Archives for November 2012

Worn Through » High Fiber, High Art

I am proud to have three pieces in this juried fiber art show.

Worn Through » High Fiber, High Art.

An overview of the FiberShots gallery at High Fiber on October 20, 2012, $100 each, San Jose Museum of Quilts & Textiles

Non-profits struggle in the best of times. It is hardly news any more that they are struggling even more in the current economy, and that many of them are failing. But somehow the announcement that the San Francisco Museum of Craft and Folk Art will be permanently closing its doors on December 1 of this year was still a shock. Unlike the campaign to save the American Folk Art Museum in New York City last year, there were no editorials, no online efforts, and no real warning that the museum was in such danger. Its closure will leave the San Jose Quilts and Textile Museum as the sole folk art and craft museum in all of Northern California.

The closure of the SF Craft and Folk Art Museum, and the near loss of the American Folk Art Museum last fall not only highlight how little attention and understanding these types of museums receive, but also how important it is for patrons to support their museums financially if they can. Deborah Corsini, Curator at the San Jose Quilt and Textile Museum (SJQTM), acknowledges that in the current economy competition among non-profits is especially fierce, since there is less money for everyone. This puts pressure on the institutions to become more creative in their fund raising. The SJQTM’s current show demonstrates that, occasionally, this pressure can actually result in incredible shows, and inspire incredible art.

On October 20, SJQTM held the VIP reception for their annual fund raising event, High Fiber under 5: an exhibit of textile and fiber art donated to the museum to be sold for under $500, with most of the pieces ranging between $100 and $350. High Fiber has, for the past four years, been the museum’s main benefit art sale, featuring the textile work of both well-known and emerging fiber and textile artists. It benefits not only the museum, but the artists directly, with both parties sharing a percentage of the sale. The museum received over 300 entries (submitted by photograph), and selected 262 pieces for exhibit and sale. The museum’s Executive Director, Christine Jeffers tells me that they made $15,000 in the first weekend. Both she and Deborah were extremely pleased with this year’s show and turn out. More than 100 people attended the VIP benefit this year, an exponential increase on the 30 to 40 attendees of the year before. However, Christine tells me they are still growing an audience that not only appreciates, but collects textile art in the San Jose community.

One of the ways they achieved this this year was to reach out to knitters, weavers, quilters, and other textile arts practitioners in the community who have always made objects, but never considered themselves as “artists”. Answering the museum’s call-out, many in the local arts and crafts community donated pieces, all sized 15″ x 15″, for a secondary exhibit, Fiber Shots to be sold for $100 each. This fits into Christine’s ongoing plan to make the museum more participatory. She believes that the community and their patrons will gain a deeper appreciation of textile and fiber arts if they have experience working in the medium themselves.

One goal of this year’s High Fiber preparation was to include as much work as possible. The submissions were juried by Curator Deborah Corsini, textile artist and SJQTM board member,Yvonne Porcella, and Lynne Koolish, a quilt artist and dyer and the Vice President of the SJQTM board. Their selections have made this show the largest and most diverse in High Fiber’s — indeed, the museum’s — history. Deborah says this makes it possible for the show to display the wealth and variety of what contemporary fiber artists are doing, and it is excellent for a museum that continuously challenges people’s perceptions of the textile arts. There are quilts, sculptures, tapestries, embellished or collaged pieces, weavings, mixed-media pieces, and knitted jewellery of both yarn and wire. Deborah described her position as the curator as “selecting and designing”, and while the richness of the show is extremely advantageous in a sale show, once the pieces had been selected, designing and installing a show of 262 pieces of different sizes and mediums was a challenge.

Since it is a sales show, she was already having to consider it from a different perspective, showing each piece to its best advantage. Her biggest challenge was to arrange the work in a way that would keep people interested without overwhelming them as they viewed so many pieces. She told me that in previous shows she had tried to keep multiple pieces by a single artist grouped together, but that this year, in order to keep flow and balance, she often would separate the works, scattering them through out the gallery. This actually helped sales, since people might come across an artist again later which would make them revisit the previous work they had seen, giving it a second consideration. Deborah is also proud that not only are there many famous textile artists, such as Sheila O’Hara, Dominie Nash, and Ann Wilson, but new and emerging artists, some of whom had never worked with textiles as a medium before.

Another new aspect for High Fiber this year is the online gallery, which not only showcases all of the work, but offers the opportunity to purchase (by phone) the pieces to anyone, even those who cannot make it to San Jose.

The San Jose Quilt and Textile Museum is luckier than most in that it owns its own space. Their 35th Anniversary exhibit opens November 14th, Deborah and Christine would like the museum to stay open another thirty-five years, if not more. As a way to make the museum more participatory — and to grow the audience of those who not only appreciate but collect textile art — Christine has instigated a number of classes and lectures at the museum for patrons. On January 5, 2013, Shelly Zegart, who produced and hosted the PBS program “Why Quilts Matter: History, Art, and Politics”, will be presenting a program entitled “What Is Art?” to discuss the value of textile and fiber arts. In addition, classes on how to quilt and work with textiles are being planned. All of this augments existing programs that reach out to local schools, and to women’s shelters.

Christine is a South Bay native and a long-time lover of the arts who feels strongly that textile arts should be considered contemporary art. This is a sentiment echoed by Deborah. She feels the museum offers both history and inspiration to the community, especially as interest in DIY and crafts is rising, seemingly in response to the digital age. People want to do things with their hands, she says, and the museum can open young and old alike to the rich past of the textile arts they are just discovering.

But I keep thinking of San Francisco, and wondering what pressure this is going to place on SJQTM. These museums only exist through our support. Hopefully, through continued excellence in their exhibits, and more events such as High Fiber, museums can increase their patronage, and more importantly, membership and support. And perhaps through greater awareness of what is possible, people will take fiber arts and crafts out of the classification of country fairs and grandma’s attic, and put them in the contemporary art space where they belong.

Quilt National 2013

I felt compelled (strongly I might add) to create a piece for Quilt National 2013.  I did not get accepted but I am very happy I completed this piece. I have good feelings about it. This piece made me ponder and think on a level that I have never done before. This piece is personal. It speaks. The message is a good one.

The theme compelled me: The Breadth of Diversity

All Of Us

Last winter I took an online course from Lisa Call. She encouraged journaling, sketching and goal setting. She has been accepted to Quilt National 6 times. She said she wrote this goal down somewhere and then set out to make it happen. If you don’t actualize things how will they materialize? So that is what motivated me. (She entered this year too and did not get accepted.)

I started with a sketch.

I have been frustrated with converting my sketches into fabric; piecing the pieces together by machine. It finally dawned on me to make a pattern. Now this is not rocket science but I am not used to working with a pattern (other than garments). The design had gentle curves and having a pattern would make sewing the curved sections easy.

I usually like to have a sketch as a starting point and then allow the work to evolve naturally. I love what I discover along the way. But, this time I wanted to actually depict the sketch. I thought it was a good composition and could portray the theme. This time the discovery happened in the planning stages. There were more stages to resolve as the piece evolved which brought more discovery.

New revelations about the theme occurred gradually.

The first thought was that the two large shapes looked held together by the horizontal band. I envisioned the large shapes as groups of people or people of a certain origin, communities or countries; places where people commune and exist.

And, so I began to make the pattern. I used pattern making material. It is a thin non woven product with red dots on it. I used the method I learned in art school: draw a grid on the design and then draw a grid (on the pattern material) with the same scale enlarged to the desired finished size. Use the original drawing referencing to the grid. Draw the design matching the placements of the lines on the pattern. I could then cut each section in order. I cut out a piece from the pattern and laid it on the fabric. The pattern material is transparent which is a big plus. I began with the two large shapes as these were the catalyst for the theme. I added 1/4 inch seam allowance all around each piece.

I like to use the fabric I have on hand and I was able to find and decide upon the fabrics right away. I wanted to use fabrics that had an ethnic quality and colors of the earth.  I kept the color palette warm. I also wanted texture. All of the fabrics have something special about them. Either hand dyed, hand dyed damask, hand dyed silk organza and vintage fabric. They are united by their ethnic qualities.

Once I had the pattern made and the fabrics selected the sewing went smoothly and quickly.

The design matched the drawing exactly and I was amazed how the fabrics made it come to life. After I viewed it on the design wall for the first time, I could see some extra bands of fabric were needed around the perimeter to frame the shapes.

After I gazed at it for a few days it occurred to me that the size would make quilting a challenge. I usually work fairly small. But, the theme continued to beacon me.

The next decision was: how would I quilt it? What kind of quilting would further define the theme? I went back to the sketch book and began to draw motifs and thinking more about the theme. I thought about this for a few days. Thinking about diversity truly opened my eyes. I began to realize how I felt about the differences of people; the world as a whole. The ideas started to flow.

I decided to begin in the light shape in the upper center and left. The logical way I could express my thoughts was to write them out. I am pretty good at freehand writing with free motion. I wrote down all of the words and began in the middle and worked out. The first word was:

ACCEPTANCE

The more I wrote the more I began realize about myself; it opened my eyes. I had never thought about this topic in depth. My thoughts enriched the applications. I really enjoyed creating this piece from start to finish.

The brick color strip across the top is quilted with tall buildings to look like apartment houses with windows.  The brick color strip in the center has a few words and sayings.  The yellow band at the bottom has people holding hands of all sizes, combinations and colors. The strip along the right has key holes and keys.

These symbolize: Neighborhoods, People, Opportunities, Answers.

The colorful band represents unity. The ties that hold us together.

I am really proud of this piece. I have full confidence that it will be accepted at some point.

New Series

I have some ideas that are strong enough to consider as a series. I am motivated by the book: Quilting Line and Color by Yoshiko Jinzenji

Quilting Line and Color: Techniques and Designs for Abstract Quilts

What I like about her work is how there is a lot of solid (white) area with visual bridges connecting areas together. I realized that I have been doing this off and on for years. Now that I have taken Lisa Call’s course Working In A Series I think more about how things relate. I know the value of working in a series. How to explore, think and work with one concept until it is exhausted. Until you feel it is complete.

The first step is to think of a subject. This could be anything. Next you must refine the subject down to the essence.

For this series I plan to:

1.Explore bridges and connectors. These are shapes, various widths with high contrast.

2.Use a minimal color palette with one dominate color in either very light or very dark value.

3. Find/Search for unique fabrics that have a certain design that will provide.

4. Paint white or light fabric with thickened dye to create designs with bridges.

What are bridges?

This is a term I use to describe marks, lines,solid shapes that stand out.  Usually they will be on a very light or very dark background.

This last example is a fabric I painted with thickened dye.

To begin with I plan to work with a grid. As I progress I will consider other combinations. I like the grid because I can focus on the interaction of the fabrics, turning the pieces until the design is united.

This is the first composition for this new series. For now I am going to call the series BRIDGES. This might change as I work with the various fabrics.