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Shield: threads, yarns, tyvek, acrylic paint 31 x 36 inches 2023 |
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Unfurling: tyvek, yarn, thread, masking tape, acrylic paint 48 x 24 inches 2024 |
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Loving Red: yarn and wax, 4 feet wide, 5 feet tall 2022 by Anna Wagner OTT |
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Shield: threads, yarns, tyvek, acrylic paint 31 x 36 inches 2023 |
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Unfurling: tyvek, yarn, thread, masking tape, acrylic paint 48 x 24 inches 2024 |
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Loving Red: yarn and wax, 4 feet wide, 5 feet tall 2022 by Anna Wagner OTT |
A couple of years ago I wrapped up some textiles that I had saved for a long time as a way to tidy things up. I called them Mothering Bundles and took 42 of them to local curator Nicole Weppler in 2023. She hung about 20 of them up in the Gore Bay museum. See here.
Janet Wright Cheney's life-sized bear, Widow, is armoured nose to paw in felted woollen roses and a velvet hide. She is beautiful, but strangely so. She even seems aware of her strangeness, questioning - how did this come to be? It's partly in her posture. She stands up on her hind quarters as bears do to sniff the air, seeking the lay of the land, puzzled. She seems caught in an ongoing moment of self-bewilderment - an appropriate attitude for the grieving, for whom the balance of the whole world has shifted, making every day into a question. The bear has a fairy-tale quality, connoting Sleeping Beauty, hidden behind a wall of roses. But rather than a pre-adolescent waiting to be woken and learn the ways of an adult lover, this is an adult learning to live with the loss of her life partner. As a widow-bear, the line is blurred between human and animal as fairy tales so often do, brothers metamorphosing into swans, frogs into princes, Wright Cheney's bear is implied to be living out a gendered grief, culturally ascribed, one that seems more human than animal. Though on the other hand, grief is a wild emotion, one that may well turn us into some bearish version of ourselves. read more of Sue Sinclair's review of Widow here
Another could be the mothering of four kids. Many people would say this.
Except that I truly believe that motherhood gave me a subject and a reason to create so it was not a block for me. It was a door.
Maybe I could talk about the breakthrough that happened when I became aware of my inner world and how huge it is and how stitching gives that world to me.
4 I guess that I am now in the period of my 'late work'.
The unavoidable fact of life is death, but handmade quilts challenge that. My quilts will outlive me.
Human mortality is a major 'block' for everyone but those of us who create hand-made objects break that block.
All the images in this post are of a piece that I thought was finished. See it here on my website. I cut it in half up the middle and put a lovely wool batt in between the two pieces. I've really been enjoying stitching it during this beautiful month of May.
The title will stay the same: Sky With Many Moons.
The podcast is available where ever you get your podcasts. Rachel called our podcast The Art of Imperfection. Here is a link.
When Frances Dorsey was seven to ten years old, she lived in Saigon, Viet Nam. She remembers "a paradise on the edge of conflagration". When she was twenty-one, she moved to Canada. She has a duel citizenship with USA. "I am a citizen of North America."
This piece, Shot Through the Heart, is made from used table linens that have been naturally dyed with extracts and earth oxides, as well as discharged and immersion dyed with mechanical resists. Some have been over printed with silk screen and also with block printing. The linens were cut up and reassembled. They were embroidered hand stitched. It is a large piece: 11 feet x 11 feet. It was made in 2010.
Suzanne Smith Arney saw this piece at a conference in Nebraska in 2010, and wrote about it in the fall 2011 of the Surface Design Association's journal.
"The napkins and tablecloths are soft with age and use. Looking closely, I can make out a nine-block structure, with those blocks subdivided into four. Each discovery revealed another level to decipher. Stepping closer, I read the fabrics' histories written in monograms, embroidery, as well as small tears and stains. Dorsey added her own text in faded yellow, red and purple dyes. There are folds and stitchings and photo -derived images of her father's army photos and letters, such as b-52s and mortars. I read the title and stepped back. Shot Through the Heart infuses the room with a chilly clarity; the whole and partial circles are no more suns than dinner plates. They are targets."
Frances Dorsey taught about textiles at the Nova Scotia College of Art and Design for sixteen years. Her father was a rifleman "who relived his combat daily." She currently lives in Halifax, Nova Scotia, Canada and continues to make thoughtful and beautiful artwork with textiles.
This is the first post about a new series on this blog:
Here is another post about writing my book.
Since 2000, I have been trying to archive my art work and relate it to the timeline of my life.
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morning kindergarten watercolour by Judy Martin 1985 |
I want to put my life and my artwork into some kind of meaningful context.
At first I thought that if I collected the entries from this blog into something poetic, that would be enough. ‘The Best of Judy's Journal’ kind of thing.
However, Judy's Journal is image based, and the photos in it are not of high enough resolution to be printed. Without the photos, it wouldn't be half as interesting.
And besides, ‘the best of judy's journal' is not really what I want to do.
What I really want to do is gather up my life and work into a single document.
For the last dozen years I've been transcribing every word that I've written in over two hundred journals for 45 minutes a day into my laptop. At the same time I'm organizing them into chronological order.
A couple of weeks ago, I started an edit and focused on those journals I kept during the Thunder Bay and Kenora years (before 1992). This is the time in my life when I embraced quilt making as my art form. It also happened to be the busiest years of mothering.
I'm calling what I’m writing a first draft.
I know it’s serious because I've been writing this thing during the time I used to spend stitching.
So that's what I'm up to this month.
Just thought I'd let you know.