Category Archives: Discussion

A Sense of Belonging

I’m always intrigued by the way artists navigate their world, and find reinforcement in the knowledge that even the most celebrated put one foot in front of the other, slogging away in the studio to define their path, just like the rest of us. Living in the digital age, we have a bevy of available resources that allow us to better understand how others approach their work, while simultaneously uncovering similarities between those practices and our own.

This week I have been reading selected archives from the Penland Sketchbook (blog of the Penland School of Crafts), which led me to the websites of several young artists who have been part of the Penland Core Fellowship program. I was captivated by the work and thought process of Angela Eastman and recommend you treat yourself to some time at her website to see what she is making and to read her well-considered ideas. Bearing in mind the amount of time I devote to placing thousands of hand stitches, I was particularly taken with this quote: “In a society where so much focus is placed on personal gain, I find beauty in the collective efforts of individual marks, and inspiration in the lessons in humility that they teach”.

I have also begun Richard Shiff’s book Ellsworth Kelly New York Drawings 1954-1962 and am fascinated by his discussion of Kelly’s “…use of drawing by chance…” In the ensuing essay, Shiff quotes Kelly: “I realized I didn’t want to compose pictures, I wanted to find them”. What an engaging thought; it makes total sense to me. I am often struck by the unplanned compositions that appear as I randomly place my larger work within a smaller frame to stretch for stitching. Those unexpected configurations can be surprisingly successful and several times I have discarded more than 50% of a piece in favor of the more effective alternative.

Finally, I have been binge-listening to Antrese Wood’s podcast Savvy Painter, recently recommended by my friend and extraordinary painter/draughtsperson Csilla Sadlock, (if you follow only one link here today, make it Csilla’s). Each of Wood’s podcast episodes is filled with down-to-earth nuggets offered by the interviewed artist, who honestly spills the beans about both the high and low points of her/his practice, underlining that hard work and challenges are part of the deal for everyone.

Not ready to show the full piece yet, the images today are detail shots of what I have been working on this week (basting stitches and all). I am finding that all the elements mentioned above (humility learned through a myriad of stitches, being open to chance, and finding solace in the fact that even the most successful artists toss a certain percentage of finished work) enhance my sense of connection and inspire me as I work, comfortable in the knowledge that I belong to a sort of tribe. I’ll bet you can relate.

5 Studio Essentials

I have subscribed to Fine Gardening magazine for a number of years now. It is filled with photos of gorgeous gardens, design ideas, reviews and advice regarding a myriad of plants and planting conditions, all pulled together by a roster of horticultural experts.

But my favorite part of the magazine, the one I flip to first, comes from other readers. Every month I find some tidbit that is so smart and so simple that it completely justifies the price of my subscription. These suggestions are all the more appreciated because they come from everyday gardeners like myself, who are using their ingenuity to find an inexpensive solution to a pesky problem.

That said, I’d like to share a list with you that outlines five relatively simple things (with several sub-categories) that I’d be hard-pressed to give up. My studio is filled with all sorts of supplies in addition to the basics of fabric, thread, paint, and dye; some I use regularly and others rarely. But it’s these items, which aren’t fancy or unusual, that I couldn’t do without.

1. Sketchbook Actually, I have three different kinds, all of which I use constantly.

Garden-variety sketchbooks for daily drawing.

A 3-ring notebook/ log. I add pages back-to-front, stamping the date at the top of each entry. I use this to make basic sketches of on-going projects, to jot down ideas that crop up while I’m working, and for logging hours when needed.

A reference book where I paste all sorts of materials for inspiration. You can read more about this book in this post about color.

2. My Laptop Could any of us live without a computer? More specifically, I have found 2 programs that I use daily, both free and downloadable from the internet. 1. Evernote: This is like a virtual filing cabinet / workspace and is “organization-central” for me. 2. Pocket: Use it to save articles that you don’t have time to read in the moment, but want to be sure to get back to when your schedule allows. One click and they’re all in one place — fantastic!

3. Rolls of Tracing Paper My father, a retired architect, gave me my first roll of tracing paper years ago. I wouldn’t be without one now. You just can’t beat being able to have a length as long as you need.

4. A favorite writing pen This is an inexpensive luxury that makes everyday tasks a pleasure. I am very partial to the Koh-I-Noor Nexus Studio pen (less than $3.00).

and finally…

5. Compression Gloves These gloves work wonders to relieve hand/wrist strain from repetitive movements. They are lightweight and my hands don’t get hot so I forget I’m wearing them, but they definitely make a world of difference for long stretches of hand-stitching or computer work.

You must also have favorite tools in your arsenal that you think are share-worthy. Would you be willing to let us know what they are?

Gratefully Yours

I was doing a bit of art/business housekeeping this week and came to the realization that this edition marks 7 months of weekly posts. I don’t know if that fact surprises you — but it certainly surprises me.

Test Swatch / Wrapped resist

I jumped into this endeavor by metaphorically closing my eyes and holding my breath. With no real clue where it would lead or how it would pan out, my greatest hope was that having a blog would be worth the time and energy — and that I wouldn’t embarrass myself.

Test Swatch / Textile paint

So it has been a lovely surprise to realize just how much I have gleaned from this commitment — most of it totally unexpected. And as with the test swatches I’m using today as illustrations, one can’t really know for sure what will happen with any project until you dive in, holding tight to a sense of faith that there are plenty of good lessons to be learned by giving it a try.

If I had to pick one word that best describes the benefit of following through on this weekly exercise, it would be “focus”. It’s a challenge and a luxury to hone in on a single idea per week, with the intent of sharing it coherently with others.

Test Swatch / Stitched resist, Textile paint, Hand embroidery

Initially, I thought the point would be to gain greater exposure for my art. But what I didn’t anticipate is that this blog has also become an avenue to assist me with better defining my work for myself.

Test Swatch / Wrapped resist

A blog has an element of accountability that works two ways: First, I have a responsibility to myself to find something to write about that will leaving me feeling satisfied that I have learned from the exercise, whether or not it’s read by anyone else. In addition, I have a responsibility to you, knowing that your time is precious and it is a privilege that you are sharing it with me by reading what I have to say.

Test Swatch / Textile paint, Hand embroidery

And that brings me to the meat of this week’s post: Thank you.

Thank you for taking the time to check in, some of you faithfully each week. Thank you for sharing your comments, your support, and your knowledge — whether you choose to do so publicly or privately.

Test Swatch / Textile paint, Hand embroidery

And thank you for your part in helping me realize that the leap was well-worth taking.

I’ll see you next week…

In Praise of Intensity

I have always been attracted to artists who have a singular vision and the strength of drive to push unrelentingly toward their goals. How could one not be fascinated by an individual who is so exceptionally focused that s/he is able to make huge strides in a chosen discipline? Being far too prone to distraction to sacrifice breadth for depth, (and frankly opting to let family trump everything), I spend my given hours juggling multiple interests at once, finding a different kind of depth and satisfaction in the overlap that often occurs between them. As an analogy, think ‘liberal arts’ versus ‘applied professional program’.

Impaled Vegetables; Blue Hill at Stone Barns Dan Barber

Our daughter recently recommended Chef’s Table, a documentary series by Netflix. Let me first say that when either of our kids makes an endorsement, I pay close attention. They are both indefatigable information-seekers and I find their choices and judgments refreshingly astute. Check YouTube for full episodes if you don’t have Netflix.

Marrow; Blue Hill at Stone Barns Dan Barber

This is definitely not The Food Network. I have only watched two episodes so far, but I have been swept away by them both. Completely enthralled by chefs Massimo Bottura’s and Dan Barber’s demonstrated artistry and devotion to the craft of producing and presenting food, I realize that they provide examples of mindfulness at its most extreme, and that the lessons shared can benefit and inspire any and all studio work. Heck, they’re an inspiration for any type of work. But what I find most enjoyable is that the overlap between food and art is undeniable.

Oops, I Dropped the Lemon Tart; Osteria Francescana Massimo Bottura “this dessert pokes fun at our daily striving for perfection and pristine beauty”.

Perhaps it is because I have been so thoroughly enjoying what I have been doing in the studio these past couple of weeks (digging deeper and deeper into an exchange between positive and negative space with paint, while saving the stitching for later) that I am sensitive to the idea of being more tightly focused. It’s not that one approach is better than another, but there are different lessons to be learned and I am appreciating the opportunity to switch gears in this way.

I’d like to learn more from Bottura and Barber, so I will be adding both chefs’ books to my reading list: Massimo Bottura: Never Trust a Skinny Italian Chef and The Third Plate: Field Notes on the Future of Food by Dan Barber. Can’t wait to see what the next episodes and other chefs have in store.

Considering Negative Space

This past winter was crazy-busy and as we march toward summer I am hoping to manage a change of pace to recharge my batteries. I’ll bet you are too.

Old habits die hard and I can’t escape the rhythm of the academic year, at least psychologically. I am savoring the idea of summer’s less regimented schedule in the same way I know I will look forward to falling back into a set routine come September.

Things in the studio seem to be moving more slowly lately, probably because of the added distractions of the garden, the higher temps, and the beautiful weather. But despite the fact that these things compete for the limited hours in my day, they also serve to feed the creative fire.

2015 ©Elizabeth Fram In process

When I’m in the garden, kneeling low to the ground and weeding around the new growth, my viewpoint is concentrated on the two-foot square in front of me, focusing on details rather than a more comprehensive view. I start to see the leaves of young plants abstractly – flattened into the space around them. What I see is transformed into a formal arrangement of shapes in a way that won’t be as obvious once the plants fill out and begin to rub shoulders.

As a result, I have begun consider negative space, both physically – which I am investigating in new work, and conceptually – as it relates to time & each day’s agenda.

2015 ©Elizabeth Fram In process

Visually, I am embarking on an exploration of a shifting back and forth between positive and negative shapes, using color, and eventually stitch, to orchestrate a dialogue between the two. In the same light, summer’s more relaxed schedule widens areas of “negative space” on our calendars; time that can be filled with restorative activities that soothe and rejuvenate the weary sense of ‘push’ that marks the rest of the year.

2015 ©Elizabeth Fram In process

My aspirations are always broader than what I can actually accomplish, but I hope the next months will allow me, in addition to pushing forward in the studio, to delve into watercolor, be adventurous with recipes that highlight the bounty from the garden, and have the opportunity to sit on the porch, enjoy the breeze and read a good book.

That said, since I am always on the lookout for a good book recommendation, here are a half dozen that I hope might bring some pleasure to your “negative space” this summer. They are a mixture of art, gardens – and sometimes both together.

A Bigger Message: Conversations with David Hockney -Martin Gayford
The Samurai’s Garden -Gail Tsukiyama
Everyday Matters -DannyGregory
Strapless: John SInger Sargent and the Fall of Madame X -Deborah Davis
Museum: Behind the Scenes at the Metropolitan Museum of Art -Danny Danziger
A Bowl of Olives, On Food and Memory -Sara Midda

Getting Out of Dodge

Last week we spent the better part of 5 days in Asheville, NC. Knowing that the arts are a strong part of its identity, I have wanted to go there for some time. I wasn’t disappointed in any way.

Facade ornament, Biltmore Estate

Although happy for the change of scene, I also found many comforting similarities to VT — from being surrounded by mountains and plenty of green space, to the excellent farm-to-table restaurants that value local food & brew as much as we do here.

View from the loggia of the Biltmore mansion

Asheville’s River Arts District, which boasts more than 150 artists, sits beside the French Broad River, and is a vibrant area of artist-owned studio spaces spread out through renovated mills & warehouses. Among others, I was able to visit the studio of BZ Designs and speak briefly with Barbara Zaretsky, who uses natural dyes and clamped resist in her lovely work.

There are also numerous galleries in the center of town. My favorite was Blue Spiral 1 with its current exhibition entitled “Structure”, a group show of five artists who all have a connection to the Penland School of Crafts.

I was immediately taken by Rob Pulleyn’s ceramic vessels. They are substantial and sturdy, yet any first impression of “chunkiness” is belied upon closer inspection. Each piece possesses a matte surface that is marked with delicacy and intricacy, paired with earthy colors that, while adding to the sense of solidity, also provide a suitable ground for the beauty of these richly detailed exteriors. Pulleyn’s skill orchestrates a finely-tuned balancing act between structure and surface. I wasn’t the only one impressed, as indicated by the numerous little red dots on the accompanying ID tags.

Rob Pulleyn “Mime” Terra sigillata, stains, oxides 9 x 11 x 5 inches

I knew his name sounded vaguely familiar, but it wasn’t until I looked him up afterward that I had one of those slap-your-forehead moments, realizing Pulleyn had founded Fiberarts Magazine and later Lark Books, both based in Asheville.

Pulleyn writes that he had concentrated on the materials and techniques of textiles for more than thirty years, but when he began to explore clay in the 1990’s he found an immediate affinity. His artist statement is enlightening; he doesn’t take himself too seriously and his thoughts regarding self-imposed restrictions are key. There is much to be learned from the following:

“With each piece, I force myself to do something I’ve never done before: a form, a texture, or a color, for instance. This means each piece is an experiment of sorts. It also means I destroy a lot of evidence, but it keeps the anxiety level sufficiently high and the joy of success addictively sweet.”

Rob Pulleyn “01100″ Terra sigillata, stains, oxides 11 x 15 x 6 in

The most salient point for me, however, is that his decades of experience with fiber have not only informed the beauty and complexity of his vessels’ surfaces, but is still given voice through the language of clay. What a glowing testimonial to the strength of expression that results from the cross-pollination of working across mediums.

Interpreting the Surface

I first discovered the Surface Design Association through their journal in 1996. The bold cover of that issue immediately grabbed my attention — a close-up of irregularly shaped, hand-dyed fabrics overlaid with a web of machine stitching. The only words were the heading “SURFACE” and the small subtitle “Quilts”.

Flipping through the pages, the breadth of articles and the quality of images hooked me right away.

Elizabeth Fram

Having completed my first “art quilt” three years before, I was in full-on learning mode and constantly on the lookout for more information about other artists and potential processes.

Karen Kamenetzky

Since I was just beginning to find my way as an artist, it was a thrill find a publication that was the product of an organization whose stated mission was “to provide leadership in the field of surface design by:

stimulating…professional opportunities and education
improving communication…among artists, designers, educators and industry
acting as a resource to people seeking access to galleries, studios, workshops, small business and education
supporting and encouraging exhibition opportunities
providing a forum for exchange and evolution of ideas…”

Marilyn Gillis

My education in surface design began in earnest with the purchase of that journal and, almost 20 years later, I am ever-grateful for the way SDA has come through for me on all the bullet points above.

Rosalind Daniels

But above and beyond that, it is the people I have met through SDA that have been the ultimate benefit. As an international organization, its reach is far and wide, so exposure to what is happening globally is fantastic. But closer to home, both the critique groups I’ve joined since the mid-90’s have included other SDA members, so I think of SDA as a great source of connection for sharing both knowledge and friendship.

Karen Henderson

Currently I am enjoying being part of a show appropriately entitled Interpreting the Surface at the Furchgotte Sourdiffe Gallery in Shelburne, VT, along with seven other Vermont SDA members.

Catherine Hall

The variety and scope of the work speaks for itself. These images represent a selection from each artist.

Dianne Shullenberger

I hope that if you are within driving distance, you will go to check out the show in person. My photos don’t begin to do justice to the beauty and details of these works, which can only be fully appreciated “in the flesh”.

Jackie Abrams

In case you live too far away or don’t have the opportunity to see the show before it closes on May 26, here is a link to the review that recently appeared in 7 Days.

Elizabeth Fram

Relaxed Presence

This week I came across a very enlightening short interview between James Fallows of The Atlantic and longtime tech executive, Linda Stone. I think you might enjoy it: “The Art of Staying Focused in a Distracting World”.

It resonated with me as I am forever trying to navigate my way through constant distractions. I fully own that I rely increasingly on technology to achieve my goals, but I’m not necessarily happy about it. Reading this piece drilled home yet another reason that I am so grateful to be able to spend a portion of each day thinking about and making art.

Even though Stone doesn’t specifically refer to art-making in her theory, I think the process of creation falls within the same framework as the other skills she does mention. It too allows and encourages one to be fully engaged, while at the same time promoting a deep sense of relaxation.

I made a promise to myself last January that I would try to draw every day. As the weeks have turned into months, I’ve come to realize that this daily practice, usually anywhere from 10 to 45 minutes, not only gives me a chance to work on and improve my capabilities, but quite unexpectedly has turned out to be what one might term something akin to a form of yoga.

By approaching this exercise as a “practice”, there is no pressure to come out with a polished finished product. The reward is in merely showing up. While paying close attention to the physical details of whatever I’m drawing (in yoga terms, being “mindful”), an interesting by-product is that the process is incredibly restful and restorative. I’m reaping benefits on a number of levels. For instance, I am making new discoveries in the reciprocity of mark-making between my drawings and my textile work. I am seeing improvement and gaining confidence in my draughtsmanship; unsuccessful attempts don’t discourage me because I know I’ll be back at it the next day. I get a true sense of accomplishment in knowing that I am following through on my New Year’s promise. And finally, my time spent drawing is an oasis that has no bearing on how the rest of my day turned out — in the studio or otherwise… it just is.

That’s a pretty satisfactory return on a very modest investment. I encourage you to try it.

Staying on Track

This has been a week!

No explanation needed

It has included some wonderfully exciting news, and a couple of relatively challenging episodes as well. C’est la vie, n’est pas?

Late afternoon sun

That said, everything seems to be taking twice as long as usual to accomplish, so I’m scrambling to keep up with my task list and have fallen into triage mode. Sound familiar?

Promise of things to come

Rather than spend as much time on Eye of the Needle this week, I decided to approach it as a working break before getting back to more pressing chores.

There’s nothing like lunch (in the sun, no less!) on the porch with someone who really knows how to relax

It’s been a worthwhile exercise to notice and celebrate a few of the everyday things that have the power to keep me centered and on track.

Favorite drawing pens

I know you too must have weeks that get away from you. Are you willing to share how you find your silver lining?

So worth the wait!

A “Top Ten” for All of Us

In my reading this week, I ran across what amounts to a “top ten” list of ideas for artists that I think merits sharing. I hope you will agree.

TERESITA FERNÁNDEZ: Fire, 2005 silk yarn, steel armature, epoxy 96 x 144 diameter inches 243.8 x 365.8 cm In collaboration with The Fabric Workshop and Museum, Philadelphia Collection San Francisco Museum of Art

Offered as the concluding advice in sculptor Teresita Fernández’s 2013 commencement address to the graduates of Virginia Commonwealth University’s School of the Arts (her alma mater), she speaks from a place of humble accord with the young artists she is addressing. Eschewing the usual platitudes often shared at such an occasion, Ms. Fernández instead acknowledges, among other lessons, the power of failed attempts and useless knowledge. She elaborates on the distinction between the inside and the outside of success in a way we can all appreciate and understand, underlining that being an artist stretches beyond what is accomplished in the studio; all facets of one’s life will be reflected in the resulting art.

TERESITA FERNÁNDEZ: Night Writing (Hero and Leander), 2011 colored and shaped paper pulp with ink jet assembled with mirror 49.21 x 66.14 inches (work), 125 x 168 cm 55.25 x 72.25 x 2.75 inches (framed), 140.3 x 183.5 x 7 cm Edition of 1 In collaboration with Singapore Tyler Print Institute

For me, the most appealing aspect of this list is that it’s not just for those who are starting their career; it is fully applicable regardless of how long you have been at it, your age, your level of success, or your geographical location. I truly appreciate how “down to earth” these maxims are, reflecting the humble and inclusive nature of Ms. Fernández’s approach, in spite of her vast accomplishments and the prestigious awards she has received. What a breath of fresh air!

If you’re interested in reading the full address “On amnesia, broken pottery and the inside of a form” click here. It’s well-worth your time.

But for now, here is her list of 10 practical nuggets that have assisted her, and will hopefully benefit the rest of us as well. I have my favorites that will be tacked to the wall of my studio, I wonder which of these will resonate with you.

TERESITA FERNÁNDEZ: Ink Sky 2 (detail), 2011 anodized aluminum black mirror, hooks, rhodium plated chains, galena rocks 34 x 96 x 132 inches 86.4 x 243.8 x 335.3 cm Edition of 2

1. Art requires time, there’s a reason it’s called a studio practice. Contrary to popular belief moving to Bushwick, Brooklyn this summer does not make you an artist. If in order to do this you have to share a space with five roommates and wait on tables, you will probably not make much art. What worked for me was spending five years building a body of work in a city where it was cheapest for me to live, and that allowed me the precious time and space I needed after grad school.

2. Learn to write well and get into the habit of systematically applying for every grant you can find. If you don’t get it, keep applying. I lived from grant money for four years when I first graduated.

3. Nobody reads artist’s statements. Learn to tell an interesting story about your work that people can relate to on a personal level.

4. Not every project will survive. Purge regularly, destroying is intimately connected to creating. This will save you time.

5. Edit privately. As much as I believe in stumbling, I also think nobody else needs to watch you do it.

6. When people say your work is good do two things. First, don’t believe them. Second, ask them WHY? If they can convince you of why they think your work is good, accept the compliment. If they can’t convince you (and most people can’t) dismiss it as superficial and recognize that most bad consensus is made by people simply repeating that they “like” something.

7. Don’t ever feel like you have to give anything up in order to be an artist… I had babies and made art and traveled and still have a million things I’d like to do.

8. You don’t need a lot of friends or curators or patrons or a huge following, just a few that really believe in you.

9. Remind yourself to be gracious to everyone, whether they can help you or not. It will draw people to you over and over again and help build trust in professional relationships.

10. And lastly, when other things in life get tough, when you’re going through family troubles, when you’re heartbroken, when you’re frustrated with money problems, focus on your work. It has saved me through every single difficult thing I have ever had to do, like a scaffolding that goes far beyond any traditional notions of a career.

TERESITA FERNÁNDEZ: Night Writing Installation view, Lehmann Maupin Gallery, 201 Chrystie Street September 12 – October 20, 2012

Further info:

Check out this enlightening short video interview with Teresita Fernández on the MASS MoCA website.
See more of her work on the Lehmann Maupin Gallery webpage