woad sprout - day three
skip to main |
skip to sidebar
musings, investigations and research into creating a sustainable batik practice
Robin Paris
I learned to make batik outdoors under a thatched roof with my feet in the sand. There was no electricity to heat wax or running water to mix dyes, rinse fabric or boil out wax. But there was plenty of laughter, energy and creativity in that Malaysian workshop. It was the early 1990s and my destiny was discovered. Since 1992 I've lived in a moorland village in Cornwall (Britain). I have all the trappings of western life available to make a living in batik – electricity and water on tap, dedicated batik suppliers, arts agencies for support, funding and marketing, commercial galleries and exhibitions, local, national and international contacts, networking and conferences, and more. My passions – nature, environment, ecology and our place within them - are reflected in my work and life. Traditional cultures and the role of art in their societies and its relationship to sustainability also motivate me. Consideration of all these things together has led me to analyse and investigate my own practice, attitude and contribution as a batik artist to our sustainable futures.
Labels
- ancient wisdom (20)
- batiks (6)
- carbon (and ghg) (16)
- chemicals (8)
- cornwall (18)
- cotton (15)
- dyes - chemical and synthetic (20)
- dyes - other natural (2)
- dyes - woad and indigo (22)
- exhibiting (4)
- learning (14)
- materials (15)
- natural resources (30)
- nature (30)
- pledges (6)
- practice (25)
- professional practice (11)
- reduce reuse recycle (24)
- renewable energy (5)
- resources (12)
- slow art slow life (7)
- studio environment (16)
- teaching (2)
- technology (5)
- transport (10)
- water (10)
- wax and other resists (14)
- what is art? (13)
- what is sustainability? (20)
Artists and Sustainable Practice
Art and Sustainability Blogs
Sustainability Resources
Influential Books
No comments:
Post a Comment