Progress, from idea to action. I’ve traced and traced again, first to make the pattern, next to lay it, and finally to resist.
I trace the lines and circles onto the silk with ink that disappears with water (what a brilliant invention). The pattern reminds me of rice terraces.
I tie up my silk onto its frame, being sure to shore up the lines. This is important at every step, silk is so shifty. This is my first silk painting, I am nervous and proceed slowly and with deliberation.
I colour my gutta (resist) with Procion dyes to match the greens, yellows, and reds of my image. I had considered screenprinting with the gutta, but in tests this proved only somewhat effective, and I am pressed for time. I will put this thought on the back burner to experiment with on a future piece. This time around I squeeze it from a little bottle using the ruler as guide. I was expecting much more difficulty.
Proceeding despite expected difficulties is often an enlightening experience. I like to pick a hard project off the bat, test the limits of the medium. This project tests the gutta and its possibilities. It allows a surprising amount of control.
For the background painting, I have chosen a more simple path. I have mixed a very dark Procion indigo, diluted it with alcohol to help keep smooth transitions in my background. There is a lot of nickel gray in the mix, which splits into pinks and grays (and other more shocking colours) as it dries. I am after that dash of luck.
Simply touching the ink brush to the silk spreads little pools of colour right up to the resist line. This is much more efficient than my past forays into painted cotton. Successfully wooed, I can see that silk painting and I will be spending a lot of time together.
I will let it rest and steam it out when it has dried, then on to the quilting. I can’t wait to see the resist disappear along with the blue marker. Slow processes are chock full of meditation, but also much anticipation.