'Small Expressions' Opens in Tulista Gallery, Sidney BC

The Community Arts Council of Saanich Peninsula is hosting its annual 'Small Expressions' exhibition in the Community Arts Centre at Tulista Park, Sidney BC, March 4 - 30, Tuesdays to Sundays, 10:00 to 4:00 pm.

A team of us spent 9 hours the first-day accepting work and hanging the show.

One of the challenges with hanging the show is all of the works are small. 

Artists were challenged to work within a 12" x 12" x 12" framework. This is not always easy when one is used to expressing ideas in a much larger format.

It is interesting to see how many of the artists take the opportunity to explore a new technique or medium. They take more risks and they make discoveries. I wonder if for some this Small Expressions exhibition works as a catalyst or a jumping off point to head in a new direction.

When planning the hanging we had to forget about going for contrast in size and focus more on themes, colour contrasts and compatibility and how different works influenced each other. 

With all the works being small we hung them close together and in groupings ensuring each work sit comfortably with the others.

That is why it took 9 hours the first day and more hours the next day to straighten, adjust, fine tune, tweak, and add labels. I wasn't able to help the second day because I was out at Sooke hanging the VISDA 'Current Threads: Garden Tapestry' exhibition I posted about here 

One of this exhibition's charms is how it makes the viewer  physically get up close to the works. Each work enters the viewer's personal space creating a feeling of intimacy. Having to look at one work at a time slows the viewer down and encourages contemplation. Long distant scanning of the walls is unsatisfying. There is an absence of the usual back-and-forward dance in front of the wall. Instead, the viewer moves along the wall with their nose nearly touching the works.

VISDA Current Threads 2015: Garden Tapestry

I want to make another post about the Vancouver Island Surface Design Association's current exhibition because every work is such an excellent example of  the many techniques fibre artist's have to work with.

The above detail is Linda Elias's "Beet Harvest" where she used actual beets and leaves on a Gelli-plate to print on the cotton fabric and she added a layer of stamping. She backed the cotton with a hand woven wool cloth and machine stitched into the layers before adding hand stitching and beading.

Linda's expression of the excitement in bringing in a plentiful harvest moved someone because they bought the work even before the official opening. Congratulations Linda.

Lori Mudrie's "Thistles and Lace" (detail) has to be seen to be fully appreciated. This work is much fresher and softer looking than what you see in this poor image. What you are looking at are all fibres and fine thread. She needle felted a variety of different rovings blending the colours in a painterly way then she incorporated hand and machine stitching to catch the characteristic forms of thistles and Queen Anne's Lace.

Laura Feeleus's "Conservatory" (detail) shows a number of the different ways stitches can be used to attach items to a ground. On the right are dried rose petals trapped under hand-dyed silk. On the left is a vintage lace doily held in place with a layer of sheer silk and french knots. Elsewhere on the work are tree seeds and stones held in place by hand stitches.

Christine Fawcett's "Dawn's Delight" (detail) shows raised surfaces using a number of different techniques: furrowing, Kantha, and spot applique. Silk taffeta was dyed with avocado skins and eucalyptus bark using natural dyeing techniques.

Jo Ann Allan's "Medieval Garden" (detail) has many historical textile references going back to the European Middle Ages. It is also a showcase of exquisitely worked hand stitches, techniques that have been practiced for centuries: Hardanger, blackwork, casalguidi raised embroidery.  In other areas of the work, there are machine embroidered slips, a contemporary take on an Elizabethan technique for applying heavily embroidered pieces to a ground. The old and new have also been combined with a traditional linen ground fabric and an area of hand-made silk fusion fabric.

Jo Ann is the co-ordinator of this exhibition and has done an excellent job in organising the details and communicating them and the deadlines to all of the artists. The theme is gardens and Jo Ann began by sending members a 3-page list of ideas related to this theme which I am sure was a great source of inspiration for many of the works in this exhibition.

The exhibition is on for another week, ending November 10th.

I do hope you can go and see this exhibition if you haven't already done so.

Circumnavigation: Things To Do When Not Actually Sailing

Sketching in Roller Bay, Hope Island

Roller Bay, so named because the round stones roll in and out with the waves making such a distinctive noise.

Picking up debris on what should have been a pristine beach. I collected a bag of stuff to incorporate in a work about the world's plastic garbage issue.

And there was always knitting when not required by the skipper to pull my weight.

Studio Construction: Complete - Moving Sale

The Green Shed passed its final inspection. We have the building permit.

Ron and I celebrated with a soft (bubbly) opening.

Inside the little box is the front door key.

The fire chief dropped by and gave his final approval.

I have been told I can now "load it up."

So I am having a 'Moving Sale' in my Etsy shop Ravenmade Works

I want to sell some of my stock to save on the 20-step walk between my old studio and the new one. Isn't that what shops do when they change location? 

I am offering a 40% coupon discount for the next couple of weeks.

The Moving Sale coupon code is MOVING40

Now to get to the task in hand - loading up.

Dorothy Caldwell: Book Making - Putting it all Together

Dorothy showed us many other methods for making our mark on fabric and paper. She also showed us many examples of what others had done in the past and what contemporary artists are currently working on. 

 We were left to continue exploring the methods we liked.

Then is was time to start thinking about how various elements and pages could go together.

Cleverly Dorothy got us to use the sheet of paper we had been working on top of to make a practice book with a woven spine binding. I was delighted I am a messy worker because I have lots of random marks in the pages of my book.

Another book involved folding and cutting up the large piece of paper we marked with ink while outside. This book was such fun to make. It now awaits embellishment, or not.

After the practice books, we worked in earnest on assembling our main book. Dorothy sat with each of us while we showed her our marked pages and she offered advice, suggestions and help that kept us going until the end of the week.

The last activity involved everyone sharing their books.

Such a wonderful workshop.

Thank you, Dorothy.

Dorothy Caldwell's Human Marks Workshop

"An individual stroke is an utterance of touch." Dorothy Caldwell

 Dorothy is demonstrating the next Stroke Painting exercise. 

We taped various types of brushes onto long sticks. We dipped them into pots of different dilutions of black ink. With a large sheet of paper on the ground in front of each of us, we were instructed to use our whole body to make the mark on the paper. After we had filled the paper we flipped it and continued making marks but this time very slowly and deliberately. An added bonus was soft rain started to fall adding texture to our marks.

We hung our marks in the breezeway of Gloria's studio. We studied the layers of marks when the papers were more transparent with the light showing through them.

We spent the rest of the day making marks by piercing with a large nail, burning holes with an incense stick, burning edges with a candle, and adding smoke and wax to paper.

Next morning we learned about the history of Kantha embroidery. We then began to make our own Kantha marks on fabric.

This is the result of a group exercise where we all stitched blindfolded, responding to words Dorothy gave us to meditate on.

All of these exercises have helped us to feel centred and focused on what we are doing.

New Work - 'Forest Flowers'

I am working on a new work for a Surface Design Association exhibition. It involves a number of different steps and techniques.

Random dyeing the ground cloth.

All of the fabric is worn bed sheets.

Dyeing for an all-over mottled colour.

Another sheet dyed to get a more randomly patterned effect.

Sampling different fabric paints to screen print motifs onto the dyed ground.

Resist dyeing. I tied different sized seeds in the centre of torn squares of cloth. 

The tied thread acted as a resist when dyed.

Hand stitching the resist dyed squares.

I keep track of time spent making the work.

Etsy, Ravenmade Works New Pillows

I'm getting ready to list more pillows on my Etsy Shop, Ravenmade Works Shop, but I want to know more about the textiles they are made of, where they came from, and who made them. I want to include this information in the description of the pillows.

Hand spun, hand woven wool fabric is embroidered with wool in geometric, counted cross stitch designs.

I had a successful bid for them at an auction house. 

They were bags that I took apart and "refreshed" as pillows.

If you know anything about this type of work, could you please add a comment to this post or email me with your suggestions - ravenmade@gmail.com. 

Thank you for satisfying my curiosity.

Etsy Ravenmade Works: Hill Tribe Embroidered Pillows

SE Asian Hill Tribe embroidered pillows are the latest addition to my Etsy Shop Ravenmade Works 

I bought a worn western-styled jacket from a thrift store - that I forgot to take a picture of before I started unpicking it.

 It was made from a collection of worn Hill Tribe embroideries pieced together to make the jacket for the tourist market.

I serged all of the raw edges to stabilise them.

Then gave them all a good soak in Oxyclean. No dye came out, I was relieved to see. 

Next they were washed.

Then 'polished' to a damp-dry stage with a heavy, super-steam generating iron.

Then the pieces were put in the boiler room to dry quickly.

A short drying time prevents any would-be fugitive dyes from causing any trouble.

The ground fabric, with it's appliqued strips, originally had a stitched resist before being dipped repeatedly into an indigo vat to achieve the deep blue colour.

Before I ironed the pieces it was easy to see how the fabric had been folded and stitched.

The top part of the image shows how a solidly cross-stitched band has been attached to the appliqued indigo fabric.

These pieces of fabric were from different traditional garments made and worn by possibly the Akha Hill Tribe. 

Akha Hill Tribe

I have reworked this beautiful hand embroidery yet again.

The one jacket is now 7 pillows of various sizes.

All are listed in my Etsy Shop Ravenmade Works . Click here to drop by and see them.