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             "Everything hangs by a thread, we are always in danger."




When pulling off and applying the first spider's web in open space and
putting it onto a frame one's hands become tools and risk at every moment
ruining the stability of the thread.  These first few actions are a bit like
choreography because success depends on supple movements, whilst at the same time being in harmony with nature.  After a certain time (try not to
measure it) the juxtaposition of many numerous threads will reveal an astounding
and unexpected texture.  The sight of these contours, and shapes suggesting
people and objects, causes jubilation and excites the imagination, sending
thoughts off into unknown territory.  Grateful thanks are offered to
Nature and her little creatures, who also offers a wonderful opportunity for
creativity.  The work can possibly be summed up in a few words:

The struggle to  accomplish a good piece of art

Poetry of the transparent colours

The mystery of playing with texture and gold

The patience to struggle with difficult subjects


Creativity with a touch of madness.You will not find the technique described in any book, but if you are practical and dexterous, and have a lot of patience you will have the pleasure of discovering an astounding support for painting on.  Here are some tips which will help you attain the magic of this form of painting.

1 -  Not many tools are used and a simple cardboard frame of the size you want will serve as a support for the webs.  To start with the size should
be small (10cm x 10cm), and the frame covered with glue, or partially  covered with double-sided sticky tape.



                                                   The work is sometimes dangerous

If you stick your frame to the edge of a window you may be visited by a
beautiful garden spider, but sadly she will not understand what you want, and
>> your work will not have progressed.  The best method is quite laborious, and involves collecting, in the wild, spiders' webs, one on top of the other onthe sticky frame.  This action is repeated numerous times - you need at
least 300 webs to fill a frame of 10x10cms.  These layers are like a hand-madeweaving because the texture obtained is completely random.  Tweezers are always used to pick out any insects or dust carried into the web by the wind.
This is rather boring and repetitive but has to be done to obtain a
smooth surface.

                            For instance on 20 webs there are at least 50 bits to pick off. Be careful not to break the first threads.


2 After checking that the new support is completely covered by silken  threads,
you are able to start painting, and it is possible  to paint on both the
front and back with either oil paints or acrylics.  The brushes are
obviously small sizes, and sometimes the use of tiny specks of gold leaf can bring a bit of sparkle to the work.   Often an oil glaze is used to bring out the
subtleties of the texture of the silk, and highlight certain areas.  Too
much paint will block out the texture of the support.  Accidents easily
happen, holes poked through the threads, and after many hours' work it is easy to get discouraged.


    trou.jpg (9196 octets)   trou_rep.jpg (9387 octets)  repair in progress with gold and painting

3 A little varnish, and a box frame mounting and the work is finished.  The
artist can wash his brushes and listed to music of his choice.

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Tools and materials

Cadre4.jpg (211183 octets)







Positioning of gold fragments