Lorraine Roy
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C.V.
For
just over 20 years, I have been working with textiles in non-tradtional
ways. By using a unique mixture of techniques like sewing, collage,
embroidery and quilting, I integrate thousands of bits of fabric
and threads with fine transparent tulle and machine stitching.
The results combine my passion for science and spirituality while
exploring the earthy origins and surprising versatility of fabrics
and threads.
My formal education in Horticulture and subsequent research
have become a never ending source of inspiration for my tree and
plant images. From the start I enjoyed combining high representation
mixed with symbols from dreams, memories, and mythology. Lately
I have been experimenting with abstracted images, a form that
I am finding more and more fascinating with each new breakthrough.
I continue to achieve more and more painterly freedom with fabrics,
where my main inspirations draw from raw nature and the world
of the fine arts.
MY
TECHNIQUE:
COLLAGE
WITH
NETS
The
technique
that
I
call
“collage
with
nets”
has
its
roots
in
my
love
of
hand-embroidery.
Needlepoint
was
my
first
love,
and
while
my
earliest
pieces
were
compelling
and
rich
I
always
felt
impatient
because
I
had
so
many
ideas
and
wanted
to
work
in
a
larger
format.
I
embarked
on
a
quest
for
a
technique
that
would
not
compromise
intensity
of
colour
and
texture,
while
allowing
the
freedom
of
line
and
shape
that
exists
in
the
world
of
painting.
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.
The
finished
surface
is
then
quilted
with
felt
or
cotton
batting
to
enhance
the
textures
and
lines.
I
do
not
frame
my
works
behind
glass
as
this
compromises
the
richness
of
the
fabric.
All
the
pieces
are
suspended
with
a
wooden
bar
at
the
back,
and
anchored
to
the
wall
by
one
or
two
small
nails.
The
sources
of
my
materials
are
many…
fabric
stores
supply
most
of
my
ground
materials
but
I
also
routinely
visit
second-hand
shops
and
knitting
stores.
My
friends
who
sew
give
me
their
scraps
(so
hard
to
throw
away!).
Over
twenty
years
I
have
accumulated
a
huge
collection
of
bits
and
pieces
from
all
over
the
world,
some
of
which
are
still
waiting
for
the
perfect
moment.
The overall effect is much like a pointillist or impressionist
painting. Over time I have developed this technique to the point
where I can now produce almost any image that can be painted or
drawn. With a thumbnail drawing as a guide, I work on the surface
as it slowly evolves and the ‘reality’ of the material
speaks to me.
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