Tanas III, painting on silk over canvas
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$1,800.00
$1,800.00
per item
Tanas III - 23x36 th
Laura artwork now is totally focus on textile painting and printing, researching ancients techniques like Rozome from Japan and exploring the possibilities of working with organic matter, dyes, wax, ink and fluid acrylics.
Rozome japan Liquid dye on silk, molten wax and a steady hand. These are the elements of rozome. Many cultures consider fabric dyeing an art form. Historically it has been seen as clothing to designate rank or status, ritual cloth created to celebrate or commemorate life passages, soft hangings to narrate old stories of religion and myth or to depict honored royalty and even deities. In Japan wax-resist is not called batik but roketsu-zome or the shortened form, ro-zome (wax-dyeing). Japan has its own historical source flowing from the Asian continent; a flow that inspired the textile treasures stored in the Shosoin Repository of Nara for more than 1200 years. Japanese rozome is a sister of the batik of Indonesia, but the Japanese process has many distinctive techniques; a unique product of Japanese inventiveness. In current time it has grown out of the area of ethnology and decorative arts and into the field of fine arts where it has dazzled thousands with its dynamic possibilities.
Japanese Resist-Dyeing: History and Practice Japan has an ancient tradition of fine resist-dyed textiles extending over 1200 years. During the Nara Period (645-794 CE), three resist techniques flourished: rokechi (wax resist), kokechi (bound resist) and kyokechi (clamp resist). Rokechi and kokechi are the ancient predecessors of the rozome and shibori techniques that continue to flourish in modern day Japan. Along with yuzenzome (paste resist) and katazome (stencil resist), the four resist techniques are the predominant methods of surface design for textiles. In the twentieth and twenty-first centuries, these techniques have been rediscovered as vehicles for dynamic contemporary art and innovative fashion medium
Laura artwork now is totally focus on textile painting and printing, researching ancients techniques like Rozome from Japan and exploring the possibilities of working with organic matter, dyes, wax, ink and fluid acrylics.
Rozome japan Liquid dye on silk, molten wax and a steady hand. These are the elements of rozome. Many cultures consider fabric dyeing an art form. Historically it has been seen as clothing to designate rank or status, ritual cloth created to celebrate or commemorate life passages, soft hangings to narrate old stories of religion and myth or to depict honored royalty and even deities. In Japan wax-resist is not called batik but roketsu-zome or the shortened form, ro-zome (wax-dyeing). Japan has its own historical source flowing from the Asian continent; a flow that inspired the textile treasures stored in the Shosoin Repository of Nara for more than 1200 years. Japanese rozome is a sister of the batik of Indonesia, but the Japanese process has many distinctive techniques; a unique product of Japanese inventiveness. In current time it has grown out of the area of ethnology and decorative arts and into the field of fine arts where it has dazzled thousands with its dynamic possibilities.
Japanese Resist-Dyeing: History and Practice Japan has an ancient tradition of fine resist-dyed textiles extending over 1200 years. During the Nara Period (645-794 CE), three resist techniques flourished: rokechi (wax resist), kokechi (bound resist) and kyokechi (clamp resist). Rokechi and kokechi are the ancient predecessors of the rozome and shibori techniques that continue to flourish in modern day Japan. Along with yuzenzome (paste resist) and katazome (stencil resist), the four resist techniques are the predominant methods of surface design for textiles. In the twentieth and twenty-first centuries, these techniques have been rediscovered as vehicles for dynamic contemporary art and innovative fashion medium