Planet Textile Threads

September 25, 2016

Margaret Cooter

The spines have it

The British Library is the title of a work by Yinka Shonibare, who has come to be known for his trademark use of African fabrics. It's showing in Margate till 30 October.
As you enter Turner Contemporary, you see books to the left of you, books ahead of you, and books to the right of you. Colourful books. Move ahead, and you see the gleam of gold on their spines - the names of immigrants who have enriched British culture and society. They are hard to read  as they flicker against the rich patterning, and many or most will be know to an individual browser - and some spines are nameless.
The pattern placement on the second spine on the right particularly took my fancy -
...wonder what the rest of the fabric is like? What's on show is just a narrow segment of the entire pattern.

Couldn't resist a couple of panoramas -

The camera does inexplicable things to people moving past.

by Margaret Cooter (noreply@blogger.com) at September 25, 2016 02:00 PM

September 24, 2016

Margaret Cooter

Pots du jour

This week I'm stitching chimneypots with holes -

Some on fabric bordered with metal (black holes?) and some on metallic fabric bordered with ordinary thread. Some of the sets of holes are "joined up" in the manner of depicting constellations


by Margaret Cooter (noreply@blogger.com) at September 24, 2016 09:50 AM

September 23, 2016

Margaret Cooter

Dippy chimneypots, week two

The pots dipped last week are dry, but "needing things doing"

Ready to dip. Spot the four that are made of bamboo leaves

Experiment: the dried clay was scraped off some of the beads;
will it make a difference?

Supplies of the porcelain castig slip are getting very low, and very thick. Adding water
(lots of stirring) and putting it in a narrower vessel

Eight chimneypots ready to fire to 1280 degrees. The one on the right
has been bisque fired 

by Margaret Cooter (noreply@blogger.com) at September 23, 2016 07:48 AM

September 22, 2016

Margaret Cooter

Drawing Tuesday - Camden Arts Centre

The Making & Unmaking exhibition was full of textile interest - I'd already been twice, and was intrigued by the Anya Gallacio's nets strung round the garden -
 Their structure more complicated than an ordinary net - more like lace -
 This time I got excited about the glinting silvery snails trails -
But they led nowhere, in drawing terms. Instead, warm-up with a garden medley, enjoying the sunshine and shade -
In the exhibition, Rodney McMillian's Shirts 1-6 pretty much filled a wall - "recycled shirts, fabric, thread" - the added fabric making strange folds, leaving the shirts wearable, but would you? -
 Mags had worked in her "exhibition sketchbook", to which she adds relevant photos and notes (her annotated view of the exhibition is here) -
 ... and also in her general sketchbook -
 Najlaa found, among other things, a carpet design from the 1920s -
 Carol studied details of the knotting on a huge indigo ... what ... figure? suit of armour?
 Jo found sculptures of interest in the garden -
Coincidence of the week -
Later, back home, I tried to colour-in my quick sketch of a fabulous huge painting by Marina Adams, but without the magenta - an unmixable colour - it didn't work. (I now have a tube of magenta on hand and will try again.) -
The other sketches are of stuffed fabric pieces by Caroline Achaintre - "her work draws on Primitivism and Expressionism".

by Margaret Cooter (noreply@blogger.com) at September 22, 2016 10:46 AM

Poetry Thursday - Poetry House Live




"To a human being a house is not just a house, it is also a place of meanings, associations and memories. This is even more true of the houses where great poets have lived, the settings for their lives and their stories. Poetry House Live uses physical theatre to bring to life these meanings and these stories, in a show that is by turns funny, trai and surreal" (Graham Henderson, chief Executive, The Rimbaud and Verlaine Foundation)

"An original production featuring seven stories about seven famous European poets and exploring the places they called home at key moments in their lives. Each story has been adapted from new writing by some of Europe's leading playwrights."

The hall had four banks of chairs, each facing in to a central square. In the middle of the front row of each was a performers' chair. Performers, the GoodDog Theatre Co, were Louise-Clare Henry, Julien Nguyen Kinh, Nouch Papazian and Simon Gleave. Minimal props and maximal versatility.

Incomplete (Luis Munoz) - a one-act drama about the Spanish poet Federico Garcia Lorca, set inside the Residencia de Estudiantes in Madrid around 1926, just as Lorca is embarking on his career. (Props: top hat and cane)

Croquis Nocturne (Adam Gordon) - offers a window into Rimbaud and Verlaine's visionary relationship while they lived in Camden at 8 Royal College Street in 1873. (Props: an imaginary key, imaginary wine bottle and glasses)

Les Lesbiennes (Richard Dalla Rosa) - invites us behind the closed doors of a bedroom at the Hotel Pimodan and explores where the French poet Charles Baudelaire may have found his inspiration. (Props: maids' aprons, a bedsheet)

Decent People (Sigurbjorg Thrastardottir) - tells the story of Icelandic celebrity poet Halldor K Laxness in an imagined encounter between him and two joiners fixing a window in his 1960's home. (Props: rectangular frame, tool belt, wooden mallet, large notebook)

Salute (Gabriele Labanauskaite Diena) - set in present-day Lithuania, the spirit of the controversial but greatly appreciated poet Salomeja Neris returns to the home where she lived in the 1930s and is confronted by objects from her past (Props: print dress)

The Ivy Door (Maria Manolescu) - set in the home of Gellu Naum and his life's love near Bucharest, where they look back on the story of his best-loved creation, the children's character, and penguin, Apolodor. (Props: wagon loaded with a few bricks, false beard, fluffy stuffed penguin)

John's Last Dream (Roberta Calandra) - a poignant drama about the poetry and worldview of the English poet John Keats, struggling agains crippling illness while living in Rome.
8 Royal College Street, Camden, before purchase and rescue in 2006  (via)
Michael Corby said he bought the house to save it from being stripped of its history
Gljúfrasteinn, the 1960s house of Halldor Laxness, is now a museum (via)

Salomeja Neris's house, Palemonas, in Kanaus, built in 1937 (via)
Gellu Naum with his life's love Lyggia at home in Bucharest (via)
Keats House, Hampstead (via)


by Margaret Cooter (noreply@blogger.com) at September 22, 2016 09:46 AM

September 21, 2016

Olga Norris

Juggling around

Patched pastime
After the exhibition in Margate I have been thinking more about things round in general, but also relating to my own work.  The most obvious link is with the juggler - which is a figure who comes round again and again.
At the Turner Contemporary there were examples from the ancient classical world as well as those modern and contemporary, and thinking of this sent me furtling into my postcard boxes.  I was looking for postcard pages from a calendar I had been given by an elderly German family friend.  She was from Berlin, was passionate about Ancient Greek art, and as a Friend of the State Museum in Berlin in the early 60s received an annual calendar.  She gave me one of these which features terracotta figurines.
I was delighted with these, as museums in Greece itself were not in the excellent condition they are nowadays, and I had seen hardly any figurines.  My love affair began with these postcards (just two of which shown above).  The girl on the right is playing the tambourine and came from the Black Sea area (as did my maternal family).  The child juggler on the left is described as probably coming from Thebes.
Whether influenced by these, the juggler has come to mean a kind of frivolity, a stepping away from serious concerns, how society is perhaps more interested in meaningless trifles.  Maybe it's just me not being able to accept that I no longer have the meaningful role I occupied previously.  Whatever it is, the desire to employ the image of juggler comes round again.
I was so pleased with Patched pastime that I am repeating the exercise with similar strips of knitted silk yarn, but in a different orientation and another colour.  I'm delighted to be using printmaking (the juggler herself is a carborundum print on tissue paper, scanned then digitally printed onto cotton), knitted strips I designed and made during my short-lived days as a knitwear designer, and hand stitching as well as machine stitching.
I was further delighted to find that this piece not only fell firmly into the SAQA Europe/Middle East theme for an upcoming exhibition, but for the one and only time so far in several years of membership I fit the size requirements for submission.
But as I worked on quilting the patchwork I got to thinking.  The idea of the exhibition is to tour to at least four venues which means much handling even with the greatest care.  This is not a conventional quilt, and I'm concerned that the knitted element might just tempt fate.  So once again I shall not be submitting my work for selection.  Hey ho.
Meanwhile, however, I am preparing a second piece of hand work to take with me on an imminent trip - just in case I finish the piece I'm stitching at present. I've printed a small, slightly different version of the juggler to take with me.  Appropriate colours for the onset of Autumn.

And then, rather than getting on with processing tomatoes I was distracted by an urge to doodle.


by Olga Norris (noreply@blogger.com) at September 21, 2016 04:56 PM

Margaret Cooter

Found photos

These use the camera's macro feature -
and were taken into a "flies' eyes" lens, this sort of thing -
(via)
Being printed photos, I thought they might have been taken "long ago" on a film camera, but it's more likely that they were printed out on 4x6 photo paper. I once had a cute little printer and lots of the paper, but it was profligate with ink and most of the paper didn't get used.

by Margaret Cooter (noreply@blogger.com) at September 21, 2016 09:44 AM

September 20, 2016

Olga Norris

Bits and pieces in between

I have not settled to anything much recently.  I have just been working through my pile of stitching and reading.
I read Graeme Macrae Burnet's His Bloody Project, and was moved by it.  It is an intense character study set in the harsh days of crofting in the north west of  Scotland when the poor were treated like beasts, and lowly creatures even in their own eyes.  This novel tells the story of how people under stress can deal with themselves and others.
I was so impressed by the novel that I immediately went on to read Macrae Burnet's previous and first book: The Disappearance of Adele Bedeau.  I finished it last night.  Set in Alsace, France in an indeterminate present we follow the parallel then intersecting lives of two men living in a small town.  Once again we examine how circumstances can shape how individuals interact within a society equally shaped by circumstances.  I enjoyed the latter book in the way that I enjoy those French films which quietly, slowly, show us intricacies, seemingly banal details stitching together a life, lives; a microscopic view which illuminates a history.  I shall be looking out for Graeme Macrae Burnet's next novel.
I have many books queued up on my reading list, but I'm still not sure what I need next.  A couple of short stories will doubtless help me decide.
Meanwhile I am busy juggling spaces in the freezer for all the cooked tomatoes, courgettes, and aubergines from the greenhouse.  It really is a bonanza this year.

by Olga Norris (noreply@blogger.com) at September 20, 2016 04:23 PM

Gerrie Congdon

Great Workshop and Moving On

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Last week, I was privileged to take a 2 day workshop with Fran Skiles. I had so much fun and it was kind of like making a mystery quilt. She would do a demo and give us instructions to create some pieces and then we would move on to something else. She purposely did not show us a finished piece so that we would not have a preconceived notion of what to do.

We started by making random stitches on a piece of plain fabric.

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Then we coated one side with gesso.

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Next we made monoprints on Chinese rice paper using printing ink.

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Then we drew on Japanese rice paper with a bamboo pen and India ink.

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We learned how to transfer photos from copy paper using gel medium.

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I don’t have photos, but we also drew on stitch and tear pellon with watercolor crayons which we then transferred to the fabric with gel medium.

Once, we had all our parts, we started assembling collages and then doing washes with thinned paint.

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collage2

I have 3 more skins (Fran’s word for the treated fabric) and lots of parts to make more collages. It was so much fun and so freeing to create the parts without a plan – just to play.

On Thursday, we have our Oregon SAQA one day conference. Our guest speaker is Kay Khan, who does intricate 3-D fiber work. In an homage to her, we were invited to create 3-D pieces. I am cutting up a boring quilt which will become a structure. I glued the parts to stiff pellon tonight.

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Tomorrow I will assemble it and hope it stands upright without too much work!!

by Gerrie at September 20, 2016 05:16 AM

September 19, 2016

Margaret Cooter

Identifying birds by sight and sound

Day course run by the Field Studies Council at the Olympic Park. Getting there was "interesting" and unfortunately there was an inescapable music event with eight booming sound stages, but in true british spirit we carried on regardless! Fortunately, after some hours in the wetland area of the park getting the "jizz" of various birds, we could retreat to a quiet room in the Velodrome and use online resources to compare different species. 

Recommended resources -


Apologies for fuzzy pic; it shows the useful feature of  collected birds in their habitat

Of the apps, Bird Guide by Ispiny was recommended.

Online resources abound, no doubt - the BTO website has videos, and BirdID has quizzes and an exam. Much to investigate... what I'm looking for is a site that compares birdsongs....

Edward often got out the Collins book to point out differences between juveniles and mature birds

"Haunt of coot and hen"
Mallards - note the curly tail feathers, regrown after the moult

Keeping an eye on some goldfinches
Will I be able to make sense of the notes?

by Margaret Cooter (noreply@blogger.com) at September 19, 2016 09:48 AM

September 18, 2016

Terry Grant

New life for old work

I've been cleaning up and organizing my studio and realizing how much old work I have piled around. I need to clear some stuff out—somehow. I don't begin to sell everything I make. I send it off to shows, some sells, some comes home and ends up rolled up and stored. Some I give away. Some I feel great fondness for, some not so much. And I just keep making it! Last year, when we had the Open Studio Tour, I marked old prices down and cleared out some of it. I will do that again next month. I keep wondering if there are other ways to recycle some of it and have ideas for cutting up and reusing in an artful way... I'm still pondering that.

Meanwhile I repurposed one piece for my own use. You might remember this piece I made for a High Fiber Diet show called "Line Dance" 7 years ago.

I had been making little tiny pieces using scraps for about a year and incorporated them into two bigger quilted pieces. This was one of them. It was a fun, decorative piece to make and I always loved the colors. It was in a few shows and sales, but never sold. This week I made it into a tote bag.

I need a bag that is the right size for my laptop from time to time. For the next year I'm planning to use the bag to store and carry my supplies needed for my job as president of the Columbia Fiber Arts Guild. I think it will be good for that and better than my standard Trader Joe's bag! I lined it and included some pockets for organizing stuff. Granted, a lot of my time, energy and precious materials ended up as a lowly tote bag, but better than moldering away in a closet. I know of other quilt artists who have donated their unsold work to humane shelters to line dog beds...

A couple months ago the City of Beaverton Arts Commission sent out a call to artists for photos of their work to beautify the city's trash receptacles and thus, three more of my old works have found a new life! In this case all they needed was a photo, from which vinyl wraps for the containers were created. So this was not helpful in reducing my inventory, but a nice way to see more of my work in public places. Here is the one that now sits in front of the Beaverton police department, near the front entrance.

The other two are in a small park downtown. These photos, below, are from the city.

There are about 40 of these around the city, using all kinds of art. I love seeing them, and while I never aspired to have my art decorating trash containers, I'm pretty proud of my three!

 

by Terry Grant (noreply@blogger.com) at September 18, 2016 05:46 PM

Margaret Cooter

House karma

Needs TLC

Materials on hand

Fresher, more welcoming

Less shabby

New planting

"Please buy this house"
Waiting for the guy with the ladder to come and give the windows back their sparkle.

by Margaret Cooter (noreply@blogger.com) at September 18, 2016 10:57 AM

September 17, 2016

Margaret Cooter

Lost posters of Moorgate Station

Layered up over the years, now they are on the point of disappearing as the station undergoes modernisation.






Gone.
Close-ups - accidental art

by Margaret Cooter (noreply@blogger.com) at September 17, 2016 10:57 AM

September 16, 2016

Natalya Aikens

details

They say it's all in the details. And the details are what I have been focusing on in the last week or so.
Over the summer I have been preparing for the Armonk Outdoor Art Show. I have created ten new small artworks, five new medium artworks and have wired for hanging several large artworks which have been created over the last two or so years. I created a banner, participated in a preview exhibition, figured out booth logistics and I'm almost ready! Now I have to make labels and lists and decide on the display. This is the first time that I will be participating in such a show, so perhaps next time the prep will be be easier.

Here are a few enticing details so that you get a taste of what I've been up to.
edge painting is a bit like cake frosting


can you tell there have been a lot of edges to paint?








Full reveal is coming up soon! And if you're in the NY tri-state area, I hope to see September 24th and 25th!

by Natalya Aikens (noreply@blogger.com) at September 16, 2016 09:28 PM

Margaret Cooter

Out walking

The walk (with London Strollers) started at Limehouse station. I was there early and enjoyed a coffee from the "cart", which made me perhaps a little too perky. Certainly everything looked very interesting and I took too many photos and chatted with many of the other walkers - we were 16 at the start.

Walking along the towpaths in the sunshine was easy and pleasant, and there were frequent stops to allow the leader to tell us a bit about the history of the area. 

Limehouse basin, then and now
(overnight moorings are £80)

"Steering Jesus", Limehouse

Reflections - amid the algal bloom
Looking upstream to the Lee Navigation

Downstream from Bow Locks, the route to the Thames

Part of our route went along The Line, an art route

Art? maybe not, but there was a lot of it....

Three Mills ... and four walkers

A glimpse into House Mill - it's the world's largest tidal mill ... who knew?!

It's art because ... it's larger than life

Heading towards the Olympic Park

Mural commemorates Yardley Lavender factory on the site till 1966.
The building is rather overshadowed by towering construction

Tile mural south of Olympic Park

Another mural on the fringes of Olympic Park

Coloured pencils(?) outside the Aquatics Centre

Delighted to see this costume and the kiddies enjoying the fountains

I peeled off to Hackney Wick, aka Graffiti Central, to get the train home


by Margaret Cooter (noreply@blogger.com) at September 16, 2016 11:22 AM

September 15, 2016

Olga Norris

Delightful disorder

On our way back from Margate we stopped at Wisley gardens.  The main purpose was to wander through their Glasshouse borders leading to the perennial prairie planting.  There are always delightful distractions on the way - such as these cyclamen just inside the main entrance, planted up on a raised bed just at eye level.
Despite the high temperature, it was evident that Autumn is well on its way now.  And the elegant dancing grasses are both enhanced and provide purpose for the otherwise perhaps untidy looking dying leaves and seed heads.  I love seeing so many stages of plant life, and find the whole effect beautiful.
Spectacular flowers beam out,
and on the way out of the gardens I spotted these pulchritudinous kniphofias,
and this rose with beautifully repellant hips. 

by Olga Norris (noreply@blogger.com) at September 15, 2016 12:32 PM

Margaret Cooter

Poetry Thursday - Upon Julia's Clothes by Robert Herrick

Edmund de Waal, Covered Jar (via)

Upon Julia's Clothes

Whenas in silks my Julia goes,   
Then, methinks, how sweetly flows
The liquefaction of her clothes!

Next, when I cast mine eyes and see
That brave vibration each way free,
—O how that glittering taketh me!
Robert Herrick (1591-1674)

This analysis brings out the fishing motifs in the poem. "The sestet is therefore not so much about love-longing as it is about confusion and ambivalence toward women, toward sex and toward sexuality. Julia's clothes captivate the poet, yes, but he's a poor fish, unwillingly enthralled.
"Would it be possible to guess, strictly on the basis of this poem, that the author was a clergyman and a lifelong bachelor?"
In The White Road, Edmund de Waal quotes the first verse in relation to glazing of porcelains - "glaze is the clothing for the clay body". "Think of a glaze covering a body," he writes. "The fit is couture, neither a sense of constriction, nor one of too much latitude, just easy movement."

De Waal goes on to dwell briefly on possible problems with pots and glazes: lopsidedness, distortion, fissures, fragments of adherent clay; running of glaze, pinholing, rivulates of arrested glaze, scaling off. 

by Margaret Cooter (noreply@blogger.com) at September 15, 2016 09:37 AM

September 14, 2016

Virginia A. Spiegel

Creating An Inspiration/Meditation Book Using Gelli® Prints

Gelliprintstissue400

If you follow me on Facebook, you know I have been taking my new Gelli® Printing Plate out for a spin, including trying out different printing materials.  Above are rice paper, copy paper, non-woven fabric, and tissue paper. My first run of printing was exclusively on watercolor paper (below):

GelliAssortment400

What to do with all these lovelies? I had a 5×8″ Moleskine journal from which I had ripped a page since I found I didn’t like the yellowish cast to the paper for drawing. Not a good idea on sewn signatures, so I decided to use the falling-apart journal to make an inspiration/meditation book using these new papers. My focus was on circles – always beautiful, always calming.

GelliBkPg3web

I started out (as a sort of warm-up) with some almost-squares cut from printed watercolor paper.  On each layout throughout the book, I added pen and ink which may or may not be the last drawing, sketching, writing I do on each layout.

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Prints on copy paper.

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Main prints on rice paper with additions of non-woven fabric and copy paper.

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Rice paper prints with the blue edge carried over from the previous page (not shown) with one square in watercolor paper. Creating an abstract book is the same process as any other type of book – building rhythm and continuity through the book in order to draw you forward and into the book.

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Contrast is always good.  Copy paper and non-woven fabric.

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Both on tissue paper.  I love how the tissue paper wrinkled in printing and glueing.

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The background is one sheet of rice paper with additions of non-woven fabric.

This is just the start of this book as the process is as important as the product and there are many pages yet to be filled.

by Virginia at September 14, 2016 11:46 AM

Olga Norris

September scorcher

The Turner Contemporary gallery is in Margate, where Turner lived for a time, and a seaside town at the southern point of the Thames estuary.  The gallery has a splendid large window onto the sea, with a space for individual works of art such as the Yinka Shonibara piece seen in silhouette above.
It was extraordinarily hot for September, so on Sunday the town was full of visitors, many sitting in full sun, and others seeking shade such as this couple behind the shell lady.  The gallery building is striking in the sunlight, seen from the end of the harbour arm wall.
There were different vessels on view in the harbour, and out beyond the estuary tankers and an extraordinary yacht.  We heard that it belongs to a Russian, and later found out more (here).
A walk along the promenade in front of the gallery and beyond was most pleasant, and an excellent spot for people watching as well as benefitting from the relaxing effects of the sea itself.
Later I wandered round the streets just off the main harbour, and took a few snaps,
and found this doggy-wares shop.

by Olga Norris (noreply@blogger.com) at September 14, 2016 11:50 AM

Margaret Cooter

Dippy chimneypots - first week

The actual name of the course has "architecture" somewhere in the title, so I reckoned my chimneypots would fit right in. Though I'd also love to do something with slabs ... a "spooky corner" perhaps, developing those made during the foundation course some years back.
Demo of adding yummy textures to slabs
The textile proto-pots have been in the making for some weeks, and I took a selection to re-acquaint myself with the technicalities of dipping. The pot of porcelain slip is only about a third full and quite thick, but let's see how it turns out. 

First, some views of the pottery studio at Morley College -

As for the pots - some of these went under this week -
The drip-dry stage is accomplished with the help of thread, sticks, and tubes -


One little pot is left standing on its own - the rest are on a high shelf, drying out till next week.

Meanwhile, more pots are "under the needle" - perhaps subconsciously affected by my drawing last Tuesday -

by Margaret Cooter (noreply@blogger.com) at September 14, 2016 09:52 AM

Gerrie Congdon

Beyond Fistula

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Beyond Fistula is an organization that helps women and girls in Africa who have recently undergone surgical repair for fistulas- a complication of difficult childbirths. My friend and fellow art quilter, Mary Ann McCammon, is very involved with this organization and has traveled to Kenyan to work with the women, teaching them to create little art quilts. You can read about her here.

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There is to be a fund raising event here in Oregon wine country, selling a lot of the work these women have created. Mary Ann asked us to create a larger piece, using the work done by the women. I have done two of these. I am embroidering their names on the front.

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On the back is a pocket with a card with information and photo about the maker.

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Here is the second one I made.

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The fund raiser is in November at a winery.

Tomorrow is Columbia Fiberarts Guild with Fran Skiles as guest speaker. On Thursday and Friday, I am excited to take a workshop with her.

by Gerrie at September 14, 2016 04:36 AM

September 13, 2016

Olga Norris

Circling round art

Garry Fabian Miller: Gilded (image from here)
We finally went to the Turner Contemporary to see Seeing round corners, an exhibition which had aroused my curiosity when I read Laura Cumming's review some four months ago.  What a fascinating collection of circular examples, what a thought-provoking exhibition.  It stimulated many ideas which will carry momentum and have me looking and thinking for some time.
The ideas of circularity are not simply perfectly round, but have round-ness in their concept.  One piece which particularly appealed to me was a vitrine by Edmund De Waal, called Littoral (shown below, image from here).
The form of the vitrine is severe, tall, angular, heavy in aspect, but within there is a small pile of delicate black saucers, hand formed, wonky, but elegantly precious, defiantly circular resisting the oppression of their container.
Nancy Holt's Sun Tunnels photographs (image above from here) take three dimensional cylinders and make them into fascinating two dimensional images, and I was delighted to find her poem The world through a circle too.
(image above from here)
A woodblock moon which delighted me was by Tsukioa Yositoshi: Moon and smoke.  The moon occurs in several Japanese woodblock prints, but I was intrigued by the juxtaposition of the element of fire as well as the aspect of the figure in this one (image from here).
An animated circle was represented by another artist who like Nancy Holt I have not thought about for too long: Rebecca Horn.  I enjoyed her White body fan photographs, especially as it was the angled ones rather than the full face open circle that were shown (image from here).
Another photographic item, or trio of photographs which intrigued and delighted me were by Barry Flanagan - his Hole in the sea (image from here).  These were taken from a film Flanagan made of the tide coming in to cover a Perspex tube he had placed in the water.  It is astonishing how indeed it looks like a hole in the sea.
Paul Nash's Circle of Monoliths was placed on the wall next to a great circle of slate: Blaenou Ffestiniog Circle by Richard Long, each enhancing the other. 
We associate standing stones with circles mostly, and so even without the explicit title, if the painting does not show their circular position it evokes the thought.  Long's pieces of slate are arranged to fill a circular space which is not literally described, but is immediately obvious to the eye.
There are so many interesting exhibits in the whole show, some more of which are shown in this vimeo film, and here is another review.  it is a brilliant idea for an art exhibition which informs, provokes, delights, and makes all sorts of connections for everyone to take away, subsequently add to oneself, and ponder at leisure.

by Olga Norris (noreply@blogger.com) at September 13, 2016 05:32 PM

Margaret Cooter

Drawing Tuesday - King's Place

This sculpture is near the entrance of King's Place, so I drew it from a distance while sat comfortably with a coffee while waiting for the others. (I arrived early so as to have that coffee...) Someone suggested that the sculpture behind the pillar might be more to my taste -
And it was, though people intent on phone conversations would insist on standing in front of it ...
At one point, several actually, I was ready to throw in the towel -
 But eventually most things joined up - oh how satisfying when they did!
There's lots to draw at King's Place, from boats and sculpture outside to sculpture and people inside, and architecture here and there.
Sue walked along the canal to find the gasometers

Janet used her various pencils, including the 8B

Carol found boats across the canal

Najlaa found a wonderful yellow sculpture downstairs
Afterwards I had a look at the self-portraits in the gallery downstairs (till 24 Sept). Two of my favourites -
Shani Rhys James, Pink Flock (painted on flock wallpaper) 2009

Charlotte Hodes, Self Portrait as Ornament
 Outside -
Canal view

Inadvertent office sculpture


by Margaret Cooter (noreply@blogger.com) at September 13, 2016 09:40 AM