Studio Reorganisation

Over the summer I have been reorganising my work space.
My husband noticed most of the times when he visited me in my studio I was sitting at the desk with the computer. Computer tasks seemed to take priority over making work.
Husband suggested I move my computer activity outside the studio to a corner desk area we had set up for guests to use.
I thought that was an excellent idea.
My computer is now installed in its new location and I am putting up cork tiles for a pin board.

I'm not sure what I do will do at the old computer desk in my studio work room.
I'll see what happens in this space.

Since I was moving things I decided to set up my wet studio to make it more workable.
 So out came all of the stuff.

My wet studio is the bathroom off the bedroom that is my work studio.
Next step was to plan the most efficient use of this space.

Summer Dyeing

Daughter Elizabeth is good at coming up with creative solutions. We were planning to do some dyeing outside and wondering how to set things up. This was her solution using things on hand: an old firewood stacking frame and a door.

The set up. Note the perfect hat I have found for working outside in the sun. 

We worked with Bengala dyes, made in Japan from earth.

These are the 12 colours presently available in North America.

Tree of Life in Saint Petersberg

When I travel I look for a number of reoccurring symbols, one of which is the Tree of Life.

I found some very interesting ones in the Church of our Saviour on Spilled Blood, in Saint Petersburg.

They are huge mosaics, high on the walls.

They are on all sides of the church and each one is different.
Working with this symbol is just at the percolation stage at the present but it may be time to put them up on my design wall and move on to the brain storming stage.

Saint Petersberg

This summer I went to Saint Petersberg, Russia

One of the most striking features of the city is the contrast in architecture.

 

 

It was such a pleasure to just wander around the city for days.

Summer 2013 'To Go' Project

Early summer I made up a 'To Go' project, something I could take with me to work on while travelling.
It had to be self sufficient, small and take a long time.
I started with a card a friend sent me for inspiration. She knows I love hens.

The bantam is a childhood memory of watching them in my grandparents' large vegetable garden and helping Nana shoo them into their coop each night.

I found a piece of even weave another friend had given me.

I found a charted hen motif in an old kit and coloured it with bantam colours.
 I picked floss colours for the hen and the background.


And packed it all in a small bag with a tiny pair of scissors.
I traveled with this project all summer, successfully getting through all airport securities without having anything confiscated.
I traveled on different modes of transport and stayed at different places without loosing any tools or thread.
 I was able to work on planes, ferries and in cars. It satisfied my urge to stitch on many occasions while travelling.
It is nearly finished, as is summer.

Doing Laundry

Over the summer I had several sessions doing laundry while it was hot and dry
- perfect conditions for cotton.

I soaked and washed a pile of domestic linens I had accumulated.
I hung them to dry until they were just damp.

Then steamed them dry and smooth.

They were added to my collection...

...waiting until their time out in the public eye. 

Having Fun With Synesthesia

When building a ground with snippets of thread....

...one uses a lot of it.
I do love to empty a spool.

Collecting up fabric and thread for Synesthesia #4

Collecting up fabric and thread for Synesthesia #5.
I am enjoying working on this series.

Current Threads 2013 Artist Talks

On Saturday 21st, the Metchosin Art Gallery featured artist talks during the Vancouver Island Surface Design Association's annual Current Threads exhibition.
Curator of the gallery, Hailey Finnegan, made the opening remarks and introductions.

Sarah McLaren spoke about the processes and techniques involved in her monumental thread painting of a path through a forest. We are all familiar with this native, island forest, which makes the details and accuracy of Sarah's work so inspiring.

Kristin Rohr http://kristinrohr.com/combines science and art to produce maps about important social issues. She made the audience aware of how much sampling she does and how important it is in her process before she is ready to produce a major work. 

Linda Wallace http://www.americantapestryalliance.org/AP/ArtistBio/WallaceL.html is a tapestry weaver extraordinaire. She also makes a bridge between science and art to express how she feels about important personal issues. Linda also produces exquisite, small graphite drawings, most of which stay in her small sketchbooks but some have a second life providing the motifs in large woven wall hangings.

Then I spoke about the 'Synesthesia series I am working on.
I couldn't take a photo of my self but I will be posting more about this series later.

Articulation, Bridging Waters Exhibition

Here is my Postcards From Fundy series where I looked at the history of human settlement in the Bay of Fundy through the textiles the people made, wore and used.

When people entered the gallery Wendy Klotz's "Lost at Sea" work greeted them. It was so moving to talk to a man who had worked as a fisherman in Nova Scotia in his youth.
Wendy's work is about the statistic that as a Nova Scotian fisherman you are 19 times more likely to die on the job than any other occupation. She knitted 19 fish.

Miriam Birkenthal's 'Fundy Algae' caused most people to put their faces very close to the work to more clearly see the details in her bead work.

Wendy thread painted a series as a memorial to the now closed Bay of Fundy lighthouses.
Barbara McCaffrey made a series of small 3-dimensional studies of bivalve shells, found as ancient fossils in the Bay of Fundy and still found on beaches today.

Working in an Off-site Studio

While sitting the 'Articulated Materials: Bridging Waters' exhibition in Sidney's Tulista Gallery, I worked away in a basic studio set up. I was at the gallery everyday so it was an opportunity to see if I would like having a studio away from home.
After a couple of days of dyeing, I washed and blocked 'log cabin' style knit pieces depicting the colours of different crops grown on the prairies.

The main reason for setting up a mini studio in the gallery was to show people how fibre artists work: the materials, the techniques,  the processes.
There was a sign put up each day, outside the gallery, saying 'Artist Demonstrations'. It was effective in bringing people into the gallery.

Peas, right to left: Spring growth, in flower, pods forming.
Knowing I had to be at the gallery by certain time each day made me leave the house. I don't think I would give it the same priority if I was going to my own 'away from home' studio to work. I would find many excuses and reasons to delay going or to not go that day.  This revelation comes as a bit of a shock to me. Does it mean making art is not top priority in my life? Or do I lack self discipline? Or do I avoid hard work?

 I started machine sewing on the now dry knit farm blocks using my portable teaching sewing machine.
The Janome open-toe, free motion foot kept getting caught in the knit loops. I will continue this step at home using my Bernina with its large, circular free motion foot.
It was an interesting experiment to work away from home for 2 weeks. It has made me think about how I use the hours in each day.