Author Archives: ehwfram

About ehwfram

I am an artist living in Vermont, inspired by the day-to-day details of life.

Frida Revisited

Almost twenty years ago I made an art quilt about Frida Kahlo, hoping it would be accepted into a show at the then Thirteen Moons Gallery in Sante Fe, NM, which at the time was the premier gallery for art quilts in the country. I did a lot of research about Kahlo in preparation and, like so many others, became fascinated by her story, her strength, and her art.

Making the piece was more than a little challenging, earning its share of blood, sweat, & tears. It was a lot of tricky work to figure out how I could best combine machine and hand-work in order to achieve the effects I was going for, and I learned a tremendous amount in the process.

The happy ending is that it was accepted into the exhibit and became the first textile piece I ever sold.

Week before last, our model at life drawing came dressed as Kahlo. She is an unabashed fan, making no secret of her admiration for the artist while setting a striking likeness.

But as the session wore on it was Kathryn’s spirit, not Frida’s, that had us all under its spell as we drew and talked about the mythic painter.

On A Different Note_________________________________________________________________________

I appreciate the sentiment of this blog post from Modern Mrs. Darcy and think you might too. It’s so easy to keep one’s nose to the grindstone, making each day a perpetual puzzle of trying to fit more in around everything else, maybe it’s time to rethink that approach.
Plus, her helpfully annotated Summer Reading Guide 2018 is now available.

Post Residency Mishmash

Something I didn’t expect to face once I got home last week was how challenging it would be to re-adjust to reality after the luxury of centering my brain on largely one single thing for a span of 7 days. It’s made me even more acutely aware, not only of what a gift the week in Johnson truly was, but also of the hundreds of day-to-day concerns, big and small, we all regularly juggle just to keep our heads above water in daily life.
Therefore, if this post seems a bit all over the place, it is. But it is also a reflection of the rich and various arty things that have captured my attention as I’ve pulled myself back into my routine.

First, after working in that large, open, and mostly empty studio at VSC, I realized that despite packing up a full car-load of supplies, I doubt anyone walking into my home studio while I was away would have noticed anything was gone. In other words: time to clear out! In the midst of tackling that chore I found a stash of old drawings that I had totally forgotten.

A lot of water and art has passed under the bridge since I made this drawing in 1992 while sitting in the driveway of our house in Hawaii as our kids drew with chalk and rode a tricycle. It caught my eye immediately because I can (now) see in this jumble of boxes and beach toys, piled at the back of our carport, the roots of the sketches of the stacks of drying dishes I’ve been making for the past couple of years. Even all that time ago, without realizing it, I had an urge to distill an image into an abstraction of shapes and values, while moving outside of a self-determined frame. It’s just that it’s taken doing it many, many more times to get to the point of recognizing what I was attempting.

❖

A trip to the Vermont College of Fine Arts to see an exhibit of exceptional high school art was both exciting and humbling. Much of the work coming from these young artists was very strong. I took photos of the 10 pieces that stood out most to me, but I’ve narrowed those down to my favorite three which follow below (with a fourth thrown in…just because I can, and for reasons that most of you will guess). I see a bravery of perspective/vision and adventurous spirit in these works that is quite admirable and mature.

Sunset Journey ©Meredith Nicol, Lyndon Institute, Watercolor, pen and ink The detailed pen and ink work of this piece unfortunately doesn’t translate in this photo, but I was very impressed with the expressiveness and assured hand of this young artist.

The book I read this past week was Anthony Doerr’s Four Seasons in Rome: On Twins, Insomnia and the Biggest Funeral in the History of the World. I became very fond of Doerr’s writing style and his prowess with metaphors in All the Light We Cannot See. So paired with my own fond memories of Rome, Four Seasons landed squarely on my to-be-read and library waiting list a while ago. It was definitely worth the wait.
One word of caution: if you haven’t had kids, it might not be for you…too much talk about the messy realities of those first months. But for those of us who have had the privilege, and who know the life-altering joys and challenges that come in that first year, this book is a thing of beauty — especially when coupled with the sights, sounds, smells, and tastes of Rome, which Doerr so masterfully conveys. His genius is in elevating both the simple and the monumental in such a way that they simultaneously evoke a sense of familiarity and awe.
And, although I didn’t plan it that way, it was a great read for Mother’s Day week!

Musical Rage ©Finn Rooney, Hazen Union High School, Color pencil

Lastly, we are all rejoicing as spring has finally taken hold of this corner of the world. The trees have leafed out in a matter of days, so I guess it would have been better if I had thought to share this haiku with you last week. Despite being a bit late, it still resonates and I keep going back to its simple beauty.

Jewelry

Buds on silver twigs –
Purple, scarlet, green and gold –

Spring’s bright jewelry

From A Haiku Each Day, ©Abigail M. Parker

Untitled Self Portrait ©Aidan Lodge, People’s Academy, Digital Photography The unfortunate glare on the right panel of this striking photo is mine. Apologies.

So what do all these vignettes have in common? One of art’s greatest strengths, regardless of discipline, is it accesses and clarifies the deeper elements of what we already know.

Holy Trinity ©Julia Bamford, Essex high School, Acrylic

A Week with the Tribe

To say that my week at the Vermont Studio Center was amazing is beyond an understatement.

First day, empty studio

I had plenty of room to spread out — loads of wall space, two long flat tables, and area for my easel, drying rack, and bins of supplies without any fear of tripping over something.

Quite the view out my studio window

It’s hard to describe the euphoria of spending a series of unimpeded days in the company of over 50 visual artists and writers, each as thrilled as I was to be immersed in the freedom of having the better part of a week to work through any and all artistic impulses with no other worries, let alone the daily responsibilities which tend to constantly interrupt ideas and progress.

©2018 Elizabeth Fram, Stitched-resist Dye on Silk, 13 x 22 in. By layering organza over raw silk, each dyed separately with different stitched-resist patterns, a wonderful holographic-like effect was created that is difficult to capture in a photo.

Our studios were accessible 24 hours a day, the food was plentiful, fresh, and delicious, and the ready conversation was intriguing and warm. One could work for hours on end in solitude without thinking about anything but art, yet find instant connection and camaraderie across the table at every meal. Companionship was readily available when sought, but there were no overtones of rudeness or guilt for choosing to hibernate in one’s studio in order to keep working.

The scope of work being made was wide and inspiring, as anyone who attended the Open Studios on our final day certainly experienced. And it was a gift to have the fresh eyes and vibrant conversations that public visitors brought with them on that afternoon. It was a week of experimentation and exploration for me, testing and mixing new and diverse shibori patterns, with the goal of discovering new frameworks for future stitched imagery. Many of us don’t often have, or necessarily want, input on work that is so early in its progress, but I was grateful for the fresh insights that cropped up during the studio visits.

©2018 Elizabeth Fram 1. Stitching a big circle. The following images represent steps of a process, leading to the finished piece. I didn’t get as many photos as I should have along the way, but these show the major stages.

©2018 Elizabeth Fram 2. Folded cloth. I didn’t realize I’d forgotten to take a photo of the finished dyed circle until I’d gotten this far in the folding process – and couldn’t bring myself to go back.

It wasn’t surprising that many experienced hills and valleys within their work during the week. If you spend any time at all talking with artists, hurdles are a subject you can count on surfacing. Collective experience and the gift of time brought quick turn-arounds, but knowing how pervasive self-doubt can be, it seems both timely and appropriate that Nela Dunato Art & Design’s latest blog post deals with this issue. Check out what she has to say for a refresher that suggests ways to work around this very common stumbling block.

I can’t say enough good things about the week. And as is often the case, the best part was the other people. We arrived for the most part as strangers, but I think everyone left feeling more connected and uplifted by the sense of togetherness the week offered. It really did feel like being part of a tribe.

Out of the Studio, Into the Studio

I am at the Vermont Studio Center’s Vermont Artists Week this week. What a privilege!
Who knows what I may be up to when you read this, but it will definitely involve thread, dye and silk…with hopefully some unexpected results. We’ll see.

Coffee Table 1 ©Elizabeth Fram, 8.5 x 11 inches, Ink on Paper

That said, I prepared this post before leaving, which is why it’s so brief.
I’m reaching back into my sketchbook archives from January because these end-of-day sketches of the disarray on our coffee table seem to best (& humorously) illustrate the general state of my brain as I was getting organized before leaving.

Coffee Table 2 ©Elizabeth Fram, 11 x 8.5 inches, Ink on Paper

This Sunday, May 6 from 2-5pm, will be Vermont Artists Week Open Studios. Details are in the link. Everyone is welcome, so please come to the Studio Center in Johnson to see the work that was created during this past week by the more than 50 artists and writers attending.
Hope to see you then!

Exhibits of Spring

Did you hear the collective sigh of relief this past week as the sun emerged from hiding? It brought with it welcome warmth and cheer that seemed to put all of Vermont in a good mood.

I was so glad to finally pull back the burlap from one of my raised beds to expose the tiny garlic shoots that are valiantly making their way up and out of the dark. My arugula, lettuce and chard seeds are now planted between the rows of subterranean heads, and it’s reassuring to know that eventually the garlic’s leaves will shade the tender greens from the sun’s strength, so they will last far longer before bolting than if left unprotected.

Garlic Sprout

It’s been a great week for art viewing, with several shows to recommend for those of you in, or near to, Vermont. I was so caught up in each exhibit that I didn’t even think to take photos to share, which hopefully will only reinforce how good the work was. They all have less than a month left in their runs, so don’t delay.

First, the Fleming Museum has two excellent exhibits that exist independently, yet at the same time provide the perfect counterpoint to each other. Make sure you make time to see both if you go.

Self-Confessed! The Inappropriately Intimate Comics of Alison Bechdel

Honoré Daumier’s Bluestockings

Despite the obvious disparities between artists, eras of creation, and social messages conveyed, the pairing of these works, albeit in separate galleries, emphasizes their combined strengths, not the least of which is the technical beauty and finesse of each.

❖

A trip to the Northeast Kingdom for a sunny walk along Caspian Lake brought the unexpected delight of discovering a wonderful exhibit at the Highland Center for the Arts in Greensboro.

Muse, features the work of three artists, Jess Polanshek, Amanda Weisenfeld, and Kristin Richland. Their enchanting work, also technically stunning, is irresistible — especially to any animal lover.

Muse

❖

And finally, a reminder that my exhibit, Drawing Threads: Conversations Between Line & Stitch, at the Emile A. Gruppe Gallery, will close on May 6th. If you haven’t had a chance to visit yet, I hope you will consider making the trip to Jericho to cap off any other shows on your list.

Color, Please!

I think we’re all feeling a bit color-starved in the Green Mountain state these days.

What a cold, dark, and damp month this has been!
I know there are bright crocuses and leafing trees somewhere, but winter has yet to release its grasp on our Vermont hill.

Gratefully, art supplies bring a touch of the sorely missed brightness within reach.

I am back to exploring the patterns and distortions that appear when looking through a glass of water. These sketches are my pretend garden of shape and color, a stand-in to tend while waiting for the real thing.

A lot of New England artists seem to be turning up the color while waiting for spring to arrive.
Help yourself to a dose of their medicine.

❖

It was such a pleasure to spend a couple of hours in the company of bright young artists this past week during our stitching workshop. They were an eager and happy group, diving in with needles in hand, cheerily socializing while they worked. I was impressed that the majority had previous sewing experience, and so pleased that gender wasn’t a factor.

Cyclops

Rose

Profile

What made me happiest was that several commented on how relaxing they found the work, and that they were definitely planning to keep on stitching!

Arriving At Complexity Via Simplicity

What is it about pattern that is so seductive? Perhaps it’s that its regular rhythms lure us into a sense of comfort through the predictability of repetition. Or could it be the visual jolt that keeps us on our toes as we bump into the places where those rhythms break with a change of direction, color, or image?

Sample 1

This week I have been working up a sample piece for a workshop I will soon be presenting for a group of high school art students. Without being sure what their previous stitching experience (or even exposure) has been, I am planning to concentrate on the deceptively simple running stitch.

Sample 2

Like following the dashes of the broken white line down the middle of the road to destinations unknown, I hope they will become excited by the wide scope of pattern-making possibilities to be found by simply drawing a thread up and down along a line.

Sample 3

The running stitch has a rich history around the world, represented in part by Kantha embroidery of eastern South Asia, Japanese Sashiko, and traditional American hand-quilting. Numerous contemporary artists, such as Christine Mauersberger, Sue Stone, and Mary Ruth Smith , (and even yours truly) continue to mine its possibilities in their work, offering plenty of inspiration to set any budding stitch artist on her way.

Sample 4

Beyond that, by having them concentrate on the most basic of stitches, my main goal is that the students will come away with a better understanding of the truism that I depend upon so heavily in my own practice: Limitations, self-imposed or otherwise, often provide our greatest opportunities for growth and creativity.

Several artists I admire who use pattern to great advantage are Jane Newland, Eleanor Annand, Emily Barletta, and Arounna of Bookhou. Who would you recommend?

On a Different Note______________________________________________________________________________

Looking for a great non-fiction read that has nothing to do with art? Try Lab Girl by Hope Jahren, a funny, poignant memoir of a scientist who just happens to write beautifully. It’s my latest favorite.

In Praise of Brevity

One of the side benefits of writing these weekly posts has been gaining a more thorough appreciation for and understanding of the art of editing, not just in writing but across the board.

Jonathan Shahn, Seated Figure, 1978, pencil on paper, 17 x 14 inches The emotion in this fluent drawing by sculptor Jonathan Shahn thrums with a quiet strength.

What I’m learning through regular writing, and now in my life drawing sessions, is what a steep hill there is to climb in figuring out how to get the full measure of a message across while trying to remain concise. I have a hearty respect for those who seem to have a talent, whether innate or through hard work, for distilling their thoughts into neatly succinct points, granting us access to a deep well of ideas with a minimum of lines, either written or drawn.

The art of haiku skewers the heart of a universal idea or feeling with such accuracy that one might consider it something of a miracle in a handful of syllables.

The snow is melting
and the village is flooded
with children
~Kobayashi Issa (1763-1827)

I’m sure it won’t surprise you that I was thinking about and inspired by Shahn’s and Issa’s editorial abilities as I drew this week.

On Another Note__________________________________________________________________________________________

If you are near to central Vermont, treat yourself to a visit to Studio Place Arts in Barre to see the current shows. In the main floor gallery Pleased to Meet You! is a wonderful mixture of works that bring fantastical, imaginative creatures to life while providing a welcome break from reality. Hannah Morris’ The Feast of Fools, collaged paintings and soft sculptures in the Third Floor gallery, “explore the intersection of the sublime, the absurd, and the mundane in recognizable moments and places”.
Both exhibits run from March 27 – May 12, 2018.

I walked away from my afternoon visit at SPA uplifted by how successfully it models the best of what a community art space can be: galleries, studios with accessible artists, and an executive director who actively engages and educates visitors without being intrusive. If you can, go see for yourself.

Savoring Connection

This is my studio after the last-minute push to get all the details of Drawing Threads in place. It looks like a war zone but, despite the chaos, there is a satisfying sense of quiet hovering over it now that makes me smile. Studio On the other hand, there is no way I would share a photo of my desk…let’s just say I am working among so many precariously balanced piles in order to get this post written, that I am barely breathing in the hope I don’t knock anything over.
Next on the agenda: tackle the mess so I can get back to work in an open space, with a clear head.

Long Wall

The past week has been a wonderful ride. I am so grateful for the words of encouragement and support that came from far and near in the days leading up to the opening reception, and for all those who came out on a beautiful, sunny Sunday afternoon to celebrate with me.

The lasting gift of the event was enjoying the opportunity to discuss my process and incentives with non-artists and artists alike, answering their thoughtful, in-depth questions and hearing about the connections they drew from both the sketches and the stitched pieces to their own experiences and/or artwork. For one who often spends hours and days working in solitude, listening to countless podcasts or “chatting up” my four-legged studio assistant, it was an unparalleled pleasure to have every one of those discussions.

Snug / Pick Up Sticks

And don’t you agree that, above all, it’s a sense of connection we strive for, no matter what medium we choose? So when that often elusive aspiration hits home, the reward is immeasurable.

Treats

Interestingly, a recurring point many made was that, while my photographs are crisp and their colors true, seeing the work in person was was somehow different. I think that is often the case with the tactile medium of textiles.

It brings to mind the countless, excellent reproductions of the Mona Lisa and Whistler’s Mother I have seen through the years, yet when I finally saw them in the flesh, I was taken aback by the beauty they project in person; there is a warmth and vibrancy that somehow gets lost in translation with a photo. And that is just a reality we have to live with.

Peonies

So let me encourage you to go to your local museums and galleries. See the art in person. Even if you aren’t sure you’re going to like what you see, you may be pleasantly surprised. And the unexpected bonus you may find is a sense of connection that you didn’t even know you were looking for.

Figuring It Out

If there’s one thing that stands out as “best decision of 2018, so far”, it would have to be joining the life drawing group I’ve been attending on Mondays. It’s exciting and humbling and one of best the learning experiences I’ve had in a long time.

John 1

If I can remember, I like to take photos of my progress during our breaks. Doing so is a great learning tool for looking back later to see how the drawing progressed, and when it may have veered off beyond the point of no return.

John 2

A not-altogether-unexpected perk is that it’s an excuse to buy new art supplies. I spent a silly amount of time in the pencil aisle at Dick Blick when were were in San Francisco last month, and a couple of weeks ago decided to treat myself to a lightweight travel easel. There is a world of difference between having my board upright and stationery, and propping it against a chair with my knees! John 3

The model holds only one pose per full session, but the sittings are in 20 minute increments with 5 minute breaks in between. John was especially good. He had a remarkable memory for getting back into position and kindly offered an extra five minutes each time the timer went off in case anyone needed to finish what they were working on.

He brought all sorts of woodsman-like props, and even offered to bring his chainsaw in from his car if we wished! Could it get any better?

❖

Katherine Tyrrell of Making a Mark is developing a page on the Art Business Info for Artists section of her blog that will hopefully become a series of interviews with professional artists about the reality of their working lives. The debut post with Catherine Ingleby covers some worthwhile ground. I was especially interested in the section on how Ingleby allocates her time. Something else may resonate with you.