While looking for a topic for today I remembered the summer issue of Surface Design and Mary Stieglitz. She works in digital photography and printing. This article is written by Ingrid Lilligren and she states in her opening “Synesthesia is a term used to describe the ability some individuals have to smell sounds, hear colors, or see scents. It could be thought of a a gift of sorts from the cerebral cortex, a kind of unwilled metaphor. Viewing the work of Mary Stieglitz stimulates multiple sensory responses. Silk panels move like air or water, and when the surface imagery is water, the viewer can almost hear the sound it makes. Through digital application of photo-based imagery, Stieglitz produces contemporary images that speak of deep time. Her work is at once new and old”. When looking at her work Cirque in the magazine I felt myself looking into 3-D as felt as if I was floating above looking down. Mary states she is interested in the visible patterns of our natural world and their relationship to the larger myths and metaphors.
Mary photograhpes such things as geothermal, algae, the movement of the surface on water responding to breezes, carved stone and bones – just to name a few. In 1999 this work became a reality when at Iowa State Mary collaborated with J.R. Campbell – they were both in the clothing and textile dept. – they received a grant and experimented and successfully printed a series of pieces. In January 2001 their research was shown in the first all-digital textile fabric exhibition at the University of Nebraska “Digital Connections in Imagery, Cloth and the Human Form” 30 works were shown – these works had been created on a Encad 1500TX.
Silk has been chosen for much of her work – she states it is light and strong.
Mary is trained as a studio artist and after earning her bachelor’s and master’s in fine Art from University of Wisconsin and Indiana University (she studied photography and earned a Ph.D from University of Wisconsin based on research in art and visual perception. She continue with post-doc in combining photography and digital design.
Cirque – Iris print on Arches 25″x37.5″, 1992-3
FLOW 2005 Digital print on vinyl, pigmented inks, 120″x45″
Connections Digital print on cotton, reactive dyes, 39″x58″, 2001
Out of Time Vatican Mori, inkjet print on silk satin, silk dyes, 26″x40″, 2001
Stele Digital print on Fuji Silk, Acid dyes 104″x42″ 2000-01 — Details of geothermal run-off.
Nimbus Digital print on silk, pigmented inks, 90″x36″, 2007 Montage of jellyfish deposited on the beach by the tide. (also in the spine of the book)
This article is in the Surface Design Summer 2007
Sandy
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Ragged Cloth Cafe, serving Art and Textiles 
What about offset printing..! Although it is quite old ,but i find this printing more interesting with color quality quite better than digital.
I read on the site positive feedback about your resource. Do not even believe it, but now convinced personally. It turns out I was not deceived.
Thank you for answering all the questions in your post. In fact, learned a lot. That’s only until the end and did not understand what and where.
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Sandy
I want to reproduce some of my paintings onto silk and manke copies of some of my scrf designs. Where do I find info on getting this done or what equipment is necessary to do it myself?
Thank you for your feedback on this .
N Glick
Thanks, Sandy.
This seems like a direction that textile artists should be very aware of — a different use of fabric, but one that suits the material very well. The use of computers is now so widespread that I’m always surprised when someone doesn’t know that you can print on fabric. But it will always be only a few who can do large pieces — although maybe the cost of the big machines will come down someday.
I’m not sure about the straight photographic reproductions on silk. That’s a question I have to think about — pros and cons. Cons are obvious — nothing is as good as photography paper at reproducing photographs (sort of a duh idea — they are made for each other). On the other hand, the diaphanous sense of fabric isn’t available on paper and that’s a definite advantage. But still, I’m not sure that the unmanipulated photographs on silk are worth a lot. The other pieces, which don’t look like photographic reproductions are fabulous.
Thanks for putting this together.