Planet Textile Threads

True to Life:  Twenty-Five Years of Conversations with David Hockney, by Lawrence Weschler.

Here’s a quote of something David Hockney said  from True to Life:  Twenty-Five Years of Conversations with David Hockney, by Lawrence Weschler, that will resonate for quilters (p. 30):

“But these early collages were really more like studies:  you did them, just as you do a drawing sometimes, to teach yourself something:  it doesn’t matter what they look like when you’re finished, that’s not why they were made.  In this case, in retrospect, I realize I was training my visual memory, and this took a lot of time.”

YES yes YES! Those class projects are just that…learning experiences.  You learn the technique, then go home, practice and make it your own. And it also shows that even someone like Hockney, an acknowledged master, took the time to learn and develop his skills and “eye.”

And another tidbit… I’ve never really much cared for Cubism, that angular way of painting developed in the early 20th century by Picasso and some of his contemporaries.  But this quote made me  understand how those painters were exploring a new way of seeing (p. 33):

“Cubism, I realized during those few days,”  Hockney continued, “is about our own bodily presence in the world.  It’s about the world, yes, but ultimately about where we are in it, how we are in it.” [emphasis in book]

So how we do apply that to representational art quilts.  One thought that immediately occurs to me is that sometimes when I see art quilts of kids in fields and whatever, the thing that grates for me is that while the child may be well rendered–well done enough that if you saw that child come trotting down the hall, you’d recognize them as the child in the quilt–somehow the not-as-well-done of this sort of quilt will have a scene and a child, but not a child IN the scene… The most successful of these textile artworks convey the essence of the child being fully present in the place and time depicted.

And now we’ll return, for a time, to regularly scheduled blogging!

Pause / Flow from Mark & Angela Walley on Vimeo.

Here's a lovely video piece featureing Southwest School of Art director Paula Owen that relates to our recent musings on flow, focus and what feeds the mind. If Paula can get to the studio, so can I, so can you!

Natalya Aikens

When I look at the studio photos from Natalya Aikens, I see a direct reflection of her artwork. Natalya’s website is bilingual and her art reflects the Russian fairytales, folklore and decorative traditions of her birth city of St. Petersburg. Her artwork is instantly recognizable and, according to Natalya, “The focus of my materials and techniques is on recycled elements; vintage fabrics of personal history; sheer, translucent effects; intense hand stitching and machine work; computer manipulation.” Visit Natalya’s blog for updates from her studio as well as many beautiful photographs under “Wordless Wednesdays.”

1.  How do you find/make time to be in your studio?
I really can only be in the studio during the school day, so I make sure to schedule all my errands and “to do’s” either into one day a week or in the morning so that I can a have bulk of the school day in the studio. I am not always successful, but I keep getting better at keeping regular studio hours and keeping distractions at bay.

2.  Describe your studio in five words.

Functional, cluttered, organized, cozy, conducive to inspiration… can we count the last three as one?

3.  If you could pick only one thing from your studio to represent your art practice, what would it be?

My book cabinet that holds my favorite research materials which are books on different aspects of Russian and Slavic cultures and decorative arts, books on different art styles and movements, books by and about inspiring artists, my journals and on top a collection of glass weights, glass jars with mementoes, icons and postcards.

4. What is the best/worst space you have ever had as a studio?
The dining room table in my parents house was probably the worst. Having to forever clear it for dinner was not conducive to my creative flow…but that was eons ago. The best place is now, it is a converted garage that is part of the basement of our house. Two large windows were cut in to let plenty of light and there is a door off to the side so I can step outside as needed for a breath of fresh air or an extra dose of nature.

This is a detail of one of the three Fiber BONUSES Natalya is donating to Foto/Fiber 2012. Each of her Fiber BONUSES is a different colorway and contains hand painted dryer sheets, an ATC, color coordinated unique bits and pieces from her personal scrap selection, ribbons, yarns, buttons and threads. You may choose Natalya as your Fiber BONUS artist of choice on February 15.

5.  What would make a “dream studio” for you?

Taking over the adjacent playroom from my kids and spreading out! I wonder if they would notice if I slowly start encroaching on their space?

6.  What would you advise someone setting up a studio for the first time?

Take advantage of any space you have, whether it’s big or small, and just start creating in it and and adjust as necessary. It’s not the space or place that matters, it’s the work that’s created in it!

7.  Any unique features/studio pets you would like to share?

No studio pets in my house, but my children are occasionally inspired to spend time in there with me and I alway enjoy watching what they create and how they eek out a space for themselves among my clutter.

8.  Any exhibits or special projects we should know about?
I have several exhibitions coming up in Winter/Spring of 2012:
Piecing It Together at ArtsWestchester in White Plains, NY from January 28th to March 28th.
Russian Art II: Fiber, Paint, Photo - a two person exhibit at the Mahopac Public Library in Mahopac, NY from February 2nd to 28th.
My work will be at two venues during FiberPhiladelphia – Synchronicity at the HighWire Gallery from March 30th to April 27th, and Softer Edges: Fiber Artists and the Urban Environment at the Fleisher Art Memorial from April 2nd to 28th.
Links to all these exhibits are on my website.

***Please join us on February 15 and 16 for Foto/Fiber 2012, a fundraiser for the American Cancer Society.  Our goal:  Add $7000 to the $215,000 we have already donated to the ACS.***

I had to get up early this morning to walk Scooter since Mr C spent the night in Corvallis where he has been for 3 days starting his new consulting gig. It was a beautiful morning and the birds were singing. I took this photo which was an omen of the beautiful day to come.

Later, when I was washing dished in the kitchen, facing SW, the sun was so bright, I felt as if I needed sun glasses!! However, when I took Scooter out again, just before lunch, this was the scene to the south.

The clouds looked menacing, but  dissipated. At 4:30 pm, when I took Scooter out, there was a beautiful sunset from the Rhodie Garden.

Mr C arrived home, just as we walked back to the house. Scooter was very happy to see his other person. He kept running back and forth between us!

I can’t believe that I am running out of days for red 3 X 3s. Today’s is up at the top and here is yesterday’s-

I am trying to decide if I want to work my way around the color wheel or mix it up and do a random choice or go across the color wheel to the complement. I am feeling like I would like to go to the cool side for awhile.

Happily, the cold I thought I was getting did not materialize. I saw my dermatologist yesterday for a check-up. I had to have a suspicious mole on my upper chest biopsied. It was a tiny little thing. I hope it is negative. Then, I went to Kaiser Vision Center and ordered some cool red glasses. I have missed having red glasses! Today, I got the color on my hair refreshed. I am looking good!

Coming to an internet near you:

Text on Textiles online 4 classes (5ths optional and free) at JOGGLES. 

And more specifically here. http://www.joggles.com/store/catalog/product_info.php?cPath=75_1235&products_id=23449

Start Date: Thursday March 15, 2012
Class: Text On Textiles
Instructor: Susie Monday
Cost: $45/4 lessons

This class is scheduled to begin on March 15, 2012.

NOTE: This class requires use of an all-in-one printer/copier or desktop copier with the ability to enlarge and reduce printed images. The techniques used make use of copies and prints from such a copier/printer. Optional techniques included also involve use of a computer and digital camera.

Have you ever wanted to incorporate a favorite word, poem or quote into an art quilt, garment, art doll or other textile project -- going beyond simply writing or embroidering the text? Or do letter forms and shapes appeal to your sense of design? This surface design/mixed media class will give you a set of process tools for making text and words an integral part of artfully designed fabrics that you can use in a wide variety of projects.

Starting with design exercises that encourage a unique expression of your creativity and interests, you’ll learn three specific techniques for transfers of text, words and writing to fabric using ink-jet printing, polymer medium and textile paints. 

Do you miss working in your house? I notice the snow photos are either on the way or from the studio? Does taking that walk settle your mind or are you inspired? How has your work changed now that you have the studio? Do you have a different mindset?

Cynthia St. Charles

Cynthia St. Charles is known for her art quilts that exemplify her love of nature and her beautiful work with surface design techniques such as pole wrapped shibori, rust dyed, and discharged pieces.  She has been published several times in Quilting Arts magazine, including the latest cover.  Her blog, Living and Dyeing Under the Big Sky,is updated daily with her latest art and adventures.

1.  How do you find/make time to be in your studio?  
Since my studio is on the lower level (walk out basement) of my home, it is easy to start my day there with my first cup of tea.

2.  Describe your studio in five words.  

Spacious, salvaged, whirlwind, colorful, productive.

3. What is the best/worst space you have ever had as a studio?
When I first began art quilting, I had a small table (2 x 4′) for my sewing machine in the laundry room squeezed between the door and the washer.  There was a 4′ square design wall above the sewing machine.  I did my dyeing on the floor between the dryer and the kitty litter box.  That was the worst.

My current studio is the best workspace I have ever had.  I have a wet studio with a dedicated washer and sink.  My regular studio is very spacious and although it is furnished with salvaged retail store displays for storage and work surfaces, it is extremely efficient.

5.  What would make a “dream studio” for you?
My current studio would be a “dream studio” if only I could make it more private.  There is no door separating it from the rest of the house (and no easy way to install one in the arched entryway).  The only lower level doorway to the outside is in my studio, so it gets a lot of traffic, which I resent.

6.  Any exhibits or special projects we should know about?

My work is on the cover of the December 2011 / January 2012 Issue of Quilting Arts.

I am curating the first ever group show for the Montana-Idaho region of SAQA.  The show, called Broad Spectrum, opens at the Rynkier-Morrison Gallery on the campus of Rocky Mountain College in Billings Montana on February 17, 2012.

Of course, Cynthia’s two Foto/Fiber 2012 Fiber BONUSES will have something to do with chickadees. Cynthia sent this note,”I did my studio pillaging for Foto/Fiber and can now say that each bonus will include not only one of the special postcard series, but also a hand carved printing block, monoprinted fabric, block printed fabric, and some of my hand dyed specialty yarns – all from my hand.  More if I can fit it in the envelope.”  Thanks, Cynthia!  Cynthia will be having more about her Fiber BONUSES on her blog.

Please join us for this fundraiser for the American Cancer Society on February 15 and 16. 100% of the proceeds are donated directly to the American Cancer Society through Fiberart For A Cause.  Here is the donation page if you want to check it out before February 15.

Pamela Allen

I have always appreciated Pamela Allen’s artwork for its sensibility and its sense. Pamela is an award-winning Canadian artist well-known for her dynamic art quilts full of color and meaning. She was a nominee for Professional Quilter Teacher of the Year in both 2008 and 2011. She is featured in the book, Masters:  Art Quilts.  Pamela offers both a DVD and workshop entitled Think Like An Artist. Pamela’s Fiber BONUSES for Foto/Fiber 2012, opening February 15, will be completed works of art.

1.  How do you find/make time to be in your studio?
For me studio work is my job so if I don’t go in regularly then my boss would be really mad.

2. Describe your studio in five words.

Comfortable, chaotic, creative,challenging and cheerful.

3. If you could pick only one thing from your studio to represent your art practice, what would it be?
My junk drawer.

4. What is the best/worst space you have ever had as a studio?
The best was a two story loft in an old woolen mill.

5. What would make a “dream studio” for you?
Anywhere that’s air conditioned!

6. What would you advise someone setting up a studio for the first time?

Be happy with almost any private space. Its ALL yours and no one elses.

7. Any new exhibits or projects we should know about?
I offer five five online workshops:  Think Like An Artist; Still Life is Boring – NOT!; About Style, Pattern and Color; Figures and Faces; and Four Quilts, One Subject.  

A detail from First Nation, one of Pamela’s three Fiber BONUSES for Foto/Fiber 2012.
On February 15, you will be able to choose a photo and then indicate you would like one of Pamela’s BONUSES.
OF COURSE, 100% of your donation will be made directly to the American Cancer Society through Fiberart For A Cause.

OK…so most of you know me as an art quilter.  And some of you know that I adore Hawaiian style quilts, which are definitely on the traditional side.  You may not know that I am also a great fan of Welsh quilts and the quilting from Northern England!

Cover of the Catalog for the 2011 antique quilt show at the Jen Jones Welsh Quilt Centre.

This catalog is for the 2011 show, “Oh that Summer Would Last Forever,” and is about 8 x 8 inches and (if I counted correctly) 28 pages.  The quilts range from pieced, to the wholecloth (which I utterly adore), to applique, and date from the late 1800s to about 1930.

Let’s face it… if it is quilting, I love it!  Not long ago I discovered that there was an exhibit of quilts with a published booklet at the Jen Jones Welsh Quilt Centre in Lampeter, Ceredigion, Wales.  Thanks to the wonder of the internet, I googled them up, wrote and asked how much it would cost to send a copy of the show catalog to Maine.  Luckily they had just gotten a new and final shipment of the catalogs, and the cost wasn’t much (under $20 including postage); in a rare example of speedy governmental service on both sides of the Atlantic, I got the envelope in about a week despite the onslaught of holiday mail. Here’s a snapshot of the flyer for the show:

Jen Jones Welsh Quilt Centre flyer

It looks as though this was the third consecutive year for a show, so I hope I can figure out a way to get to the Festival of Quilts, with side trips now including Lampeter, Wales!

Inside cover and front page of the show catalog

and

One of the stunning quilts... just LOOK at that beautiful quilting!

A few years ago before my quilty career took off and funds were more scarce than hen’s teeth, Thelma S. kindly sent me some handdyeds from her stash.  One huge piece (like king size bed quilt huge) was dyed this glorious peach-yellow-rose; I keep thinking of it as a sunrise.  Immediately I wanted to use it as a wholecloth.  That evolved into wanting to dye a wholecloth top the same colors, but in cotton sateen like the English north country style, with Thelma’s piece as the makes-me-happy back.  I still harbor that desire, and am slowly working my free-motion skills up to the demands of the precision of a traditional wholecloth quilt.  I’m definitely a more flow-y, free-form kinda quilter!

After reading the catalog, I went to write Hazel, the kind lady at Jen Jones’ centre who took my order (they don’t have Paypal or online ordering, so I ended up sending my credit card in separate emails, you can also fax or call her) to say how much I loved the catalog, and ended up looking at the site again.  Turns out they had three more books on Welsh quilts.  One, the big one by Jen Jones written in both French and English, would have cost a fortune to mail (so I am trying to get a copy through my local quilt shop and the US distributor for that book), but ordered up two additional books:  Welsh Quilts by Jen Jones, A Towy Guide and Marjorie Horton’s Welsh Quilting Pattern and Design Handbook.  I thought I’d share those, then decided I should also share a couple other books I have on Welsh and English north country quilts.  Since the posts would be waaaaayyyyy too long, I’ve decided to parse it out into three blogposts.

The first book I bought on Welsh quilts is actually a Threads magazine book made up of articles from the magazine, one of which was on Welsh quilts and is called Great Quilting Techniques.  But there’s not a ton of information in there… it left me wanting more, much more.  A few years ago at Quilt Festival in Houston I found

Making Welsh Quilts

Making Welsh Quilts:  The Textile Tradition That Inspired the Amish?,  by Mary Jenkins and Clare Claridge.

Making Welsh Quilts table of contents

As with so many of our quilt books, the shorter front half of the book is the back-story, the information, then there are lots of patterns for projects.  This is wonderful when you want a project book–alas, I always want more of the “not project” stuff!   That said, there is a LOT of great information here, as well as inspiring projects.  Best of all (for me) is the interesting section toward the end called “Welsh Quilting,” with designs –lots of pictures of lots of types of designs– that are typical of the actual quilting part of Welsh Quilts, including hearts, paisleys or Welsh pear, Leaves, Flowers, Spirals, Fans and Circles, Borders, and Infills.  The book would be worth it alone just for this section!

One of the pieced quilt projects

As you can see, the photography is good.  Best of all, the book is still available on Amazon if this type of quilting interests you!

I’ll be back with more of my book stash on Welsh and English quilting soon!

I was hoping for a day in my studio, but it did not happen. I am also behind in my online class homework. What did I do today? I spent most of it creating a banner for our Artists Among Us Constant Contact e-mail. Our graphics person on the committee is very demanding, but not able to do much on the computer so we have been e-mailing back and forth until I got this done the way he wants it. He is also going to be our featured artist so the artwork in the banner is his. This basic design will be used for all of our promotional material— postcards and posters.

Here it is. You can click on it to see it larger.

I feel like I am coming down with a cold — sore throat and headache. I am going to call it a day.

Faith Ringgold and Alice Neel have probably done more to bring the work of women artists into the patriarchal dominated art world than any artists I can think of during the last half of the twentieth century.

Here is the link http://www.aliceneel.com/gallery/?mode=display&decade=7&painting=87 to the galleries on the Alice Neel website.  I suggest that you start in the 1920s and work your way through all the images until just before Neel’s death in 1984.  She never bowed to popular vision or demands.  She remained true to her own eye right to the very last.  Do seek out her self portrait painted in 1980.

My birthday tulips just keep getting better. As the petals begin to fall, the colors seem more intense. The contrasts are wonderful. It was a treat to see these on my return yesterday from a few days teaching/lecturing in Ann Arbor MI. What a great trip. My most sincere thanks to all who contributed to making my visit so wonderful.

I can’t wait to go back… there is a fabulous paper store (Hollander’s), unexplored possibilities with other shops, photos to be taken of the old buildings, and then of course, the wonderful artists I would like to get to know better.

Home now until early March, my attention has to turn to updating the website. Lots of changes are ready to be made. Stay tuned, and thanks for stopping in.

As I look at my poster "Commit Time, Space, Focus, Money," it occurred to me that I could explore each of these words in a few posts -- and look for what others (a few others) have said about each of those words and concepts, what might prove helpful to me, and helpful to others.

And because I came across a wonderful post from Jane Dunnewold on her blog about focus, I'm going to start there. (It certainly resonates with "commit,"as well!)

We all (fiber, mixed media artists) know the seduction of materials and tools. Unlike the painter, who pretty much gets to choose between oil and acrylic and watercolor, we fiber/mixed media artists, like performance artists among others, see the world as our tool box, the hardware store, the art store, the grocery store, the Dollar Store, all opportunities for tools, colors, embellishments and attachments. Not to mention the myriad of techniques, new stuff and new approaches that arrive each month in the mail, and each morning on the web.

The solution for me: Choose. Stop trying ANYTHING NEW for a set space of time (Despite my intention to try something new each day, it won't be in the studio on a piece of fabric). I am easily seduced by the idea of trying a new resist, a new paint, a new approach and it often pays off with good work. But until that tool/medium/pigment/approach has at least a hundred hours behind it, it's probably not going to be GREAT work. I have enough in my tool box and on my shelves and in my bins right now for hundreds of pieces of art cloth and art quilts. Not to mention the two big bins of thermofax designs, sketches for work, ideas for stamps. SO choose.

Focus is also about coming into the studio with intent and, for me, with a one word or two word idea of what I will achieve in the next 4 hours; maybe it is just cleaning and sorting, or working on marketing, or it's getting the design of a new art quilt onto the design table. But when I don't make a focus, I tend to bounce around doing a bit of this and that and then hearing the siren call of laundry or putting on a slow cooker meal or digging around in the garden. Focus, focus, focus.

Today's Focus is completing a blog, first (done), then getting my calendar complete through March.  Two words: BLOG, CALENDAR. After that, I'll be headed out for four days of teaching Central American Youth (and their Texas hosts) though the CAYA program, with a couple of days spent at the wonderful, restorative and internet free zone of Selah, the Bamberger Ranch and Environmental Education Center.  Pictures coming, soon!

Leslie Jenison

Leslie Tucker Jenison is one very busy artist.  In addition to exhibiting internationally in galleries and juried exhibitions, she also teaches and curates as one half of Dinner At Eight Artists along with Jamie Fingal and has appeared several times on Quilting Arts TV.  Her blog is eclectic and interesting; a recent post is about her daughter’s huge textile installation for an outdoor wedding. Her artwork is inspired by the textural beauty found in the patterns of natural and man-made environments. Leslie’s three Fiber BONUSES for Foto/Fiber 2012 will include a “mailart” collage.

Eclectic, Messy, Colorful, Cocoon, Inspiring

3.  If you could pick only one thing from your studio to represent your art practice, what would it be?

My window, because it represents both a literal and metaphorical source of inspiration to me.  I can look outside into my garden and be inspired by nature, and my studio IS a window into who I am as an artist and a human.

4. What is the best/worst space you have ever had as a studio?

My old dining room table in my first house was the worst (I always had to put everything away after each work session!), and my best space is my current studio.

5.  What would make a “dream studio” for you?

My current space, revised to include a better wet work area and more appropriate supply storage.

6.  What would you advise someone setting up a studio for the first time?
Take into consideration things like access to water, storage, light, and work surfaces.

7.  Any unique features/studio pets you would like to share? 

My schnauzer is my studio assistant-companion.  She steals supplies from me if I need to pay more attention to her!

8.  Any exhibits or special projects we should know about?

Yes!  The 2012 Sketchbook Challenge, our newly-formed group: 8 That Create, Dinner At Eight Artists, and the Sketchbook Challenge book (available for pre-order).

Leslie’s three Fiber BONUSES ready to be mailed to lucky patrons of Foto/Fiber 2012.  Each one has a framed mixed-media “mailart” collage and the equivalent of 2 fat quarters of hand-dyed, screenprinted cloth (cotton, silk, or a silk-cotton blend). See more details of Leslie’s Fiber BONUSES on her blog.

***Share the news about Foto/Fiber 2012, a fundraiser for the American Cancer Society, and be entered to win great prizes!***