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This past weekend I spent a lovely time with friends and fellow artists at the opening reception of Connected by Stitch at the Gallery at Penn College in Williamsport, PA. This is the first exhibit mounted by the SAQA Pennsylvania region and what a beautiful exhibit it is in both the caliber of artwork and the spacious venue. Two pieces from my Infinity series are in the show. Many thanks to Meredith Armstrong, our SAQA PA regional rep and curator, and Penny Lutz, director of the gallery, for the long hours they put in to mount this exhibit, and to New Mexico mixed media artist Joshua Willis who was the juror. This is a very special exhibit not to be missed.
After a long break from social media and even my own blog, I'm back. With lots of news. Just over five years ago, I joined SAQA (Studio Art Quilt Associates) and answered a call for entry for an exhibition called Seasonal Palette and exactly five years ago this week that I found out I was one of the lucky thirty-seven artists to be included. We were charged with creating a 32 x 78 inch long art quilt inspired by one of the seasons, mine was spring and that is how I came to make Tranquil Marsh - Wild Iris. And now, five years later, it's back. It went on a long sojourn around the globe, from Houston, Texas to Tainan City, Taiwan. The last time I saw it was four years ago during the Seasonal Palette premiere at the International Quilt Festival in Houston but after that, I wish I could have been rolled up with it and gone along for the ride. Here are a just few pictures of the many ports of call over the years.Gerald R Ford Museum, Grand Rapids, MI
And, so it's back! And, I am, too.
La-di-da-di-dee, la-di-da-di-dah...my painting class goes on and I finally put my Fish Houses painting to bed. I say put to bed because, while it's not perfect and it could use a lot more work, I'm done with it. I needed to move on, so I did. The following pictures are of my third pass (I really wanted it to be my last), a revisit of the original inspiration painting and then, finally, my final pass on Fish Houses.You can see the progress in some areas but other areas really didn't get a lot of attention. I did learn that acrylic paint dries darker and that's why the building on the left got a bit of blue green that was a lot more intense than I wanted. I like how I resolved it in the final version along with the sky, which I feel is clearly the most successful part of the painting. Considering I felt clumsy, frustrated and completely out of my depth while painting this one, I guess it's not too bad for my second painting. I was happy to move on to a new canvas and a new inspiration painting by Christine Lafuente, Old Spruce on Somes Sound. I love Christine's work and this painting is gorgeous, the palette, the looseness, the mood. Yum. And, here is my first pass, just a quick 30 minute under painting. It will develop in next few weeks. I don't know how close I'll stay to the original painting, it may go off in a different direction, for instance, I may or may not add the old spruce. We will just have to see where this one goes. But I'm so happy doing this painting. I love these colors and the loose, sloppy brushstrokes. It's fun and freeing! La-di-da-di-dee, la-di-da-di-dah...
One of my resolutions for 2016 was to become more active in the local art scene. Last week, I joined Artsbridge in time for their annual members show which opened last weekend and runs through the end of the month. The show is housed in the beautiful and historic Prallsville Mills in Stockton, NJ, located picturesquely on the Delaware River. The reception was a wonderful event with food, wine and music. As you can see, the joint was jumpin'. I knew this was a talented group, but I was very pleasantly surprised and delighted to learn it was so large and diverse. Members were only allowed one piece in the show and there were almost 225 pieces in the exhibition ranging from paintings, mixed media, photography, sculpture and fiber. I was very pleased to see at least five textile pieces in the show. Artsbridge is a group of artists of many disciplines - painters, sculptors, photographers, writers, actors, musicians and filmmakers - who have gathered together on a volunteer basis to foster and promote local artists and to make the arts available to all segments of the community through education, exhibition and performance. And, I'm happy to be in such good company.
Week four of my painting class... I neglected to include some details of the artwork that I'm working from for my second attempt at painting in my on-going painting class. It is a 1921 piece by Bernhard Gutmann called Fish Houses, Monhegan.As I continued working on this piece, right side up this time, I found myself getting very frustrated and I realized I'd made a mistake in selecting this painting to work from. It's entirely too busy, too busy for my novice level and too busy for my taste level. I like large simple fields without a lot of detail or compositional elements. I guess that's why I like the sky, the water and the building on the left. You might be asking what made me choose this one in the first place (for heaven's sake). Well, I was drawn to the rough texture and loose detail, but I guess even loose detail is too much detail for me. Lesson learned. So, there I was making a mess and getting confused when my instructor Maureen came over and turned it upside down again. This is to force me to just see shapes and not get caught up in detail. Here is what I ended up with by the end of class, upside down... And right side up...a little more detail taking shape. I will give this painting one more go at the next class and then I'll move on to something simpler...I hope.
My painting class continues and I learned a lesson in the importance of focusing on shapes when painting landscapes and a trick in how to do that - paint upside down. No, not painting while standing on your head, though that might provide some interesting lessons in how to amuse your classmates, but rather turning the picture your are working from upside down. This forces you to see only the larger shapes, without context, to avoid getting caught up in focusing on the details too early. I'm afraid I neglected to capture a shot of the painting I'm working from (I'll provide that next week) but here is my painting upside down and what I saw as I was painting it.I really felt very foolish and incompetent while doing this. The only parts I felt good about were the larger spaces, the sky, of course, is easy for me, the bit of water and the buildings to the right and left. I felt the top part was a hot mess but I was having fun slobbing the paint on. Then, at the end of the class I turned it right side up and voilá... Mind you, this is mostly under painting so it's missing a lot of detail, though I'm already liking the sky, water and those buildings. I didn't realize while I was painting that the lower center vertical shape was a man, currently with no head. Details, details...c'est la vie. If you look closely, you will see some blotchy spots. When I was gathering up my things at the end of class, I prepared my canvas for transport by putting a layer of plastic wrap over it but then was worried about it sticking. I lifted it off and sure enough it did stick to some wet spots, lifting off some of the top layer of paint revealing a different color underneath. Oops! I showed it to my instructor Maureen and I think I startled her when I explained what happened and that I liked it, it created an interesting texture. She agreed and I think she even learned something new, too. After all, this is the kind of thing we textile artists do all the time...add color, discharge color, embrace the happy accidents. Stay tuned for the finished painting. I'm not promising that it will be good so...
I took another pass at my Pears painting in class last Friday by adding more layers to the under-painting. Working with acrylics is such a different experience than working with textiles. Acrylics dry fast! Rendering them unworkable. The first day of class, our instructor Maureen had supplied us with an acrylic retarder which, when poured on top of and blended into acrylic paint, keeps it from drying out so fast and prolongs its working time. We were on our own for the second class and I thought I had purchased the correct product, a blending medium with the word retardateur in the French translation, but it wasn't the same at all. So, I was at a disadvantage struggling to keep ahead of the drying paint and mixed the colors as best I could. Despite it all I'm happy with the results... SAQA Spotlight auction during the 2016 SAQA Conference in Philadelphia, PA on April 1st. I'm liking this direction and want to take it even farther. How about you? In what ways do you find yourself pushing and stretching yourself and your art?I enjoyed mixing my own colors and layering them to achieve color, shape and texture. It was very interesting. And challenging. One of my reasons for embarking on this painting journey is to stretch my abilities in how I work with textiles in my artwork. I'm already accustomed to using textiles as a painter uses paint but instead of blobs of paint, I use bits of fabric to recreate my imagery. But, in past work I've used an orderly structure of horizontal strips which is wonderful in creating depth as with my impressionistic landscapes like Tranquil Marsh - Wild Iris. It's a difficult and meticulous process that, if so desired, can help one develop a galloping case of OCD. Which is why I turned to abstract work as with my Infinity series. It's still meticulous work but not as exacting. I can improvise more with the color, shapes and lines until it feels right. So, after my first painting class, I tried a small landscape, 6 x 8 inches, with a looser, semi-abstract feel. I tried layering smaller pieces of fabric in a less structured way, a more painterly way. This piece is Horizon II, the second in a new series which lies somewhere in between my impressionistic landscapes and my Infinity abstracts. I made this one to donate to the upcoming
Happy New Year! I hope everyone has exciting adventures in store for 2016. I do! I have embarked on a new adventure - painting! I am a self-taught artist that came to art as a quilter back in the '90's at a time when quilting was experiencing a renaissance and quilts were being made for the wall instead of the bed. Quilters began pushing the envelope on materials and techniques while trained artists from other media discovered quilting as a an exciting new medium to explore as a platform for artistic expression. With such a convergence of skills and talent, the current field of quilt art is now inhabited with amazingly gifted artists of diverse backgrounds and skill sets which has inspired me to push my own skill sets and expand my basic knowledge of art. Soooo..., I am taking a painting class at the Hunterdon Art Museum with the extraordinarily talented Maureen Chatfield who is well-known for her abstracts but has extensive experience in all styles of painting. Since my own work focuses on landscapes, both impressionistic and abstracted, Maureen's class Painting the Modern Landscape seemed a great fit. I hope to take what I learn in this class and apply it to my current work with textiles. The class is filled with students from all artistic backgrounds. Some have studied with Maureen many times, others who have always been painting throughout their lives, are taking a class with Maureen for the first time, and those who, like me, are newcomers to painting. I've never taken a painting class in my life. I know nothing other than what I have observed on canvases I have admired in galleries, museums, in books and on line. In preparing for this class, I watched a bit of painting tutorials just to familiarize myself with the tools, materials and terminology. Because of my virgin status, Maureen had me start with a simple piece of fruit using acrylic. I found a few photos on line of pears and picked one to use, Two Pears by photographer Lupen Grainne. I liked the simple shapes, colors and textures.
Class began and the other students, some who had brought in works in progress, began to dive in. I stood there not knowing where to start and, after some guidance and gentle prodding from Maureen, I proceeded to work, tentatively at first but then I dove in head first into my painting. And, this is the result. This is just the under-painting, or so I'm told. They look a little funny without their stems, can't wait to add them. I was just getting the hang of mixing colors and layering while working on the aqua/green foreground when the class started to wrap up and I quickly mixed and through on the pink background. That's when I discovered the faster you work, the better. I invite you come along on this adventure into painting and see where it takes me and how it influences my work with textiles. One thing I've learned about myself already, when you're self-taught, sometimes you don't really know what you know and what you don't know. Some days I feel there are boat loads I need to learn, but I realize now, maybe I know more than I thought I did and that feels good.
The party's over. My first Quilt National has come and gone and I'm exhausted - still. But, now I can share with you Infinity, the first in my series of abstracted horizons made entirely of re-purposed silk saris from India and Nepal.
Quilt National, held at the Dairy Barn Arts Center in Athens, Ohio, is one of the most prestigious quilt art venues in the world. From the Quilt National '15 webpage, these are the statistics for this year's exhibition: "There were 689 quilts submitted by 378 artists from 44 states and 19 countries including 3 Canadian provinces. Jurors Rosalie Dace, Ann Johnston and Judy Schwender selected 84 quilts by 84 artists. The exhibitors represented 33 states and 8 foreign countries. In this exhibition 30 percent of the exhibitors are first time Quilt National artists." The jurors did an outstanding job and it is truly an honor to included among so many notable and talented artists in an exhibition of such high caliber.
Looking back, the weekend is now a blur of happy faces, stunning quilt art, long days and late nights. I have met lovely people and made many friends with artists whose work I have admired for years. It was a wonderful experience I will always treasure. Many thanks to all the hard working, dedicated staff members of the Dairy Barn, especially Dairy Barn Executive Director Jane Forrest Redfern and Quilt National Director Kathleen Dawson who really rolled out the 'red carpet' for us.
This weekend is the long awaited (by me!) opening of Quilt National, when I can finally reveal Infinity...but not yet. I have also been reluctant to reveal some of the other pieces in the series that were a bit too similar which I will reveal now...
My Infinity series takes my work in a new direction into abstraction and minimalism. I haven't completely abandoned landscapes though, instead I focus on a single aspect of the vista, the horizon line stretching into infinity. To me it represents the point of transition, transformation and transcendence, the line where the past meets the future of infinite possibilities.
Above, Infinity II was made for my doctor as a way of saying thank you for taking such good care of me during my surgery last fall. Yes, I know, it does look a bit like a scar, but a pretty scar, which was my intention. This piece is about 36 x 25 inches and made with the same reclaimed sari silks and technique as Infinity. Infinity III I already posted in the previous post, Infinity and Beyond, as it is quite different in color and design.
Infinity IV, 60 x 43 inches, is currently in the Nurture Nature Center's 'Weather' exhibition in Easton, PA and runs until May 30th. Wind was my weather inspiration and it is actually a diptych but the size restriction of the exhibit was 60 inches so there will be more revealing to come for this one.
Infinity V, 40 x 26 inches, is the latest piece in the series but I have lots of plans to do more so stay tuned...
And, now I must go finish getting ready for my trip to Athens, OH and my first visit to Quilt National! I promise to post pictures of Infinity and the opening reception on facebook.
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