'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.

'Earth Repair' Makes it into the World of Threads Festival 2016

Lesley Turner, 'Earth Repair' 36" x 35"/92 x 89 cm, 2011 - ongoing, embroidered (anonymous) vintage cotton afternoon tea cloth, leaf skeletons, cotton & polyester thread, jute string, wooden branch, MinWax; tree staining, washing, ironing, hand & machine applique, waxing.

This work has been accepted into the World of Threads Festival 2016 in the 'Late in the Season' exhibit in the display area of the Queen Elizabeth Park Community and Cultural Centre in Oakville, Ontario, from Saturday, October 29 to Sunday, November 27th, 2016.

Whippee!

I spent most of the day following the instructions in several emails explaining exactly how to get the work ready for hanging and how to box it up.

I made a box so the work will fit snugly and not move around much while in transit. I made the box with a reuseable cap so it can be reused to return the work. 

The work can not be folded or even rolled because of the many layers of delicate, dried, leaf skeletons stitched to the cloth. 

Inside the box, I made a suspension system to hang the work from the top. 

I sewed together pieces of bubble wrap to make a snug bag to pad the work while it is in the box.

Then there was all of the documentation required. Make a label with details of name and title and secure it to the back of the work. Type up hanging instructions with images. Put my name and email on every piece of packaging and both parts of the box. Include a spare set of hanging devices - just in case. Phew!

Now to wait until the right day to mail the box so it arrives between the 2 dates set for the arrival of work in Oakville. 

Dawne Rudman and Gareth Bate are the organisers, curators, festival originators and all of the other jobs it takes to mount such a large exhibition of work from around the world - 134 artists from 24 different countries. You can see why I am very pleased to have work selected again for this festival.

Dawn and Gareth curate the exhibitions with a system I think is unique to their festival. They put out an international call for artists' most recent work and wait to see what comes in. They look at images of the work while identifying some common themes. Work is selected that fits the chosen themes. That's how I think they work.

Next post I'll tell you why this unassuming work has taken 5 years to make - so far.

VISDA 'Current Threads 2016' Artists with their Work

Judi MacLeod 'White Lady,' white linen, manipulated white cotton, hand and machine stitched

Judi led the this year's Current Threads exhibition committee. She led the hanging and compiled the artist statement binder among many other tasks.

A close up of 'White Lady' because my poor photography didn't really show any of the texture.

Committee member Sarah McLaren with her 'Van Gogh in Yellow,' cotton, silk, tulle, organdy; edge turned machine applique, free motion embroidery.

Sarah organised an elegant afternoon tea on the gallery verandah during the artist reception.

Committee member Dale MacEwan beside her work 'Nature's Patterns' (bottom - Karen Selk's work on top).'

Dale manipulated and printed on cotton 2 of her rock pattern photos then machine stitched into them.

Among the many tasks Dale worked on were registration and the show sitting schedule.

Many thanks to this year's Current Threads exhibition committee for doing an excellent job showcasing VISDA members work so well.

During the artist reception, I managed to catch 2 other artists with their work.

Susan Duffield 'Ragged End of Life' - stitched textile fragments mounted on painted canvas.

Louise Slobodan 

Top - 'Ancient Pathways' - a collagraph printed on rust printed muslin with stitching. 

Below - 'Arbutus Landscape' - Photographs printed on rust-print cotton with hand and machine stitching.

The exhibition is on for another week. I would recommend you visit if you are in the area.

Backyard Project and Work in the Studio

Ron and Nordic Fencing team leader, Mat, plan the location of the deer fence along the south boundary.

Nathan is digging trenches for irrigation pipes.

The main pipe will be located under the path going around the pergola and arbor. If there is ever a problem with the pipe it can be dug up without disturbing any garden beds.

Meanwhile, I am collecting leaf skeletons from under the tulip trees.

The damp conditions are ideal for the soft parts of the leaf to rot away leaving the leaf skeleton in tact.

After washing and laying the leaves out to dry...

...I am sewing them onto an embroidered afternoon tea cloth that spent a year or so outside wrapped around a tree trunk. I have been adding leaves to this cloth for the past couple of years. The repair of the decayed cloth with darned leaves speaks of how leaves fall to nourish and repair the soil, the skin of the earth. I will keep adding to the cloth for another season or so to demonstrate how soil building is a long term continual process.

The work is called, 'Earth Repair.'

The hyacinths are blooming in the studio bed. There is such a lovely smell as I come and go from the Green Shed.

Now that the winter rains have eased we can continue with the Backyard Project tasks

Embroiderers Guild of Victoria 45th Anniversary Afternoon Tea

Embroiderers Guild of Victoria

45th Anniversary Afternoon Tea

The Tea Wagon/Trolly

Barbara Gilbert's embroidered tea cosies covering teapots

Special tiered cake stands

Fresh scones were served with strawberry jam and clotted cream

Cake Stands

Cake stands made from vintage plates and crystal/cut glass dishes and vases

Silver, porcelain and ceramic teapots with milk jugs and sugar bowls.

The anniversary was celebrated in style.

Studio Design: Porch, Electrical Centre, Tea Centre

Continuing with a diary about how I use spaces in my new studio, as requested, I have used the crawl space.

During the Green Shed Open House, a friend offered me some of her Japanese indigo harvest. How wonderful. I visited her and came back with many large bundles of freshly cut indigo. I couldn't deal with it that day, but she had sent me a link to a site with a recipe for dried indigo. 

I borrowed the drill, found some hooks and hung the indigo bundles from the ceiling of the crawl space.

I moved the dehumidifier nearer the bundles to create air movement to stop any mold or mildew (probably the same thing) from forming. The dehumidifier took out of the air the extra moisture created by the drying plants. 

The leaves have dried perfectly to a deep blue.

Another lovely friend gave me a bucket of walnuts from her tree.

I got to use the porch for the first time when I went out there to take the husks off the shells.

I found it to be a pleasant space to work in. 

Inside I plugged in the first appliance in the electrical centre - a wide and deep counter/bench with lots of easy to reach power outlets. The hot plate works by induction heating only the bottom surface of the pot to an exact pre-dialed temperature. If the pot is taken off the element it stops heating. Other things can be programmed too, like a timer, a pre-set temperature and more. This reduces the risk of leaving a hot heating element unattended by mistake.

The window opens out towards the prevailing breeze. The breeze enters the room and moves the heated air up across the room and out the upper clerestory-like windows on the east side. It is designed to be a passive ventilation system.

I think I got so excited about simmering the walnut husks I forgot to take a picture of that stage.

It was time for tea. This is my tea centre with different teas and snacks in the little drawers.

Ron gave me the lovely teapot for this spot.

At the water centre, there is an instant boiling water tap. I drink herb teas that are made at temperatures below boiling point so the thermostat is set at below the boiling point.

This instant 'boiling' water was used to fill the pot to simmer the walnut husks in. It is more energy efficient to heat a small amount of already hot water a few degrees more than to take the same amount of water from cold to hot each time.

I had tea in the 'sunny room' for the first time. I will explain the Pattern Language 'sunny room' term in a later post.

My cousin, who does interiors for a living, helped me find the perfect chaise for this spot. Thank you, Karen. 

It is where I will read, rest, contemplate, and drink tea. 

The little wall heater, bottom right, has its own thermostat so I can set the room to be a little warmer than the main room while I sit still.

So that was the first day in my new studio.

Articulation's Victoria Study Session Continues

On the ferry, crossing to Saltspring Island for the day: to visit Articulation member, Shannon Wardroper's home and studio, to check out potential gallery space and time for a little retail therapy. 

Stitches Fibre Art Supplies, http://www.stitchesfibreartsupplies.ca/ very kindly opened up their store just for us, even though it was Sunday.

Continuing our study of railway hotels across Canada, we took a tour of the Empress Hotel.

This is the view from a 6th floor corner suite looking out over the inner harbour.

A table in the present day Empress tea room, set for their famous afternoon tea.

On the tour we learnt the tables were made from the original hotel floor boards after it was replaced.

Articulation taking the harbour ferry from the Inner Harbour, below the Empress hotel, up to the Upper Harbour.

We got off at Point Ellice House where we walked the grounds and toured inside the house with its intact, original contents. All chattels both inside the house and in their archives are thoroughly cataloged making it a perfect place to research the Victorian era in Victoria.

Leann Clifford

We did stop for afternoon tea while sitting out on the lawn but passed on a game of croquet.

We toured Fisherman's Wharf with its floating restaurants and floating houses that make up the village. 

We continued our driving tour around the Victoria peninsular, stopping and walking the historic sights, including Ogden Point breakwater without a breath of wind and barely a ripple of water.

After a week exploring and researching in Victoria we have returned to our respective studios across Canada to make a body of work for exhibition some time in the future.

Articulation 2014 Study Session in Victoria

Each year Articulation does study in a special place in Canada.

This year they are in Victoria researching the maritime history of the west coast of Canada.

Donna climbing up the stairs from the waterfront to the street full of old warehouses, hotels and shops.

Into The Maritime Museum, up in their iron elevator - the oldest working elevator in Canada...

...to the 3rd floor library and archives.

Donna and Leann doing research.

Lunch break at Venus Sophia's Tearoom and Vegetarian Eatery with retro afternoon tea served along side delicious light meals.

Venus Sophia's is in Chinatown, the oldest china town in North America. 

While in Chinatown, Articulation visited Ground Zero Print Studio www.groundzeroprint.com/  owned by Victoria Edgarr and Alain Costaz.

The magnificent gated entrance to Chinatown.

A visit to the University of Victoria's down town gallery, Legacy Art Gallery, where they showcase works from their extensive art collection.

A visit to the oldest tea and coffee company in Victoria, Murchie's.

Murchie's continues to blend their own teas and runs a tea room.

That was Articulation's 1st 2 days of research on Victoria's maritime history.