Love absolutely

Q   How did you develop your own style and inner voice?
Q   Was there a defining moment for you or was it a gradual process?

A   I think it was a gradual process.  The main thing I did right from the beginning was to choose a subject that I absolutely loved.   It had to be something that I needed to personally communicate, not caring if it would be acceptable in the larger art world.

I started my career with what many would term gendered subjects and gendered techniques.
When I was a young mother, I painted my children in watercolour.  I started stitching when they were young because I could take the work with me to the sand pile or playground and it could be picked up and put down when I was so often interrupted.

I also read anything I could find about women artists and writers and found out that the best were true to themselves, and this inspired me to do the same.  It sounds easy, but to follow an inner voice or dream is actually quite a brave thing to do.

This self-directed study helped me to do my art while at the same time living my so-called normal life of wife and mother.

Once the kids left home, I started the embroidery degree from the UK through Julia Caprara’s school of textile art, OPUS.  My inner voice became even clearer through this directed study and I continue to work from the thesis I developed at that time.

Particularly important are Gaston Bachelard’s writings about inner immensity, Agnes Martin’s writings about paring away the unnecessary, and Ann Hamilton’s ideas about how we arrive at knowing through every sense, especially the sense of touch. 

I’d like to especially thank my tutors from the UK, Catherine Dormor, Kay Swancutt and Joan Richardson.

I do believe that making and exhibiting art is the best way to express our inner selves and communicate heart to heart with others.

paintings of my mother

I folded up and threw out a painting today. Not this one. I'm keeping this one. Inspired by a black and white photograph, this is the way I like to remember my mother. Smiling. Brave. Touching my shoulders with pride, showing off the new smocked dress that she had made for me. I made several paintings of my mother in 2008 from photographs. It helped me, she had passed in 2007. I used the black and white photographs my dad took. She liked to pose with us kids on Sundays after church. Above: the one I threw out today. It was time. Too large for my archival box, it was in the way. I tossed it because it did not flatter her. It did not look like her. Above: also tossed. I stitched red thread into each painting and showed them in 2008. Too personal.

light of the moon

Unable to settle after our week away, I finally took myself off to the studio for some art therapy. I think this piece is finally finished except for a bit of hand stitch. Thanks for your suggestion, Deb.

The ROCI project

what am I waiting for? 2005

On December 14, 1984 Robert Rauschenberg initiated his ROCI project (Rauschenberg Overseas Culture Interchange)by inviting representatives of the art world to the United Nations in New York. His U.N. presentation stated that one-to-one contact through art was a non-elitist way to share exotic and common information. He had given up on the politicians.

"It's now up to the artists to wage peace" he said, and travelled from nation to nation, creating art about what he experienced and exhibiting it. He visited places like Tibet, China, Japan, Mexico, Venezuela, Chile, Cuba, and Moscow over a period of twelve years. Record - breaking crowds attended the exhibitions. He acted on his long-held belief that "the artist must be engaged in determining the fate of the earth, that the artist cannot stand aloof as an observer."

He did the ROCI project when he was in his 60's. "I decided that instead of having a mid-life crisis I'd do something about the world crisis."

Do you use your body as subject matter for your art?

The Mother/The Child 1988

I have made many self portraits over the years, but when I think about them I realise that they are not about my body so much as they are about my concerns.

What is my main concern? What do I love? What do I fear?

visiting my father

My father and brother have set up a computer for me to use while in Kingston. This image of our kids and the Lake of the Woods is in it.

Distinguished Artist

I have been invited to be the distinguished artist for next summer's LaCloche Art Show. This is quite a local honour, and today I said "yes". I said "thanks for asking me".

I dithered a bit because the exhibit shows the best of, shall we say, tradtional art work. It's made up of watercolour, oil, and acrylic paintings - most of them landscapes, tons of nature photography, a small selection of mixed media work and one or two sculptures. Although textile work is sometimes included (and called mixed media), there are no quilts included in the 180+ artworks. No free-hanging cloth-thingeys.

The featured artist (moi) is required to create a small exhibition, donate a painting, jury the show and give a presentation on some technique. Will this challenge be a good thing for both parties? Dates of the exhibit - July 4 - 12 2009.

Four and Friends

I've re-worked four of the mixed media pieces I'm taking over to Bruce Mines tomorrow. For example, Moondance (pictured) used to look like this.
Probably the best thing about being in the Four and Friends exhibition is getting to know the other artists and talking them about our mutual passion. The Four Friends are: Doug Bradford (not met him) Linda Finn (my good friend) Doug Hook and John Keast (I've not met either of those guys either. )
The "friends" who are coming for the weekend are: Miranda Bouchard, Ken Hagerman, Ralph Ingleton, Susan Strachan Johnson, Linda King, Gordon McKenzie, Moi, Sheri McKay Gladu, Jane Meyer, Hugh Morrow, Suzanne Motluk, Debbie Stone and Zoe Wood-Salomon. I know Ralph, Susan, Linda K, Godon Mc, and Zoe. The others will be new friends for me.

portfolio of samples

Candle wicking and metal on wool. Pins and linen on wool. Sheet aluminum and copper machine stitched to linen Eyelet stitch and hand quilting on hand dyed rayon.

only the earth lives forever

I've decided on this image for the Red Thread poster that's being printed by SEC graphics. A higher resolution than my little camera is capable of was needed and so Sarah Warburton took the photo.

Hand painted border fabric. Favourite shirt mounted on paper and then stitched. What is it? It's not a quilt. Not a painting. Neither. Both.

If only I could go back to the beginning where it all began

I really appreciated that Krysta Talenko, curatorial assistant of the Art Gallery of Sudbury, drove two hours (then back again) in order to collect this piece for the gallery's fundraiser next month.

a beautiful day

I was invited to have a piece included in the hand and spirit exhibition because I will be teaching a workshop at the conference. I delivered this bird image this morning and our daughter accompanied me on the two hour drive to Elliot Lake. It was a beautiful summer day.

50th annual NOAA exhibition

We just returned from the opening of the 50th annual NOAA exhibition that is being hosted by our local museum. This is a juried exhibition that begins each fall with new work and then tours North Eastern Ontario. Protection Apron won one of the awards.

night sea journey

Male and female: Biological words

Masculine and feminine: Cultural words:

Gender: femininity or masculinity

Essentialism: the belief that our characteristics are related to our biology.

Sexuality: desire or behaviour towards the opposite or same sex.

Gender studies: How are ideas of femininity and masculinity constructed in our culture?

let heaven and nature sing

Take my heart

Be calm.