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Fiona Rainford: From conception to creation

Fiona Rainford graduated from MMU with B.A. hons Creative Practice in 2015, 29 years after completing a City and Guilds Certificate in Embroidery.

She has exhibited with Prism Textiles since the group was formed by Julia Caprara in 1999. Fiona is also a member of Reveal:6, a small group of mixed media artists based in the north of England and a volunteer Artist in Residence at Lancashire Archives, where she spends time researching the old pattern books from local cotton mills.

In this article, which is part of our From conception to creation series, Fiona shares the research she did whilst creating her piece The Remains, inspired by an old woollen mill near Leeds. We learn about the materials and equipment used, and how drawing and taking photos helped Fiona complete the look.

Fiona Rainford, The Remains, 2016

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Stenciled and sprayed paintings by Mario Yrisarry on view at David Richard Gallery

New York Artist Mario Yrisarry opened his first solo exhibition at David Richard Gallery. Presenting abstract paintings from 1961 – 1967 that explored non-traditional methods of painting on canvas without brushes. Specifically, this exhibition maps the artist’s transition from applying paint with thick rubber mats as stencils to his razor sharp precision using airbrush to apply paint, both free-hand and with highly tailored stencils. Yrisarry exhibited regularly in New York City in lower Manhattan with Graham Gallery and O.K. Harris Works of Art as well as at Park Place Gallery as a friend of the artist collective. Inspired by jazz music, his linear applications of paint with combinations of hard and soft edges within the same composition created lyrical abstractions, while his canvas-filling patterns produced a rhythm and beat. These approaches crossed over into the Pattern and Decoration movement and garnered

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Vanishing Prairie Sentinels

Grain Elevators are all but gone on the Canadian Prairies, those that remain are being preserved by local historical societies etc. We just made a series of these for a client that gives them away as gifts. The elevators measure approximately 5 inches wide x 7 inches high.

We were fortunate many years ago to obtain Alberta Wheat Pool Stickers. The glass used for the elevator was Spectrums # 823.72 Teal Green.

For the Pioneer Elevator the glass used was Spectrum # 379.1S Light Orange and White Wispy. We had the white letter specifically made for the Pioneer Elevator.

We had the United Grain Grower symbol made and the glass for the Elevator was Spectrum # 307 Clear White Feather White.

The lettering on the Saskatchewan Pool Elevator is white and the glass used was Spectrum # 359.1 Red & White Wispy.

Designer Unknown

The post Vanishing Prairie Sentinels appeared first on Windows of the West.

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Call to Craft Artists: PROCESS, Alberta Craft Council, closes Oct 1 2017

PROCESS; THINKING THROUGH Entry Deadline: October 1, 2017 Alberta Craft Feature Gallery – Edmonton Exhibition Dates: January – April 2018 Alberta Craft Gallery – Calgary Exhibition Dates: 8-week exhibition in mid or late 2018 Process is an essential concept for craft artists as making anything, especially anything unique, entails multiple material and technical processes. When these [&hellip

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A team of French scientists crack mystery of the luckless apostles of Paris

Having lost their heads, been pulled from their plinths, smashed and even buried, things are at last looking up for some of the unluckiest statues in Christendom. For five centuries the 12 apostles looked down on the adoring hordes who marvelled at the Sainte-Chapelle in Paris, arguably the greatest Gothic edifice ever build. Standing between its spectacular stained glass windows — one of the wonders of the medieval world — they could have been forgiven for feeling smug having survived the Reformation without a scratch. But the statues were caught in the whirlwind of not just one French revolution but two, and since then history has been less than kind. Until now that is. A team of French scientists are at last revealing their original colours and forms from 1248 when they first stood guard over one of the most revered of Christian relics, the crown of thorns that Christ reputedly wore on the cross.

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