Connecting and Interpreting : Story #1 from the ATASDA Collaborative Golden Cape

'Imitation is the highest form of flattery" - or is it? In art, there is always speculation about how much you are influenced by another artist's work .... can we measure  the amount of inspiration,  interpretation , collaboration or outright copying in an art work? What makes an art work truly original? 

 Let's not get into the discussion of copyright and the grey areas of  appropriation, imitation, and plagiarising.  Perhaps there are not so many questions when the medium used  is different from the original or when you are in the business of making reproductions.  (like my Van Gogh socks pictured above) ? 

Why has this topic been on my mind ? 

In a recent textile art challenge, set by ATASDA ( Australian Textile Arts and Surface Design Association), current members were asked to respond to artworks created by members from past  years , to commemorate the 50th anniversary of the group in 2024. Each of the small artworks would then be appliqued onto a golden cape 

Here's the brief .... 

Do you want to make history?

 

The Golden Cape is a new collaborative project for ATASDA members. 50 present day members will each receive an image of one of 50 yesteryear members artworks, to use as a muse, to create new artwork based on the past. Inspiration can come from textures, colours, style, design, subject, culture or history of the original artwork. (from  https://atasda.org.au/50-years-of-atasda) 

This was a great idea to celebrate a group  significant anniversary. Thanks to all who worked to put it together - not an easy task when members are scattered throughout the country.  The 50 images of past artworks were displayed in a members only section of the website and registration was completed  after a choice was made. Of course, permission to use the images was granted by all the artists concerned. 

I chose a beautiful work  created in 2014  by Jane Bodnaruk - True Colours, Past , which at first reminded me of my recently deceased mother and her love of domestic linens and net embroidery. 

I found  starting this exercise far more challenging than I first imagined.  It seemed such a formidable task to interpret and respond to another artist’s work, even more daunting when you know the original artist and are familiar with her work. The challenge for me  was  to respect, appreciate and celebrate the original without slavishly imitating it and staying true to my own style , so I thought the best way to  approach this was to contact the original artist, Jane, who, as expected, was very  generous in sharing her story and memories of the artwork.... 

When I spoke to Jane about the work, she told me she created this piece during an intense year of visiting her mother in Queensland, and  I had also  just experienced  a challenging year with my mother  in Queensland , so it seemed there was already an emotional connection to this work we  were about to share. 

Jane said : It was one of two pieces based on a sandwich tray doiley. Both new pieces are the size of a pillow case ... I just did what  I knew at the time. The colours of the other piece were bright , for the future, and this one was faded, fragmented for the past. The background is machine stitched circles, so the muslin was distorted . I used white shell patterns as a reminder of the patchwork I had been doing.... 

( from a message exchange between Jane Bodnaruk and Wilma Simmons ) 

Original doiley 2014  ; Image, courtesy of Jane Bodnaruk 

Original work in progress 2014  - Image courtesy of Jane Bodnaruk 

Completed original work2014  - Image, courtesy of Jane Bodnaruk 

Now, with more confidence, I tried a few different colour combinations and techniques , maintaining the clamshell shape as a highlight.... 

Sample 2023 - Wilma Simmons 

Template 2023 - Wilma Simmons 

 My "re -interpretation " finally  included  choosing one of the original colours as the background , and as an acknowledgment of Jane’s continuing love of repurposing abandoned linens and clothes , I cut out and appliquéd the shapes from recycled embroidered doileys , to include the floral elements . 

Work in progress x2 2023 - Wilma Simmons 

Rather than use lace or create a free machine stitched net which were my first thoughts, I finally settled on hand stitching organic blanket stitch around the shapes to achieve a random lacy look and added a few seed beads for some more texture. 

Completed work 2023 - Wilma Simmons 

Even after finishing , I was still apprehensive , unsure if I had met the challenge, but more anxious  about showing  my respect and admiration for the original artwork and ensuring that the new work was not a mere copy. 

2014  "True Colours Past " - Jane Bodnaruk and "Anniversary Flowers" - Wilma Simmons 

The finished golden cape will be on display at various locations in Australia during 2024 -2025. 

To see  more of Jane Bodnaruk's work - https://www.instagram.com/janebodnarukart/

To see more of Wilma Simmons' work - https://www.instagram.com/empress.wu.designs/