Showing posts with label women and art. Show all posts
Showing posts with label women and art. Show all posts

Friday, May 27, 2022

solitude is a place

Q  Where have you been?  

A   I've been visiting a place that encourages me to work by instinct.

Q  What is the name of that place?

A   Solitude.

Q  Don't you get lonely?

A  Sometimes.  Most of the time I'm fine.  

Q  What do you do all day? 

A  I make my own coffee and don't follow my usual routine. 

There is absolutely no agenda on the weekends. 

However, during the work week,  I work.

The difference is that the solitude gives me a feeling of freedom.

I can't explain it. 

I don't think about the work first.   I don't plan it.

I just start.  

It's as if I am a four year old child and the adult who loves me gives me construction paper and scissors and  crayons and says:  "make art".  

So I just start.  The adult who loves me (myself) tells me to. 

Q  Can you give us an example?

A  One example is the new quilt that I started two weeks ago.  

I didn't know that I was going to make it when I went to bed the night before.

It's a huge piece, at least 100 inches square, but very light. 

I am using up the cotton that I painted with iron water dots in July 2020.

That cloth had been folded up in a basket for nearly two years.  

Q  So you follow the materials?

A  Yes. 

I also think that something intuitive happens with the passage of time and personal and world events.    

My brain didn't know, but my spirit and body did.

"knowledge grows slowly like a wisdom tooth"  said poet Adam Zagajewski

Q  Any other examples?

A  I did make some break throughs in other media.  I may post about them in the future, not now.  

Q  Tell about the circle stitching that you are doing.

A  After mounting the exhibition last fall I had started an embroidery on some wool cloth dyed with avocado.  It was like hugging myself, going round and round with the running stitch, but I had put it aside.  I picked it up again in May.  I hope to finish it this summer.   

Q  So this avocado piece was not planned either?  

A  That's correct.  The two pieces in this post have no plot.  They tell a story, but there is no plot.

Q  But I thought that you sketched in your sketch book and worked with the design wall.  

A  With these pieces, I sketch them after I've stitched on them rather than before.  

I figure out what to do while I do it.    

Q  How come you have solitude in May?

A  Well, it's a busy time for my husband so he's been going in to work rather than working from home.  He's also been away opening our cottage for one of the weekends and this last week, he's been on a fishing retreat with the guys.  He comes back home today.  I will be glad to see him and have him here with me at night.  

Q  Do you always have projects like this when he is away?

A  Probably.  But I think that this year something is different.

I seem to trust myself more.  I don't care if I please others.   

I don't know where it is coming from, but I am letting it come.

Q  Please tell us about your unique mark making.

A  Timeless geometric motifs have become my language: Circles, dot grids and simple running stitch.  

And like a mother tongue, I speak them without thinking. 

They seem so normal to me, yet at the same time,

I know that they are not normal because the way I use them is my own personal language. 

Q  Do you have a philosophy?

A  I am a woman artist.

I look at the horizon from my window or I sit outside and listen to birds.

I always have stitching in my lap.

The archetypes and the female in me rise up like clouds and stars in the sky and I let them.

Carl Jung struggled with understanding his own unconscious. 

He tried to find an image for the feeling, as if that would help him understand the feeling. 

He identified the first shapes that all humans seem to understand.  

It is difficult to translate our inner reality into a visual symbol.

Abstract art is a valid way. 

Abstract art with the touch of my hands it my way.   

"Classical art depends on inspiration.  It exists in the mind, it doesn't exist in the world.

Many artists live socially without disturbance to mind,

but others must live the inner experience of mind,

a solitary way of living." 

Agnes Martin. 

"I found a means to express my vital concerns as a woman; 

my body, my feelings, my relationship to others, my frustrations 

and my values: tenderness, resourcefulness, endurance."  

Radka Donnell

Sunday, January 12, 2020

New Work

Island Heart 2020 by Judy Martin,
rayon, silk, rust, harvested local plant-dyes, a few commercial fabrics including my late father's hospital gown
 80" h x 73" w, embroidered with wool yarns and hand quilted with cotton threads 
I took photographs of finished new work last week.
Looking at my work through photographing it gives give me a distance from it.
I'm able to see my own work more clearly.
I am a woman and am often interupted.
This means that my work develops deeply, with many layers, over a period of months.
Because I usually have many pieces underway,
I just put them away in drawers or shelves for breaks of three to four months
and they steep.
As time whirls past,
my life experiences alter how I see those pieces in the drawers,
so that when I bring them out to work on again,
I see them more clearly and am ready to move forward.
However, very often, my work and I move need to move backwards.
Things need to be un-picked so that my work and I can start up again on a different path.
Flowers Started Blooming Inside Me  2020, Judy Martin 
rescued wool blanket saddened with iron, holes cut into it, autobiographical artwork and velvet appliqued onto it,
 hand stitched with wool threads   67"h x 26" w (when folded in....62" wide when full width)
It was through photographing it that I was inspired to make a cocoon shape out of the blanket piece.

Flowers Started Blooming Inside Me went through so many stages, all very intense and quite personal. 
I cut the holes to make it vulnerable because women are full of holes and are so open.
I added the spirals and the horizontal stitching after so it would be stronger.
Those red spirals.
They seem like flowers.
And as I worked on the piece, I began to feel loved.
Was it the work that did this?
" I wish my work to have the lightness and joyousness of a springtime which never lets anyone suspect the labours it has cost"   Henri Matisse
Touching The Stars 2020, Judy Martin 
silk velvet, harvested local plant dyes, appliqued to commercially embroidered linen base, then folded.  51" h x 21" w   
I finished the velvet piece late at night, pinned it to the wall rather carelessly and went to bed.
I woke early with this piece on my mind and when I saw it again I realized that it was a self portrait.
It's me.
It's how I feel about my body when I do not have a mirror.
I feel soft.
Touching the Stars
Like my other new work, the materials led me.
This one is velvet, with unexpected rich surprises of colour from local plants.
Velvet responds so well to dye process.
It's so lush and soft.
I kept stitching it and touching it.
It was the touching of it that made me want to tuck it in towards itself.
This made it even more loveable.
My work makes use of the things that only thread and cloth can do.
Prayer to the Sky  2019  Judy Martin
three layers of wool, (madder interior layer, indigo exterior layer), tucked, embroidered and hand quilted,
cut to reveal the inner layer, 60" h x 64.5" w 
The indigo horizon piece was unpicked a lot.
The barely there marks are like chanting.
Perhaps it too is about female interior yearning and fragility and openness and sadness.
These new pieces are the sexiest I have ever made.

Cloth becomes charged with touch.
We rub and cut and pierce and poke and touch.  
Eventually it feels as if the cloth touches us back.
(an Abbas Akhavan idea)

This is my work.

Sunday, March 10, 2019

isla mujeres

a photo essay 
 taken from passenger seat of a rented golf cart
 as we zipped around the roads and streets of Isla Mujeres, a small island off the coast of yucatan penninsula, Mexico
 we were there on Mardi Gras day (not planned)
 
 the colour of the walls, doors, and window trim is joyous
 so much vibrant colour gives me the feeling of being loved
 Isla Mujeres translates to Women Island in english 

Sunday, December 14, 2014

At 60, can I stand perfectly still for an hour?

rhythm of a true space (revisited)  1994  and 2014  by Suzy Lake  inkjet print on vinyl on wood, figures larger than life size 

What kind of art do I respond to?

Simple
emotional
Extended Breathing in the Rivera Frescoes  2013-2014  by Suzy Lake  ink jet print
rooted in labour
grounded in nature
Extended Breathiing at the World Trade Center  2012 - 2014  by Suzy Lake   chromographic print
based on repetition
expessing concern for our world
Are You Talking to Me? 1979  gelatin silver prints with applied colour by Suzy Lake  "I was very deliberately thinking about music.  I was trying to create a very frenetic rhythm so that the audience would understand the anxiety"
The photos in this post are from the Suzy Lake retrospective now on at the Art gallery of Ontario.  Suzy Lake began making her autobiographical/conceptual photographs in the early 70's, her work is an important part of the feminist revolution in the art world.

Perhaps her most famous pieces were made when she was an attractive young woman (such as the large gallery installation of self portraits shown above and detail here) but what I was drawn to the most were were the pieces about a woman artist ageing.

The extended breathing series came from her asking herself   "At 60, can I stand perfectly still for an hour?"  Time lapse photographs over a period of 60 minutes show the ghosting of the world around her while she stands still and strong.

"A celebration of breath and life"  Suzy Lake

Wednesday, February 26, 2014

old journals


"If the task at hand gives you fear,
walk off the cliff and build your wings as you fall."

The artwork is by Betty Goodwin, Montreal artist.
The quote was found in my 2006 journal. 

Monday, August 19, 2013

celebrate and cry

There was a party last Thursday August 15 to celebrate and mourn the ending of the Manitoulin Circle Project.

Thank you Heather Hutchinson for your thoughtfulness and care on that day and for all those days when you took over for me. You and Wendy Gauthier added a layer of laughter and friendship to the stitching times we had Thursday after Thursday in the church hall.  Thank you Judy Larimer, enthusiastic supporter and friend, for bringing your famous cupcakes to go along with Heather's chocolate cake and the other treats brought in by the women.  (Heather took most of the photos in this post which is why there are two of me.)

Special thanks also to Julia McCutcheon, Heather Thoma, and Joanne Lewis for your faith and support in me and to the project over its entire four years.  Reverend Faye Stevens, thank you.  You believed in the project from the start.  Without Faye and Julia, I don't think it would have happened.   Thank you everyone, all 147 of you.  Thank you Ned.

We borrowed the church china tea cups, there were cards and speeches and tears and a standing ovation.  Thank you for that. 

I continued to gather hands and draw rings/bracelets for the book throughout the day.

Sunday, April 28, 2013

Rebecca Soudant

 "in this panel my water is breaking"   Rebecca Soudant
Sailing with John, cotton embroidery thread on canvas by Rebecca Soudant
Oh Rebecca.  Your hand embroidered tapestry, filled with colour and narrative, metaphor and beauty, time and power...communicates so much tenderness and pain.  
This tapestry panel is the first thing one sees upon entering the group exhibit I am Water, currently up at the steam museum in Kingston Ontario until May 2.
 Entirely covered with hand stitching, this is the second tapestry the artist has created about childbirth.
The earlier piece, "A tapestry of birth" is a thirty five foot documentation of the artist's first pregnancy .  For more photos and information about the artist,  click here. 

I believe I'm directly contradicting the way human beings are represented in our society.  
I think the universal is the male.  
And so in my deliberately turning this around and trying to universalize the female - 
-the rites of passage for women- 
birth, puberty, child-birth, death
would become the universal.  
I tried to challenge myself to look at the world as I wanted to,
as a woman artist, 
realizing the complexities of doing so because the world isn't really that way.
Nancy Spero
above photo of Rebecca by Asad Chishti,