Monthly Archives: February 2017

Step by Step

This week, in lieu of all the usual writing, I am giving us both a break. Instead, I am posting photos of this latest piece as it has evolved. Your questions are welcome.

The first step is creating the Shibori pattern on raw silk. This particular pattern is called “Mokume”, which means wood grain. It is not an exact science – just rows and rows of closely spaced running stitches. Still, I’m sure you can appreciate the resemblance to its namesake. Look closely to see the dots of white along the right edges of the pattern. They mark the placement of the knots of the threads that were used to gather the fabric before it was dyed.

I use photocopies of my original sketches as a map of sorts, to help me translate the image into stitch.

Using a variety of stitch patterns, weights, and colors gives a sense of form, and also adds an abstracted quality that I quite enjoy.

Once I added the gold thread to that inside right section of the cup, it began to come alive. Sometimes a very small change can make a huge difference.

When I got to this point I began to see the minimal stitching on the saucer as an interesting composition in itself and I gave serious consideration as to whether I should just stop, leaving the saucer mostly blank. Of course I decided to keep going, but seeds have been planted to investigate this idea further in a future piece.

Not only have I made the choice to keep going by filling in the saucer, I’ve begun to work on the background as well.

Getting the saucer right was a bit of a challenge. You don’t see it in these photos, but it took several tries to get each section so that it rang true. Such is the beauty of working with thread; it is so easily removed and restitched.

The background is now a major consideration – and I have removed most of the stitching to the right that had appeared before. Deepening and outlining the shadow below the cup strengthens its definition.

The background continues to evolve. At this point I realized I needed to figure out how to tone down the lighter section to the left of the cup so that it didn’t stand out quite so starkly.

Quick note: most of these photos were taken at the end of the day, in sketchy &/or artificial light, which explains the color differentials.

On a Different Note…

This week marks the opening of “Fiber Expressions“, a group show of the Vermont members of the Surface Design Association. I have 4 pieces exhibiting. I hope you can check it out if you’re in the area. Here’s the scoop:

Fiber Expressions
February 20 – March 31, 2017
Living/Learning Gallery, University of Vermont
633 Main St., Commons 205, Burlington, VT 05405
802.656.4299 http://www.uvm.edu/llcenter/gallery/
Exhibit Hours: Mon – Fri: 1:00-8:30pm Sat: 12:30-4:30pm
Gallery Closed for Spring Recess March 11-19; Open by appointment only

Taking Action Creatively

“Art never affects the world in a vacuum. It exists as a part of culture. Political art standing against repressive forces in society is part of the culture of change. Political art affects the real world as part of the force that keeps the human spirit alive. it keeps the flame of justice burning. It keeps memory alive. It moves with the struggles and moves the struggles forward.” Paul Boden, The Huffington Post

Women’s March, Montpelier, VT January 21, 2017

Although hardly a novel form of expression, I am more aware of the pervasive nature of political art now than at any other time in my life. Voices are surfacing from far and wide, including, and perhaps most notably, from quarters that haven’t previously felt compelled to speak out in protest. The sense of urgency is palpable. For me, the key take-away is the power art has given, and continues to give, to voicing distress / anger / concern / fear, not just in our current political climate, but throughout history.

Women’s March, Montpelier, VT January 21, 2017

That voice doesn’t have to be loud, but just as drops of water will carve through stone, change is effected through persistence. This week I want to highlight two local artists I am privileged to know, whose practices center around putting forth powerful statements about the issues that concern them.

Knotweed Not Safe ©Eve Jacobs-Carnahan Photo credit: Paul Rogers Photography

Eve Jacobs-Carnahan is a mixed media artist whose knitted sculptures seek change by raising awareness and offering perspective, particularly on environmental issues. The thousands of pink “pussy” hats of the Women’s March on January 21 prompted Eve to wonder how one advances an important message such that people will listen and consider it, rather than turning a cold shoulder. In her pursuit of understanding how individuals can be globally motivated toward action, she realized the pussy hats exhibited an unparalleled and viral example of such solidarity.

Chemical Lawn Natural Lawn ©Eve Jacobs-Carnahan Photo credit: Paul Rogers Photography

She brought this idea to the public last week in her talk “Art As Action: Knitters Speaking Out”. Offering an examination of 7 art knitters* who convey ideas about social and political issues through their work, the presentation provided examples of the way these artists powerfully express their objectives via inspirationally accessible means. I think everyone left the hall considering how they too might communicate their views at a time when, for many, remaining quiet seems an untenable option.

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As a daily practice, Temari artist India Tresselt is working to bring awareness to her concerns via her aim to make one artwork of resistance for each of the first 100 days of the Trump administration. At the end of January India began posting those pieces of protest to her Instagram profile. She told her followers:

I am disheartened and angry and scared. It is very difficult to lead a normal life and engage in my normal activities when everything in me is screaming that This. Is. Not. Normal. …I will continue to make pretty things because putting beauty out into the world has to make a difference, but I will also make things that aren’t pretty, because things are very definitely not pretty these days, and I will show all of this work here because I cannot stay silent.”

©India Tresselt

I find comfort in the fact that beyond the daily dose of news in the papers, on television and on the radio, grassroots artists are taking productive action, speaking up against issues they see as wrong. Countering loneliness and fear, their voices work toward eliminating isolation while fostering solidarity. In deference to the adage “an image is worth a thousand words”, a visual message can be so much richer than traditional media, striking directly at the heart of an issue while connecting with an audience in a much more visceral way than pages of text or unending interviews with talking heads.

I celebrate all those who raise their voices creatively — as well as the fact that we have the freedom to do so.

*The list of 7 artists discussed in Eve’s talk:
Sabrina Gschwandtner
Katharine Cobey
Adrienne Sloan
Lisa Anne Auerbach
Cat Mazza
Liz Collins
Lindsay Obermeyer

Women’s March, Montpelier, VT, January 21, 2017

One last thought: In his uplifting SNL monologue on January 21, Aziz Ansari jokingly observed, “Crazy couple of days, man. Yesterday Trump was inaugurated, today an entire gender protested against him”. I can’t let that go without referring to William Congreve’s often misappropriated quote from The Mourning Bride, closing line of Act III: “Heav’n has no rage, like love to hatred turn’d / Nor hell a fury, like a woman scorn’d”.

Decisions, Decisions…

After posting the photos of the the first cup and saucer piece, one of you asked if I would talk more about the decisions I made when “framing” it with its Shibori border. What follows are some of the things I was thinking about — and continue to think about as I work on this series.

Two points to keep in mind: a) my goal is to find a way to bring my daily drawing practice and textile work together while celebrating and remaining true to the qualities of each, and b)I never know exactly what will happen until I dive in. Especially in the beginning stages everything is an experiment. I start with an idea, take a shot, see what happens, then go on from there with what I’ve learned.

Composition is my number one consideration, regardless of whether an artwork is abstract or representational. I have written before about my inclination to organize my drawings where the image hugs the perimeter of a piece and the subject often moves outside the field of vision. I am also partial to creating breathing room within the overall framework, enhancing a sense of balance and space. My preference is to walk a fine line between presenting a recognizable object while simultaneously pushing toward an abstracted view of shapes and values.

I like to keep in mind that when the subject lies beyond the boundaries of an image, it leaves room for a viewer’s imagination to envision what happens in that unseen space, deepening the “story” by encouraging participation. As a counterbalance, negative space provides a visual rest, an area where subtle stitching can supply interest by dividing the space without overwhelming the image.

Figuring out how to frame a composition is just as important as how to crop it. It has to enhance the image, furthering what it has to say without merely becoming an edging on all four sides. Surrounding a stitched image with pattern created via stitched-resist Shibori forges a harmonious blend where both elements work in tandem, rather than one overpowering the other.

For many years my pieces were made with irregular edges, a quality I still find intriguing yet which poses a dilemma when the work will be stretched and framed within a traditional floating frame. Because the Shibori pattern is created by stitching, I have flexibility to manipulate where the pattern will appear, the direction of its flow, where to squeeze in narrow gaps (essentially creating an area of escape from the small rectangular enclosure the cup and saucer fills) and where to open up wider expanses via a color field that pushes toward the outer edge, making a statement of its own.

Therefore, what may first appear as a “frame” is actually an essential element of the piece as a whole, serving to ground and engage the stitched image of the cup and saucer within a fully integrated exchange, rather than solely being a vehicle for separating and confining it. In fact, it’s important to remember that the Shibori patterning in these pieces was created first, making it a crucial consideration of the overall composition from the very beginning.

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Many thanks to the reader who asked this question. Writing is a wonderful opportunity to give thought and substance to the ideas that float in the back of one’s mind, but which benefit immeasurably from being articulated. I encourage you to try it with your own work, and please, feel free to ask more questions any time.

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For an intriguing take on presentation/framing, check out the work of Sondra Sherman, a jewelry maker who displays her pieces in the carved-out pages of the books that inspired their creation.

Hygge…Vermont-style

Hygge may seem to be suddenly all the rage, but when you live where it’s the norm for winter nights to be long, cold, and dark, it’s hardly a new concept. Hygge Vermont-style is as old as the surrounding hills and just as inviting as any Danish lifestyle book. We may not be indulging in pumpkin-spice lattes and pine-scented candles but, for some of us, snuggling up by a crackling fire with a full evening ahead to get lost in a book is one of life’s true pleasures…and the essence of coziness.

This week I have been experimenting with various origami folds before stitching.

Since things have settled down after the holidays, I’ve been enjoying a line-up of wonderful books. Some, but not all, are art-related. Now seems as good a time as any to share their titles as we still have a window of long evenings to enjoy before the spring solstice arrives.

Sisters In Law: How Sandra Day O’Connor and Ruth Bader Ginsburg Went to the Supreme Court and Changed the World by Linda Hirshman
This book couldn’t be more timely — on numerous fronts. It pulls back the velvet curtain in ways both uplifting and unsettling.

Waterbomb base

Studio Craft as Career: A Guide to Achieving Excellence in Art-Making by Paul J. Stankard
A studio artist working in glass, Paul Stankard shares the evolution of his career from scientific glassblower to internationally renowned ‘father of modern glass paperweights’. In addition to discussing at length his philosophy for pursuing excellence while offering his insight and counsel, Stankard also highlights over 45 artists whose work he reveres, including their individual advice for success. An inspiration on many levels.

Book & Cupboard – front

Selected Writings of Bruce Metcalf
A series of essays recommended by Paul Stankard in the above book. I haven’t made my way through all of them, but the first set consider the divide between art and craft more articulately and deeply than any other treatise I’ve read on the subject yet. Despite being written in the 80’s and 90’s, they are very enlightening and still hold water.

Book & Cupboard – back

A History of Pictures: From the Cave to the Computer Screen by David Hockney & Martin Gayford (thank you Lauren!)
This thick and richly illustrated book lends itself well to long or short sessions. Hockney is one of my artistic heroes. He is so smart and astute; I always learn from and enjoy what he has to say.

Thirds

Deep Work: Rules for Focused Success in a Distracted World by Cal Newport
As mentioned several times before in this blog, I have been reading Newport’s blog Study Hacks for well over a year and wholeheartedly buy into his theories surrounding “deep work” as a means of accomplishing more richly developed objectives in less time. I found myself taking notes throughout, but the section on formulating goals was particularly helpful.

…And for good, old-fashioned storytelling, try these fiction titles:
News of the World by Paulette Jiles
The Thirteenth Tale by Diane Setterfield

It’s your turn. What titles are keeping you warm this winter?

Opening up worlds
And discovering new paths
Nothing like a book
– Daniella Ignacio

Elizabeth Fram

Eye of the Needle