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Shades of Place

20/3/2021

 
Picture
Tanekaha leaf & muka dyed with it
If I were going to write a book on natural dyes, using NZ native botanicals, this image would be the cover. 

This time of the year, December to March/April, has become our 
season for natural dyeing using our NZ native botanicals. 
It's warm, the days are long & summer in to autumn is when the plants we use seem to be at their best.
Birds (& most insects too I think) are past the busy time of their breeding season & if there is an abundance we feel it's ok for us to be gathering plant based resources*
L to R clockwise: leaves of Hīnau, Tōtara & Tānekaha, Tawa berries
Tanekaha leaf & muka dyed with it
pH changes of Tawa Berry dye bath
So far this season we have made several dye baths from different parts of 4 different plants**
The first two dye baths were made from leaves of Tānekaha & Hīnau.
We collected the fallen leaves from under the trees.  
We dyed white cotton calico, muslin netting & muka in all the dye baths.
we also dyed a few odds & ends which I've mentioned separately in the relevant section.
Tānekaha leaves
Tānekaha leaves + ash
Hīnau leaves
We’ve pretty much duplicated the colours we obtained last year; beautiful reds from the Tānekaha especially when they shifted with the alkaline of ash & an earthy, brownish yellow from the Hīnau. ​​
L to R: Tānekaha, Tōtara, Hīnau
L to R: Tānekaha, Tōtara, Hīnau
Tōtara
The third dye bath was from the green prunings of some young Tōtara. 
This dyebath took quite some time before there seemed to be enough colour within it & finally after 5 days we obtained beautiful soft peachy colours from it. ​
Tānekaha
Hīnau
Tōtara
As part of the exploration we put some fabric & muka from these 3 in to paru***

​We obtained brown, as expected from the Tānekaha & a dark grey/green black, as expected from the Hīnau. 

Initially the colour from the Tōtara after being in the paru was a gorgeous soft grey however this has shifted to a gentle brown.
​It’s an absolutely beautiful colour & I must admit it’s actually what I had anticipated we might obtain from Tōtara, simply because it’s a conifer. 

It’ll be interesting to experiment with dried branches & leaves of Tōtara in the future. ​
Tawa tree behind our shed
Tawa berries on the tree
Tawa Berries on the ground
We collected fallen berries from the Tawa trees which are behind the shed.
It’s been a super abundant season & although we’ve had flocks of kererū coming & going, coming & going, there have still been many berries falling to the ground.  

Once the berries are on the ground we noticed nothing eats them, in fact, nothing even touches them so we decided it would be ok to collect some & make a dye bath. ​
Tawa berries
Tawa berries (pH shift)
Tawa berries
Wow ! did that ever end up being a pleasant surprise - especially as the dye bath has changed with each new piece of fabric or muka we put in. 
We have obtained 5 different colours on the cellulose fibres & a completely totally unexpected colour on a random piece of silk I put in late one night ! 
There are 2 pinks, 2 greys & a purple on the cottons, muka & linen thread and the silk is almost black.
Tawa berries on cotton muslin
Tawa berries on muslin netting & muka
Tawa berries on linen thread, silk & undyed organic cotton muslin
Definitely a dye bath that is super sensitive to pH changes. 
Such an adventure & so much fun. 
With time we’ll be able to see whether the colours we have obtained are colour & light fast. 

​What’s next ? 

Picture
One of the beautiful Tawa behind the shed

​Tawa leaves next - I mean how could we not !
​We collected enough dried fallen leaves a few months ago. So no reason not to.
We got some beautiful shades last year so it’ll be nice to see what we get this year.

Maybe we’ll follow that with Rewarewa … who knows
I’ll keep you posted for sure. ​​
​

*We gather the dried leaves, prunings & berries from trees we have on our property. 
The Tawa are mature forest trees on the perimeter of our covenanted bush area. 
The other trees we gather from are all part of a wetland restoration project we started about 16 years ago when we retired a hectare of badly degraded land & started planting native trees in to that area.
It’s such a wonderful thing to be able to watch the changes over the years, to know that we have helped to create this & in return are being given this abundant resource, simply by being patient & nurturing the area back to health.

**Here's a list of the trees we've gathered from this season
​Tānekaha: Phyllocladus trichomanoides
Hīnau: Elaeocarpus dentatus
Tōtara: Podocarpus totara
Tawa: Beilschmiedia tawa 

***Paru is iron rich mud which is used for iron tannate dyeing & traditionally, by Māori, used to dye muka

are we ok ?

20/10/2020

 
down by the creek
Porokaiwhiri, pigeonwood, Hedycarya arborea flowers (male) heavenly scented
Mouku, hen & chickens fern, Asplenium bulbiferum
Pīwakawaka on her newly built nest
creating with materials that you grow or gather means you slow down
you work with the seasons
you wait, you watch & you listen

the more you wait the more patient you become
the more you watch the more you see
and the more you listen the more your world will tell you

it is profound

and on those days when the world seems so fucked up i want to scream
i walk in amongst our trees & know that our little world is doing ok
which means i’m ok too

Pare Kawakawa : Navigating Grief

22/5/2020

 
It's 12 months since I finished Pare Kawakawa & as Puanga/Matariki draws near it seems appropriate to reflect & share.
I've never been able to write about this work here & yet I have shared it elsewhere.
It hung in our LTTL exhibition last year & it's in a book ! 
I dunno.
Sometimes these things are just too close. 

Pare Kawakawa is in the studio with me.
It keeps me company.
It sits adjacent to the high south facing window & through the window I can see the sky.
A sky just like any other day. 
Picture

this is what I wrote in May 2019 when I completed Pare Kawakawa & submitted it for consideration for publication.
‘Pare Kawawa: Navigating Grief’ is a kawakawa leaf monoprint which has been appliqued on to a fabric background & embellished with embroidery.
The materials used are cotton fabric, cotton thread & textile paints.
It is a new work which came about because I wanted to articulate the impact that the shootings & subsequent deaths of the 51 people in the mosques in Christchurch has had, & continues to have, on our nation &, of course, it has become a way for me to process my own grief.
New Zealand is a small nation & to lose 51 people in this way is incomprehensible.
When I realised I knew one of the 51 my already broken heart felt like it might explode.

I wanted this work to remember them, to represent the 51 people who have died.

I wanted the work to be quiet, to be gentle but not fragile.
I wanted it to be light; to suggest the time & the light that comes after the heavy darkness of death.
The moment when things shift, spirits lift, time expands, stretches to infinity & the mind can quieten so that the heart can remember.


​And, above all else, I wanted it to be beautiful.

I have found it impossible to write about & very difficult to talk about it. 
There seem to be too many words, too many stories & I find the words & the stories become chaotic when I try to write them down. 
My thoughts become cluttered & disorderly. 
The sheer volume of words becomes as unbearable as the grief.

When I sit & stitch I don’t question. My choices are clear & instinctive.
I simply make one stitch at a time.
I intuitively know what to do.  
I trust the process & my heart guides me. 
My mind is free to wander & when the tears come I pause to let them fall.
It will be nice when I am able to stop crying . . .  but it seems that it won’t be today.

Pare Kawakawa has been included in an anthology 'Grief Become You - a narrative of loss' edited by Maya Stein & published in December 2019
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    About
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    Hi, I'm Sally
    I'm a fibre artist who loves botanicals - especially NZ native plants
    you can find me on 
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