CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
TEXTILES
"'
An abstract submitted in partial satisfaction of the
requirements for the degree of Master of Arts in
Art
by
Diana van Ha I I
...------
January ,. 1976
The abstract of Diana van Hal I is approved:
California State University, Northridge
December, 1975
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ABSTRACT
TEXTILES
by
Diana van Hal I
Master of Arts in Art
January, 1976
My imagery emerges from an internal searching rather than from
external stimulation.
intuitive way.
I work with dyes on fabric in a very personal,
have chosen
fabric~
and specifically velvet, be-
cause I was drawn to the lushness of its surface and the way In
which the dyes reacted on it,
I rarely work from a preconceived
idea, or plan in advance, or select a particular palette.
statement made by Else Giaque reflects my attitude:
A
"At the basis
of everything there isn't only a simple technique, but fantasy,
creativity.
It is from this gift, this light that any new work
springs."
I am interested in keeping the pieces scaled to the size of
wal Is of homes rather than larger architectural environments.
works need to be viewed in a more informal setting.
My
They have
in·rricate patterns and designs and the Immediacy of close viewing
is a necessity.
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The surface of the velvet is texture·d and sensitive to I ight
changes.
The dyes are transparent, and as they are applied to the
velvet, luminous overlays of color develop.
The textured surface
of the velvet itself adds a dramatic quality to the pieces.
Great
depth and contrast of color is made possible using the vibrant
dyes on this
l~xurious
fabric.
I find the surface of the velvet
receptive to dyes and its softness appealing.
The experience of
working in this medium is satisfying and sensual.
I apply the dyes directly to the fabric with wood blocks,
brushes or squeegees.
of color is virtually
The dyes are permanent and every application
irreversi~le
because the transparencies permit
the bottom images to affect alI the other layers of color and pattern.
This aspect makes the work challenging and often frustrating.
On
the other hand, by having to overlay color to achieve the impact I
desire, I often get depth and luminosity nearly impossible without
many overlaying color areas.
My work in applique requires a different technique and allows
me more play with the fabric.
I stitch pieces of fabric I have
dyed onto a printed or textured background, creating a rei ief of
fabric defined by stitched patterns of thread.
The effect I strive
for with the appliques is the build-up of an opulent, multi-layered
surface- with a flow of different colored and patterned fabrics
and threads forming a rich and yet unified statement.
Color and design are the most important components of my work.
Rich, luminous colors forming patterns create a sensual appeal to
me.
Although each piece makes a separate and distinct statement,
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feel the totaf body of my work has a continuity of attitude which is
a positive affirmation of the creative experience.
The emphasis on
spontaneity, on the simultaneous contrasting effects of color inter~ction,
on mood, rather than on the formalistic compositional content
is the essence of my statement.
v
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