The Textile Studio has maintained a fantastically strong vat since Yoshiko Wada’s visit, and we have been exploring and expanding upon the methods learned in her workshop every Friday since June. As well, we have been experimenting with resist pastes made of clay or rice powder. The resist pastes can be applied as paint, can be screen printed, can be block printed – it opens up an entirely new world of print-making to a simple piece of cloth being dipped in indigo.
Studio member Munira Amin has been working with clay resist, experimenting with the consistency to make the medium most workable for her graphic repeats. In some of her work below, we can see the results post-indigo dip.
Here are some examples of indigo-dyed cloth with unwashed clay resist:
Studio member Ganaele Langlois has taken up rice paste as her resist medium of choice – experiments involved screen printing fine images onto fabric to resist dye when the piece was dipped, as well as hand painting the paste to create cloudy images paired with a circular clamping technique – very effectively creating a moody moon effect. She also used ori-nui stitch resists, and the sum of these experiments are to form the background of a cloth book, as you can see here.
Summer resident Jenny Boucher worked with number of folding and binding techniques to create large panels of shibori cloth. She experimented with yukata pleating, itajime clamping, and arashi pole-wrapping shibori.
Double folding in multiple directions creates wonderful striping effects when bound and dyed in the indigo. Seen below: fabric folded pre-dip, and unfolding in a water bath after.
The arashi method proved particularly water-like and effective on this piece.
More experiments to come as we begin to delve into the world of mordents, iron, natural dyes and discharge dyeing.