Cold batik
“For a cold batik (technique Gutta) is typical laconism, elegant clearness of contours of figure; here easily applied water colour techniques - pouring (as monophonic as multicolor), extensions of tone; glazing techniques. For creation of the invoice, various salt effects are used; moreover, different kinds of salt applied on different kinds of a fabric give unimaginable variations of figures, presenting the artist surprises - sometimes pleasant and sometimes not so. Each time, as stalker, you move ahead on familiar space, colliding with something new and uninvestigated. Sometimes you do not know on 100 % what will be the end of your “travel” to the Batik country – it is always unknown for me and expected, 50/50. Besides, dyes, which I work with, are “with character”. In not shown kind (not fixed), they have rather constrained appearance – grey and dullish scale, but after fastening in an autoclave, they become more concentrated, more “juicy”, start to sound, play all colors of a rainbow. At inept treatment, (because it is not visible what the exact tone and color will be) it is possible accidentally to run in “blackness” or frankly loud tone. Attentiveness, feelings and precise knowledge of laws of a combination of colors and their mixtures is required, because some shades remains only to guess, mix almost in blind, because in not shown kind, paints “are unlike themselves”. Experience and intuition help to achieve desirable result. These paints are good, because after their fastening on a fabric (necessarily with the help of ferry, under pressure, but not an iron!) it is possible to do everything with it. You can wash it with any washing-up liquid (if you wish you could test even a choric bleach!), you can iron, put into a washing machine on 60 degrees, dress a product under the scorching sun, etc. The quality is guarantied for you, for some years. The history of some shirts, dresses and scarves is equal to 6-7 years of constant using, without change of qualities of a colourful layer.
