What's cookin' ?

With that crafty desire trapped within, I could not resist creating a '60's vintage' style apron for my great chum's birthday - who enjoys to tamper with the hob and oven every so often. I decided on using two contrasting colours, fuscia pink and lime green, and and opted for a floral fabric as that now seems to be (or have been) the rage so far.

Not only is it feminine, poignant and cute, I decided on personalising the pocket area. The frills need working on, but hey-ho, it was a fun (attempted) make and don't we just love the modelled pose?!

Sketchy

Charcoal and chalk. Never have I been massively fond of these materials. However, thoughts may change and having attended some drop-in drawing lessons at the National Portrait Gallery in London I discovered the intricacy and delicacy of using such pigments itself. Again, I've focused on facial objects (not so much my choice as sculptures were the main objects in place).

These are a selection of some portraits that were put into practise. White chalk on black paper - though initially slightly difficult in obtaining the correct shades, I realised the strokes of white can exude power in the portrait. I hope you are able to depict the portrait detail..meanwhile, with optimism in place - practise is gonna make perfect.

Paint to Meditate

Colours ignite me. Painting calms me. My left hand eagerly awaits to paint and I haven't done so in a while. I'm not a painter as you can depict from my amateur paintings which I composed in the past in my rare-but-spare time. Whilst I am partial to glorious scenery and inanimate objects, I am much more keen on human facial portraits.


As mentioned above, painting calms me. However, in light of this, I am all too often a confusing character as I generally paint quite quickly. Perhaps far too quickly. I have heard the odd whimper here and there that I must slow down, focus, and per-fect my 'pieces'.

I'm not sure if there is such a form of 'proper' painting. And if there is, I am certainly not one to follow the rules. Firstly, I never outline my paintings first (in pencil) - personally I think this is cheating? For me, it's just paintbrush/paint directly to paper/canvas and then here it begins. Trial and error. I allow my hand and mind to do the talking. Spontaneity? Probably. Disorganised? Most likely. Impatient? Yes.


There is something magical about the moment the paintbrush meets the paint, combines, mixes the colours, creating shades, the freedom to do so, the texture, the volume, the smell, the smooth sound and when that drowned brush unleashes itself onto canvas in a rhythmic way. That is a masterpiece in itself. The rhythm. Now we're talking.



Colours - I heavily vouch for colour. Without colour where would I be now? Where would we be now? I am without a doubt all in for colour, pigments, shades and that's just what these paintings need. Whilst painting, I attempt to observe deeply into the object's colour and the shape. Without sounding like a mad lady at hand or as a pretentious fool, it does excite me. Proportions need working on, but I settle for shape.

I'm learning. It's experimental. I'm enjoying. I'm needing to find time (to paint). Totally understood if you frown upon my lack of paintings as I really am no pro. Note that these small pieces were (mainly) painted as gifts to the 'object' in place.

S(m)ashing!

Getting crafty and adventurous, I make these at top speed once I put my mind to it.



* Name an occasion
* Give me a name, title or saying
* I come up with something quirky (or you can)
* You agree?
* And I'll be pleased to embroider this onto a colourful ribboned satin sash..
* ..acquainted and adorned with special jewels or buttons
* Ta daaaa!











How it developed
The task was to organise a 'Baby Shower' a couple of months ago. Rather than going for the easy option of buying a sash for mother-to-be, I much prefer unique things that hone more sentimentality than mass-produced items! Thus, endorsing that rampant creative streak and having the resources to do so, I opted for creating my very own unique blend.


i. So here we have (to our right hand side), for my sister Leesan (aka mother-to-be), a sash, with the word(s): Mother Lee, a slight spin on Motherly. Do we comprende?

ii. Secondly - and lastly, for now - as featured below, we have a Hen (aka bride-to-be) who is often nicknamed as 'Little', thus the name 'Mrs Little Hen' was induced.






Quirky, courageous but light and generally fun with some obvious individuality. You can't go wrong here. A special keepsake for that special person and for you too! And once again, I adore making these. S(m)ashing!

Newborn supplies

Arrival of my new adorable nephew Caiden Poon has led to an exploration in creating a new little artefact. Making use of my stunning, boast-worthy, and not to mention - trusty, Bernina sewing machine aids the process of this. (Note: the Bernina is a bloody awesome killer sewing machine. Not for the faint-hearted but for the one that requires quality, strength and simplicity - that's me!).

These artefacts be 'Nursing Covers', for newborn babies and mothers. I'm not one for having a maternal streak, not now, at this point in my young life anyhow. Though you can see how effective this item can be, especially for a shy (embarrassingly exposed) and/or considerate mother. How these Nursing Covers can benefit both baby, mother and the rest of the world, is that they shield the most fundamental task in any new mother's upbringing of their little-un; breastfeeding!

I've made these nifty Nursing Covers using a range of colours/styles of fabrics. From one block colour to floral patterns. Personally I prefer the colourful, however, you are entitled to judge for yourself which you may prefer. I've also incorporated two inner pockets for mother to pocket little objects into. They do look a mess, though I feel their advantageous aspects; adjustable, light, airy and safe, counteracts the messiness they exude. Please have a gander at a selected sample with a kind & loving heart.

It really does amaze me how meditative and achieving I find sewing to be. However simple the task is, t'is indeed a gem and a joy, and I look forward to excite you to further lengths by taking you on some other ventures I've experimented and 'tasked' myself with later on. Until then, so long.

Joan Miró

Being in London we are fortunate enough, where, at our own discretion we have offered on our doorstep, a serious amount of choices - either exposed or hidden. I could list them all, however, time is precious, so I'll dive in.

Londoners can easily be submersed into an Art sublime. Victorious amounts of global artists can be exhibited and I thank thee for offering the opportunity for us to pick & choose who and what to exhibit. I will be selective on this site - though you may find I am subject to explore artists/forms from a diverse range. I am keen. And will use as much of what inspires me for inspiration. And that's an awful lot.


Miró
With that said above, after many successive trips, I revisited the Tate Modern to unveil myself to the important artist; Joan Miro - Wondrous. Exceptional. Emotional. Surreal.


Catalan-born Joan was 'the most surreal of them all' and oh-me-golly, I do not beg to differ. Art can tell so many stories or imageries, but only He; the artist, will really know what He wishes to present however disguised or hidden His message may be. Joan had a real knack for doing this. His early work to his last moments were very obviously different, as you can see from the images.



Miró's ability to display his emotions is very clear-cut. Slowly walking from room to room, you are able to capture his emotions. They were changeable. From a soft pastelled high of love and affection - see right; 'The Rut (1918)', and gradually flowing to a depressive dark surrealist mode. Not only does this portray his emotions, but tells a story of his surroundings at that point in time related to life, love and political atrocities; such as the Spanish civil war and the early era of WW2; The Phoney War. The use of his 'Ladder of Escape (1940)' - displayed below, and also the main painting at intro section - illustrates his withdrawal from his awareness of these events, although, Miró did acknowledge that there was no ivory tower to look forward to.




I appreciate the fact that he loved his life in Catalanya (Barcelona), one can capture his thoughts and he definitely remained strongly tied to Catalunya - as shown through his 'Head of Catalan Peasant' range. This is so appealing. To have such a strong identity. The use of a blue hue and the red mark representing the Catalan cap - a symbol of independence.

The titles of a selection of his paintings were deep - 'Young Girl with Half Brown, Half Red Hair Slipping on the Blood of Frozen Hyacinths of a Burning Football Field (1939)'. Firstly outrageously long, and secondly, peculiar. (Note: I am unable to find an image of this painting)






His triptychs were hung on a large wall in an ever-so calming room allowing viewers to sit and ponder at his work of block colours, scribbled line(s) and meanings.




This exhibition opens the viewers eyes not only to his infamous paintings as pictured above, but his early work and how it transcended to become of the Joan Miro we picture today - one of the leading surrealists of modern art. There's so much more I could write - what an obtuse inspiration. I can't help but feel slightly fragmented by his displays - perhaps that's the effect of surrealism?

Vorticism

Upon a recent visit to the Tate Britain, London, I was very drawn to a form of art known as VORTICISM - a masterpiece in itself. Although short-lived, this British movement of the 20th century (1914-1918) modern art which developed from Cubism, has had a neat impact on myself.

As stated above, I was drawn. World War I was the victim of its brief life expectancy - although unpreventable, I enjoy the fact that it was short-lived giving it mysterious depth, delicacy and making it more valuable and intangible.

As quoted on the Vorticist's website, the movement is 'something that hasn't yet been defined'. What a charming quote..so intriguing as I feel this epitomises me!

So, the main artists of this three-ish year reign were Wyndham Lewis, Roger Fry and Ezra Pound; who coined the name of 'Vorticism'. The movement only managed to achieve one exhibition at the time of its flourish (well, two now, with one being at the Tate).

Amongst many of the other paintings and sculptures I've mainly been captivated by the few laid out on this page for their colour, intricacy and contrasting logic!? (note: the piece to my right is brilliant!)

My previous post illustrates the front cover of the Vorticist's literary magazine 'BLAST' of which only two copies were produced. An interesting quote that I fully agree with was found in one of the BLAST magazines, read:

"Education (art education and general education) tends to destroy the creative instinct. Therefore it is in time when education has been non-existent that art chiefly flourishes"

It's random, colourful, courageous, quirky, but mounted with some angled logic. And I like it. Very much!

Tate Britain - 'The Vorticists: Manifesto for a Modern World'