Tree Peony Trellis (2018.15)

Catalogue Record

Collection

Maker

Title

Tree Peony Trellis

Made in

Charlbury

Date

1981

Description

Airbrushed, quilted silk waistcoat with floral and foliage motifs with geometric patterns.

The work references other textile creations of that time such as quilts and cushions. Motifs and patterns were inspired by studies of Japanese flower paintings and folding painted screens. The garment was directly influenced by a small quilt and a series of cushions and the structure of seamed panels relates to the piecing or seaming of the quilts being made in the maker’s studio from 1979-80.

Materials and techniques

Top silk are from Antung, China. Polyester wadding, cotton muslin, machine cottons and sequins formed the quilting. Hand embellished textures achieved by hand-embroidery threads. Diluted Helizarin pigment paints, brought from Kent, sprayed. Stencil card is also added.

There were 5 stages in making the work. Stage one, airbrushed textile paints were sprayed using a Badger Hobby Airbrush, with compressor. Designs, such as peony flowers and leaves, transferred onto silk surface via hand-cut stencils. Design motif repeated using different sections of stencil, together with geometric card masks. Repeating ‘leafy’ textures used a positive leaf motif, this was hand held while the other hand guides the airbrushed sprayed colour around the positive mask. A quick, spontaneous shadow pattern created for quilting around. All of the pattern sections of the work’s silk were sprayed prior to any quilting. The silk material was stretched onto a padded table top in this stage. It took approximately 8 to 9 hours to complete this stage.

Stage two, the maker fixed textile paints using domestic iron on wrong side of fabric. Cut larger than garment pattern piece, each panel silk was layered with polyester wadding and muslin backing pin or tack.

Stage three, the work was machine quilted where free-motion stitching with a darning foot and feed dogs dropped outline of flower/ leaves. More precise geometrics use a quilting foot guide as a measure spacer, feed-dogs up on machine. Polycotton or strong cotton thread and Bernina Minimatic machine used in this stage. The maker took 12 hours to complete this stage.

Stage four, the work was embellished by hand embroidery details and sequins.

Stage five. Make up of garment and finish with spray-dyed bias strip bound edge. Lining was inserted. Approximately 2 days spent in this stage.

Dimensions

length:  113cm
width:  68cm
depth:  4cm

Object number

2018.15

Category

  • Tree Peony Trellis, Sue Rangeley, 1981, © Sue Rangeley, Crafts Council Collection: 2018.15. Photo: Stokes Photo Ltd.

    Tree Peony Trellis, Sue Rangeley, 1981, © Sue Rangeley, Crafts Council Collection: 2018.15. Photo: Stokes Photo Ltd.

  • Tree Peony Trellis, Sue Rangeley, 1981, © Sue Rangeley, Crafts Council Collection: 2018.15. Photo: Stokes Photo Ltd.

    Tree Peony Trellis, Sue Rangeley, 1981, © Sue Rangeley, Crafts Council Collection: 2018.15. Photo: Stokes Photo Ltd.

  • Tree Peony Trellis, Sue Rangeley, 1981, © Sue Rangeley, Crafts Council Collection: 2018.15. Photo: Stokes Photo Ltd.

    Tree Peony Trellis, Sue Rangeley, 1981, © Sue Rangeley, Crafts Council Collection: 2018.15. Photo: Stokes Photo Ltd.

  • Tree Peony Trellis, Sue Rangeley, 1981, © Sue Rangeley, Crafts Council Collection: 2018.15. Photo: Stokes Photo Ltd.

    Tree Peony Trellis, Sue Rangeley, 1981, © Sue Rangeley, Crafts Council Collection: 2018.15. Photo: Stokes Photo Ltd.

  • Tree Peony Trellis, Sue Rangeley, 1981, © Sue Rangeley, Crafts Council Collection: 2018.15. Photo: Stokes Photo Ltd.

    Tree Peony Trellis, Sue Rangeley, 1981, © Sue Rangeley, Crafts Council Collection: 2018.15. Photo: Stokes Photo Ltd.

Maker's statement

It was created at a time when I was making quilts, cushions, the techniques, design and construction referencing that. I was embarking on textile works which were on a larger scale and using bolder quilting patterns (in contrast to the softer ripple quilting designs of my earlier botanical waistcoats, bags, cushions (as featured in Crafts July/August 1978)

This is the only garment I have made which expresses that direct relationship between the quilts, cushions and screens of 1980-81. Quilt making gave me a new freedom to use the airbrush and quilting in different dimensions; this garment was made soon after the small quilt…the garment’s structure, colours and patterns pursue similar themes.

During 1981 I was being influenced by images of Japanese painted screens and the flora of Japan and China, in contrast to English countryside flowers e.g. honeysuckle and rose. More exotic orchid and peony flowers featured on cushions, waistcoats created in 1981. The geometric patterns evolved after looking at a book on Chinese trellis decorations. The asymmetric patterning of the waistcoat reference[s] the designs and composition of Japanese painted screens.

It is only now, following the acquisition by the Crafts Council for their collection, that I can be objective in recognising the creative context of the work and the significance of the piece.

As my work moved into quilts during 1981 (via a first commission in 1979) it gave me another perspective on directions for my fashion pieces. Browsing the numerous sketches from that period, a bolder, more inventive approach and style was energising my work, influenced by my interior textiles.

It was created during a year which was prolific in terms of pieces made, both for private clients and galleries in U.K. and international, plus participation in exhibitions and my first Chelsea Craft Fair (October 1981).

Sue Rangeley, 27 July 2018