Practical Process & Workbook

This begins with making what is called iron water, which is a solution comprised of rusted iron, tin, and metals, soaked in water and vinegar and left to 'cure for two to three weeks.  This mixture, known as a mordant is used to fix the natural dye of the plant onto the fabric, of which wool but preferably 100% silk is best.  I have also used alum powder as well as a dried leaf powder from the Symplocos cochinchinenis plant from Indonesia in the process of preparing the fabric to accept colour from the foliage.
 
The fabric is then soaked and simmered overnight in these solutions. Once this was prepared, I arranged the leaves onto the fabric in a specific form, line, shape, texture, and colour.  I then rolled the fabric tightly around a wooden dowel or PVC pipe and wound it tightly with string. I then placed these rolls into a large steaming pot for between three to four hours.  Once the steaming was complete the imprint of the plant was fixed onto the fabric.
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I further experimented with 'wet' eco-printing onto watercolor paper and then overprinting with varying images representing vegetal and floral forms using linoleum printing ink and a handmade 'jelly' printing pad.

Once the plants have been through the process of eco-printing and imparted all the colour, 'juice' and energy onto the fabric and paper, the leaves become completely sucked dry, all used up.  I have used these dead leaves as part of my installation, underneath the eco-printed banners. Firstly in honouring their life source to my art and secondly as a means to emphasize the criticality of how we need to cherish and protect our earth's plants and remnant habitats or risk the death of so much more.
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I wished to record the fossil imprints of our beloved African trees and plants, as well as record their medicinal uses and indigenous names in an attempt to draw awareness to their plight of survival.