Inspired by Georgia O’Keeffe

There’s a wonderful exhibition of Georgia O’Keeffe’s work at Tate Modern at the moment. She is best known for her flower paintings, which are indeed wonderful – you can almost feel the blossoms unfurling before your eyes, the strong lines offset by gorgeously subtle colour gradations.

Georgia O'Keeffe, Jimson Weed No 1, 1932
Jimson Weed No 1, 1932

(Interestingly, O’Keeffe always denied the interpretation that her flowers were representations of the female body. This idea came from her husband, photographer and gallerist Alfred Stieglitz, who tellingly wrote: “Woman feels the World differently than Man feels it….The Woman receives the World through her Womb. That is her deepest feeling. Mind comes second.” OK, this was written in 1919, but some might say that attitudes towards women artists (or indeed women in general) haven’t changed much since then. 🙂  )

But I digress. One of the new discoveries for me in this exhibition was her charcoal work. Two early pieces, Special No 9 (1915) and No 15 Special (1916-17) seemed to glow on the wall, while her Eagle Claw and Bean Necklace from 1934 just blew me away with its precision.

Georgia O'Keeffe, Special No 9, 1915
Special No 9, 1915
Georgia O'Keeffe, No 15 Special, 1916-17
No 15 Special, 1916-17
georgia-okeeffe-eagle-claw-and-bean-necklace
Eagle Claw and Bean Necklace, 1934

There are lots of other great works, but in the last room Sky Above the Clouds III (1963) made me think of ombre indigo, which inspired me to try making a nuno felt piece.

Georgia O'Keeffe, Sky Above the Clouds III, 1963
Sky Above the Clouds III, 1963

I started by making a small sample using ombre indigo dyed cotton scrim topped with natural merino. After making this I wondered how it would look in reverse, so I made another sample with the scrim on top.

blue and white nuno felt ombre samples

I then did a small straw poll on Twitter and Instagram, asking people which version they preferred. As so often happens, opinion was divided! There was probably a small majority in favour of scrim on top – but then one person said that they liked them both and couldn’t I join them together?

So after a bit of re-engineering, here is the final work in progress.

ombre-hanging-3

On a larger scale in a portrait format I didn’t think the elliptical shapes would work, so I went for a repeating grid of circles instead, despite misgivings about being able to make them regular enough.

blue and white nuno felt ombre wallhanging

I also added some white tussah silk to the plain white circles for a bit of extra texture, which you can just about see in the detail shot below.

blue and white nuno felt ombre wallhanging detail

Georgia O’Keeffe runs at Tate Modern until 30 October.

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9 thoughts on “Inspired by Georgia O’Keeffe”

  1. I love this piece. The negative/positive works beautifully and the circles are better for the hand cut look, any more regular and they would look machine cut. It gives the work movement and works very well with the subtle colour gradation. Really lovely! I also loved her charcoal work and I am going again next weekend cos once is not enough for me!!

  2. This is great Kim, both the finished artwork and the process that’s brought it about. I love the ombré effect. I also enjoyed the Georgia O’Keeffe exhibition with my daughter Alex and may go and visit again before it closes. We didn’t manage to look at the new building either, so that’s still to do. The Shetland fleece I have for you was almost dry in the garden, but I didn’t bring it in last night and now I can hear torrential rain outside! Ah well, it’ll be another rinse!

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