Rooted In Fiber Exhibit - The Talk

My 3 offerings: Idaho Maple & Leaf Cluster VI & VII

Several things have kept me from reporting in about the Rooted In Fiber Exhibit opening reception, including the fact that I took not a single photo while there, probably a first for me. I did make it back to the bank last week to get a few pictures to go along with my report on how the artist talk went.

I was distracted by the cramped spacing of fiber art on this wall, many hung with pushpins (a story in itself). Work by Kim Powers & Cheryl Lipari on either side of mine.

Bear in mind that when I offered to do an artist talk, I merely meant to give a little background on my history working with fibers and needlework of all types that eventually led me to traditional quilting and then to art quilting. I just wanted to stand there and partly explain the pieces hanging in the exhibit and how I had arrived here in my creative journey, maybe point out the influences from my experiences prior to art quilting that crept into these three examples of my current work.

More of Kim Powers work with hand stitching and found objects

But then I was directed to the person organizing the talks, and she had a much different take on what she wanted them to be and cover. Whatever. I'd been feeling what I can only describe as a bit jaded after my initial excitement leading up to these exhibits. I couldn't really buy into what she was explaining, but I said I'd do the talk anyway. And she'd be sending me prompts, questions she hoped to be answered in a Q & A following my talk. Here is what I received:

The purpose of this series is to elevate the conversation about why art is important, a question to which all artists can give some sort of answer, and a question that is at the very core of why each of us makes art.

Because art targets the public at large (unless it doesn't), all of us must think about the kind of influence our work has on the world around us, which leads me into the concept that perhaps artists have a civic duty to engage the world as public speakers (our work speaks, but we can join in).

We looked at the work you have on display on your blog and we prepared a series of prompts/questions for you to use as guidance in your gallery talk. We want the talk to be more like a conversation, where the public will have ample chance to ask questions.

1. What is it about the nature of fabric that resonates with you.

2. What are the metaphors behind the kinds of mark making you use in your work, and how do you use those marks to build up your work?

3. Talk about the contemporary context in which your work thrives the most.

Oh dear. She thinks me a "real" artist (I have no art degree and am mostly self-educated and self-taught). And these are the wrong pieces to use as examples to address these questions, even if the questions actually apply to my art and the way I work. These pieces are more decorative art, especially the leaf cluster series, which I am only doing for my own pleasure and exploration. These have no deeper meaning attached, no metaphors lurking in mark making, what little of it there may be (although I have done pieces along the way that would be good examples). And frankly, I didn't have a clue how to answer that third question, and not even sure how much my art is thriving in any context. Luckily, the bulk of my talk answered the first question (a short version in my exhibit artist statement and more shared in my bio and artist statement pages on this blog), and I was quite honest about sharing what I've shared here about the other questions. At this point in my journey, I'm not concerned with how I fit in any part of the art world, only grateful that I have found a town with an organization that accepts what I do as art of sufficient quality to be a part of its frequent exhibits, and that those who come out for the receptions are art savvy and engage with me in thoughtful and helpful ways - also included in my talk. From the look on the faces of those gathered to listen, I think this last pleased them the most, and I was glad for a chance to express it.

A very striking piece by Terri Palmer

A "conversation" did not ensue, except for one woman who came up afterwards to look more closely and ask a few technical questions. When I asked if there were any questions, they indicated I'd covered it all well. And a POAC rep asked if I would write up something similar to what I'd said in my talk to be posted on their website. Considering I was speaking off the cuff with only a few notes jotted down, I'd say job well done.

Rawhide sculptures by Charlotte Campbell

So my question to you is, how do you feel about what was in the letter from POAC, and how would you answer those three questions if they were put to you? While you're mulling this, enjoy these last pictures from the exhibit by my art group friend, Meg. She is trying something a bit different with her individually constructed pieces that she previously grouped directly on the wall. Now the pieces are mixed and matched on, in this case, a fabric covered stretcher frame, or on a plain quilted background, free to extend beyond those boundaries. They are not permanently attached as you might be able to see from the shadows cast by dangling legs.

Her moon that has been hanging on the ground floor of this same building since June, minor changes being regularly made, now has been paired with the tree house from her previously ongoing amazing tree project.

Meg Marchiando's Moon project

And then my camera battery died (dead batteries becoming a theme for me lately). So I will return to view the exhibit when I have more time and share more pieces of art from it in the new year. Don't forget that you can click on any photo for a larger view. There's lots of detail to see in most of them.

And for another take on what defines contemporary art and being an artist, check out Hilary's recent blog post with an excellent link on the subject at Living to work - Working to live.