Stitchamaze Rosalyn Cherry-Soleil

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Stitchamaze Rosalyn Cherry-Soleil

My journey with needlepoint Mission:
I want to create and exhibit needlepoint that is outstanding and innovative for its own creativity, technique and emotion.

I want the viewer to experience my excitement and wonder as I create pieces. My “mission” is to create Art in needlepoint. Needlepoint, being a flat medium, governed by a fixed grid or canvas, limits the possibilities of threads that can be used and realism that can be created. I create my pieces around these restrictions, creating flow of movement, textural up and down surfaces, and I take the sh

ape and threads where I want them to be placed. I often hear, "I’ve never seen anything like this! How do you do it?"
History:
Having lived in Toronto since I was 16 years of age, I consider myself to be a Torontonian. My life began in the Northern Ontario town of Kirkland Lake, June 27th, 1938. I’ve also lived in Kitchener and London, Ontario. By the age of six I was learning to knit, embroider and create my own fashions for my cut-out dolls. I was influenced in needlepoint and knitting by my mother and both grandmothers who were talented creators. My love of knitting led me into the fashion design field. During the 1970’s I designed hand-loomed ladies’ high fashion knitted clothing under the label of Marnie Knits. I didn’t have formal training for my design, my “schools” were the fashion runways of London, Paris, Milan, Florence, Dusseldorf, New York, Montreal and Toronto. I was privileged to view the work of top designers as we bought fashions for our family business, Alan Cherry Fashions. My knits, inspired by the colours and textures of the world, sold very successfully in major retail stores in Canada and the U.S. Next, I began designing and merchandising Bridal and Evening wear for The Bridal Loft in my family business. The Bridal Loft became one of the leading, trend setting Bridal Salons during the 1980’s. In 1992 I retired from the fashion world to paint, collage, and to put my own needlepoint designs onto canvas. My work is very spontaneous and tactile. I begin with a brief concept and develop the design, textures, contrasts and surprises as I proceed. I often say that I thread the needle and the work takes on a life of its own. The materials I use consist of needlepoint canvas (usually 18 count) which I embellish with silk, wool, cotton, metallic, phototransfer, fabric, beads, velour, ultrasuede, and whatever is currently available. I’m often asked if I sell my work…. Well I haven’t considered selling my pieces yet. I just continue to fill my walls (all of my pieces are framed pictures). Considering that I like to work on very large pieces and very fine canvas, my work moves at a very slow pace. I may cover one or one and a half inches during an hour of work. That makes for a very costly piece of art. Another factor in keeping my work is that much of it is of a very personal autobiographical nature. About Canvas Collage®:
This group of my work is part of my evolving development of a combination of stitchery, needlepoint, collage and quilting techniques, all worked into the same piece. My interest in quilting and needlepoint led me to beginner quilting courses, courses on inspiration for quilting and courses in applique. That lead to my addiction to quilt stores and an ever growing stash of fabrics, books, magazines, introduction to styles of quilting, and my fascination with art quilts and crazy quilts. As you can see my taste is very eclectic. Not wanting to choose between quilting and needlepoint, I combine both. Thus evolved Canvas-Collage®. The technique I use attaches all fabric pieces to the needlepoint canvas with hand stitchery using a sharp needle and a variety of threads. I love to use photo transfer because I feel that it adds depth to the piece. The inspiration comes from the photo transfer, when used, and the fabrics. I cut the quilting fabrics to enhance the feeling and composition that I want to convey. As I begin to stitch, the piece then takes on a life of its own and truly tells me what to say. All photography by - Chris Barns

15/05/2016

Interlude

14/05/2016

Miniature Kimonos
5" x 5.5"

09/05/2016

You can watch the progress of this little fellow and his brothers and sisters.
I haven't decided on a name for this peice. let me know if you have any ideas.

06/05/2016

Seasons
I enjoyed stitching this piece while focusing on how to make the various panels integrate as one design.
Colour, textures and stitches flow from panel to panel.

This was originally created as a quilt, then adapted to the painted canvas.

05/04/2016

The Tribe

I discovered this canvas at a needlepoint shop in California. The shop's owner had commissioned an artist to copy the painting by Jon Lightfoot.

It took me ten years to complete the piece. Sounds like a very long time, and it was. In reality though, I created other pieces during the same time.

For the first 5 years, I stitched when the mood hit. After all, this was a really overwhelming task, both in size and also in the scope of artistic decisions. I realized that if I ever wanted to see the completed piece on my wall, I'd have to be more focused. An hour a day, most days made the difference.

When I stitched the faces, I began with the eyes and saw the faces come to life.
Next, I would shape the contours around eyes, nose, mouth and outward toward the hairline. I stitched with 5 strands of silk, blending several shades in the needle.

It was awesome seeing life- size stitched faces, hands, hair, jewellery, woven blankets and clothes appearing on the canvas. This motivated me to keep going.

The piece was stitched on a custom made very large scroll frame. I always keep finished work in view and not rolled back onto the frame. In this way, finished work is always protected from being crushed. Because of the scroll frame, I worked on the horizontal, completing each small segment before unrolling the canvas and revealing the next small segment.

The finished piece is 5' wide x 3' tall. Canvas is 14 mesh.
I stitched with Medici and Burmilana wools; DMC, Threadworx, Anchor cottons; all types of fine silks; Kreinik metallic, and a variety of very special beads including turquoise.

26/02/2016

Its been a long time since i have posted or updated my page but i wanted to let you all know about C.A.K.S
http://www.kreinik.com/

09/10/2014

Mother of Perle
13" x 16"

Mother of Perle, designed by Jean Hilton, represented everything that I didn't know about needlepoint and lots of what I wanted to learn. From the time that I first saw this piece on display at the needlepoint shop, I just couldn't wait to begin the workshop. The charted needlepoint design supplemented with written instructions was about to challenge my expectations of needlepoint.

The first thing that I learned in this course is how to read! Every word and chart was vital to the successful result of each stitch.

Lesson two came when my teacher yelled, "Don't you know how to count!?" The outline of sections within the design was cruitial to the later placement of the stitches. One wrong count and another stitch wouldn't fit in...a bit of a domino effect.

Lesson three was one that I devised for myself: If the count is wrong, (after trying again and again to correct it) just consider it a happy accident and improvise or compensate. Although this may sound like I am giving up, I have actually created some fascinating solutions. It's not always good for canvas or threads to keep "reverse stitching".

If you would like to read more please visit
http://stitchamaze.com/gallery-tuning/motherofperle.aspx

01/10/2014

The story of "Thanks For The Memories"
14" x 16.5"

This story takes place during a two day shopping excursion in Sarasota, Florida.

On day one, I didn't see anything that I wanted to buy. However, as I was about to leave the shop, I saw a painted canvas pinned high on a wall. "Nice," I thought, "but I don't need it." "Need" doesn't have anything to do with it. I returned to our apartment and thought about that canvas for the next twenty-four hours.

I returned to the shop the next day knowing that I would buy the canvas. Coincidently, my Toronto stitching friend, Shirli Ann was there and it was a wonderful reunion. I showed her "my" canvas and then asked the shop manager, Charles, to please take the canvas down so I could look at it more carefully. This was procrastination since I knew that I would buy it. Charles carefully removed the pins from the wall while saying, "Are you sure that you know how to stitch this?" "Shirli Ann, please tell him that I know how to stitch!" I pleaded. Shirli Ann defended my ability and this purchase has become a classic "Charles" story. The poor man gets a constant reminder of his comment at least twice every winter when we revisit the shop. Now he says. "Are you sure that YOU stitched it?"

A question that I'm asked frequently is, "Why would you stitch other people's canvases when you can do your own?"

To read more please visit
http://stitchamaze.com/gallery-orchestral/memories.aspx

01/10/2014

The story of "Young Girl Reading"
10" x 12"

For many months, when I visited the needlepoint shop, I saw a canvas that was pinned to a door. The door just happened to separate the shop from the washroom! Fortunately the canvas faced into the shop. I finally "saw it" one day when I was looking for a canvas to stitch while traveling. This canvas is a copy of the painting by Jean-Honore Frangonard titled Young Girl Reading.

My new travel piece was a delight to bring to life. It had opportunities for the intricate blending and mixing of colors that I love to stitch.
To read the rest of the story
http://stitchamaze.com/gallery-orchestral/younggirl.aspx #

19/08/2014

The Journey
22" x 22"
Whenever my artist friend Marilyn invited me to a watercolor meeting, I went. I always learned something that stimulated my thinking. On this particular night, the guest artist was demonstrating collage. She took her own paintings that she didn't like (ones that I thought were gorgeous!) and she tore them into pieces and used them to create new collages. I was fascinated. As she tore her paintings I began to see them as fabric, as if she were tearing printed fabric.

I thought, "Why not attach fabric onto needlepoint canvas?" The Journey became my first Canvas Collage.

I began by working with upholstery fabric, 12 mesh needlepoint canvas, cotton floss and Persian wool.

I cut the pieces at random and placed them on the canvas. Soon a theme began to appear. The shapes looked like a person (me probably), the head branching upward into the foliage, very flat landscape reminiscent of my visit to the Grand Canyon, and the sunset reminding me of hope and promise.

I attached the pieces of fabric to the canvas with simple couching stitches and using floss and metallic. The remaining exposed canvas was stitched with colors that matched the collaged fabric allowing the fabric and stitching to blend and flow together.

To read more please visit
http://www.stitchamaze.com/gallery-crescendo/journey.aspx

12/08/2014

"The Kiss"

20" x 29"

I wonder how I could have spent fifty years of my life without knowing of the art of Gustav Klimt and his painting titled The Kiss. My partner Lou is responsible for our introduction.

When I first saw Lou's framed print of The Kiss I just stared at it in awe. Being a student of psychology and the work of Jung, I murmured, "Look at the symbolism!" The profusion of circles, swirls, rectangles, flowers, and entwined bodies, everything in a flat dimension yet the faces and hands painted with shading and depth, left me speechless. A few years later, I visited the original painting of The Kiss at a museum in Vienna and again I just stared at it in awe. Klimt's use of gold leaf for the clothing was spectacular, and his brush stokes were bold and free. The painting was encased under a protective acrylic cover, emphasizing its delicacy.

My impetus to stitch The Kiss came to me one morning as I stared at the blank wall opposite my bed. "I need a sensuous painting in this room" I thought. The next thought was "I don't want someone else's art on my wall" followed by "I'll create my own". There was a brief interlude when I searched my mind for an idea. "I'll stitch The Kiss", I decided.

I wanted to create this magnificent painting in my medium, needlepoint. Stitching with silk, velour, velvet, chenille, beads, I would weave their luxurious garments, adorn their hair with flowers, and plant the field of flowers in which the lovers were kneeling.

I began by tracing the print of The Kiss onto 18 mesh needlepoint canvas. My first plan, to stitch within an outline drawing and not to paint the canvas, could have been fraught with problems. Fortunately for me, I just happened to find a painted needlepoint canvas of The Kiss and I bought it. This canvas painting was somewhat altered from the original, it was missing the field of flowers, her foot, and the background space on the right side. Yet I knew that I could work with this canvas, enlarge it and include the missing details.

For two years I lived with Klimt in my imagination as we created "our" piece together. We consulted on technique, interpretation, and agreed on the fibers and stitches to be used. I always asked for his approval whenever I needed to make an artistic decision.

Amazingly, the final size of my completed piece measures the same as the one that I had started to created with my own tracing, being 20"x29". The piece does hang in our bedroom and it continues to bring me as much joy in living with it as it did in the planning and stitching.

I was fortunate to have a book about Klimt with great colour images. I colour photocopied a picture of The Kiss, and then enlarged that copy into several sections until each section was very close in size to that of my painted canvas.

From these "detail" copies, I could clearly see the subtle mix of colour. When stitching skin tones I mixed various colours together when I threaded the needle, creating an optic mix of colour.

To read more pls visit
http://stitchamaze.com/gallery-orchestral/thekiss.aspx

05/08/2014

Gleneagle
18" x 18"

The story of "Gleneagle" - Soaring like an Eagle - My workshop studies continued and my courage to experiment soared. This intricate design by Jean Hilton, titled Gleneagle, allowed me to explore my colour instincts without reservation. This piece is not primarily about colour although I took it in that direction because I love working with colour.

I chose to stitch Gleneagle with a very strong colour palette and I was fascinated to manipulate the colours within the design. My teacher's critique of the finished piece was that there were two strong centers of interest.

Always wanting to be the obedient student, I tried to tame my style. I wasn't happy with the change. Wanting to be a creative artist was more important to me so I allowed myself to fully unleash that seeming excess. I realized that to be content, I must please myself first. The resulting evolution of my style now appears in my Canvas Collage designs.

To read the rest of this story please visit
http://www.stitchamaze.com/gallery-tuning/gleneagle.aspx

23/07/2014

Rhapsody
13" x 13"

2008 Callaway Gardens - School of Needle Arts - 3rd Prize Ribbon

The story of Rhapsody

Rhapsody is a Canvas Collage that was stitched for "feelings". I created the concept one day when I was feeling "down" and by the time the piece was completed, I was feeling "up". This piece was originally titled "Abandonment" and later evolved into "Rhapsody" as it took on a life of its own.

In the process of doing my stitching, I write in journals to record what I'm doing, the fabric and threads that I'm using, inspirations, current ideas and future plans. When I know that I will have to stop work on a piece for a few weeks or longer, I make notes of what I have in mind and where to begin next. I also focus on the title of the piece and direct the feeling of the piece toward that title.

Here are some of my journal entries while stitching Rhapsody:

'I'm amazed that I look for a feeling - idea - thread to express a feeling and the thread is in my stash, visible at the front at the drawer! What does that say? All of these colors were selected by me years ago for an unknown result which I am creating now. The task is to stay with the mystery of the life process and let it all occur in its own time.'

'I like to stitch upside down where the piece is hard to reach. This also reduces the conscious manipulation of the thread placement and creates a balanced composition.'

I'm letting the glitter and the overdye threads take their own meandering path. I'm fascinated with the inner voice telling me where to head. It's like a treasure hunt and I'm heading to the next surprise turn in the road (stitching). I didn't expect any of these choices today and that's the excitement of this new creating direction.'

To read more please go to
http://www.stitchamaze.com/gallery-crescendo/rhapsody.aspx

18/07/2014

A piece I'm working on.........

Wendy's Inspiration

When I saw this large and beautiful Lee, Wisteria kimono at NeedleArt in Toronto, I just had to have it!

This canvas had my daughter Wendy's 'name' written all over it. The colours are Wendy's colours and she loves Japanese design.

I'm stitching the background with open stitching to allow the vibrant painted lime green/yellows to show through. Appliqued vines of ribbon flowers and leaves are stitched to the 14 mesh painted canvas.

I am using The Thread Gatherer Silk 'N Colors for the background, and floral ribbon applique.

I'm using Soie d'Alger silks, Kreinik metallic braid, Japanese Gold, fabric applique (canvas collage), beads, Trebizond, perle silk, and Accentuate. Progress is gradual but I'm thoroughly enjoying every minute!

21/05/2014

Interlude
35' x 45'

The story of "Interlude"

Interlude is a canvas that found me, as many of them do. First they send me a silent message to go looking for inspiration. I find myself in a needlepoint shop and a canvas whispers "look over here. I'm over here". Such was the story of Interlude.

My daughter Debbie and I were spending her school break in Florida, enjoying the warm sun beside the pool when a friend delivered the message. It went something like this: 'I've just heard about a needlepoint shop that you'll be interested in. It's in someone's apartment, not far from here'. My guess is that I probably rushed over there the same day.

When I saw the canvas I knew that I wouldn't leave it in the shop. But I had a major stumbling block. The canvas that I had recently purchased in Paris (Trois Oiseaux) was barely started and I had many years of work ahead of me to complete it. Debbie made the decision for me and I bought the canvas. Although I was having an anxiety attack as I selected thread colors, I wasn't about to be deterred.

This may have been the start of my canvas collecting. I soon realized that it's a bonus to find a great canvas without having to go on a major search. The few times that I have shopped for a particular canvas, it's been very discouraging. Some stitchers wouldn't think about starting a new piece until they finish their current project. That isn't my style. All of my pieces surround me in various stages of completion, each project teaching me techniques that I use on the other pieces as well.

It took thirty years for me to finally complete 'Interlude'!

to read more please visit:
http://stitchamaze.com/gallery-orchestral/interlude.aspx

16/05/2014

Trois Oiseax
4 x 4

Often a needlepoint shop will feature a huge, exotic, unusual canvas in the window. You may look at the piece and wonder, "Who would stitch that piece?" or exclaim, "That would take forever!" Then you will sensibly go into the shop to look for a nice piece to busy yourself with and you will most likely forget about the piece in the window.

I'm the type of person who stitches that piece from the window; tells myself that it won't take all that long anyway; that I will just "know" how to stitch it; and of course I will have somewhere to hang it! My concerns are..how fast will the parcel get it to my house while hoping that it won't get lost, and how can I avoid paying custom duties (I've only found these unusual pieces in my travels outside of Canada).

When I entered that shop in Paris, I had already decided to buy the canvas and I didn't even know the price. None of the clerks in the shop spoke English and they couldn't understand my Canadian French! That didn't matter. Stitchers who buy those canvases just plunge in. Nike must have coined their "just do it" slogan from us.

I could have titled this piece "what I didn't know about needlepoint before I stitched Trois Oiseaux". Let me explain....

My canvas arrived safely by mail and I was very excited to begin stitching. I sat in my favorite chair, canvas in hand, and started. I didn't know that large canvases are best worked on a frame. A frame protects the shape of the canvas and makes it easier to work.
I didn't know that there is a "right" way to cut and carefully remove strands of wool from the huge hanks of Medici yarn. I quickly created tangles of wool that looked like bird's nests.
My stitching required varying numbers of strands of wool to cover the canvas and this had me confused. It was at this point that I started to ponder the canvas that I had in hand. It wasn't a normal needlepoint canvas but appeared as loosely woven burlap. Then I thought further about why the design on the canvas was painted roughly, with broad casual strokes, the work of a display artist, not that of a needlepoint artist.
My conclusion is that this piece was painted as a window decoration, possible never having been intended to actually be stitched!! This could explain the confusion in the shop when I stated my intention to purchase while pointing toward the window. When I think back of that day (in 1973), it seemed that the clerks were having a problem determining a price for this piece so all the clues were there. Ignorance was bliss or I wouldn't have bought this piece.

Today when I begin a canvas, I look for a starting place which will create the smoothest working pattern and the best result. Not knowing this, I chose to start at the most fascinating part of the canvas, the largest most decorative bird. Then I began to fumble with the Medici strands, the canvas was pulling and looked bumpy and I was concerned about my work. I decided to move on to some easier parts, being groups of flowers and I completed some of these bouquets. Feeling content in thinking that I had now mastered the canvas and the wool, I returned to stitch the bird and decided that I should remove the previous stitching and begin again. Are you still breathing? You must know what's coming. I Cut The Canvas!

To read the end of this story
http://stitchamaze.com/gallery-orchestral/troisoiseaux.aspx

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