Author Archives: ehwfram

About ehwfram

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

San Francisco, Part 2

Who doesn’t love a “twofer”?
Not only was I incredibly lucky to have caught Matisse and Diebenkorn together in the same exhibition at the SF MOMA earlier this month, but our visit to the Museum of Craft and Design included the unexpected windfall of two fascinating and quite different exhibitions for the cost of one admission.

I first learned about Wendy Maruyama’s work at SOFA Chicago in 2014. At that initial viewing I felt quite small gazing up at just one of her expertly crafted life-sized elephant heads, made from flat wooden panels held together with twine and hanging at the height of a living beast. To be in the presence of six of these creations is utterly awe-inspiring. Maruyama’s traveling wildLIFE Project, an exhibition which is now at the MCD through May 2017, was created as an advocacy project to bring awareness to the issues surrounding the poaching of wildlife.

Equally imposing, Maruyama includes a cache of blown glass “tusks”, also life-size. Enclosed within a wood and glass reliquary made by Maruyama, the casket of tusks symbolizes the preciousness of both the elephant and its ivory.

To round out her quiet yet emotionally stirring treatise, a series of Maruyama-built shrines elegantly and straightforwardly honor the elephant species and its growing loss. You can read more about the Bell Shrine on her blog. Stunningly beautiful, they reference the aesthetic qualities of Maruyama’s Japanese heritage. All the objects in this show are a nod to the fact that often the strongest statements are deceptively simple, holding tremendous weight due specifically to their lack of extraneous information. This is one of the truths behind The wildLIFE Project as a whole: the effect of Maruyama’s potent message, which addresses the devastating impact poaching has on wildlife, owes much to the simplicity of its delivery. Viewing the exhibition is a poignant and humbling experience.

Deeply moved as I left the gallery, I couldn’t help but think of the gravity and urgency of this exhibition and the message it carries — another instance of the power of art as a go-between and translator. Which begs the question: How could our government possibly question the viability and necessity of the arts and the NEA? It is a viewpoint that is truly beyond me…but that’s a subject for another post.

Janice Arnold Felted Drape

Leaving Maruyama’s emotionally charged work behind, the neighboring gallery offered a comforting contrast. Cushioned in the story and products of felted wool, one can’t help but become aware of the stark dichotomy between the sustainability of harvested wool and the devastation and endangerment of species created via poaching. FELT DECODED, Wool: Nature’s Technology encompasses a comprehensive collection of art by Janice Arnold, who has passionately spent her career learning about and exploring the expansive world of wool felt. Free-standing sculptures, framed textural wall pieces, massive draped hangings, and tent-like enclosures all give voice to Arnold’s complete immersion in felt as an art form and her dedication to investigating the full scope of its history and its possibilities.

Janice Arnold Felted Panel

Aside from Arnold’s felted art, this exhibition also explores the timeline of felted wool, offering a myriad of examples that underline its fluidity and versatility throughout time. Having made it her life’s work to trace the material’s expansive background and use, Arnold aims to share her copious knowledge through various projects and in exhibitions like FELT DECODED. Her research spans from the nomadic tribes of Central Asia and Mongolia to the high-tech world of industrial felt, emphasizing the beauty and utility of this sustainable fiber. Her artist statement speaks to felt’s unexpected ability to bridge the divide between our past and our future:

“The current high tech world with its synthetic surroundings has taken us far from the natural world and our historic traditions of making things by hand. We are starved for natural textures, fibers and irregular forms. I believe wool Felt connects us with our natural history in a way no other fabric can.”

So there you have it: two completely different, yet equally captivating exhibitions under one common roof. Seen in parallel, the implication of each is bolstered by the other… I would say a “twofer” at its very best!

❖

Click here for Maruyama’s flicr page of photos surrounding the creation of The wildLIFE Project.

❖

And, as promised, a couple of quick sketches from our week away. There was time to draw each day, but it was mostly done on the fly.

Baghdad by the Bay, Part 1

San Francisco is a jewel.

Moon rising over Coit Tower from Lombard St.

This city will always be special in my eyes, despite my preference for rural environments. I love the way it straddles the divide between urban and sylvan so easily, and relish its approachability as a web of neighborhoods of distinct personality, rather than a forbidding fortress of concrete and steel. A long time ago we lived on the Presidio for three wonderful years; I gave birth to our daughter with a view of the Golden Gate bridge from my hospital room and, ironically, our son’s current office is within one of the refurbished officer’s homes that abut the property of the now demolished hospital where his sister was born. So happily, the connection persists.

A mural of a mythical beast by Curiot (Favio Martinez) who blends human and animal forms while alluding to Mexican traditions. At Bush St. and Grant Ave.

“Cupid’s Span”, 2002, by Claes Oldenburg and Coosje van Brugge, near the Ferry Building

“Language of the Birds”, Brian Goggin & Dorka Keehn’s 2008 solar-powered light sculpture before the backdrop of Bill Weber’s 1987 “Jazz Mural”. Both are only a stone’s throw from SF’s iconic City Lights booksellers. Words and phrases embedded in the sidewalk below, give the impression they have fallen out of the books. The words are in English, Italian, and Chinese, reflecting the neighborhood’s rich literary history.

Our visit this month was just what I needed to shake out my end-of-winter malaise and to recharge the old batteries. ‘Baghdad by the Bay’, eminently walkable, with its golden light, fresh and varied foods, and rich array of cultural choices, proved to be just the balm needed at this time of year.

“Woodline”, 2011 by Andy Goldsworthy, in the Presidio

“Spire”, 2008 by Andy Goldsworthy, in the Presidio

Among its many attributes, San Francisco is a city swathed in art – both professionally polished and creatively homegrown – offering visual delights in just about every corner. This post is a nod to a few of the many discoveries that caught my eye.

Balmy Lane, Mission District We took a “Detour” walking tour – a phone app audio guide – through the mural-rich Mission. Balmy Lane is a one block alley lined with beautiful and vibrant murals.

Balmy Lane

The icing on the artistic cake was getting tickets to see the Matisse / Diebenkorn exhibit that had just opened at the SF MOMA. It is a wonderful show; two of my greatest heroes together, brilliantly curated to underline the strong influence that Mattisse had on Diebenkorn. There were no photos allowed, which in hindsight was an advantage since it meant there was nothing between viewer and art, requiring full engagement with the work. This is the best link I could find with some of the images. There is a full room of drawings that are spectacular! My only regret in regard to no photos is that I wasn’t able to have a record of the identifying cards next to the works – they were filled with info that I would like to reread.

We also visited “Paul Klee at Play” at SF MOMA. These hand puppets were made by Klee for his son, Felix

Another Klee puppet using papier-mâché, found materials, and scraps of cloth

“Battle of the Sexes”, 1982 by Tom Otterness. A frieze that surrounds a door opening, with female figures climbing on the left, males on the right. Both carry cylindrical drums and spheres representing abstract ideas. At the top they meet and a struggle erupts without a winner.

“Czara z Babelkami”, 2006 by Ursula von Rydingsvard, a towering cedar sculpture in the SF MOMA sculpture garden

I’m saving my thoughts on Wendy Maruyama’s WildLIFE Project & Janice Arnold’s FELT DECODED at the Museum of Craft and Design for next week. I’ll also have a few of the sketches I was able to squeeze in around the edges. I hope you will check back.

❖

And to follow-up on the ‘White Screen of Death’ that occurred right after we left town…it ended up being an easy fix once I got home and could devote a few minutes to figuring out the problem from my laptop. I can never say enough good things about my server, Bluehost. I found a tutorial on their site that allowed me to dig myself out of trouble in about 15 minutes. I have since learned that the WSoD is unfortunately not all that uncommon for WordPress users. May you never experience it. But just in case you do, below are a couple of links that lifted me beyond my initial panic so that I could relax and enjoy our vacation, knowing it was very likely a solvable problem.

Amy Lynn Andrews’ post “How to Deal with Errors and Warnings”…a must-read, applicable to any computer issue.
WP Sync one-time fix $39. I can’t give this a personal recommendation because I didn’t need to use it and there are likely many other groups that offer similar deals. But, it was definitely peace of mind to know that, if needed, I could get an expert on the case at a very reasonable price, and without having to commit to an on-going service.

The Wider World

I’ve been using Instagram for about four months now and I guess the self-imposed trial period is over. The results? …I’m glad I took the plunge. It’s become a quick daily dose of fresh images from artists all over the world that not only emphasizes the immensity of creativity out there, but also the tenacity and commitment that people devote to their individual practices. From that perspective alone, it’s very inspirational.

Inma Serrano Trumpeta 2

Community, even a virtual one, is key when one spends large chunks of each day working in solitude, relying mostly on a pooch, books on tape, podcasts, and NPR for company. No question, Instagram is not a substitute for my in-person critique group and my art friends who live both near and far; it doesn’t come close to the reciprocity those personal relationships afford. But I am learning to appreciate it as a passport to the global creative community, a platform that demands very little while offering a lot if it is approached mindfully.

Lisa Smirnova Joseph Brodsky/Embroidery

On the whole, I have been fearful of social media because of the perceived time drain (I sit pretty firmly in Cal Newport’s camp). And while I’m sure you could spend hours on Instagram if you wanted, my concern that it would become an overwhelming time commitment hasn’t materialized. Instead, it’s a very compact opportunity to find a sense of connection by seeing what’s going on in all sorts of studios and galleries, while offering a taste of process, materials and inspiration.

Veronica Cay Out on a Limb

And, as I become more familiar with the work of the people I follow, it’s been fun to watch as individual works progress toward completion, to vicariously celebrate openings of people I will likely never meet, and to be able to appreciate the beauty in our world as others see it. It’s a pretty cool thing to be able to tap into the wide world of folks out there who also find meaning and fulfillment in getting into their studio each day, trying again and again, because it’s just what we do.

Tangled Bank 2.10, 2017 Miguel Rodriguez

Miguel Rodriguez “Big Shield” / Tangled Bank 2.10, 2017 Acrylic, collage on paper, 22×35 in

The above images are a tiny handful of my favorite artists to follow. Explore their work further on Instagram and on their websites.
Inma Serrano of Spain: Instagram, Website
Lisa Smirnova of Russia: Instagram, Website
Veronica Cay of Australia: Instagram, Website
Miguel Rodriguez of Washington, DC: Instagram, Website

The Dramatic Ordinary

One of my goals this year is to read more artist memoirs / biographies. (Suggestions please!) While it’s interesting to get the detailed and distanced perspective an art historian can provide, there is nothing quite as enlightening as an individual describing their thoughts and journey in their own words.

I just finished Sally Mann’s 2015 memoir Hold Still: A Memoir with Photographs. On many levels it reads like a novel; Mann goes into great depth about her family history, and those folks were anything but boring! More importantly, she does a wonderful job of relating how all the varied people and parts of her life fit together and have influenced the direction of her work.

But on a more personal level, one quote resonated particularly strongly in relation to subject matter. She says, “Part of the artist’s job is to make the commonplace singular, to project a different interpretation onto the conventional”.

In creating the pieces I do, I spend a lot of time thinking about how ordinary events and circumstances are really more, in that they add depth and meaning to our day-to-day, making routine experiences worthy of notice and appreciation. My drawings and stitched work speak to those often unsung moments, acknowledging that their influence is greater than we would ever guess.

I think David Byrne said it best:

“Most of our lives aren’t that exciting, but the drama is still going on in the small details.”

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.

❖

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.

❖

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.

❖

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

Less is More

Happily, the snow that has fallen this week has blanketed our woods again.

Getting out to walk on our trails with Quinn has provided a welcome reprieve from the relative visual cacophony of pattern and color I’ve been immersed in while working on this latest cup and saucer piece. I’ve long been an avid fan of the traditionally quiet Japanese aesthetic with its subtle contrasts and expanses of open space, which probably explains why a snowy landscape represents a such a welcome counter-balance, not just to working with pattern for hours at a time, but also, theoretically, to the hectic realities of life as we all know it.

A couple of years ago I wrote a post about February’s inherently restrained character and was gratified to hear from quite a few of my Vermont friends that they too welcome this season as a time for regrouping, of calm reflection, and as a period all the richer for its subdued identity. If you live with winter for a large chunk of each year, there’s an element of self-preservation in figuring out what gifts you can glean from it.

But in thinking more about the appeal of winter’s sparseness, I did a bit of research on the idea of unadorned beauty. I came across a fascinating lecture by haiku poet Madoka Mayuzumi entitled “Japan’s Culture of Silence”. It goes a long way toward explaining, especially in relation to haiku, the significance of an “aesthetic of reduction”. Haiku invites the reader into the poet’s world, relying as much on the blank spaces incurred through its brevity, as it does on the words which comprise each poem. Mayuzumi explains: “We tend to find the greatest beauty on (sic) what is left unsaid, in the rich possibilities of blank space”.

It’s a principle that can be applied to any of the arts.

Looking out my living room window, layers of fog not only mute any sense of depth, but also lend an openness to the landscape in much the same way as snow.

I’ve always loved winter, so a snow-covered landscape is a welcome seasonal perk…just because. But from an artistic and working viewpoint, there is a lesson in the snow: the importance of finding a balance between maintaining a certain boldness (via composition, pattern, and texture) while remembering to get my point across as simply as possible.

❖

If this subject interests you, you might enjoy this 2 minute video on the concept of “ma”, which discusses how this aesthetic of reduction is integrated within Japanese culture.

On a Different Note…

If you will be any where near Montpelier on Thursday, February 9, I would encourage you to attend mixed-media art knitter Eve Jacobs-Carnahan’s presentation Art as Action: Knitters Speaking Out. Inspired by the article What It Means To Be An Artist In The Time Of Trump, Eve will discuss and show examples of projects undertaken by art knitters to raise awareness about social and environmental issues.

Art as Action: Knitters Speaking Out
A presentation by Eve Jacobs-Carnahan
Thursday February 9, 2017 6:30 – 8 pm,
Center for Arts and Learning, 2nd floor
46 Barre St. Montpelier, VT 05602

Education in Motion

If I had to list the most endearing aspect of my treadmill, it’s that it eliminates any guilt surrounding watching art videos first thing on a weekday morning. I’ve seen enlightening and inspiring documentaries and learned from numerous skilled teachers while jogging away — definitely the spoonful of sugar that helps the medicine go down. A few of my favorites are listed below.

©2017 Elizabeth Fram Even though this pen has a “fine” nib, it is much thicker than I prefer. I struggle with its boldness, missing the nuance of a finer line while trying to keep each shape from appearing too “cartoon-y”

It’s interesting that I seem to have a hard time maintaining attention with prolonged video instruction if I’m just sitting, but if I’m moving I’m totally captivated. (There has to be some sort of scientific study on that subject). Anyway, even better, anything art-related tends to take the pain and boredom out of my running-to-nowhere workout, making it unexpectedly anticipation-worthy .

One of my holiday requests this year was Charles Reid’s English Watercolour Sketchbook DVD (thank you Stu!). If you’re not familiar with Reid, check him out. His work is loose, yet masterful; I am in awe of both his drawing skills and his use of color. I’ve learned a lot from his books, but nothing quite compares to watching over someone’s shoulder as they work. He articulates what he’s doing, as he’s doing it, with just enough repetition that core ideas sink in and stay.

Reid repeatedly drills home the idea of creating lost and found edges within a work, stressing the importance of continually moving back and forth between the subject and the background in order to find and make connections and escape routes throughout the piece as you progress. It has been one of the most valuable tips ever, and one that I try to keep in the back of my mind at all times.

Necessity has provided me with a fertile learning ground to practice and find fresh solutions to this principle. I have a new sketchbook with paper that, while smooth to the touch, has a tooth that wreaks havoc on the tips of the .01 Micron pens that have been my go-to tool for several years. To get around the problem, I’m using my Lamy Safari fountain pen which isn’t bothered by the rough surface. However, it makes a much wider line that, while great for playing with marks and pattern, has put me back to square-one in figuring out how I can manipulate it to achieve values and find ways to create the breaks and overlaps that Reid advocates, while simultaneously maintaining a sense of form.

For now, it’s a bit of a steep learning curve. I know I need to keep at it in order to make progress, when it would be so much easier to revert to my comfortable old pens on familiar paper. But, just like the darned treadmill, if I commit to it and find a way to keep it interesting, I know the rewards will be worth it in the end.

*A few suggestions:

Painter – Caio Fonseca
American Masters series from PBS
Assorted Craftsy art courses, especially those by Marc Taro Holmes, Shari Blaukopf, and Stephanie Bowers
Sabra – Vermont printmaker Sabra Field