Saturday, October 19, 2019

'Current Threads 19' Vancouver Island Surface Design Association Exhibition, October 3 - 24, 2019

Steaming the wrinkles out of Origins after it traveled in a box from Gimli, Manitoba to Duncan, British Columbia. This is minutes before the Artists' Reception of Vancouver Island Surface Design Association's annual exhibition, Current Threads 19.

This work is about a group of Icelandic people settling in Canada bringing with them their material culture and their DNA. I wrote about it in a previous blog post here 

This year's exhibition is in the new, expanded Portals Gallery run by the Cowichan Valley Arts Council here. With so much more room the VISDA artists were able to hang large works.

During the reception, I was able to talk to some of the artists about their work.

Gina Dingwell, No Looking Back, dress: hand-dyed, indigo silk, recycled knitting, and crochet with various yarns; personal objects.

Gina's artist statement: 'The process of knitting with found knitting materials from my past was a visceral experience. It was an exploration of materials that I had left behind, past experiences, self-image, burdens, things said and done. This piece represents a challenging and yet beautiful process of letting go to find new awareness.'
I think Gina shows great courage in putting out such intensely personal work for all to see. Gina has done what I have just learned about from Merill Comeau, website, during her workshop 'Mining the Personal for the Universal' she taught during the Surface Design Association's conference in St Louis, see previous post.
Visit Gina's Instagram site to see more of how she views the world.

Barbara McCaffrey, Ogham - Oracle of the Trees, 3 Oak staves imprinted with Ogham alphabet letters compiling the words 'Courage,' 'Harmony,' 'Strength'.
Barbara's artist statement: 'Ogham writings were discovered in the Book of Ballymote, a 14th-century Irish manuscript. The book contains treatises on the history, genealogical and geological survey of Ireland among others.'
Barbara has recently returned from a trip to Ireland where she spent time discovering and exploring her heritage. She told of her findings in this and other works in the exhibition.

Laura Feeleus, Cellular Articulation, hand and machine stitching and beads on repurposed textiles.
Laura has recently been exploring the biological processes involved in the body's assimilation, storage, and breakdown of fatty tissue. At the same time, it is a comment on the global problem of obesity and overconsumption, a concept reinforced by her use of recycled materials. 
Laura's website here

Jean Cockburn, Green Worlds, hand embroidery on linen gauze backed with cotton.
Jean's artist statement: Imagine many green worlds, large and small, spinning through the infinities of space. What possibilities for Life!
Jean's meditation on green can be explored in many ways: a colour study, a survey of hand embroidery techniques, the power of the mandala, the cosmos of the universe.
Read Jean's blog here to see more of her work.

Susan Duffield, Traveller's Dreams, cotton dyed with indigo and madder.
Susan's artist statement: 'Stitched with memories of childhood and travels to Australia.'

Traveller's Dreams, detail
Like Gina, Susan is working with the personal to access the universal and like Jean, she is exploring the power of the handstitched circular mandala shape.

Bryony Dunsmore, One Rift, One Flaw No. 2, textile
Bryony's artist statement: Inspired by a Margaret Atwood poem which includes the words "...there is one rift, one flaw, where we are nailed to the earth forever."


One Rift, One Flaw No. 2, detail
I didn't get the chance to talk with Bryony about this work so I can't give you more details.
I am always drawn to Bryon's beautiful colour schemes. They are just so harmonious and soft but always with enough contrast to speak loudly. She demonstrates complete mastery of her technique the result of which is always a pleasure to explore up close.

Lesley Comassar, Uprooted, (the work on the left) hand-dyed, hand-painted cotton, machine pieced and appliqued (raw edge), free motion quilting.
Lesley's artist statement: When our vital connections to the earth, our families, and communities are forcibly severed, the effects reverberate through the generations.
Lesley's website here.

This is one of a series of 3 works where Lesley has explored the effects of migration at both a personal level and in different communities around the world. I talked with Lesley about how she reworked the colour scheme to ensure the works had the impact she was looking for, the right grey the right red.

These are just a few of the outstanding works in this year's VISDA annual exhibition. As you can see, members are willing to tackle large, serious and intensely personal subjects and they have the strength and courage to express their viewpoints and feelings on these subjects while demonstrating mastery of their craft.
Many thanks to Gillian Riordan and her committee for presenting an exceptional exhibition.


Friday, October 11, 2019

Surface Design Association Conference, Beyond the Surface, St Louis, Missouri

The Surface Design Association's 2019 biennial conference, Beyond the Surface, was in St Louis, Missouri. It was held in conjunction with the Innovations in Textiles 2019 a three-month-long event held every four years. With 43 participating venues and a large number of other museums and other historic buildings in the St Louis area, SDA members attending the conference had to come up with a plan to make the most of their time. We couldn't see it all even when arriving early in St Louis and leaving a few days after the conference.
One of the highlights for me was SDA's own annual juried members' exhibition Beyond the Surface. Jurors Jo Stealey and Jim Arendt said in their opening remarks they selected 48 artists who demonstrated a "well-developed artistic vision" and mastery of their craft, both factors equally weighted. The gallery was full of strong works executed with an exceptionally high skill level.

Kathy Nida, Swallow Me Whole, raw edge applique with quilted ground, 67" x 76"
First place award
Kathy's website/blog https://kathynida.com/

Swallow Me Whole, detail
It was fun to stand in front of this work and come up with a story. Kathy has perfected her technique and uses it consistently making her work easy to recognise. She knows her biology so well she pushes, pulls and exaggerates it with great humour. Check out her website for more of her funny/serious narrative quilts.

 
Marie Bergstedt, In There, fulled fabric sculpted wall hanging, 48" x 35" x 3.5"
Second place award
Marie's website https://mariebergstedtartist.com/home.html

In There, detail
Sorry about the fuzzy image but it was the only one I took and I wanted to show the sculptural 3D quality of this work. Marie is a fibre artist who has perfected several different techniques. I have seen some of her amazing button works and know she is a skilled embroiderer. I didn't know she also works in wool. This work is kinda icky and at the same time warm and fuzzy. Marie really plays with the viewer's emotions.


Leslie Horan Simon, Geologic Time, 34.5" x 27" x 0.5"
Third place award winner

Geologic Time, detail
This close up shows how Leslie knit then fulled each stone before attaching it to a black felt ground.
If I was forced to pick my favourite work this would be it. It got me with being knit and fulled, 2 techniques not often used in quality fibre artwork. I was enchanted with the luminosity of colour Leslie managed to achieve with fuzzy wool.
I did have many other second favourites.

Chris Motley, Here and There, hand-knit wire and fibre, 43" x 50" x 4"
I would have preferred the individual units hung level at the top to give more of a suggestion of downward movement.

Here and There, detail
Chris is a knitter and as a result, has a vast range of techniques she can use as well as a world of different materials that can be worked with two sticks. In this work, Chris shows the sculptural quality that can be achieved with the knit stitch.


Chris in front of her work opening night. I did enjoy talking with her about her work.

Nanhee Kim, Layered Fluidity, nomex, monofilament yarn, 48" x 36" x 4"

Another knitted work caught my eye, surprise surprise. This one worked in a stiff 'yarn' so the shaping stood out in raised relief. It made for the most interesting play of values strengthening the form.
Nanhee Kim describes herself as a "knit textile/surface/ fashion designer and artist."


Melinda K. P. Stees, st equal px, knitted yarn mounted on a rigid internal frame, 24" x 29"
Melinda's website https://imageknits.com/about/

st = px, detail
Melinda says about her work, "The strong contrasting colors can catch your eye from across a room, while the knitted texture will pique your curiosity when you’re up close enough to see it."
You may also notice this computer-programmed, machine-knit work has been worked from the right to the left, with the stitches presented lying on their sides. I wonder if Melinda did this and stretched the work on a rigid frame to counter knit fabric's characteristic drape.



Time Notes: Day, detail
Here is another work with computer-programmed, machine-knit work in a scale making it readable only from the other side of the room.


Ann Clark, Time Notes: Day, knit fulled wool, 93" x 66" x  0.25"
Ann made this work as a rug. As fabulous as it looks on the wall I imagine the impact of the image would read differently when viewed from above while walking.

I was delighted there are so many knit works in this exhibition showing 'the best of contemporary work by SDA members.'

Check out Wendy Klotz's blog post about what she saw during the SDA conference, here and see more on what there was to see and do in St Louis.



Thursday, September 12, 2019

Garden Report: New Garden Bed with Path Construction Before the Rains Start

Here on Vancouver Island, we are waiting for the rains to start after our dry season. By waiting I don't mean we are lying around waiting. I have a whole list of garden jobs timed for just before the rains start.

On the list is a path through a garden bed to a tap and hose. Last year Ron installed the hose reel on a stand which is now so easy to use. The soil he dug up then went crazy producing a deep-rooted plant and quack grass. I am always on the lookout for grass because it is banned from the garden beds in the backyard. Shovel by shovel I have spent several weeks sifting out all the roots and grass from this area. Also, as is usual, I removed all rocks in the soil. It was slow going and I hope I don't see either of those two plants here again.
Next, I dug a trench and placed in it a layer of the rocks I had removed from the soil. I get a checkmark here for following the permaculture principle of using what you have.

I reused paper grocery bags to make a pattern of the paver size I was planning on using. I needed to know how many pavers to bring up to the bed.
At this stage I consulted the resident civil engineer for advice on materials and fluid mechanics. Phew, I got the go-ahead. I was on the right track.

The next path layer called for smaller gravel. We have a little gravel pile leftover from making the main garden paths. Another checkmark earned.

I started putting as much gravel in the wheelbarrow as I could manage to lift up the stone steps to the path level. This was hard work. I was getting tired but I was determined to finish the project before the rains were forecast to start at 2:30 pm.

I requested more muscle power with the heaviest tasks.

Five pavers were needed.

We selected five of the best pavers leftover from reworking paths and the new guest patio. 

 Another permaculture checkmark earned.

The gravel had to be leveled to ensure the pavers were stable and didn't move when walked on and well supported so they didn't break. The notches in the pavers will not be noticed once plants have grown over and softened the edges.

While the stronger of us worked with paver placement...

I dug out bucketsful of soil and took them up the steps to another bed to use later. I had been advised the soil level needed to be lower than the path so the water would drain off and away.

Arrgh, the rain started two hours earlier than forecast. I planted the north side and got thoroughly soaked. Against the rock, I planted a new perennial garlic bed. The large flower heads will look elegant when walking up and down the steps. In front of the garlic are broccoli plants I started from seed about a month ago. Next to the broccoli, following the path, I planted another 'best buddy', beet/beetroot seeds, quite densely because the thinnings, leaves roots and all, are delicious. These winter vegetables apart from being our food will protect the soil over the wet winter. Once the crops have been harvested I will plant more perennials in their place come spring.
Wet through I gave up before I planted the other side of the path because there is still a lot of extra soil to move before I can plant it out. I'll get that done once there is a break in the rain.
 I don't like the way the large rocks look like they are sitting precariously on top of the soil. I will put tall plants in front of them to hide the bottoms of the rocks. 
I look forward to planning over the winter months which plants will go where in this bed and in the others. 

Saturday, August 24, 2019

Have you ever thought about who designed this plastic chair?



The ubiquitous garden-variety, plastic chair...


...and its variations found throughout the world.
I have come across this chair in almost every place I have travelled to. It is inexpensive, light, portable, stackable and weatherproof making it accessible to so many people. It has enabled people around the world to sit in comfort alone and in groups, up off the floor to dine, learn, work. We have all seen this chair but have you ever thought about who designed what has become a universal commodity?

Vienna, 2003, Brian Jungen 

Brian Jungen is a Canadian artist who understands the universality of the white plastic chair and has used it in a series of 3 powerful works.

Don't worry that you don't know the designer because that is the way he likes it. He wants to remain anonymous and for you to just enjoy living with his designs.

 
That is why this poster of an exhibition of Maia and Pierre Paulin's designs caught my attention when we were travelling in the Cevennes region in southern France. We were learning about the history of the silk industry in an old silk factory now the Maison Rouge Museum when we came across a room full of Mid Century Modern furniture.

Tulip chair, 1950, Pierre Paulin

It was the French designer Pierre Paulin who designed the white plastic chair and many other iconic chairs and furniture. This room was a treasure trove of his and his wife, Maia 's work.

 Orange Slice chair, 1960, Pierre Paulin

It was fun to walk through the museum and recognize chair after chair and realise I had never before put them all together as one designer's work.

Ribbon chair, 1966, Pierre Paulin

I wondered why this small regional museum had such a large collection of Paulin's chairs and furniture. I did a bit of research. Paulin was born in Paris and worked internationally but it was in the nearby Cevennes Mountains National Park he 'retired' and continued to design.

 Tongue chair, 1968, Pierre Paulin

Maybe the furniture in this exhibition had come from his home nearby where his wife Maia continues to live.


 Banquette Amphis or the Osaka sofa (1967), Pierre Paulin

Pierre Paulin left the spotlight of international design several times in his career and worked for many years in his wife's design company, where he designed utilitarian things such as razors and irons.


Pierre Paulin's portable iron design, a first.

He has been quoted as saying "Objects should remain anonymous."
I wonder how many of the everyday products I use were originally Pierre or Maia Wodzislawska designs?
I need to rewatch some James Bond movies to do some Paulin furniture spotting.