Tag Archives: Drawing Threads

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.

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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

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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.

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.

When 1 + 1 = More

Having decided to include both drawings and stitched work in Drawing Threads, I have been thinking quite a bit about multi-disciplinary artists lately. I’m sure their motivations are as varied as the artists themselves, but I do wonder about the thought process of those who choose to divide their energy between mediums.

The main reason that drawing has become such a mainstay in my own practice boils down to time. Being able to complete a thought and have a sense of accomplishment in one sitting, rather than the days into weeks that large textile pieces require, has propelled my ideas forward much more quickly in both disciplines.

The following is an excerpt on the subject of multi-disciplinary work from an interview with Lisa Ferber on the Huffington Post Blog, 3.21.12

Explore. Don’t feel a need to stick to just one method of self-expression. “You are not just a writer or an artist — you are a creative person, so don’t limit yourself to a particular medium, such as painting, writing, or performing,” says Ferber. “I love being multidisciplinary. I see myself and all people as unlimited creative forces. I always create out of joy, whether it’s with a pen or a brush or in front of a video camera.

With that thought in mind, I’d like to share several of my favorite artists from Instagram who spread their work between more than one discipline.

Australian artist Veronica Cay, pairs drawings/paintings with ceramic sculptures. She often incorporates snippets of fabric into both, adding an interesting dimension that — no big surprise — is particularly appealing to me.

Veronica Cay Transgress, Whatever Happened

Nigel Cheney is an extraordinary draughtsman from the UK whose eye for detail also translates into a passion for stitch.

©Nigel Cheney “Hare”, 2009 (left) “Cinquecento”, detail 2010 (right)

Geninne Zlatkis’ work depicts animals, birds, and plants. She paints their images on paper, tools them into leather, and etches them into the pottery she creates. She also makes masterful hand-carved stamps. Her stunningly colorful photography captures the New Mexico landscape where she lives and the natural objects she collects from it.

©Geninne Zlatkis “Blue Bird”, (left) Leather Cuff, 2015 (right)

Zachari Logan, whom I’ve written about before here and here, combines a spectacular drawing practice with equally intriguing ceramic sculptures.

©Zachari Logan “Fountain I”, hand-built clay body, 4x4x4.5 feet, 2013 (left) “Metamorphosis 2”, blue pencil on mylar, 10 x 17 inches, 2013 (right)

Lynn Chapman is a self-described plein air painter, textile artist, and illustrator from the UK. She is very active with Urban Sketchers. The lines of her drawings are fluid, economical, and very expressive, while her textile pieces celebrate color and marks with an equally flowing feel.

I’d be remiss if I didn’t also mention friends who balance more than one discipline…

Dianne Shullenberger’s textile collages, colored pencil drawings, and sculptural objects are an ongoing expression of her love for nature.
Almuth Palinkas is a tapestry artist and painter. Her devotion to beauty is evident in all her work.
And Roz Daniels makes striking art quilts that, as with her stunning photographs, depict her strong inclination toward simple geometry.

And of course many, many masters delved into multiple mediums.
One final thought: when you have time, read this article about Ellsworth Kelly’s Temple for Light, which is an inspiring culmination of multidisciplinary achievement and, in many ways, a place to worship the deep waters of creativity.

Sweet Dreams, Squirrel TV, & a Sneak Peak

The only souvenir I brought back from our recent trip was a small book purchased in the SF Moma bookstore. Angus Hyland and Kendra Wilson’s The Book of the Dog – Dogs in Art is a charming little collection of dog paintings that span from the 18th century to the present. As the authors note in their introduction, “the undying love of a dog is of course requited on these pages”, which is surely what snagged my attention in the first place. It’s not an exhaustive survey, but rather an eclectic collection of engaging pieces that celebrate the dog/human relationship and the ways that bond irrefutably changes us both. The artwork within is relatable without being sentimental.

Book of the Dog

When I think of my own trusty models, it is certainly true that the amount I have learned from our 3 beloved pooches, as they’ve patiently let me draw them over and over, is immeasurable.

Rather than writing at length this week, I spent most of my blogging time drawing.

©2018 Elizabeth Fram Our windows are Quinn’s TV. The squirrel channel is on at all hours. Many times I have but a fleeting moment to try to capture a quick outline before she dashes off to another window. You can see the ghost beginning of an abandoned sketch in the upper left corner of this one..

©2018 Elizabeth Fram It wouldn’t tell the full story if I only showed finished images. I have plenty of interrupted sketches that record my stops and starts as Quinn moves. For instance, she wasn’t holding her paw at this unnatural angle, I just had to abandon her head when she readjusted, opting to capture her foot instead.

Drawing Threads… Sneak Peak _______________________________________________________________________

I’ve reached the stage of pulling together all the various loose ends in anticipation of my upcoming show Drawing Threads: Conversations Between Line & Stitch. As I approach the finish line, one of my “icing on the cake” projects is figuring out how best to group the textile pieces with the drawings so that the conversation between them is apparent. This photo shows just a fraction of the work; our long hallway is great for this job.

Amuse-bouche…

The show will be on view at the Emile A. Gruppe Gallery from March 22 – May 6, 2018, with an opening reception on Sunday, March 25 from 2-4pm. Please join us!
Regular gallery hours are Thursday – Sunday, 10am – 3pm, or by appointment: 802.899.3211

Drawing Threads

Partners

The series of shibori-dyed and embroidered pieces I’ve been making for the past year are all tightly connected. Ideas that crop up in the midst of working on one usually find their way to actualization in the next. As such, all the works are related and in many ways companions. Yet these two peonies, the first pieces I’ve completed in 2018, are more tightly paired than all the rest.

Crescendo ©2018 Elizabeth Fram, 14 x 11 in., Stitched-resist dye and embroidery on silk. This piece is now framed and has been sold to a collector who has very generously agreed to delay shipment until after my upcoming show is finished. Follow the progression of its creation

As interpretations of a couple of sketches made two days apart last July, (note the progression of the blossom opening), they will be viewed side-by-side in my upcoming exhibit Drawing Threads: Conversations Between Line & Stitch. Variations in tone and scale are slight enough to leave no question that they were conceived together, yet subtle differences allow each to carry its own voice.

Pesante ©2018 Elizabeth Fram, 14 x 11 in., Stitched-resist dye and embroidery on silk. Finding the right title is often challenging. I wanted to find names that would match the feeling of these pieces. The full opening of a peony is glorious, and the word Crescendo perfectly matched the anticipation and build-up to a peony at its peak. Pesante, also a musical term, means “in a heavy manner”. It seems to fit the nature of the flowerhead in this image perfectly.

I dyed the silk for both of them at the same time, but with attention to maintaining some differentiation. Crescendo’s background is deeper and more saturated, begging for the strength and pop of the bold magenta threads. Powerful color allows the stitching to maintain authority amid the surrounding intensity of dye, while also providing a means of grounding the more open and fluttery petals.

The flowerhead of Pesante, heavier and more compact than that of Crescendo, works in tandem with its more muted background dye tones and the dustier colors of thread used to describe it. Its visual weight allows Pesante to hold its own against its showier sister.

Both images explore the same vase and table surface, yet it became apparent that each had to be approached differently…another fruitful learning experience.

These pieces are not a diptych, although they will be displayed together for the duration of the exhibit. They are independent of each other but they are still partners, which reminds me of a line from Kahlil Gibran’s poem On Marriage

“Sing and dance together and be joyous, but let each one of you be alone,
Even as the strings of a lute are alone though they quiver with the same music.”

On a different note:_________________________________________________________________________________________

It will come as no surprise to anyone who knows me that this book by David Remfry looks absolutely charming. Parka Blogs has more info.