read, look, think, write

Think. Metaphysical Thinking series, 2005 stitched wool and paper

These past few months I have been working at 'professional practice' through my UK degree. My favourite assignment has been to research the career paths of contemporary artists that I like and to then choose two to write case studies on. I've been examining the web presences, artist statements, and exhibition records of two amazing Canadian textile artists. Anna Torma and Dorothy Caldwell.

I've followed both their careers for a long time but am newly bowled over by the professionalism they have maintained.

Interesting for me is that they are both immigrants to Canada. Dorothy Caldwell came here in 1972 from the United States during the Viet Nam War. Anna Torma came from Hungary with her artist husband and two boys in 1982. While their personal lives are not part of their 'professional practice', those lives do influence the content of their work. Dorothy Caldwell's subject has remained the rural landscape where she and her husband live in Ontario. Anna Torma's subject has been her parenting of two artistic boys and her Hungarian heritage.

My Manitoulin

My Manitoulin, fabric, photo, cotton thread, stitching, still in progress

What is your greatest fear?

"Not being able to perform my daily work routine around the house and studio."

What is your greatest joy?

"To do the above."

Anna Torma, Canadian textile artist being interviewed.

My Manitoulin, cotton, photo, hand embroidered with back stitch and detached chain stitch, painted with coloured inks, 13" x 13", 2009

Honoured with an award

Ned pulled me over to the answering machine last night and together we listened to message six.

Johanna Alford had called from Saskatoon. The Canadian Quilting Association's national juried show had opened last night and she wanted to inform me that my quilt Memory of Wikwemikong had placed second in the Excellence in Abstract Wall Quilt category. I will be getting a certificate, a ribbon and a cheque in the mail. Well, Yay!

trees in France and Belgium

I'm still processing all the images and feelings taken in last month when we were in Europe. The trees there have different patterns than I'm used to, some forced on them by humans, others by nature.

Sharing

I am concerned with emotional response. What does it feel like to live during this time period? I use the hand stitch, a slow and traditional method of mark making because I believe that it has the ability to communicate on a more psychological level than drawing or painting. Hand stitches are visible evidence of the passage of time. The repeated marks are made one at a time by holding, piercing and caressing the cloth and seeing them touches the viewer similarly

field recordings of icebergs melting

Seen (and heard) at the Agnes Etherington art gallery: Michael Campbell's field recordings of icebergs melting.

The installation showed the work off well. Small sculptures made from driftwood, rusted metal fastened together with small copper headed nails evenly placed in rows like running stitches were installed at eye level on an arrangement of poles and rails. The sound of a roaring ocean over and under.

I am interested in the objects built to withstand the ocean’s energy; such as barges, wharfs and flat bottom oyster boats. These structures carry a history of continual maintenance in an attempt to remain functional for as long as possible. Michael Campbell

Make your work

"Make your work.
Make your work constantly.
Love it.
Hate it.
But make it."

Stephanie Diamond, artist, New York
from the book Art/Work 2009 by Heather Darcy Bhandari and Jonathan Melber

blackbirds and wolves while driving

I drove Highway 17 for most of the day (10 hours) from Manitoulin to Kingston to visit my father for the weekend. I witnessed a cloud of red winged blackbirds just after Pembroke. The felt blackbirds (no red) in this image are a study I did last year, but the image is close to what I saw today. Red winged blackbirds are part of my childhood. We would see them when we walked to school.
While driving I listened to Clarissa Pinkola Estes read her book "Women Who Walk with the Wolves" a book that's been on my to do list forever. Inspiring.

"Don't conform to ideas without examining them first. Ask yourself "What do I want? What am I hungry for? Your answer must come from your instinctual self.
Don't allow anyone to compress your vivid energy. Your ideals, your opinions, your values etc. Don't forget that a garden has to be turned in the fall. There must be destruction and darkness - it can't bloom all the time. Darkness is also part of your vivid energy" (paraphrased by moi)

quiet power

Shapes such as the circle, the square, the triangle and the spiral are found across the continents and across time. They are the basis of traditional North American quilt pattern just as they are the foundation of mirror work from India or resist work from Nigeria. These first shapes are part of what Carl Jung called the collective unconscious, archetypes that communicate universally without words. Each day I try to get closer to these first shapes and their simple beauty.

This house stood abandoned on our road for years and years. Last year it burned down and I miss it.

gorgeous antiquity

These wonderful old saints are in the Rouen cathedral. I believe that they used to be outside for at least a couple of centuries. We should all age so well.

I am , I exist

Stitching adds the sense of touch, a sense that's more psychologically profound than the sense of signt.

Wax Experiments

I have been procrastinating in regard to the LaCloche 'workshop'. It's on the same day as the award presentation and open to all participating artists. It's only two hours in length and sometimes, apparently, draws 50 participants. There's no way that it can be hands-on. I've been trying to think about what I could possibly show all those painters and photographers? Yesterday I got out the electric fry pan and worked (played) with one of my favourite unknown quantities, wax.
The technique demands intuitition and courage and works as well on paper as on cloth. These pieces are on watercolour paper and are still in progress.

the beauty of time passing

Motherhood pushed me into being an artist. Terrified of missing the wonder and the beauty of time passing before my eyes - so quickly from baby to 21 years - I trapped her and the other 3 on film and watercolour paper. The alternative (dizzing, undocumented change) is somehow horrible to comtemplate.

Now I document the change of seasons, the time of day, how grass grows, or leaves change colour. There's a difference however because nature is time-less. Nature has been here forever and will be here forever. I suppose this is why people yearn to be near nature. It is peaceful, secure, and forever.

Oona age 5, first day of school.

Her baby last summer, age 2




Even while nature changes, it doesn't get old - it just changes. Humans are part of nature, connected to eternal timelessness but we are too busy to notice.

(from my 1999 journal)

The Stars Above My Head

I stepped from plank to plank
a slow and cautious way
The stars above my head I felt
about my feet the sea

I knew not but the next
would be my final inch -
This gave me that precarious gait
some call experience.

Emily Dickenson

This poem about working intuitively is copied large on my studio wall.

More photos of Normandy - patterns

Normandy, stripes
Cathedral, Caen, spirals, Low tide, Arromanches beach, spirals, dots

Canadian Quilters' Association

Twenty Four Hour Care 71" x 71"
This piece will hang as one of the "traditional wall quilts, original interpretation" at the National Juried Show in Saskatoon next week. The border is velveteen with hand stitch. I entered two quilts, you can see the other one here.

when asked how she managed to have children and make art she replied "what's the difference?"

When the four kids were all still at home, I made this quilt out of a wool camp blanket and some of their recycled jeans and t-shirts. Three of the children are girls which explains all the pink I guess. It's not a large piece but very heavy and while making it I realized that it was a metaphor for motherhood. It was a heavy, itchy thing yet warm and nurturing and domestic and all that. Have a wonderful birthday handsome dad.

Trilliam Boat

The TRILLIAMS are out on Manitoulin. Celebrate.

With gentleness.
With great force.

Happy Mother's Day

I had a wonderful mother's day. My kids phoned to talk and wish me a good day. Thank you Oona. Thank you Jay. Thank you Grace. Thank you April. AND, I spent the entire day in my studio. Bliss.

Perivale Gallery in Spring Bay opens next weekend for the season. This painting of my mother and myself will be there. I love remembering the stitching she did for me. Smocked dresses.

This is art

Jon Butler contacted me by email last Tuesday. He sent me a list of things to do to prepare for my distinguished artist gig at this year's LaCloche art show. The committee is publishing a pamphlet.

1. Photo of yourself for the front page.

2. Photos of art that you will have in the show for sale along with the medium and titles. 5 or 6 would be great.

3. Your bio. (400 -500 words).

4. Photo of the piece that you will be donating for the raffle prize along with title, size, medium and value. This will also be used for the poster.

5. The title of your workshop on July 3.

I am going to exhibit textile art at the LaCloche. The question remains: "Why does it take so much courage even for me, to call this art?"

Close the door

I finished listening to Stephen King reading aloud from his book ON WRITING yesterday. This is a non fiction book about his own early life with very good advice for writers. The main thing I'm going to take away from this book is the following. (paraphrased and much simplified) (applies to all creative work, not just writing)
1. Close the door.
2. Write. Don't think too much, just write.
3. Then leave it for at least 6 weeks.
4. Re-read it. At this time, figure out what it is you meant.
5. Tweak it. Make it be more WHAT YOU MEANT.
5. Then let others read it. (Take some of their advice.) "safe in something more magical" (detail)graphite and thread (another work for this season at the Perivale)

red cloth

900 - 600 B.C. - Germany
A textile was unearthed in which silk was both woven into the garment and embroidered into it, done with overcast and stem stitches.


from The Surface Designer's Art

red thread: the sweater

I've been getting my work organized for the Perivale gallery and am finally pleased with the eight pieces I've put together. The theme is a continuation of my personal take on how red thread is used as a protection element in many cultures.
red thread - the sweater
red silk thread on antique bed linen

Two Grande Canadian Dames

Reason Over Passion 1968
quilted cloth assemblage
collection of the National Gallery of Canada, Ottawa
by Joyce Wieland (1931 - 1998)

Two Vests 1972
Pressed and printed with ink onto paper
by Betty Goodwin (1923 - 2008)
These two artists will forever be an inspiration for Canadian (textile) artists.

The World

I do hand stitch every possible morning for three hours in a row. In the evenings, I aim for another three hours. This meditative concentration makes me happy and and the sheer amount of time spent provides results.
A Norman castle with moat.
View of the moat from inside.

Monogram

This is the hanging sleeve for my newest quilt. I wanted the back to have a secret beauty.

"All of us are better when we're loved."

from No Great Mischief by Alistair MacLeod

Mysterious Mont St. Michel

wall
floor
floor