—typically minority or perceived as being ‘disadvantaged’—that seeks to treat the symptoms of racism, but clings to , nevertheless, and PERPETUATES the outdated belief that one group of people is somehow a different kind of human being than another group.

Somewhere in every racist’s past, in everyone‘s past, there will be someone, your ancestor, who’s got a drop of the blood—the very race—that you revile when you call someone a nigger, or chink, or gook, or wog, or what-have-you.

Isn’t it high time to get over the idea of your pure, unsullied, unbroken racial heritage…black, white, yellow, brown, red, green and all the colors in-between? The concept is obsolete, passé, fogeyish. If you insist on clinging to the idea, it’s out of piggish narrow-mindedness, and not because it has foundation in reality.

That modern humans originated in Africa from a Mitochondrial Eve and her “sisters” has so much evidence in its favor that only a Neanderthal would argue for being separate from the others (and be right!)

The theory is presented to the general public in this accessible series:

You’ve got to be taught
To hate and fear,
You’ve got to be taught
From year to year,
It’s got to be drummed
In your dear little ear
You’ve got to be carefully taught.

You’ve got to be taught to be afraid
Of people whose eyes are oddly made,
And people whose skin is a diff’rent shade,
You’ve got to be carefully taught.

You’ve got to be taught before it’s too late,
Before you are six or seven or eight,
To hate all the people your relatives hate,
You’ve got to be carefully taught!

—from South Pacific by Rodgers and Hammerstein

a matching Lotti ❤ pendant

matching Lotti pendant

Couldn’t help myself…I had to make a matching little felt pendant to go with the doll. For Lotti to wear or hang from her little handbag (has Lotti got a little handbag? Maybe I should be making that next?)

“And WHERE is your Cretan stitch sampler for TAST, Miss?”

“Uh…oh, he he, it’s right here, be done soon, I promise! Maybe even in time before Sharon B. announces the next stitch friggin’ tomorrow?!?”

Short and sweet, I got to get back to my embroidery hoop. *sigh*
Lotti pendant (back)

Lotti ❤

Lotti, ready for bed...

Eeep! Running late with my Cretan stitch sample for TAST. Ye Gods, how boring it is! Especially as it’s nearly identical to last week’s feather stitch, and I’ve really had enough of this family of stitches, lately. But I’ve pencilled in a nearly solid design, so there’s nothing for it but to plod along, laying rows and rows of Cretan stitch beside each other. *sigh-argh*

The other reason I’m late is I was suddenly overcome with a desire to make this little poppet…this is Lotti, getting ready for bed.


I’m sending it to its namesake, the real Lotti, who is two-and-a-half already.

Lotti recently drew a lovely pink scribble in a Christmas card for me, and looking at it yesterday I decided to put everything else on hold until I’d made something to send back to her.

A few years more and I will have missed my chance to eat all her toes…

eating Charlotte's toes...

Hard to believe she went from this

to this…
ye Gods, two-and-a-half already...

Just. Like. {snap}.

Lap it up, as this is about as close to my recessive, atavistic mothering instinct as you’ll ever see…the irresistible compulsion to stitch cute little felt figures for my goddaughters…

One way to use up leftover thread…

I got around to organizing my embroidery threads the other day…putting all the untouched hanks, little paper bands and color codes still on, in one organizer, looping the working hanks of thread around plastic thread card thingies, and gathering all the odds and ends of leftover threads (short lengths, minus a few skeins)

If you do a lot of embroidery, chances are that you have a small (or medium…or humongous…) mass of embroidery threads left over from all those other stitchy projects. Could it possibly look anything like my own thread bunny, here?…or am I more slovenly than most of you? >:)

DSCF1780

I hate to throw anything even remotely usable away, but I know that I will not remember to rummage through my tangled thread monster for a particular shade of thread when I am working on an embroidery design, so the solution—for me—has always been to create a project specifically to use up my leftover threads.

Years ago I drew diamonds on an A4-sized piece of white linen using gold gutta, and whenever I had time to kill I would take some leftover thread and fill a shape or two in with satin stitch. I ended up turning the finished piece into trading cards and swapping them away. I only have this one crappy photo, pretty much to scale, but you can see what I mean.

Harlequin

It was time for another one of those projects:

A simple geometric grid on the fabric (old white cotton bedsheets, in case you were wondering)…nothing too complicated.

Inch-sized squares halved on the diagonal. I’ve kept each shape smallish, just the right size to use up the verious 16-inch lengths, 3 or 4 threads to a skein, of each color. Any bigger and I would have to pull fresh thread from the other piles, and I am trying to use the snarl up, not create more leftover thread.
grid

I’ve filled the triangles with a simple satin stitch…alternating between horizontal and vertical stitching gives textured patches of glossy and matte threads.

I started out by using the regular satin stitch, but realised that some of my thread lengths were so short that I wouldn’t have enough to fill even one triangle, so I shifted to surface satin stitch—leaving almost no thread on the back of the embroidery.

front / back

Once I use up this tangle of  leftover threads I hope to always keep a piece of fabric, with a simple grid like this, ready in a hoop, so that I can stay on top of the thread situation, working a triangle here and there alongside my real embroidery projects.

It doesn’t really matter that I don’t know what I’m going to do with this piece of cotton when it’s full of embroidery…there are a million ways it can be used, and I’ll just decide that when it’s done.

über embroiderers: : Eko Nugroho

Profiles of accomplished embroiderers abound in the blogosphere, the same names going round and round as each blogger  picks up on a trend…the flavor of the month…the craft community’s current feature and interview darling. To a small-time blog author, following the trends and featuring the same über embroiderers can be a dilemma. I’d like the same inspiring content as the bigger blogs, but to toddle along behind and squeakily repeat news that has just been broadcasted by megaphone doesn’t actually contribute much more to the community. If anything, it makes the blog look and smell like yesterday’s cheese sandwich.

So I’ve tried to cast my line a bit further outside of the crowded craft pond. I know I’ll never truly discover a fresh new über embroiderer on the internet…the fact that they were found on the internet means someone has come across them before. But I can at least try to highlight lesser known (at least to the craft communities) artists whose practices flourish beyond the mainstream enclosures of the heavily feminine, white, and English-speaking embroidery universe.

And I stumbled upon young Indonesian artist Eko Nugroho. Born in Yogyakarta, 34-year-old Eko’s bold, graphic works of paint, fabric appliqué, quilting, machine and hand stitching employ the very same visual language of Asian pop-culture comic books, third-world urban environments, and political themes—of struggling economy, post-colonial legacy, established violence and poverty, awareness of oneself as Outsider—that I grew up with in Manila.

It was with relief that I curled up and made myself at home within the worlds of Eko’s textiles, which struck me as being very plain-spoken, guileless, and earnest…in sharp contrast to the recent empty-calories diet of stitched owls, childish motifs, and what now seems a really frivolous fixation with the trappings of a facile, spectacle lifestyle.

The following write up about Nugroho’s recent exhibitions and his current projects comes from the Art Gallery of South Australia‘s Eko Chamber page:

For the first time the Art Gallery of South Australia will exhibit the work of Contemporary Indonesian artist Eko Nugroho (b.1977).  The Eko Chamber, on display from November 18th 2011 to January 29th 2012, will include two suites of large embroidered wall hangings from 2009 and 2011.

The works included in The Eko Chamber epitomize the eclectic nature of Nugroho’s practice which is influenced as much by wayang kulit (shadow puppet theatre) as comic books and graffiti on the streets of his hometown of Yogyakarta.  Eko Nugroho’s work evokes a sense of play while simultaneously confronting the challenges of contemporary life in his country.   This is best illustrated by his polychromatic embroidered works from 2011 which combine hybrid cartoon creatures depicted in day-glo colours and slogans in Indonesian.

Included in the The Eko Chamber is Invasions, first exhibited in 2009 in Beyond the Dutch at the Centraal Museum, Utrecth, Netherlands.  While Invasions includes a wide range of iconographic staples of Nugroho’s visual vocabulary, such as masked heads and truncated robotic limbs, the absence of colour and the title of the work reference the Dutch colonization of Indonesia and the unaddressed trauma of this history which Nugroho believes continue to haunt his society.

Currently Eko Nugroho is an artist in residence in Paris creating a solo exhibition for the Musee d’Art Moderne de le Ville de Paris (2012) and is included in Beyond the Self: Contemporary Portraiture in Asia a travelling exhibition in Australia.  His work was also included in Closing the Gap at Melbourne International Fine Art (2011) and has participated in a number of major international shows, including the Busan Biennale in Korea (2008); Wind from the East at the Kiasma Museum of Contemporary Art in Helsinki, Finland (2007); The 5th Asia-Pacific Triennial in Brisbane, Australia (2006).

EKO NUGROHO.

Eating orchestras for breakfast

Actually, just the string section. Maybe the piano, too.

I’m enjoying a glorious morning…pottering around, doing embroidery and binding books, and soaking up the lush, heart-fattening sounds of Beethoven‘s 5th and 9th Symphonies, Bach‘s Brandenburg Concertos, some Impressionists, as well as some unusual classical-electronic-hip-hop fusion pieces.

Made a quick mix of some of the tracks on my breakfast menu this morning. Have a great day!

Cut paper Gypsy Poet

cut paper Gypsy

Played with bits of scrapbooking paper and a scalpel today. Taking a break from embroidery!

The Gypsy Poet is closely based on one of Leon Bakst’s watercolor costume studies for the Russian ballet. This may even be Nijinsky.

gypsy poet...cut paper assemblage

The back actually looks pretty nice, too…I’ll admit I like the back better! Those pieces of masking tape are beautiful.
flip side

Week 3 ✂ Feather stitch (TAST)

Feather TAST - 04

Week 3′s theme was the Feather stitch.

I started by painting the fabric with a thin wash of acrylics,

feather underpainting

I was genuinely curious about this stitch…I don’t use it often, as I associate its open, sort of mesh-like appearance with crazy patchwork seam decoration.

I like dense stitches, and I wanted to see if I could get some solid meat out of this stitch…use it as a filling for shapes, and how well it would depict those shapes. Of course it worked fine…that’ll teach me to judge a stitch by the way it looks in stitch dictionaries—which are, of course, open and simple for instruction’s sake.

It’s quite a versatile stitch, when you work it close and play with its rays. I’ve actually managed to cram 9 different stitches into this sample…

the regular Feather stitch, followed by wide and dense Cretan stitch…

…Slanted Feather stitch, and 2-needle Feather stitch (I made this one up for myself, which is not to say it hasn’t been done before, I’ve just never seen it),

…long-and-short feather stitch…

I attempted (and bungled) a kind of French knot+Feather stitch…forget this one…not all experiments work!

…Spanish Knotted Feather stitch, and Ribbed-For-Her-Pleasure feather stitch… :D I was getting well and truly sick of the feather stitch at this point, hah!

Then, under the name, I worked Chained feather stitch,

and Türkmen stitch.

Feather Map TAST - 02

- – – ✂ – – – ✂ – – – ✂ – – – ✂ – – – ✂ – – – ✂ – – – ✂ – – – ✂ – – – ✂ – – – ✂

This small embroidery sample is for the Take a Stitch Tuesday 2012 Challenge. The idea was to combine my love of embroidery with my love of typography.