Sunday, September 30, 2007
Friday, September 28, 2007
Home Dec catalogs can be a great source of information and inspiration for the artist. I get several, and like the bedding catalogs, I rarely order anything from them. But I always look through them, if for no other reason than to note color combinations. A recent Charles Keath catalog provided much more than that.
Further on, I started to see "original wall art." I've often wondered how decorative artists can possibly keep up with orders once they show up in mass-marketed catalogs. Here I saw several ways, other than the common print. Fairly prevalent is transfer printing of images or photographs onto different bases like wood and canvas, followed by hand-finishing with oil brushstrokes or other coatings to mimic the feel of an oil painting. (The one shown here is by Don Li-Leger.) I happened to view such a photo transfer to canvas in an exhibit today, and it is a very effective technique. As they say, the look of an original oil with very crisp detail. I rather liked it.
Another method I've heard a lot about lately, but didn't understand until reading the description here is giclee (scroll down page and click on the giclee link). The catalogue describes it this way: "...an image of the original painting is laser printed directly onto canvas. It is then hand brushed with an acrylic sealer which adds highlights to enhance its beauty. This piece is by Linda Bernhard.
Thursday, September 27, 2007
Wednesday, September 26, 2007
Check out this post on ARTiculations blog regarding memorial art. The last paragraph in particular is one art quilters should take heed of:
"Memorializing is arguably one of the strongest of human impulses. But the commonality of this impulse sometimes leads to art that is formulaic rather than expressive. Memorial as art should be held to the same rigors and high expectations as any other work. Those events and individuals we remember demand it. "
This is a piece I made 2 years after my husband's death, made from his silk ties and shirt and some leftover silk he bought me in Canada. It was not made for public consumption but as part of my grieving process. It is not great art, and it is a bit formulaic - quite typical of what a quilter would produce. But as the quotation above states, the impulse to memorialize is strong and we turn to what we know best. I have other ideas for quilts about him and what I went through, but they are hopefully a bit more artistic and something I wouldn't mind exhibiting. Something more along the lines of what the ARTiculations blogger is talking about. I am in a different place both in my creative journey and in my grieving process and the resulting quilts should show that.
This sort of work is difficult to face, to begin sometimes. Who in their right mind would purposely do something with such potential to stir up painful emotions safely pushed down and locked up? Yet when the time is right, working through these memories, good and bad, through the medium of fabric is cathartic, satisfying, worth the risk.
Tuesday, September 25, 2007
This was the start of a loop into Montana, with many stops at historic markers and scenic overlooks. This is looking down the Clark Fork River just below Cabinet Gorge Dam. On the right you can see the old two lane highway snaking its way along the mountain.
Once in Montana, we jogged north along the Bull River. In the background you can see the Cabinet Mountains, complete with fresh snow.
Our main destination was the Yaak River, and its extraordinary set of waterfalls. It's difficult to get a good picture of them, and this time of the year with the water low, they are not as spectacular as with the spring runoff. Still, the rock formations have always fascinated me. Just above the first falls you can see that layers of rock are starting to tilt up.
I think a lot of people miss the lower falls since it's not visible from the road and no signs mark the trail. I know it's there because Dad and I fished this stretch of river from the campground downriver to the falls. Here the rock slab takes a real tilt.
My dad made me sit at the top of these rocks and drop my line way down into the eddying hole below. Scared me to death. The picture doesn't give a good idea of the actual size of these rocks. My brother was particularly interested in the various colors and shapes - as if they had been painted. There may be some artist in him after all.
Heading west back into Idaho, a scenic overlook gives you this view of the 2nd highest bridge in Idaho over the Moyie River. In the background, that spot of water that looks like a small lake is from the Moyie Dam.
We'd spent much more time than planned, so after this stop, we hightailed it back home. The previous day we'd spent over and around the town where we'd grown up. I guess we were so absorbed in finding old haunts and marveling at what had and had not changed that we totally forgot to get the camera out. Or perhaps it was just so familiar that we didn't think to snap any current shots. Here's a shot I took a couple of years ago when I came out for my college reunion.
Our final day of sightseeing was a little more relaxing as we took an hour and a half boat cruise on the lake. I never tire of looking at the mountains. Some that were pointed out to us were The Green Monarchs, Scotchman Peak, Seven Sisters and Roman Nose. The day was a bit blustery and not the best for pictures, but we tried anyway. This site has lots of aerial shots around the area, including many we saw from the boat as well as the car.
And now enough of the travelogue. It's back to the grind...
Sunday, September 16, 2007
Friday, September 14, 2007
Thursday, September 13, 2007
Wednesday, September 12, 2007
Thursday, September 06, 2007
Tuesday, September 04, 2007
Here is how it looked after stitching the moon and reflection. If you look closely (click on any picture for a larger view), you can see that the edges of the mountain and foreground are not sewn down yet - that will be part of the quilting. The camera is not lying about the color of the thread, by the way. For as different as each thread looked on the spool, it was difficult to see any difference between them on the fabric. And I think the #80 metallic needle may not have been big enough because I still had some problems with tension.