'Earth Repair' - the Beginings

'Earth Repair' began as a response to what I considered to be an emergency situation.

March 11, 2011 - quoting from my journal -

'Emergency. It has been a long winter here on the island. The deer are hungry. They are eating the bark on my precious Indian Plum. I need to care for this tree. The deer have free choice in the rest of the forest - even my emerging spring bulbs but my Indian Plum is not part of their buffet.

I am placing sacrificial tea cloths over the wounds to protect them. First, I lost my needle - I felt vulnerable and inadequate - I couldn't do what I needed to do because I had lost my valuable tool. Flashback to an earlier time when women depended on their needlework skills to survive. A lost needle was potentially a loss of livelihood translating to an increased risk of not being able to adequately care for her family.

I ran inside to get another needle after I had given up searching in the deep layers of moss and decaying leaves. When I returned with another needle I found my first one hanging by a thread - ties in with that vulnerable feeling again.

I was having trouble holding the cloth in place and sewing at the same time which had lead to the loss of the original needle. Then I heard a distant ambulance siren reminding me this is a triage situation.

Another run inside to get my wooden-based pin cushion, given to me by my mother. A reminder of how important life skills are passed from one generation to the next.

I was now performing the required surgery as I pushed a couple of pins into the bark to temporarily hold the edges of the cloth as I sutured it in place.'

The 'Earth Repair' cloth with embroidery wrought by and unknown hand.

Sutured in place around the wound to stop the deer from eating more of the bark. 

I have since read the Saanich First Nations people make a bark tea as a purgative and a spring tonic. Perhaps that is all the deer were doing because they had upset stomachs after having to eat plants not usually in their diet.

Continuing from my journal entry - 'The tea cloth continues to function - to protect wood and in doing so sacrifices itself to the elements - it was raining as I secured the cloths in place.

Inside the home, the cloth would be used to present food - outside it is now protecting the bark so the tree can get its food....

The cloth has been taken from the horizontal to the vertical plane. Does it still read as a table cloth? It has been taken from a smooth flat object to a wrinkled curved form. Does it still read as a cloth?'

These were musings for the development of work while I was studying for a BA (Hons) in Embroidered Textiles. After 6 years of study, my graduation exhibition work was related to my thoughts and actions on this Day of the Emergency.

Joshua Creek Heritage Art Centre

The brain-child of artist and art patron Sybil Rampin, her art centre is a creative haven on the outskirts of Oakville.

Vistors to the World of Threads Festival art exhibitions at the centre: Ingrid Lincoln, Judith Martin, Catherine Dormor (our final year BA(Hons) tutor).

The centre is made up of different work spaces.
This space could be used for learning, working, meeting, eating, sharing.

A light-filled work room.

Work sinks.

Print room.
Next post - the gallery spaces.

Contiuum Opening Night

Articulation had converged on Oakville the night before Continuum opened.
Members were able to hear each artist talk about her work.
Denise Jones talks about hers.

Judy Martin talks about hers.

 

Articulation members were their usual inquisitive selves and listened intently to every word.

Viki spoke about her work.

Each artists' work was even more powerful when viewers personally experienced the animated and emotional connection of the artist with her work.
What a treat to hear each of the artists talk while standing next to their work.

Continuum: Monika Bruckner

 

Monika was unable to hang her vessels with the second installation of her work. She stacked them on a plinth.

The effect was very different because the viewer could look into the vessels.

For me there was more emphasis on the differences of individuals who together make up the family.

These items felt more publicly on view when not put in a suitcase, as they were the 1st time.

Continuum: Jean Kirk

 

Here is Jean's work as she 1st installed it at Middlesex University.

Here it is installed on the brick walls of the Oakville Town Hall foyer. What a difference! The high contrast of complementary colours work against  Jean's intention of quiet contemplation but the installation does appear way more dynamic/energised.

I think each installation produces a very different effect with both being equally successful.

Continuum: Denise Jones

 

This is Denise's installation at the graduation in Middlesex University. 

This is how Denise adapted the installation of her work to suit the foyer of the Oakville Town Hall.

I felt the stitched works stood out more on the red brick walls but didn't invite the close attention of the viewer as did the white walls in the Middlesex gallery.

Denises' solution to silk threads tumbling onto the floor was to place a small white block under them.

An elegant solution to long silk threads being too vulnerable left on the floor of a public space and exposed to cleaners' brooms.

Continuum: Caroline Hibbs

 

Caroline chose to send 3 of her gloves to Canada and to put them behind acrylic.

For her graduation installation she hung the pairs of gloves on acrylic frames she had designed.

For me the effect was just as powerful in this 2nd installation.

 

The installation includes a book of lush photographs of the gloves placed in context.

Continuum: Viki Jenkins

 

Viki was able to install her work most successfully in the 2nd space. I am amazed she was able to hang all of the frames in a straight line. The hanging device was challenging to work with. Surprisingly, I didn't find the long hanging cables a distraction. Somehow they worked to support the unity of the work.

 

 

 

But these recycling bins did distract from the 3 frames hung at the entrance to the building.