We Interrupt This Distraction...

Before getting all caught up in the opening of the Triple Threat Exhibit (see last few posts), I was busy making a linocut of a leaf cluster. I was about halfway through removing areas that will not print when I allowed another distraction to take priority. Another thing I've wanted to get to for awhile, another piece of fabric set aside for it - aside but not away, such that I wouldn't forget but instead be reminded whenever working in the studio, a nagging at my consciousness - another blank journal.

But as you can see, I actually have made two. While I will soon need another one for myself for my yoga journalling, I also wanted to make one as a gift for someone who has sustained a loss. A bit of tick tock on both counts, so it was time to get these done. This one received simple outlining of the sun-printed leaves, opting to keep the feeddogs engaged so the stitching would be nice and even. As always, amazed at how a little stitch can transform a fabric.

This is an African batik of sorts, another special piece out of my late friend's stash. Done on a slightly heavier and coarser fabric than what we generally work into our quilts, it is perfect for this sort of project. And it was about the perfect size, very little having to be trimmed off. I'm sure it started off as a larger piece, probably a fat quarter, but I have no idea what my friend might have used part of it for. I used to be more about what I could do with leftovers from my projects. Now I seem to delight more in having as little leftover as possible.

 

That fabric had been fused to a piece of eco felt cut the finished size of the cover - I thought it could use the extra stability the fusible would provide. A little trimming of the corners of the fabric extending beyond was all that was needed before turning them over the edge and fusing to make a firm clean finish. The other African batik fabric was even heavier so I just spray basted the felt to it and stitched along the black lines (another instance of the quilting not showing but definitely felt when handling the journal). Strips of fusible were added along the fabric extensions so they could be turned over the edge and fused.

Covers done, it was time to fold the signatures and sew them in. On mine, I used a #3 wt Perle cotton which glided wonderfully through the holes of both the paper and cover. On the other I used a rayon braid from an Oliver Twist "Two of a Kind" package and it was even better! I used that 1/16th hole punch on the covers for the holes near the edges but of course could not reach into the center holes with it and reverted to a large needle. I used fray check on the ends and knots of both as a precaution, even though they are made on the inside between the pages. Carefully chosen buttons from my grandmother's/mother's button collection and elastic loops provide the closures.

These blank journals still feel like I'm working through prototypes, frustrating in how long they take, how long I end up fiddling with them unlike the padfolios that I have down to a science. But I love them - the size, the feel of the soft cover in my hand, the variety of decorative thread or yarn that can be used in the spine, the lovely antique laid paper I'm using for the signatures. You know there will be more. But first, back to the previous distraction...

Meet Princess Myrna

I promised you one last post on the POAC Exhibit, one highlighting a single piece that drew me in like no other. Part of the LittleBig section, it is this sculpture called "The Arrival" by Steve Gevurtz (it is his "big" entry, the bust in the foreground his "little" entry).

When I was taking my pictures, it was not fully in place and again I was thwarted by bad lighting (the picture at the top was pulled from POAC's Facebook page). So the color is a bit off and it is hard to see all the details. I'm hoping her beauty and power come through anyway. My first thought when I saw it from a distance was that it reminded me of sculptures from the Art Nouveau era. When I got around to reading the artist statement (posted at the end), I could only smile. If you remember my reason for picking "light" as my resolution word, you may smile too. I'd found someone else searching for compassion and kindness to take hold in our troubled world. From here, I'll let the artist speak for himself. (You no doubt will have to click on the pictures for a larger view in order to read his statements.)

 

POAC Triple Threat Exhibit - LittleBig

Time to take a look at the non-fiber art in the Triple Threat Exhibit. The theme of LittleBig encouraged artists to enter a really big piece along with one or more really small pieces and packed the second level balcony with paintings, sculptures and other media.

See more of George Rickert's work at fullmoonsculptures.com

Some artists had more difficulty with this concept than others. Going really small is not as easy as one might think!

Dow Jones by Denys Knight

Nor is going really big for some. I was thrilled to see a new group of work by a favorite artist of mine, Denys Knight. But she too didn't show much range between this her largest piece (maybe about 11 x 14) and the smaller framed pieces next to it. But each piece showed her mastery of manipulating metal, as in the piece I purchased last year. Her grouping was in a very dark spot, alas, and this photo taken with a flash and doctored on the computer hardly does justice to the piece.

The rest of these are just ones that caught my eye. Dan Carpenter specializes in this type of painting, very popular in our area of woods and hunting.

The only artist featuring charcoal, Mary Berryhill impressed with her "Working Hands". Click on the picture for a larger version to see the details and read her statement.

At the time I took this photo, the signage wasn't up for this artist so I don't know who painted these. They were so different from anything else on this floor, so much brighter, and leaning toward pointillism. A close look reveals the texture she achieves.

The final segment of the Triple Threat was provided by a POAC sponsored student art program called Kaleidoscope. What an impressive sight to see this wall on the main floor covered with masks!

That's pretty much the exhibit - EXCEPT I have saved one special piece to highlight in its very own post. Check back soon! 

The Rest of the Triple Threat Exhibit Fiber Art

The offerings in the Fiber Art section of POAC's Triple Threat Exhibit are quite varied this year. First up, some enticing and truly wearable Wearable Art by Pat Congleton, who says in her artist statement that she loves "inventing ways to mix textures, stripes and vintage fabric."

A closer look at this one shows how she sometimes leaves edges loose and ragged, but overall, the garment is finished impeccably.

She included a diagram that shows the steps in doing the pleating that is inserted in this garment. It's a shibori method done wrapped on a pipe. Unfortunately, the photo I took is too blurry to read. Click on the photo and any others in this post for the larger version where you can more easily see the details.

What fiber art exhibit would be complete without some weaving? 

Be sure to click on the photo - I left the larger view quite big so you can really see what's in that wall piece.

Trying to get this gal to join our art group. She uses her own marbled and hand-dyed fabrics as well as stenciling to create her work that is backed with Peltex to give it that great look when hung.

And one last art quilter who I wouldn't mind having join our group. She explained her process on these pieces as laying down paint (in this case white) over canvas, then stitching the designs, then painting within the designs and finishing up with more stitching in the painted design areas to bring out details. 

Because of the heavy canvas and the paint, she uses no batting or other material on the back, but adds a binding to finish. Hilary G., does this give you ideas?

Stay tuned - favorites from the LittleBig portion of the exhibit is up next! 

Opening Night at the POAC Triple Threat Exhibit

Artist Statement
I get my creative kicks from spotting images in cloth I’ve manipulated during the dyeing or painting process and teasing them out with stitch and embellishment to make them more visible. Now do you see what I see?

Masks has had a mysterious hold on me from the moment I unfolded the cloth dipped in paint and saw tribal masks staring back. It insisted I add things not normally found in my work, like the cross-stitches on a mouth and pair of eyes and the unfinished edges. It made me think deeply of how we all wear masks depending on the occasion, but especially with family whose eyes look out from this quilt. Are they trying to see behind the mask or do they even know it’s there? 

Well, my lovelies, as promised I am sharing some of the great art in the Triple Threat Exhibit here in town.  Will break it up over several posts as I took a lot of photos. My quilt had a great location and wowed viewers with all that handwork. I must admit, I was a bit wowed myself. I've noted this before, that even if I've been "living" with a work at home, it somehow transforms in an exhibit setting and I view it in a different way. I've heard other artists make the same observation. If you've never had your work on exhibit outside your home, I highly encourage you to find an opportunity to do so. You'll literally and figuratively see your work in a new light. I loved Masks before, said there was nothing I would add or change, but I think I still had a bit of doubt about how it would play in public and next to other artists' work. It played very well, exhibiting a level of sophistication that made me very proud. For detail shots see this post.

I failed to take many pics at the reception to show the crowds, but we did have a great turn-out. I missed your lovely faces but was pleased to see some familiar ones from my yoga class, POAC artists I haven't seen in awhile and the fabulous volunteers who make these shows happen. This is my favorite venue - a 3 story bank building purpose built to include a community use area on the ground floor and gallery space along the balconies running around the souring atrium. Not the best lighting for taking good pictures of the art, but fortunately, it doesn't affect actual viewing much. And the natural light from the skylights makes daytime viewing wonderful. You can just make out my quilt on the upper level near the center. See this post for views of the building during another exhibit.

On the opposite end of the floor where the Textiles hang was my art group friend Meg and her magnificent Unforgettable Tree. Technically this is a quilt since it is several layers held together with stitch. What makes Meg's work unique is her dispensing with a traditional background of fabric on which to place her characters, flora and fauna.

She uses Peltex as the base to build up her designs of fused fabric, then adds detailing with machine stitching. 

Because of its size (over 6 feet tall and 5 feet wide), the tree is constructed in units for ease of stitching and transporting. It was assembled on site, sections overlapped and held in place with velcro.

It is also attached to the wall in many places with velcro - the side on the wall held in place with a thumbtack. Figuring out how to hang these sometimes floppy "quirkies" of hers was much discussed in the art group. Her simple solution trumped the fussier ones of bent wires and the like the rest of us were coming up with.

In the case of the tree, the fact that the extended branches curl away from the wall in places lends realism to her whimsical creation.

The leaves are individual units also attached with velcro. Meg's grand vision for this piece is that it can and will change with the seasons. A bird's nest and a bird or two may appear before the exhibit closes. The leaves will be swapped out for ones turning autumn colors come fall. In winter, the branches will have snow. Or she may add things viewers talk about as they share a memory of their unforgettable tree in the notebook she's provided. Already there is talk of adding some shoes...

I'll end this installment of the Fiber portion of the exhibit with these most expertly crafted wool felted pictures by Ellen Pfalzgraff. She does the most remarkable work in felted wool, difficult to capture both because of the already out-of-focus nature of wool felting but also because of the glass protecting them. The landscapes are exquisite, the wash-on-the-line delightful in its subject matter and movement, the floral uplifting in its burst of color. 

   
Stay tuned for more!    

POAC's Triple Threat Exhibit

Oh blog readers, I wish you could all hop a plane and join me at the opening reception on Friday. Wine, hors d'oeurves, a such a variety of art by the talented artists in my area. I wish you could see my entry, "Masks" in person. I wish I could hear and see your reaction with my own ears and eyes. I'd love to hear your laughter and see your sparkling eyes, you who have supported me here for so long. Will post some pictures for your viewing pleasure soon.

Where Ideas Are Born

In my experience there are two ways to approach design. One is to have a definite image or idea in your head; you know what you are going for, all you have to do is figure out how to transfer it from your head into reality using your medium and tools of choice. The other is to stumble upon something purely by accident, the cleverness of your eye recognizing that a random juxtaposition of things could turn into something wonderful. I've done both but I often think my better "ideas" that come together with the least effort are a result of design by accident. It's happened again, and is the thing that has been distracting me so. Here's the evolution thus far of what I hope will be a successful new piece of textile art. It started with these two pieces of fabric, cut for padfolio pockets but rejected. I moved them to the far end of the work table, a tiny bit of open space, in case they might be used on a different padfolio.

I couldn't help playing with them a bit, flipping one to get that offset look. It reminded me of a computer manipulation I randomly generated a long time ago and thought might be an idea to follow up on at a later date, pieced from strips of hand-dyed gradations. That corner of the table where things get sidelined is nearest the door. I walk back and forth past it dozens of times, and each time that fabric takes a few seconds of my attention, unwanted but inescapable musings of what I might do with this germ of an idea.

Days or possibly weeks later, while I was still enmeshed in padfolio production, I'd dug out that leaf cluster to use as a pattern for the stitching I'd do on the burgundy ones (see this post). That cluster was also demanding my attention, thoughts straying to other uses for it and how to make it a more permanent template. So when I was done tracing around it, I wasn't done with the idea of its potential and so did not want to file it away quite yet. Where to safely put this somewhat fragile thing until I could get back to it? Well, that is what that end of the table has become, the place to set things I'm not quite ready to put away yet but need to be out of the way. The only flat place was on top of the rejected pockets so I laid it there. Oh. OH! I never would have thought to do that intentionally or choose those colors, but boy did I like what I was seeing. I'd been considering revisiting a 10 x 10 stretched over canvas frame format for highlighting individually stamped leaves (see this post), so having these two things randomly pair up in pretty much that size was remarkable and timely. Maybe I would have hit upon this with more direct thought and auditioning, maybe I would have only frustrated myself as I floundered somewhat stuck with the image of the original pieces in my head. No doubt about it, though, this felt like a gift.

And gifts should not be ignored, although I knew I had to finish up those padfolios first. As with the fabric itself, now with the leaf resting over it, my eyes lingered longer as did my musings each time I passed that end of the table (and many times when I merely paused to turn my gaze that direction). How did I see that leaf cluster translated on the fabric? At the moment, with paint followed by some machine stitching. But it could just as easily be with applique. I could cut a template or make a linocut for instance. But whatever way I went, I'd need to copy the outline of that cluster. I thought about tracing around it as I had on the padfolio, but instead I decided to do a rubbing on tracing paper. 

I used a very soft dark 6B woodless graphite pencil which worked well to pick up not only the outline of the leaves and stem but the individual veins as well. In spite of my diagonal folds to help with centering and preserving of the cluster angle, I ended up trimming the tracing on two sides to center it.

By now my mind was busy seeing ways I could use this cluster and a stamp made a lot of sense. Normally it's the other way around - lots of ideas for stamps but no ideas of how to use them. I got out my linocut tools and a big slab of Inovart Eco Printing Plate from which I cut a 7 inch block. I love this stuff for all the reasons stated on Inovart's website. Since I use a box cutter to slice through it, I always get out an old cutting mat (it may be a self-healing mat but blades like that can cut pretty deep, unlike a rotary cutter) and use a metal cork-backed ruler.

I figured my rubbing would transfer pretty well to the block surface and I was right. I remembered my bamboo baren purchased but not much used for my linocut class and used it to make the transfer. The back of a large spoon would work as well, but I was very impressed with that baren as I rubbed it in circular motions across the back of the tracing paper. There was enough graphite left on the tracing paper to transfer the image again on the other side of the plate. You know me - I have a hard time making up my mind about things, and while my original thought was to have flat leaves with no veining stamped on the fabric, the veins showed up so well in the transfer that I'm going to try a second version with veins. I can see a use for both.

I traced the outlines of the leaf cluster with a Sharpie pen, shading the areas that will be in relief. Now all that remains is the slow methodical, somewhat meditative removal of the areas that will not print as I reacquaint myself with the gouging tools. I love this part!