The Cross Pollination series is happily hanging in the company of friends.
Here my 3 works are hanging beside MiSun Kim’s gorgeous ink on paper work & Howard Tuffery’s stunning andesite sculpture. 

Vital Transformations is the name of this exhibition & it is on at 'Koru on Devon' a gallery space, upstairs at 18b Devon St East, New Plymouth.

These 3 works were selected to part of ‘Vital Transformations : Mauri Ora’ which comprises 3 exhibitions held in 3 different locations in the New Plymouth CBD over the month of July. 
​The entire exhibitions feature almost 30 works by as many artists. 

Each exhibition has a different kaupapa (theme) & the works have been curated accordingly. 

It’s a quiet & unpretentious event with a message that is not immediately apparent.

The curator, Ian Clothier, has written an essay for each exhibition which hangs alongside. 
The last two images are of a couple of pages of the essay he wrote to hang with this exhibition & include his interpretation of our works.

It has been wonderful to be part of this exhibition. 
It is wonderful to be in the company of people who feel & think about environmental things with the passion , enthusiasm & love that I feel for the world we live in.

Ian's attention to detail, selection & grouping of works allows each piece the time & space for it's voice to heard.

Land lines is an exploration of what it is to be indigenous to place & a comment about the responsibility which comes with that role.

Land lines is a comment on the attitude toward land & the treatment of land in the modern context, especially regarding the industrial farming practices of rural Taranaki.
The modern context seems to view land as being useful ONLY if it can be somehow made to make, save or hoard money for individuals.

It is a comment about how the geographical & geological boundaries are no longer regarded as significant nor honoured.

It is a comment about how the rivers who originate from the mountain & who remain somewhat protected within the circular confines of the national park are completely disrespected on the other side; they are polluted, their course is altered & their river banks are denuded.

It is a comment about how the songlines have been replaced with landlines.

It is a passionate comment, without aggression but with inconsolable sadness.

Land lines was created to be my entry into the annual Lysaght Watt Art Awards which is currently on til June 10th at the gallery in Hawera.
The LWAW is hosted & funded by the trust & each year there is a theme for the submissions to comply with.
This year the theme was 'Rising'.

January weather was amazing & we spent time most of our days just hanging out & going to the beach to swim which was superb & is really all I ever want to do in summer anyway.

By the time February arrived I was well rested & ready to do some explorations into using NZ native plants for dyeing fabric & fibre.

The harakeke seed pods were at their best for harvesting for making a dye bath too & I was lucky enough to have my friend, Isla, walk me thru the process, which is very easy but it is a process which takes a few days.
Here's a link to a post on Isla's website which outlines the process we used; natural-dyeing-with-harakeke-seed-pods

In the dye bath I made from the pods I had harvested I dyed a few lengths of muka, 3xDMC cotton embroidery threads of various thickness, a 60cm square of calico, a 30cm square of cotton drill & various sized rectangles of cotton drill fabric I had cut out with a view to sewing a purl soho boxy tee.

It seems the harakeke pods are high in tannins so no surprise with the colours the cottons & cotton fabrics came out but it was lovely to see the variation in the colours of the muka fibres.

Rather than dyeing a single large piece of fabric which would have been awkward to fit in my dye pot, I pre-cut the pieces of fabric for my sewing.

What I hadn't considered was the extra shrinkage of the fabric courtesy of simmering for an hour in hot water.
I had already washed & dried the fabric BUT I do cold washes & line dry ! What a bastard trap for rookies !

I sewed up my top anyway & fortunately the pattern makes a generous size garment so the only problem area is the armhole depth which is a little too tight to be comfortable.
But I have a plan !
I think I'll open that seam, on each side, & insert a gusset just to give me a bit more space.

And now, finally, we get to the point of why I wanted to sew this particular top.
It's all about the bottom panel. Which is a separate piece.
A beautifully proportioned rectangle of fabric which lends itself to embellishment.
I was watching Sashiko Stitching taught by Lisa Solomon on Creativebug & in one part of the class she is wearing a top she has made with a sashiko embroidered bottom.

I had the fabric : I had the threads : I had the pattern I wanted to embroider & now I have a top which is the memory piece of my very 1st foray into dyeing with harakeke seed pods.