SPECTRUM 17th July - 9th August
Attitudes to colour have changed over the years as colour becomes more available. In the fifties, there were no colour supplements to newspapers; coloured house paint was only just becoming available, and i caused a car crash by wearing a vermillion scarf with a brilliant pink sweater.
Now, colour is available for every surface imaginable. Dyed yarn and fabric ranges are, however, not known for their dynamism, and most textile artists are forced to dye for their work. Dyeing is time consuming and rarely apparent in the final piece, unless the process itself is used creatively, as in Ptolemy Mann's sexy ikats.
In weaving, the weave itself affects the colour: Alpa Mistry chooses a weft- faced weave giving dense stripes which she must adjust in width, tone and hue in order to create a cohesive cloth. Preeti Gilani uses both warp and weft on the surface so must contend with battling pixels of colour as they cross: two crossing bright colours can become grey. Asta Barrington blisters the cloth to reflect light, and prevents it from spilling out by strong creative edgings.
Fiona Rutherford, as a tapastry weaver, uses the weft in which to work image and colour magic.
Ann Sutton 2008
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