Mixed Media Artist Judith Plotner

Illustration: Judith Plotner Adirondack Journal I

Many creative journeys are supremely private; others less so, many are degrees in between. The work of textile and mixed media artist Judith Plotner, although largely falling into the former category, can still be considered purely as an example of the rich world that can be composed from the elements that go to make up a mixed media base.

Illustration: Judith Plotner Slate Valley

Plotner uses the broad spectrum of the creative arts, bringing into her compositions the sensibilities of a fine art painting background, as well as that of printmaking, collage and textiles. The great strength of mixed media is the fact that layering and juxtapositioning can be achieved not only with the raw materials available within the different mediums, but also with that of mediums themselves. It is always fascinating to observe how sometimes a medium can complement another, while at other times the opposite can be both the aim and result. This can cause tension within a composition which can be intentional on one level, but have reactions and unforeseen results, sometimes on more than one level.

Illustration: Judith Plotner Adirondack Journal III

The compositions chosen for this article seem reminiscent of small contained packages as if they were enclosed personal observations of the artist themselves. In some respect that is exactly what they are. These observational diary pages if you will contain information, thoughts and muses, often scattered and seemingly random, though often connected by both the individual and the experience.

There is a sense of confinement that is physically attached to the compositions. The surrounding and inert space of these observational essays can seem to isolate the experience, but in fact it is much more a case of the outside space allowing the artist to pinpoint an experience. This helps to discover and identify the completed observation and in some ways allow the outsider to study at least some elements of the parameters that contain the thoughts and processes of the artist.

Illustration: Judith Plotner Autumnal

Although the outside observer is not privy to the internal creative workings of the artist, whether that be personalised or externalised observations and encounters, they can in some respects be privy to the journey itself. By understanding the practical application of mediums and materials, whether that be through layering, stitching, stamping, dyeing, painting or printing, this functional part of the creative journey can be both observed and admired.

It is said that all creativity is subjective, and in many respects that is true. However, often the practical working journey of materials and processes used by the artist can be objectively followed, sometimes producing profound or at least interesting analogies and discoveries.

These five compositions of Plotner's are finely tuned and specifically composed. They are an interesting example of both the personalised experience of an artist, but also of the sometimes complex procedures that can entail the practical application of a mixed media artist. The compositions are wide ranging in their use of mediums and materials and show the genuine creative scope that can be found within the mixed media world.

Illustration: Judith Plotner Global Warming

Judith Plotner has exhibited extensively across the US. She has her own comprehensive website where many more examples of her work can be found. A link to the site can be found below.

All images were provided with the kind permission of the artist.

Reference links:
Judith Plotner website

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Joseph Paton Tablecloth Designer

Illustration: Joseph Neil Paton. Linen tablecloth design, 1851

This series of linen damask tablecloths were featured at the Great Exhibition of 1851. They were produced by the Scottish company of Beveridge, founded by Erskine Beveridge and was based in Dunfermline.

There is a small element of confusion concerning the designer of these particular tablecloth pieces. In the catalogue that accompanied the Exhibition, the designer was listed as Joseph Paton. However, there are two Joseph Paton's, father and son. Joseph Neil Paton the father was a well known Dunfermline designer of damask work. However, Joseph Noel Paton his son, also produced damask work in Dunfermline, but only briefly before his real career as a successful fine artist became paramount.

Illustration: Joseph Neil Paton. Damask tablecoth design, 1851

Illustration: Joseph Neil Paton. Damask tablecloth design, 1851

It is probably correct to think that Joseph Neil Paton a professional designer, was used for Beveridge's prestigious display at the Great Exhibition, though the work of his son cannot be entirely ruled out as a possibility, especially as Paton was to become a firm favourite of Queen Victoria, which Beveridge would have been an unwise not to have used as an opportunity. However, Joseph Noel Paton was at the start of his fairly illustrious career in 1851, and it might well have been a little too early to have caught the imagination and eye of Queen Victoria.

In this respect these design pieces will be attributed to Joseph Neil Paton. The work is typical of the 1840s and into the 1850s. Much of the decorative work is European based, particularly French in style. An interesting point is that tablecloth design work often seems to have imitated carpet and rug design work. This can clearly be seen with the examples shown here. There is much in the design work that imitates French carpet styling and decoration during the period of the 1840s and 1850s.

Illustration: Joseph Neil Paton. Damask tablecloth design, 1851

Illustration: Joseph Neil Paton. Damask tablecloth design, 1851

These tablecloths may well appear to us to be a little overly decorated for a table top cover. However, they are extremely fine examples of the genre and it must be remembered that they would have had to have competed with the best that France could produce, which was substantially above what British companies were manufacturing during this period. Although the company might well have struggled in supplying France with damask table linen, they did have a healthy export market to the United States as well as a very good domestic market for their product.

Beveridge the company, was obviously not taking any chances at either mis-representation or under-representation as these examples are only a handful of over a hundred that were on display at the Great Exhibition. Textiles were a very large part of the Exhibition, particularly during a period when Britain dominated the cheaper mass-production side of the world market. However, it was the decorative and design led textiles that drew attention, rather than, as was hoped, the technology of the machinery of mass-production.

Illustration: Joseph Neil Paton. Damask tablecloth design, 1851

Illustration: Joseph Neil Paton. Damask tablecloth design, 1851

Patriotism and a certain element of ingratiation was expected from a large proportion of at least the British and British Empire exhibits. Beveridge produced at least a proportion of tablecloth work that fitted this criterion. A medallion of Queen Victoria is one of the most obvious examples shown here. However, there were also examples that showed St George and the Dragon, and figures representing St Andrew and St Patrick. However, these were only ever meant to be display options and possible souvenirs, while the bulk of Beveridge and Paton's work was for the serious business of marketing and hopefully the creation of new export opportunities.

Many dismiss the Great Exhibition as a vulgar display of excess, badly designed and mis-placed creativity, and monotonous machine produced work. To a certain extent this was true, but only partially as there was a fairly broad spectrum of machine and hand made work, with many diverse examples from across the planet. To have engineered this extraordinary event, displaying the world as it was in 1851 at one venue, is a feat worthy of admiration. However, for all future generations it has proved to be a valuable snapshot, an example of the state of decoration and ornamentation, for better or worse, of the mid nineteenth century. It gives us an unrepeatable and fascinating library of decoration and design.

Reference links:
The Great Exhibition of 1851: A Nation on Display
The World for a Shilling: How the Great Exhibition of 1851 Shaped a Nation
Britain, the Empire, and the World at the Great Exhibition of 1851
The Industry of Nations, As Exemplified in the Great Exhibition of 1851. the Materials of Industry (2010 Reprint)
The Great Exhibition, 1851
1851 Great Exhibition Fete Paris Grand Ball Hotel Ville
Echoes Of The Great Exhibition (1851)
The Great Exhibition, 1851: A collection of contemporary documents; (Jackdaw)
Lectures On the Results of the Great Exhibition of 1851: Delivered Before the Society of Arts, Manufactures, and Commerce
Great Exhibitions: London-New York-Paris 1851-1900
Journal of a trip to London, Paris, and the great exhibition, in 1851

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