Interview series: Lorraine Roy - Textile and Fiber Artist

Lorraine Roy is an award winning contemporary mixed-media textile artist from Dundas, Ontario,Canada who incorporates sewing, collage, embroidery, photo transfer, quilting and thousands of fibre and thread snippets into her work. Lorraine is a full-time textile artist with many international exhibitions to her name. She works from her home studio with her husband fine art photographer Janusz Wrobel.

As many of you know i've become a bit of a Facebook junkie in recent months and part of the reason for that is the frequency i've been stumbling upon some of the most amazing artists and their works. I found Lorraine Roy this way and after taking a look through her website and reading the quite unique techniques she uses I just knew I had to ask her to do an artist interview.

Lorraine's horticultural background and subsequent research regularly inspire her wonderful imagery. Landscapes that combine realism and abstraction combine with symbols from dreams, mythology and memories to create organic conceptual pieces that make the most of the rich medium combinations.

'The Seven Days of Creation' 69x80" (175 x 203cm) 

2008 Wall hanging, Commission, SOLD

Click pic to enlarge

Cotton, silk, synthetic and metallic fabrics and threads, nylon tulle. Cotton batting. This is Lorraine's favourite work. Five separate quilts were created and then hung together.

  How long have you been quilting and what first drew you to it? 
I have never NOT worked with fabric, beginning with sewing (from the age of 6), but ironically I never learned to make a proper quilt. I have been a professional textile artist for just over 20 years, but my formal education is in Horticulture.

'Between Now and Then' 36x48"  (91 x 121cm) 2009 SOLD

Click pic to enlarge

Framed textile incorporating cotton, silk, synthetic and metallic fabrics and threads, nylon tulle.

 How would you describe your style now? 
Painting with fabric… it’s a mixture of machine collage, appliqué, embroidery and quilting. I call my main technique "collage with nets". I love how it allows me to explore the freedom of line and shape that exists in the world of painting without compromising the intensity of colour and texture that you can achieve with fabric.


I begin with a plain fabric ground. On this surface I drop hundreds, sometimes thousands of tiny bits of cut fabrics and threads (of any kind – natural, synthetic, metallic) until I reach a depth and texture that pleases me. I then pin transparent netting on top, usually nylon tulle, which holds everything in place. The layers are then machine stitched together. This new fabric is now ready for further surface work: machine applique, embroidery, collage, and, more recently, photographic transfers from my photographer husband’s huge collection of natural images (www.jwrobelphoto.com). The finished surface is then quilted over batting and backing to fix the shape and enhance textures and lines. 

The above shows snippets of threads, scraps of fabric and yarn scattered over a backing fabric. Below is the same piece after being covered in netting and partly stitched.

 How has your style evolved? 
After many wearable fashion disasters, I learned that I had an aptitude and passion for hand embroidery. During my teens and onward I absorbed nearly every embroidery technique and was even teaching them at one point. But as you may suspect, it’s a slow medium. The transition to my new techniques took a number of years and lots of experimentation.


 Apart from quilting what else to you do within the industry? 
I occasionally teach workshops on a freelance basis (teaching my techniques or design). Lately I have been organizing my own, by renting facilities in a lovely historic church just around the corner. I even provide excellent lunches and it’s lots of fun. Also, I do some public speaking and presentations, and trunk shows, about my work and/or about native trees and art.

Red Maple  2008  28x32" (71 x 81cm)  Wall hanging  SOLD

Click pic to enlarge

Cotton, silk, synthetic and metallic fabrics and threads, nylon tulle. Cotton batting.

 What's the best advice you could give someone who wants to try quilting or textile art for the first time? 
Don’t let anyone burden you with rules.. if you feel excited and it’s breaking a rule, then go for it.


 Do you exhibit your work? 
Over the years I have exhibited extensively… in commercial and public galleries and plenty of unlikely places too. I love showing my work and it’s the way I connect with viewers and clients.

Buried Treasure  30x10" (76 x 25cm) 2009  $725 USD

Click pic to enlarge

Framed textile incorporating cotton, silk, synthetic and metallic fabrics and threads, nylon tulle.

 How do you go about finding and selecting galleries? 
Sometimes galleries approach me directly or via my website, but more often I approach them. First I make sure they are a good fit for my work, then I speak to other artists to find out what their experience is with the gallery. After that I follow the protocol that most galleries post on their site. I haven’t needed to do that in a few years… I now have just the right number and quality of commercial galleries.


I also do a few very carefully selected Commercial fine art shows (where each artist has a booth) – this is an excellent way to meet the public and increase my mailing list. I only do shows that are well juried and have high standards. They are not cheap, but well worth the investment.

Sacred Tree #1  12x12" (30x30cm) 2010  $425 USD

Click pic to enlarge

Framed textile incorporating cotton, silk, synthetic and metallic fabrics and threads, nylon tulle.

 Do you belong to any quilt associations? 
No, I don’t belong to any quilt associations. Although I do miss that kind of camaraderie, it’s more useful and interesting to belong to Naturalist clubs, Fine art clubs, or any groups outside the textile community. This keeps my ideas and work fresh.


 What would you recommend people do who want to seriously get into textile art? 
Hang out with artists in all media. Learn and study all kinds of things, not only textile art and techniques. Bring in every experience you have. Don’t let anyone tell you what to do and how to do it. Be very selective of your critics. Try to build a broad income base by diversifying, using all your strengths and passions.

Sumac Ridge  24x41"  (61 x 104cm)  2010  Wall Hanging  SOLD

Click pic to enlarge

Cotton, silk, synthetic and metallic fabrics and threads, nylon tulle. Cotton batting.

 What inspires you? 
Over the years, my work has become a blend of all my interests: nature, science, spirituality, literature, arboriculture, botany, environmental issues, my childhood on a farm … It’s a long list! I am best known, however, for my portrayals of native trees. Since my BSc in Horticulture, I’ve done a lot of research on culture, symbolism, mythology, native uses, stories, poems… and the more I learned, the more fascinating trees became. So that’s an ongoing inspiration.

Spring Aspen  30x15"  (76 x 38cm) 2010  Framed textile SOLD

Click pic to enlarge

Framed textile incorporating cotton, silk, synthetic and metallic fabrics and threads, nylon tulle.

 What sewing machine / threads etc do you use? 
I have 2 Berninas: an old regular one (made in Europe), and an even older industrial one. Both have free motion options. I don’t need anything fancy, just a strong motor and reliability. I use all kinds of threads, but prefer rayon for its shine and strength.

Lorraine's home studio

Her smaller scraps are bagged by colour and stored by shade. Bigger pieces are sorted into wire draws.

Below is a close up of her bagged scraps and a photo of her Hillcrest studio in the summer time.

 Do you have any formal art training? Do you think it's necessary? 
I don’t have formal art training. I don’t think it’s necessary but I’m sure it can’t hurt.


 What's the most rewarding thing about your career? 
Art is my way of sharing how I see and feel about the world. When people see it, they know something about me, much better than when I open my mouth. This makes it easier for a shy person like me to make connections and bring those fine souls my way. Everything evolves from there.


 How did you learn the techniques you use? 
Mainly through experimentation and looking at other artists’ work.


 What are your favorite / least favorite parts of the quilting process? 
Endless pinning. I don’t enjoy pinning. :(  Or putting on the sleeve at the end... (huge sigh). But frankly, there is very little I don’t love about every stage of my process.


Associated Links:


Lorraine's website 


Collage with nets technique in detail


Lorraine's book 'Saving Paradise'


Follow Lorraine workshops and artworks on her Facebook page


Email Lorraine to sign up for her workshop mailing list or to purchase art

I hope you enjoyed this interview and love to read your comments, please leave them by clicking on the 'comments' link below. –Neroli Henderson

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Titanium Top Stitch Needles – Product Review

Just tried the new Titanium Topstitch needles... and my consensus? Awesome!!!

I love Topstitch needles, they've been around for years and have made my sewing so much more easy and fun. I just recently discovered that if you blog and are the type of person who raves about a product to all and sundry when you love it, that people occasionally send you free stuff to test out :) How cool is that??!

I use Topstitch needles for about 90% of my decorative work. They were recommended to me a few years ago when I'd just started sewing and was having a horrible time with threads breaking and shredding.

One of my works using metallic and specialty threads with a Topstitch needle.

It probably didn't help that I love specialty threads like metallics and holographic foils. I use rayons a lot too because of their sheen, and they're not the strongest of threads. Using the Topstitch needles really helped and I seldom get a breakage anymore.

A couple of weeks ago I was making fabric postcards for the very first time. I used Fast2Fuse for my middle as it made a nice firm base and being fusible both sides I could just iron my fabrics straight on. I fused shapes with Heat & Bond Ultra over the backing fabric as I didn't want to have to sew around everything. This version of fusible web isn't recommended for stitching, but it is strong enough to use for applique that you can throw in the washing machine even without it.

My needle gummed up (lots), my bobbin thread (Bottom Line which I love!) broke every couple of inches, my top thread shredded and snapped. All I was trying to do was a plain straight stitch!! On top of this there was a nasty scratchy sound every time the needle went through the card. Admittedly what I was sewing through was asking a bit much of even the best sewing machine.

I mentioned my troubles on a web based sewing group and next thing I new had a little package on my doorstep of Titanium coated Topstitch needles to try thanks to Judy Hall from Punch with Judy.

I just tried them out on the same swear-inducing postcards of the other week and everything sewed perfectly!!!

It wasn't even a fair test as I used freemotion sewing (so even more pull on the thread, especially with how I change direction a lot).

I picked the most troublesome card first (below) - it has layers of curtain block out lining, Fast2Fuse (super thick stabiliser used for bowl construction etc), cotton fabrics fused with the very thick Heat & Bond Ultra, metal leaf flakes and then the whole thing is laminated behind another layer of Heat & Bond Ultra.

The new Titanium Topstitch needles sewed the circle part of this with gold thread without a single break!! So impressed as this card is thick and coated with dense fusible web. The straight stitching had kept breaking and breaking with traditional Topstitch needles.

I used King Tut in the bobbin and Madeira metallic in the top and it sewed perfectly! My needle did still gum up a little - but about a quarter of what it did using the normal needles. I was stoked so thought I'd up the ante.

I put in the Bottom Line bobbin i'd had so much trouble with the other day and tried again. Remember I said it was breaking with a straight stitch every couple of inches? Well with the Titanium Topstitch needle is was perfect. I was still using gold in the top and sewed a small heart going over my lines of stitching 5 times in a row to really test it out.

 The tech specs:  

All Topstich needles have:

• A much larger eye. This cuts down on friction on the thread as it's got more room to move, and that means less breaking or shredding.

• A longer / deeper groove that runs down the length of the needle to guide the thread, again less wear and tear on the thread.

• A sharp point.

Titanium Topstitch needles:

• Last longer - 5 to 8 times longer according to what i've read on the web. That's 40 to 60 hours compared to 8 for a normal needle.

• I haven't read anything to back this up, but my own experience shows they gum up less when using fusible web.

• Are better for very thick or multi layered stitching like my pieces above.

• Cost about $4 more a pack, but given the extra hours they last you should still save 80% on the cost of needles. (I stole that stat from the Titanium topstich needle page on Judy's website).

So after my experiment it seems I picked a good time to run out of the normal Topstitch needles and will stock up at Judy's stand at the AQC in Melbourne next week. Hmmmm maybe that was the plan all along....

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February Friday Night Sew-in and Giveaway!

After a couple of weeks of really lack lustre motivation I saw the blog linked above (click on the heading) re an online organised Friday night sew in. The idea is that you list yourself as joining in, working on something crafty Friday evening and then on the Saturday post about what you worked on with a photo.

Sounds like a timely motivator for myself! Tonight I did manage to clean up the sewing studio a little with the idea being I will get in there tomorrow and work on some UFO's. (unfinished objects) :)

If you want to join the sew in click on the link above to visit the organisers blog!

My spell checker is telling me I can't spell lustre or organiser because i've used the Australian English spelling. Makes me wonder what other UK / aussies etc do when they blog. If you're not someone who lives in a US english country - what spelling do you use when blogging on the world wide web?

Tips for quilting on a domestic sewing machine.

 1. Make the work surface slippery!   This helps the quilt to glide and means you don't have to support it's weight yourself. There are a couple of ways to do this:

• Use a spray like Mr Sheen liberally. I apply a few heavy coats over my entire sewing desk and leader table. I even apply it around the base of my machine being careful to apply to a rag first so it doesn't get inside the machine.

• Tape a teflon sheet or a commercial self adhesive quilting mat to your work area. (Sew-slip is one that springs to mind). If you use teflon cut a small hole for needle clearance.


 2.  Take up the weight!  If your quilt is large make sure you have something to your left to take up the weight, ideally the same height as you sewing table. This stops it dragging. If your sewing table is too narrow to have the entire quilt over it then position another surface behind. An ironing board lowered makes a suitable leader or behind the desk surface - even better if you can make the top of it slippery.


 3. Bunch your quilt.  Some people roll the quilt up leaving the work area flat, however i find this is bulky, adds too much weight, and if it hits anything your work will be very jerky. I prefer to gather it up leaving only the area you are about to work on flat - so it looks like the ripples of a pond when you throw in a pebble. This allows enough slack on every angle for you to move the quilt around without it dragging or catching.


 4. Stitch in the ditch tips:   This style of quilting is handy if you're not sure what design to do or lack confidence with free-motion, however I find it more difficult due to the need for accuracy. You can make it easier by using a 1/4 inch foot with a guide in the centre that runs along the seam line and by using a finer weight thread that's less visible if you do make a mistake. Mono-filaments (clear plastic threads) are now made in polyester and are softer and easier to sew with then the older nylon versions. However I like superior threads 'bottom line' - a very fine thread created for bobbin use but strong enough for quilting and even piecing. The khaki and ochre colours blend well with almost any mid coloured fabric.

For larger quilts only position a smaller section under the needle and sew to that point before moving the quilt and sewing again. This stops the drag pulling you out of line.


 5. Test!  Always check you current machine and thread settings on a test quilt sandwich that has similar batting and fabrics to what you are going to sew. I do this every time I have re-threaded the machine just in case there's a problem. This solves so much unpicking and allows you to fine-tune the tension as needed.


 6. Play!  For free-motion sewing always do a test with a few twists and turns, corners etc before sewing on your quilt. If you are going to do a set style be it stippling or a motif like a repeated leaf pattern make sure you do some of this style on your test to get into the swing of it.

Other free-motion tips are:

• make sure the top tension is lowered and that your bobbin isn't too tight either. The thicker the thread generally the looser the tension to allow movement without pulling on the thread.

• some threads break more easily then others, if you're wanting to use a thread like rayon or metallic don't be put off. Instead try a top-stitch needle which has a larger eye allowing it to have freer movment. A thread stand can also really help - even try putting the thread in a cup behind the machine and then feeding it through if you don't have one on hand.

• some machines are more finicky then others. Take the time to get the tension as perfect as possible on your test sandwich. Everything is easier from how hard you need to push the quilt around to how often your thread will break (hopefully not at all!) with correct tension.


 7. Get a grip!  Quilting gloves with rubberised finger tip pads really help - you can then lay your hand flat on the quilt and not have to have it in a vice like grip. There are also C shaped hoops available with handles and non slip rubber on the bottom that allow you to just place them on top of the quilt - then you just gently steer these about. Handy for people with arthritis and back pain.


 8. Good posture    prevents fatigue and pain. When you get tired you're more likely to make mistakes or try to do a rush job. A cushion behind to push your forward, a chair with arm rests adjustable to the sewing surface or even sitting on a fit ball can all help. Make sure the chair is at the correct height and use a foot rest for the presser foot if your desk is too high and you can set the chair to suit that.


 9. Take a break!    Look out the window and focus on something far away for a few seconds, shrug your shoulders or take a quick walk. I have an iron that beeps every 10 minutes, it's a good reminder for me to get out of the chair and walk over to it. It can be annoying (actually it often is!) but since I have a bad back it's invaluable too.

 10. Practice!   Really does make for much better quilting. Get used to the feel of the fabric and before you know it you'll immediately be able to tell if the tension is off, if you're sewing through more layers then you intended (it just feels different!) and get really smooth stitches.

 11. Choose the batting wisely.     I like full puffy quilts. However I sew on a standard size domestic sewing machine, so if i use something bulky, puffy or dense it can get stuck in the machine throat. For larger quilts I tend to use something like Matilda's own 100% cotton wadding. It's thick enough to still give evident quilting lines and washes well. It's thin enough that I can fit even a 2m wide quilt easily on my machine and still do creative free-motion quilting.

Hope these help! Let me know how you go, and if you've got tips to add please leave comments.

Neroli

'Scattered' Quilt

I began this quilt in Feb at the AQC in Brenda Gael Smith's improvisational piecing class. It's a basic block design that's been repeated but all cuts are freehand and size varies from block to block. The tricky bit for me was adding spacers and getting them all to fit into basic rows or sections so I could join them together as I still haven't managed to perfect an inset seam (and I don't think it's lack of trying!).

Mostly cotton fabrics with some small sections of silk and satin, cotton sateen for the borders and backing (thanks to a facebook friend for recommending www.widebacks.com.au who were so quick with delivery and great value). Quilted with madeira metallics and batted with matilda's own cotton wadding.

This one will probably go up for sale on etsy since that's what i finished up making it for, though as it's my first very large quilt it will be quite hard to part with. (it's about 230 x 220 I think - that's a queen sized bed it's pictured on).