View allAll Photos Tagged Fabric Collage
flores de tela, foto y cartón.
la foto original la tomé en 2011*
flowers of fabric, photo and cardboard.
I took the original photo in 2011.
Fabric collage background with free motion embroidery on water soluble to create dimension and texture
9 x 12; mixed media fabric collage with acrylics
This collage is inspired by the rolling hills and farms of Virginia, the patchwork fields of Pennsylvania, and by the many quilt artists who create magnificent scenes with pieces of fabric. Cut and torn paper with pan pastel. I miss my family in these wonderful states terribly.
Mixed media Collage on wood. Coated with polyurethane. Used paper,fabric,and some vinyl stickers.
A collage with fabrics , papers , and illustrations. All in a wooden box for hanging.
Fabric, ceramic, glass, button, cotton lace, glue, thread, pinback
natural dyed cotton fabrics, patchwork collage, hand stitched - 23 x 24 cm
fish are cutouts. Background is layered tulles and various fabrics including taffetas and silks. Size is 21x14.Made this one for my mom also!
Fabric collage background. Embellished with 3D sea shells and urchins stitched on water soluble fabric
A handmade icon with collage papers, acrylic paints, beewax, jewlery, fabric, word buttons, angelina fibers, etc.........
Me faltaba presentar a Ende*, novísima marca de indumentaria cordobesa, para la cual elaboré ilustraciones que dan vida a diversas estampas, además de los collages que ilustran la campaña otoño-invierno :D (estos son algunos)
Los motivos de las estampas tienen que ver con el agua y la lluvia, como es un tema favorito, he disfrutado muchísimo de haberme dedicado a ellos.
Por supuesto que agradezco infinitamente a Ayelen Mohaded y Estefanía Blanco, creadoras y deidades del agua detrás de Ende* por convocarme y confiar en mí, por darme tantas libertades y dejarme volar tanto como quise!
Pueden ver la colección completa de prendas en este álbum:
En los collages, como puede verse, usé toda clase de elementos, incluso retazos de las telas estampadas. De modo que las nubes, gotas y encapuchadas que pueden verse son de tela - Espero disfruten de los collages, tanto como yo al hacerlos porque me divertí mucho!
Para obtener las prendas pueden contactar a Ende* directamente, a través de su página en facebook: www.facebook.com/endebyende, se reciben pedidos de todo el mundo*
Espero que de ahora en más lo que llueva sean pedidos para Ende*, que la ropa es tan hermosa y sus creadoras tan adorables que se lo merecen largamente!
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
I'm very proud to introduce you to Ende *, new clothing brand from Córdoba, Argentina - I've made some illustrations for them that give life to different prints, as well as these collages illustrating the fall-winter campaign :D (there are more!).
The motives of the stamps have to do with water and rain - as it is a favorite subject of mine, I have enjoyed a lot to have been dedicated to them.
And for that I'm endlessly grateful to Ayelén Mohaded and Estefanía Blanco, creators and deities of the water behind Ende *. Thanks for calling me and trust me, giving me as much freedom as to do what i wanted, letting me fly as far as I wanted to! You can see the entire collection of Ende*'s items here: www.facebook.com/media/set/?set=a.537218999654606.1073741...
As you can see, I used all kinds of elements for my collages, even pieces of print fabric. So all those clouds, drops and hooded girls that can be seen are all fabric made (:
I hope you enjoy collages as much as I did when doing them 'cause I had so much fun!
To buy any item from Ende * you can contact them directly, through their facebook page: www.facebook.com/endebyende
Of course they receive orders from all over the world!
These clothes are so beautiful and their creators so adorable that they deserve orders to rain haha!
So what really NEW ??? ~
Designs for wool: rugs & fabrics. Collage.
Happy safe stay in internet.
Thanks for visiting.
Copyrights (c) Nira Dabush.
Acrylic, ink, collage (50 x 50 cm)
The initial spark behind this was the Madonna by Sandro Botticelli which reminded me of something that would have been commissioned by a merchant's or sailors guild. I did not want the specific religious aspect so I removed the Jesus and replaced it with a conch.
I generally don't want my paintings to be tied to a particular meaning or message. I'd rather set up a framework for the various elements to contrast, collide, co-exist and get to know each other inside the painting. Above all, I want to be able to invite the viewer to pick up on clues and intentions and add their own ideas and thoughts to the piece.
I collage (glue) bits of printed paper, photos, gold leaf and illustrations on before, during, and after the painting and drawing gets done. I use the collage as if it was just another thing in my artist's box of tricks.
I knew I wanted this one to have the Madonna as a sort of wandering sea-bride amidst an archipelago of strange and unfamiliar culture. I was also thinking of a favourite painting of mine, 'Landscape with the Fall of Icarus' (c.1555) by (probably not) Pieter Bruegel. From this came the ecstatic and over-ambitious raptor flying towards the sun (in this case the moon) and Icarus and Deadalus falling on the other side.
The moon is painted on top of a catholic devotional text. There are so many meanings attached to Renaissance religious imagery and the paraphernalia associated with catholicism, that including them can be tricky, and give off an over-ecclesiastical odour. It is like salt in chowder... it can give it good flavour or it can ruin it.
I'm not religious anymore but I can't resist the ostentatious and luxuriant trappings, the tortured ecstasy, the gilded signposts to heaven, the power, the glory.
"...Catholicism tells you at a very early age the world is not what you see; that beyond everything you see, and the appearance – or the accidents as they're known – there is another reality, and it is a far more important reality. So it's like running in the imagination." -Hilary Mantel
There's a current running through my work of historical exploration, the age of Columbus, Cook and Cortes. What they saw and what they expected to see when they arrived into a bay or archipelago beyond the known experience, the strangeness of the flora and fauna, the alien systems of worship...and what the soon-to-be-colonised or conquered people felt. I like the mixture of genres in certain Renaissance painting, and the hierarchy of events, and mixing all this up in my paintings, placing modern buildings like the Gherkin in there, so the whole thing doesn't become an homage. Also placing the 'life-goes-on' things like the bird- feeding and plants growing, the cycle of nature, the habitats, the settlements, creating an environment that exists solely inside the painting like an aquarium.
The materials used include ink, acrylic paint, watercolour, gold leaf, found paper, and printed paper. The central plant is a pink flowering tree peony (Paeonia suffruticosa), rising out of a mound of gold leaf and gold ornamentation on printed paper.
The printed papers I use are of Japanese origin, which I source from Carta Pura in Munich www.flickr.com/photos/kasaa/4330976492/ The red, blue, black and white chequer-board and wave and flower patterns come from here.
Some buildings come from Renaissance frescoes, old views of Siena, and current affairs publications. The 'tree' to the right of the 'apple' tree uses part of Kandinsky's 'Cossacks' www.artrepublic.com/prints/9578-cossacks.html , and the red dog by the lake on the right comes from H. Bosch's 'The Conjurer' www.oceansbridge.com/oilpaintings/product/93995/theconjur...
I like both the above artists as their work invites the eye in on a journey around the painting, and what happens around the fringes of the work is often treated with equal importance.
Some of the clouds are from fabric patterns, and the text in the sky comes from early Christian Irish devotionals. The Gaelic script comes from an Irish printed book from the turn of the century from my father's things, and the plant b/w drawings come from an old botany manual.
The cat and the bird inhabiting different parts of the painting are there as competing elements in a food-chain or hierarchy of interests, and to provide an element of tension.
Seeds, pods, and earthy vegetation. The skeletal beauty of Autumn. This is a fascinating time to explore gardens and meadows.
There is a collage-like patchwork of fabrics stitched together with free-motion machine embroidery. The silhouettes are also free-motion machine embroidery. If you look closely you'll see gold thread and floating seeds in the air (looks like stars).
8" x 10"
17" x 21" framed
I just recently purchased the book "Seedheads in the Garden" by Noel Kingsbury, photos by Jo Whitworth. It is a celebration of grasses, weeds, seedheads, pods, stems and silhouettes. It's a reminder for me to go out and draw.
lots of snippets of vintage fabric, stitched together to make sweet bird
14 x 11; mixed media fabric collage with acrylics