Category Archives: Reference

Such a Gift

From its inception, I have consciously kept this blog centered on my practice rather than delving any more than superficially into my personal life. This has been partly in an effort to respect my family’s privacy, but also to keep attention focused on the elements I am most interested in sharing within this space: the ideas, art and processes that grab my attention, inform my work, and which I hope will hold some interest for you as well. However, it’s delightful serendipity when occasionally the two legitimately overlap.

This post will be short and sweet as we have just returned from California where we celebrated one of life’s most joyous milestones – our son’s wedding. And quite frankly, I’m too spent, in the happiest of ways, to write very much.

©2024 Elizabeth Fram, Watercolor, Colored pencil & White acrylic on paper, 3.5 x 5 inches. While I did bring my supplies, I only had time for one fleeting little sketch last week. The golden hills that are so ubiquitous along the roads and highways of Marin County are so striking – rich as they are with hints of Mars Violet and Burnt Ochre and dotted with the green of both isolated and clumped groups of trees.

But I’d like to take the time to share that it was my son who, when I was mulling over the idea of whether or not to begin a blog in 2014, most heartily encouraged me to dive in, dispelling any lingering fears that were causing me to hesitate. In the almost 10 years since, he has consistently been available – to consult about technical issues, to share authors and podcasts, and to support my nerdy enjoyment of productivity hacks so I could learn to juggle the many artistic and personal balls I want to keep up in the air.

In early June, he sent me the following article from The Convivial Society, which I just loved and knew would be perfect to highlight here sometime. Please read it – it’s a healthy helping of food-for-thought which resonates strongly, not only with ideas I, and maybe you, have been feeling instinctually in my gut (most closely expressing in this post from 2016,) but it is well-worth a read for anyone who works creatively and is wondering where the world of AI will lead us. At its core, it is an affirmation that we can hold onto the things that will always give us the advantage over technology. If nothing else, L. M. Sacasas’ theory would be a great jumping-off spot for future discussions.

Meanwhile, there is nothing more gratifying than realizing a loved one “gets” you by reaching out to engage the thoughts and quandaries that swirl around in your head, but which you may not have quite known how to articulate yourself. In sharing this essay, it’s clear my son is paying attention, and that is the greatest of compliments/gifts.

With that in mind, I’d like to dedicate this post to him and his bride as they embark on their bright future, with deep appreciation for the many, many contributions he, and now they, have made to enrich my journey, both in the studio and outside of it.

Here’s to you SBF & OGW…and from the bottom of my heart – thank you.

Small Bites

In the spirit of working with what is available, there’s a lot to be said for short bursts of time — the long haul isn’t necessarily always better. I’ve learned that regular, quick drawings and paintings in my sketchbooks are one way to keep the wheels greased when working around the edges of busy days. And that goes for reading too.

This, and the image below, are an example of just a couple of sketches from the last week. Short and sweet, a half hour of drawing during the day helps to balance the long hours of stitching I’ve been devoting to my eclipse piece (more on that work in my next post). Even a short sketch helps to keep the drawing muscles in shape.

When our kids were little and there just wasn’t time to read more than a couple of novels a year, I developed an appreciation for short-form writing. At that time the interruptions came faster than the length of the shortest chapter, so I really appreciated the luxury of being able to finish what I was reading in one brief sitting. Short stories and magazine articles became a mainstay.

Trench Sketch

I may have plenty of time to read now, but I do still value finding something that I can pick up and put down without disrupting the continuity of either the writing or my train of thought. With that in mind, let me recommend the Museum of Fine Arts, Boston publication Fabric of a Nation, American Quilt Stories. As a companion to their 2021/22 exhibition of the same name (which I did not see), the book includes 58 stunning quilts with numerous detail images. Accompanying each quilt is a bite-sized essay that delves into the provenance of the piece, framed within the historic and political context of the time in which it was made.

Fabric of a Nation

For one who isn’t drawn to scholarly history tomes, I am so enjoying this book! It’s a richly informative and fascinating look at American history, told through the narrative of each creator’s needle. Plus, it has the added benefit of being written so that it can fit into anyone’s schedule…win/win.

Something To Set Your Sights On

I have my eye on a bit of time off this week…

Latest Eyes

but first, two recommendations for you to consider:

Life in Five Senses

Gretchen Rubin’s book Life in Five Senses: How Experiencing the Senses Got Me Out of My Head and Into the World.

How To Academy Podcast

And, in an unexpected but interesting intersection with Rubin’s book, Susan Magsamen and Ivy Ross discuss “Your Brain on Art” on the How To Academy Podcast.

Enjoy, and see you in two weeks.

Eyes Ready

“Cape Elizabeth Supper”

When I was growing up, my mother used to save leftovers, no matter how small, and freeze them for later. Eventually there would come a night when she would pull them all out, reheat and serve with a green salad. It was another way she avoided waste and, perhaps more importantly, got a night off from cooking. She jokingly called the culinary mélange “Cape Elizabeth Supper,” in honor of our public high school fundraising potlucks.
In that spirit, I’ve been saving up an assortment of links and announcements to share with you all at once. Think of it as a mid-summer break for both of us.

First the announcements:

A view of “Hidden Messages” Photo: Rosalind Daniels

Many ‘calls for entry’ rely on themes. I generally tend to skip over them since that’s not how I prefer to approach my work and meeting their parameters is often a stretch. However, the premise of Hidden Messages: Old and New at the Chandler Center for the Arts’ Gallery in Randolph, VT was a different story, offering a platform that resonates strongly with both the intention behind several of my pieces – the idea of something “hidden in plain sight” – and the process I used to create them.

Espresso & Peanut Butter ©2018 Elizabeth Fram, Stitched-resist dye and embroidery on silk, 14 x 11 inches. This work is something of an ode to the hidden and often unsung beauty of the quotidian, a fact of life that I have come to more fully appreciate through my regular drawing practice. Photo: Paul Rogers

In coordination with the Surface Design Association, this exhibition features the work of 15 Vermont textile artists who break the boundaries of traditional fiber processes and techniques, infusing their work with underlying layers of meaning. You can view a sampling of the show online but I also hope you’ll consider going to see it in person. It’s a disappointment that I won’t be able to attend the opening reception due to an eagerly anticipated family commitment, but if you go, many of the artists will be there, keen to speak with you about their pieces and the ideas behind them.

The Secrets She Keeps ©2020 Elizabeth Fram, Stitched-resist dye and embroidery on silk, 24 x 18 inches In this reimagined portrait of Barbara van Vlaederberch after a painting by Hans Memling, both the subject and the process used to create it address the idea of unrecognized identity. The sad fact of being visible, yet invisible is something that intrigues me. Unfortunately, it has been a reality for women throughout history. I could find very little information about van Vlaederberch, only that she was married to a prominent citizen of Bruges and had given birth to 18(!) children. You can’t convince me she didn’t have a story to tell. Photo: Paul Rogers

The three works I have on view allude to the idea of “hidden” in different ways conceptually, two of them emphasizing the theme through a multi-step process that involves “losing” a white-on-white stitched drawing within a field of stitched-resist dye and pattern, and then bringing the image back to the surface via a second layer of embroidery using threads in colors that contrast with the dyed background.

House Divided (Mitch and Nancy) ©2021 Elizabeth Fram, Stitched-resist dye and embroidery on silk, 18 x 24 inches. This piece relies on visual metaphor to communicate my point, while navigating between the superficially obvious and hidden layers of meaning through imagery that is symbolic of a deeper idea. Photo: Paul Rogers

Here are the show details:
Hidden Messages: Old and New
July 10 – September 5, 2021
Chandler Gallery at the Chandler Center for the Arts
71 N Main St. Randolph, VT 05060
Opening reception: Saturday July 17th, from 4-7pm
Gallery Hours: Saturdays 12-5, Tues-Fri 11-4 when Chandler Offices are open (look for the Open flag or call 802.728.9878 and press 2), and during Chandler events.

And please note, as part of Hidden Messages, an exhibit of traditional and contemporary quilts are concurrently on display at the White River Craft Center, also in Randolph.

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I recently learned that my piece Until the Bitterness Passes was selected to appear in “From Confrontation to Catharsis”, the 2021 SDA International Exhibition in Print. The full exhibition will be featured in the Fall 2021 issue of the Surface Design Journal.

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©Elizabeth Fram, Embroidery and applique on cotton, 8 x 8 inches.

Last week I finished my contribution for The Violet Protest, which you may remember was a call, created by Ann Morton, for 8″ square works of equal parts red and blue to encourage thought about bringing our differing political factions together rather than continuing to separate them more widely. My square will appear in stack G-3 in the ongoing exhibition at the Phoenix Art Museum through September 5. If you will be in Phoenix at some point this summer, I encourage you to go to the museum to view the project before the squares are sent to members of Congress at the end of the year. Or, if that’s not possible, you can get a feel for the scope of the undertaking at @thevioletprotest on Instagram. (My Instagram recommendation for the week).

And now for the promised links:

“The Woman Who Made van Gogh”, a NY Times story by Russell Shorto reveals how Vincent van Gogh’s sister-in-law is finally recognized as the force who opened the world’s eyes to his genius. If you prefer, you can listen to the full story on The Daily podcast.
Here’s a new take on eco-friendly art restoration. “Send in the Bugs. The Michelangelos Need Cleaning” by Jason Horowitz. Read how scientists and restorers completed a secret experiment by unleashing grime-eating bacteria on the master’s marble masterpieces to remove centuries of filth.
If, like me you are an Alice Neel fan, you will enjoy Erica Ackerberg’s article about the fascinating people who sat for her portraits.
And lastly, in the process of encouraging a friend to visit Benozzo Gozzoli’s fresco Procession of the Magi in the tiny but spectacular Medici Chapel within the Palazzo Medici Riccardi, I came across a wonderful podcast: Rebuilding the Renaissance by Dr. Rocky Ruggiero. In each episode he explores the development of art, architecture, culture and history in Italy. Have your device nearby while you listen so you can look at the works while he discusses them in detail. (In the mood for some armchair travel? Read more about this jewel box chapel and other visual delights in Florence in my 2018 post L’Arte di Firenze).

A Feast for the Eyes & Food for Thought

This past weekend we left the fireworks behind and ventured north for the Montreal Jazz Festival. I also had the ulterior motive of checking out “Pompeii” and “Toulouse-Lautrec Illustrates the Belle Époque” at the Musée des beaux-arts de Montréal.

They are both wonderful exhibits. The artifacts from Pompeii were extremely moving, not just for their incredible preservation and accessibility to a daily life we can all relate to, but also for the sheer beauty and, in many respects, almost contemporary feel in much of their design. Across the hall, I was in total awe over Toulouse-Lautrec’s facility with line and mesmerizing compositional skills. And because various states of many of his prints are on view, there is an enhanced opportunity for learning. To tell the truth, after being surrounded by so many posters of Parisian life, I left his exhibit feeling a touch of Paris-envy. (And how better to scratch that itch from far-away Vermont than with Paris Breakfasts? Carol Gillott’s world of patisseries, watercolors, and ‘la joie de la vie à paris’ is a visual confection.)

Now that I’m back at work, there has been a lot to think about, especially after a weekend exposed to such artistic mastery – both visual and musical. I keep a folder on my laptop of various quotes and passages — thoughts that resonate and, depending on the circumstance, often provide the perfect reinforcement in the studio when needed. As I’ve been stitching this week, humbly plugging away, the following two ideas keep running through my mind:

“Don’t play what’s there, play what’s not there.” – Miles Davis

And this from M.C. Richards’ Centering in Pottery, Poetry, and the Person:

“There are many marvelous stories of potters in ancient China. In one of them a noble is riding through a town and he passes a potter at work. He admires the pots the man is making: their grace and a kind of rude strength in them. He dismounts from his horse and speaks with the potter. ‘How are you able to form these vessels so that they possess such convincing beauty?’ ‘Oh,’ answers the potter, ‘you are looking at the mere outward shape. What I am forming lies within. I am interested only in what remains after the pot has been broken.’ It is not the pots we are forming, but ourselves.”

Wise words for keeping me on track. Can you relate?

Smorgasbord

I wrote a different post earlier this week, but decided to ditch it at the last minute. Switching gears, I figured it would be much more interesting to share this eclectic grouping of web finds that caught my eye. I’ll let you pick and choose…and hope you’ll find something that gets your weekend off to a good start.

Treat your eyes and ears to the delightful details of this animated illustration of small-town life in a music video for Jane Bordeaux’s ‘Ma’agalim’. Ingenuity and gentle humor at its best; enjoy.

There is plenty of food for thought in Jeff Goins’ article “Three Reasons Why Your Creative Work Needs An Audience”. It discusses the importance of empathy for your audience in order to propel your creative efforts forward in the marketplace. The teaser that caught my attention, and might grab yours, is Goins’ statement “Any fool can make a point. The truly creative person makes a connection”.

The “lost wax” method of casting is something I’ve tried to imagine for years. This short step-by-step video makes the process crystal clear.

Danny Gregory tackles the idea of removing art from schools. See what you think about his alternative proposal.

Another great thing about drawing (as if we need convincing)…it can help improve memory. In my book, this is news that falls in the same happy category as when they decided dark chocolate could improve our health and lower our risk for heart disease!

With what was hopefully the last snow for the season (on Tuesday) behind us, I’m looking ahead to a more spring-like weekend. Here’s hoping the sun finds you, wherever you are.

April 26, 2016

Merry Christmas

Wishing You a Lovely Holiday Filled with Warmth and Color

Rather than write a full post during this busy week, I am going to “regift” one of the most useful and informative 35 minutes of my year. In this episode of The Savvy Painter podcast, Antrese Wood shares her thoughts about what she learned during her 6-week master class at JSS at Civita in Italy last summer. The nut of her discussion outlines her discoveries on how to get the most out of a workshop, critique, or any learning opportunity — and boy, there is gold in what she has to say! Wood’s manner is engaging, and the personal lessons she willingly shares are a gift. Her insight and honest assessment about her experience can be directly applied — to your practice (and mine). It is a brilliant example of information-sharing at its highest.

When the holiday dust settles and you get back to thinking about your work, I highly recommend that you invest 35 minutes to check it out. I have no doubt you’ll be glad you did.

Cheers!