Art Kaleidoscope

Between art and craft

Category Archive: Textile art

Fabulous patchwork by Suzdal textile artist Maryana Zolotova

Christmas Angel. Fabulous patchwork by Suzdal textile artist Maryana Zolotova

Christmas Angel. Patchwork, application, three layers, sintepon, quilted. Fabulous patchwork by Suzdal textile artist Maryana Zolotova

Fabulous patchwork by Suzdal textile artist Maryana Zolotova
Today the art of patchwork is experiencing its second birth. Many craftsmen raised this type of needlework to an unprecedented height, studying and developing such ancient and ever-new patchwork.
Born in Suzdal, talented craftswoman and textile artist Maryana Zolotova lives and works in this city. In 1990 she graduated from the Suzdal Art Restoration School, where she studied watercolor, oil and pastel painting techniques. According to Maryana, love for patchwork appeared in the school. First, she sewed a cadaver crow for a friend for her birthday. Then a big monkey appeared, and a little caricature doll for a teacher. “I will never forget my first mini-exhibition at the school. It consisted of 10 toys, and I was proud of myself. Organized by my teacher Olga Grigorievna Knokova, she played a big role in my creative life”. Later, when Maryana became a mother, she sewed clothes for the child, decorated them with applique and patchwork. In addition, she continued to make dolls in national Russian costumes.
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Mysterious felted creatures by Alexandra Petrova

Mysterious felted creatures by Alexandra Petrova

New winter, 2017. Figurine in a mixed technique. Materials – wool, wire, acrylic paints, chiffon, self-curing plastic, floss, embroidery. Mysterious felted creatures by Alexandra Petrova

Mysterious felted creatures by Alexandra Petrova
Russian artist Alexandra Petrova (pseudonym Voronikha) began to create felted creatures in the technique of dry felting since the spring of 2007. Petrova graduated with honors from St. Petersburg University of Technology and Design with a degree in Decorative and Applied Arts. The master lives in St. Petersburg, and, as she writes about herself, “I periodically disappear in the forests of the Pskov region.” It is in the forest that she draws inspiration from her mythological creatures. The names of these animals are no less mysterious than the design. For example, the Mistress of Mists, the Mistress of Summer Days, the Collector of pine needles, the Forest Evening, the New Winter, Summer Warden of Winter, etc. Her toys periodically participate in various exhibitions of applied art.
Along with the felted toys, she began to sculpt the creatures of self-hardening plastic (from the end of 2011). Made in a single copy, for each creature the artist used various additional materials – wire, glass, beads, plastic, etc.
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Lyla Mori spooky symbolic embroideries

little bat with onyxes for eyes, hanging off a branch growing quartz crystals, up against a starry night sky. Lyla Mori spooky symbolic embroideries

A cute little bat with onyxes for eyes, hanging off a branch growing quartz crystals, up against a starry night sky. Lyla Mori spooky symbolic embroideries

Lyla Mori spooky symbolic embroideries
According to the talented artist Lyla Mori (aka moonflesh), October is her favorite month. Born in October, this probably influences all her creativity and in particular, way of life. Undoubtedly, the gallery of stunning Gothic mini embroidery pieces is a truly work of art. Besides, her art is exquisite and inspirational, and behind each embroideried piece is an interesting story. For example, a stunning collection of embroideries with willow branches and urns titled “Sacred”, inspired by the gravestones in Salem’s Burying Point Cemetery.
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Slavic faceless folk doll magical power

A mother and a daughter, Russian handmade dolls. Slavic faceless folk doll magical power

A mother and a daughter, Russian handmade dolls. Slavic faceless folk doll magical power

Slavic faceless folk doll magical power

Why does the Slavic folk doll have no face? Indeed, the traditional rag doll is faceless. As a rule, not indicated, the face remained white. Meanwhile, a faceless doll, as an inanimate object was inaccessible to the evil, unkind forces to get into it, and therefore harmless to the child. In addition, it had to bring him well-being, health, and joy. It was a true miracle: from several rags, without additional details – hands and legs, without a designated face, the master managed to produce the character of the doll. The doll was emotional, it could laugh and cry.
In fact, in ancient times, the dolls had another purpose, it protected from disease, misfortune, and evil spirits. The doll took care of a man, and was called: guardian or bereguinya. As a rule, the most protective were dolls, made without needles and scissors. Also, creating a doll, a master avoided cutting the fabric, instead, he/she used to tear it. That’s why such doll sometimes was called “rvanka” (from the Russian word “rvat'” – to tear).
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Hungarian folk art embroidery Matyo Roses

Hungarian folk art embroidery Matyo Roses. A couple in traditional embroidered costumes

A Hungarian couple in traditional embroidered costumes. Hungarian folk art embroidery Matyo Roses

Hungarian folk art embroidery Matyo Roses
First of all, any folk art closely connected with life, the nature and the history of each people. And the stunning national Hungarian embroidery is certain recognizability, brightness of colors and variety. Meanwhile, each region of Hungary embroiderers bring their own characteristics to it. There are two types of this embroidery – matyo and kalocsi. Matyo is characterized by a black background on which embroideresses embroider with bright silk threads bright floral patterns. The matyo embroidery is easy to recognize by a large rose located in the center of the picture, around which smaller embroidered motifs, each of which has its own significance. In addition, the colors of embroidery bear special significance. In particular, yellow means sun, black – the strength of the earth, blue – sadness, green – mourning. However, in Kalocsi embroidery – the predominance of natural motifs. Initially, the craftswomen used only white thread for this embroidery, but gradually they added other colors. By the way, now there are 27 colors. The basis is white flax. Besides, each color has its own meaning: red – youth, flowering, yellow – the sun, and a combination of blue and violet – mourning.
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Zara Merrick exquisite textile art

Colorful Owl, each feather hand stitched. Zara Merrick exquisite textile art

Colorful Owl, each feather hand stitched. Zara Merrick exquisite textile art

Zara Merrick exquisite textile art – colorful canvases depicting birds – from formidable owls to wavy parrots. Indeed, textile is a multifaceted material. And in the hands of the talented textile artist and jeweler Zara Merrick, the scraps of cloth are transformed into real piece of art with intricate detail. English artist and craftswoman Zara Merrick often uses old fabrics from her own collection, and constantly replenishes it with vintage and new fabrics from antique French and English fairs. However, according to Zara herself, it is embroidery that makes the product complete. “I like to feel how a piece of flat work turns into something tangible, filled with various textures and patterns”, she says. Meanwhile, it takes her about a month to completely finish such a panel about 70 cm high. But the result is definitely worth it! “Sometimes I myself am amazed at how I manage to create something like that,” Zara admits. Anyway, the love of creativity does not allow her to stop on what has been achieved.
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Lesley Richmond Textile Trees

Lesley Richmond Textile Trees

Lesley Richmond Textile Trees

Lesley Richmond Textile Trees

Intricate patterns of interlacing branches, treetops, shape and density of the foliage create a special tree architecture. This very architecture has become the main inspiration for the British textile artist Lesley Richmond. She spends some time with her camera in the forest, fully absorbed in communication with the giants of the vegetable world – trees. Most of the trees in the winter lose their leaves and reveal to her the mystery of their fate. Curlicue trunks and branches are able to tell Lesley Richmond, an experienced observer, about the most important stages of the tree life, tell about the conditions in which the tree grows. For Lesley Richmond every detail is important, nothing remains unnoticed. All she has to do after observation – to document the details with a camera, then transfer images onto textile by printing them on cloth; next important step – eliminate the selected background areas, and finally, paint with metal patinas and pigments.
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