Tag: Nile Tilapia
Originally the Cartouche was going to be rectangular, but as I started to cut the pelmet vilene I’m mounting the spots on, it began speaking to me very firmly.
Long term readers know that this sometimes happens to me, and I have learnt over the years that the sensible thing to do is listen. My projects almost always know better than I what they need to thrive.
In this case, I was informed that I should make the cartouche mounting echo the curves at the top while keeping the square edges at the bottom. It wasn’t easy to do – that silk noil fabric has a way of misbehaving that would make Robin Goodfellow whistle admiringly! – but now it is done, I’m inclined to agree.
The next spot I tackled was if anything an even greater challenge – a fiddly shape (really fiddly!), in quite a light fabric, which didn’t always respond as I expected.
You can see here just how be-pinned and be-poked the poor Tilapia became! There was much clipping and snipping, muttering and tugging, before I produced something that looked at all pleasing. Maybe that’s just to remind me of the reason I did him – hearing a modern glass artist saying that he’d tried to recreate the ancient glass vessel and found it really difficult – to such an extent that even with much practice, he couldn’t expect every fish to go swimmingly (as it were…!).
So, after much cutting and stitching, tugging and thinking, I’ve mounted all the Spots around shaped pieces of pelmet vilene, ready to be attached (somehow!) to the main colour block panels of the two main Amarna pieces.
Gratifyingly, they all have much more vivid personalities than the photocopies I’ve been using to plan their placement, so I think that will genuinely work. Thank goodness!
In the meantime, I’ve got them piled up in a box, all shouting at once that they consider themselves Absolutely Splendid, and will I please Get On With It…!
There was a pause after I got the dorsal fin done. His lips and gill markings, and the pectoral fin, are all worked in blanket stitches, nesting them to outline the shapes in some cases and putting the edge where I wanted the firmer line in others.
I don’t have a dark enough linen thread for the dark of his eye, so the chain stitch spiral is of linen (the white) but then the dark is the navy silk perle I used on Nefertiti’s headdress. It works pretty well, I think. It looks as though he’s rolling a beady eye to watch someone he has his suspicions of!
I decided not to do anything too complicated for his head – simple irregular brick stitch. I didn’t want to split the threads, but I did my best to create a smooth surface.
When it came to the dragged stripes on the body, there was another pause. I knew what I should probably use, but I had to persuade myself that there wasn’t anything better. The last time I used stacked fly stitches (the fourth panel of the Persian Fantasy, which I did about twenty years ago and blogged about when I started blogging in 2010) the wretched things nearly drove me up the wall!
I think the fly stitches were better than other choices – although one of these days I may take the combed pattern as the inspiration for some Bargello work. That said, I’m not sure I like my Fishie as much as I expected to. His tail fin took some wrestling with, and doesn’t have the “flow” I was aiming for. It’s very possible that in a few months he’ll be fished out (sorry!) and reworked somewhat.
There is a glass vessel which frequently shows up in image searches relating to Amarna, a representation of a Nile tilapia fish. I saw it reconstructed by a modern glassworker in a recent programme about the art of Ancient Egypt presented by the British art critic Alistair Sooke. The glassworker said it was a somewhat unnerving technique to do, and with all his experience, and all his practice, he was never entirely confident of his results until a fish was finished,
That being the case, it seemed to me that as an example of the skill of the artisans of Amarna, the glass fish deserved to be included. I’ve found a public domain image to act as my source – and to show you what I’m talking about. I’m thinking of padding it slightly and attaching it to one of the background panels as a fish-shaped slip, rather than a rectangular patch, but we will have to wait and see what seems the right thing to do when I’ve finished.
I’m using some rather lovely vintage linen thread, bought at the recent “Sewing For Pleasure”, on a fine but sturdy cotton. I wanted something that would not require a backing, but I’m not sure that the fabric will be left to show, so I could have used some plain calico. The thread is wonderful to work with, strong, lustrous, and resilient. Much better than any linen thread I’ve ever worked with before – they’ve tended to be stiff, and a little “dead” in feel. This stuff is a delight!
So far, the stitches are blanket stitch, seed stitches, chain, stem, and feather stitch. I’m rather enjoying this!