Vista Lights, Death Bed makes it debut!

November 21, 2014, 9:32 am

≫ Next: Sustainable Midlands, new work, and the start of Nutcracker season

(Above: Death Bed hanging in the atrium at Gallery 80808/Vista Studios for the annual Vista Lights art crawl, 98" x 48", crayon grave rubbing on silk with free-motion machine embroidery and dense hand stitching and vintage buttons appliqued onto a vintage single-bed lace bedspread quilted onto a layer of sheer chiffon but also with another layer of chiffon hanging freely in front of the bedspread on which the artist's full body silhouette is hand-stitched in perle cotton. Vintage lace fringe. Antique leather soles from a pair of child's shoes were positioned on the floor as an artistic response by Eileen Blyth. Click on any image in this post to enlarge.)

I made Death Bed several months ago but didn't blog it. Why? Well it was one of two pieces submitted for the biennial Quilt National. This international show has odd and very strict rules prohibiting any prior exposure. Circular Churchyard made it into Quilt National 2013 but neither of my submissions were accepted for the coming exhibition. I didn't get to blog Circular Churchyard until May 2013 even though I'd finished the piece in April 2012. At least I got to blog it as an "acceptance" and a big, big deal.

(Above: Death Bed at Gallery 80808/Vista Studios for Vista Lights 2014.)

I got my rejection last month. I could have blogged about the work then ... but it just felt too much like saying, "See ... look at my reject!" So, I waited until I could say, "See ... look at my piece in a proper gallery, in a well attended exhibition, with people admiring the work!" That happened last night at Vista Lights, the annual art crawl/holiday kick off in downtown Columbia, SC. My studio was open and I had other work in the group show. Yet, it was this piece that seemed to make the evening special.

(Above: Death Bed. This is the image submitted to Quilt National.)

(Above: Death Bed, detail.)

This work was created to be suspended ... totally "in the round" ... allowing viewers to see both sides. It started as a grave rubbing made on the very same day at those for Circular Churchyard. This grave rubbing was entirely outlined with self-guided, free-motion machine embroidery ... and then the background was filled in with dense hand seeding stitches. The edges were embellished with a row of vintage buttons. I could have stopped there but I didn't. I saw this art quilt as if a pillow for the vintage lace single-bed's spread. I appliqued the quilt to the top of the spread. Then, I added a layer of chiffon to the center of the spread (behind it) ... sandwiching in individual pieces of crochet. Some of these crochet insertions are on the top of the bedspread. Some are between the two layers of fabric. Some are on the reverse/behind the back layer of chiffon. This aids in the ethereal look of the whole. I also took another layer of sheer chiffon and hand stitched my silhouette onto it. That layer is only attached at the top. This layer actually moves a little with the slight air current that comes from the air-conditioning/heating system in the gallery.

(Above: Death Bed, detail.)

I wanted this piece to be suspended because I knew that any lighting would also intensify the ethereal nature of the whole. There is a great transparency to the work and the cast shadows are almost unearthly. I like that! Of course, there were many challenges along the way.

(Above: Death Bed, detail.)

I had to tackle the fact that the bedspread didn't hang as a perpendicular unit, straight toward the floor. The sides sloped toward the center. To tackle that, I needed "weight" running down the sides. I added a heavy vintage trim, more buttons, and finally a dowel along the bottom from which I hung a thick row of lacy fringe.

(Above: Death Bed, from the reverse.)

These additions are seen best from the reverse.

(Above: Death Bed, detail of reverse.)

I also added a large, eyelet embellished doily to the reverse of the upper section. I stitched the title, my name, and the date to this doily. Below are additional images shot last July or August. Enjoy! I know plenty of people did last night ... especially Eileen Blyth.

(Above: Death Bed, detail.)

Eileen Blyth is another artist with studio space at Gallery 80808/Vista. She was so taken with the work that she added a "response" ... in the form of two, tiny leather soles from an antique child's pair of shoes. I love them! This little touch seems to heighten the three-dimensionality of the work. The shoes appear to have stepped out of the otherwise vertical surface of the fabric, invading today's time and space. They almost invite viewers to approach and certainly suggest a human element that is both gone but also present. Thank you, Eileen! (The tiny soles are visible in the first two photos in this blog post.)

(Above: Death Bed, detail.)

(Above: Death Bed, detail of reverse.)

I am also adding this post to Nina-Marie's"Off the Wall Fridays", a site for sharing fiber art!

(Above: Death Bed, detail.)

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Sustainable Midlands, new work, and the start of Nutcracker season

November 24, 2014, 10:29 am

≫ Next: Flower Pounding

≪ Previous: Vista Lights, Death Bed makes it debut!

(Above: Wrapped wooden spool Christmas ornaments. Click on image to enlarge.)

A week from today is the Sustainable Midlands Holiday Show at 701 Whaley here in Columbia. The one-night-only sale runs from 4:30 - 8:30. I really support this organization and its mission to promote the "three Rs": Recycle, reuse, repurpose. Everything in the sale must be either organic or incorporate recyclables. I've been making all sorts of things including these Christmas ornaments!

I've been making A LOT OF THEM! Each one also includes vintage buttons, ribbon from my stash (almost all of which comes from yard sales and auction), and beads ... also from a variety of sources that don't include a traditional store front.

I have other fiber ornaments too. They use trim, felt, and yarn from my "recycled stash".

Yet, I've also been making some silly things ... like earrings from this year's bread bag closure tabs. I had at least three dozen more of these little things but something went wrong.

I hoped to eliminate the inked numbers and letters that appear on one side. These marks are the freshness dates for the bread. I tried nail polish remover, rubbing alcohol, Windex, an erasure, and turpentine. The ink didn't even fade but the color of the tabs certainly did. So, I tried gold metallic spray paint. I'm a terrible spray painter. I had finger prints all over them and eventually threw them out. Oh well. At least I have twenty pairs that weren't subjected to all my solvents! LOL!

I also made another ten bottle cap photo frames. Five are vertical. Five are horizontal. All fit a standard 5" x 7" picture.

I've got twelve different sized mirrors embellished with used bottle caps too!

For my bookmarks, earrings, and Christmas ornaments, I have a large stack of recycled bags. These were made from two spreads of old issues of Jasper Magazine. I think I'm ready ... except for the set-up which will be next Monday!

(Above: In Box CLXIX. Inventory Number #3272. Framed: 19 1/4" x 15 1/4". $225.)

In the meantime, I finished up two more pieces for the upcoming ACC (American Craft Council) Baltimore and Atlanta shows in February and March of next year.

(Above: Lancet Window XLVII. Inventory # 3273. Framed: 31 1/4" x 11 1/4". $375.)

(Above: Our spoiled cat Max ... sleeping on Beloved, a grave rubbing art quilt.)

Sometimes I forget to blog about the personal, wonderful things in my life ... like Max, our very spoiled cat. Max is so spoiled that he isn't content with only one house and one family. Max also lives next door at the Finney Law Firm. Jerry Finney even splits the vet bill with us. I couldn't help but to snap this photo of Max's newest nap place. He figured out how to crawl up onto a stack of my grave rubbing art quilts ... onto Beloved which seems to suit him.

(Above: Sims ... after dancing as the Rat Queen in a local production of The Nutcracker.)

Also, yesterday we enjoyed Anita Ashley's Columbia Ballet School's production of The Nutcracker at A.C. Flora High School. This is the first of several versions of this holiday classic being done here in Columbia. We aren't sure just how many Nutcrackers we'll see but who's counting!

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Flower Pounding

November 27, 2014, 9:12 am

≫ Next: New work for the Wall of Ancestors and more tagged keys

≪ Previous: Sustainable Midlands, new work, and the start of Nutcracker season

(Above: Antebellum, Vintage sleeping gown with flower pounding. Click on any image in this blog post to enlarge.)

For the past couple months I've been exploring new ideas and inspirations that swirl around the mental images that occurred during four lectures provided by Muddy Ford Press. These informal presentations were meant to provide background information for an upcoming exhibition called Art from the Ashes. There will be a literary publication as well as a month-long show at the Tapps Art Center. It is all very exciting, but honestly I didn't imagine this at the beginning. Why? Well, the entire event is a commemoration of Sherman's Civil War burning of Columbia. Never would I have imagined "war" and "destruction" and "fire" as the fuel for new work ... but that's exactly what happened. Work is simply pouring out of me!

(Above: Detail of Antebellum.)

Perhaps this inspiration is coming from the viewpoint stressed by Cindi Boiter and the Muddy Ford staff. They'd like to see artwork and literary pieces that take into account marginalized citizens, ordinary people, and what it must have been like to live in a city out-numbered by "the enemy". Military strategies, accounts of generals, raw statistics, and reliance on existing, first-person accounts is NOT compulsory and NOT my point of departure. I listened to all four lectures and realized that I could leave the controversial issues of blame and percentage of burning to the historian. I only needed to RESPOND in an artistic way ... say something in material that spoke to what must have been a night of terror. My imagination tried to feel the night of February 17, 1865 as "a mother", someone like I might have been.

(Above: Antebellum.)

Let me set the stage with a quotation from Wikipedia:

On February 17, 1865, Columbia surrendered to Sherman, and Wade Hampton Confederate cavalry retreated from the city. Union forces were overwhelmed by throngs of liberated Federal prisoners and emancipated slaves. Many soldiers took advantage of ample supplies of liquor in the city and began to drink. Fires began in the city, and high winds spread the flames across a wide area. Most of the central city was destroyed, and municipal fire companies found it difficult to operate in conjunction with the invading army, many of whom were also fighting the fire. The burning of Columbia has engendered controversy ever since, with some claiming the fires were accidental, a deliberate act of vengeance, or perhaps set by retreating Confederate soldiers who lit cotton bales while leaving town.

(Above: Antebellum, detail.)

So ... I've been inspired ... by the fact that COTTON, a fiber, is central to the burning of Columbia no matter who lit the bales. I've been inspired to scorch silk, wrap nails, collaborate with a local poet Al Black, and especially by the idea that vintage garments (visual suggestions of "the past" ... even though not as far back as the Civil War) could be stained with the earth and the plant life from my own Columbia backyard. I've been rusting old christening gowns and using everything from magnolia leaves to kutzu to make natural dyes.

(Above: The guest bathroom ... filled with some of the rusted and naturally dyed vintage garments. Several more pieces have been added since this photo was taken.)

As much as these garments reflect the burning of Columbia, I wanted to also create something beautiful to show life before the Civil War ... despite the fact that I don't really find the politics of that time period particularly pleasant and certainly not where I would have wanted to live ... ever! I wanted something "idealized", something to contrast with the sense of destruction, something to stand for the "Lost Cause". Thus, I tried my hand at flower pounding. I selected a most lovely, lacy sleeping gown. It was soaked in alum water, left to dry, and then I pounded flowers into the fibers. I used things mostly from my own backyard. The bright pink is ordinary clover.

(Above: Detail of flower pounding on Antebellum.)

Some of the leaves are from our hydrangea. Some of the petals were collected in lower Richland County at a farm where I picked cotton for another installation headed to this same exhibition.

(Above: Detail of flower pounding on Antebellum.)

I'd read about flower pounding on-line but had never seen it done. Before starting, I googled the subject and read that a mallet and unprinted newspaper should be used. I don't own either. I made due with a hammer and scraps of mat board. It worked perfect! Then, the most amazing thing occurred. I noticed that the flower imprinted itself on the mat board as well as onto the garment. Before long, I was intentionally pounding the flowers onto both ... and created twenty pieces of matted and shrink-wrapped art!

(Above: Detail of Clover IV. Flower pounding on 100% cotton rag mat board with a few pencil lines. Matted to 20" x 16". $40.)

I used scraps of 100% cotton rag mat board. It seemed appropriate. I tore all the edges and matted them to 20" x 16". They will be going to the Sustainable Midlands Holiday Sale on Monday. They are, after all, ORGANIC. Yet, all the color is from the flowers ... the tiny, humble pink buds of clover that seem to grow like weeds when the grass isn't cut! I added a few pencil lines ... making the resulting work look as if it is an original watercolor. It isn't. Instead, the mark is the actual moisture and pigments from the flower itself. I don't think I could draw any blossom quite as perfectly!

(Above: Clover VIII. Flower pounding on 100% cotton rag mat board with a few pencil lines. Matted to 20" x 16". $40.)

Unfortunately, it is terribly difficult to adequately capture these very ethereal pieces digitally. These photos aren't the best. For one, I was hand-holding the camera ... not using a tripod. Secondly, I wasn't in an ideal lighting situation. Finally, I dropped my camera. It seemed to work alright thereafter ... except for one corner having a permanent black shadow. Then, I noticed that other images weren't crystal clear. The fine tuning of the automatic focusing isn't work. It isn't working quite as well as it should when I go off automatic. I had to face the fact that I needed a new digital camera. One has been purchased. It arrived. I'll be sharing photo of the rusted and natural dyed vintage garments soon. I had to re-shoot all thirteen garments over again. Of well! I'm not going back to re-shoot these pieces though. It's just too much work and I'm too busy making more art!

(Above: Clover XI. Flower pounding on 100% cotton rag mat board with a few pencil lines. Matted to 20" x 16". $40.)

I am linking this post to Nina-Marie's "Off the Wall Fridays", a site for sharing fiber arts.

(Above: Clover XII. Flower pounding on 100% cotton rag mat board with a few pencil lines. Matted to 20" x 16". $40.)

(Above: Clover XIX. Flower pounding on 100% cotton rag mat board with a few pencil lines. Matted to 20" x 16". $40.)

(Above: Clover III. Flower pounding on 100% cotton rag mat board with a few pencil lines. Matted to 20" x 16". $40.)

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New work for the Wall of Ancestors and more tagged keys

December 3, 2014, 2:15 pm

≫ Next: Tagging more keys

≪ Previous: Flower Pounding

(Above: Tagged keys. Click on any image in this blog post to enlarge.)

In anticipation of this past Monday's Sustainable Midlands Holiday Sale and the upcoming Crafty Feast Sales on December 14th, I decided to make some more tagged keys. It seemed easier than removing existing tagged keys from the wall in my studio. Making new ones also meant that I knew which keys I had ... the key to happiness, the key to love, the key to a fast Internet connection, the key to a thin waistline, the key to respect, etc. I love making keys! It also meant that I had out all my supplies for collaging.

(Above: The Wall of Ancestors Series, A Charmed Life.)

I had my brush, matte medium, and my stash of clipped vintage letters spread out across my mat cutter. It seemed like a perfect time to make additional pieces for my Wall of Ancestors ... especially since I would be working at Mouse House over Thanksgiving, Black Friday, Small Business Saturday and right through Cyber Monday. During this time, I created fifty-two new works. I also absolutely LOVE making these pieces. It gives me a chance to sort through all these old, anonymous photos and imagine the lives these people might have lived.

(Above: The Wall of Ancestors Series, Abused Behind Closed Doors.)

Originally, I had about thirty or so pieces last year for my solo show called I Am Not Invisible. I upped the number to 127 by spring when I exhibited them at Gallery 80808/Vista for Artista Vista.

(Above: The Wall of Ancestors as exhibited at Gallery 80808/Vista Studios during last spring's Artista Vista show.)

(Above: The Wall of Ancestors Series, Always Together.)

It is probably stupid to be making more pieces, especially over fifty of them, but I am hoping that this installation will be accepted into next spring's ArtFields competition. If I'm lucky and get this opportunity, I will probably need even more than I currently have. I didn't really want to wait and feel "under the gun". Thus, I enjoyed the process over the long weekend and now feel very hopeful for good news.

(Above: The Wall of Ancestors Series, Always Went to Confession.)

I am happy to report that Stitching Together was accepted for the upcoming show at the McKissick Museum! I'm looking forward to it!

(Above: The Wall of Ancestors Series, Always Wore a Clean Apron in my Spotless Kitchen.)

The rest of this blog post is simply the rest of the pieces made for The Wall of Ancestors. Enjoy! I sure enjoyed making them ... and have other ideas for even more! Remember that each one can be enlarged by clicking on the image! Also ... I was very thankful for Thanksgiving! Steve cooked the entire dinner. Over the weekend, he built all the frames to my specifications and assembled everything! I'm quite lucky!

(Above: The Wall of Ancestors Series, Atheist.)

I'm linking this post to Nina-Marie's "Off the Wall Fridays", a site for sharing fiber arts.

(Above: The Wall of Ancestors Series, Beach Bums.)

(Above: The Wall of Ancestors Series, Buried Three Babies.)

(Above: The Wall of Ancestors Series, Burned My Bra.)

(Above: The Wall of Ancestors Series, Couldn't Hold a Job.)

(Above: The Wall of Ancestors Series, Died in Child Birth.)

(Above: The Wall of Ancestors Series, Died in the Flu Epidemic.)

(Above: The Wall of Ancestors Series, Donna Reed Was My Role Model.)

(Above: The Wall of Ancestors Series, Draft Dodger.)

(Above: The Wall of Ancestors Series, Eloped As Teenagers.)

(Above: The Wall of Ancestors Series, Forbidden to Marry the Girl I Loved.)

(Above: The Wall of Ancestors Series, Fought for the Right to Vote.)

(Above: The Wall of Ancestors Series, Future Introvert.)

(Above: The Wall of Ancestors Series,Gambler.)

(Above: The Wall of Ancestors Series, Grew Up Without a Father.)

(Above: The Wall of Ancestors Series, Had a Back Alley Abortion.)

(Above: The Wall of Ancestors Series, He Cheated On Me.)

(Above: The Wall of Ancestors Series, Hid My Homosexuality to My Dying Day.)

(Above: The Wall of Ancestors Series, Hurt the One I Loved.)

(Above: The Wall of Ancestors Series, I Hated My Mother.)

(Above: The Wall of Ancestors Series, I Would Marry Four Times.)

(Above: The Wall of Ancestors Series, Inseparable for Life.)

(Above: The Wall of Ancestors Series, Left at the Altar.)

(Above: The Wall of Ancestors Series, Lived in an All White Neighborhood.)

(Above: The Wall of Ancestors Series, Lived Off the Land.)

(Above: The Wall of Ancestors Series, Mama's Boy.)

(Above: The Wall of Ancestors Series, Man of God.)

(Above: The Wall of Ancestors Series, Married for Money.)

(Above: The Wall of Ancestors Series, Miss Congeniality.)

(Above: The Wall of Ancestors Series, My Mother Didn't Want Another Child.)

(Above: The Wall of Ancestors Series, Never Filed Income Tax.)

(Above: The Wall of Ancestors Series, Never Learned to Drive.)

(Above: The Wall of Ancestors Series, Never Wore a Seat Belt.)

(Above: The Wall of Ancestors Series, Orphan.)

(Above: The Wall of Ancestors Series, Playboy.)

(Above: The Wall of Ancestors Series, Ran Away to Join the Circus.)

(Above: The Wall of Ancestors Series, Rebel Without a Cause.)

(Above: The Wall of Ancestors Series, Served Time in Jail.)

(Above: The Wall of Ancestors Series, Shoplifter.)

(Above: The Wall of Ancestors Series, Shotgun Wedding.)

(Above: The Wall of Ancestors Series, So Cool.)

(Above: The Wall of Ancestors Series, Suffered Post-Partum Depression.)

(Above: The Wall of Ancestors Series, Those Were the Days.)

(Above: The Wall of Ancestors Series, Town Drunk.)

(Above: The Wall of Ancestors Series, We Assumed Our Sally, Dick, and Jane World Would Never End.)

(Above: The Wall of Ancestors Series, He Broke My Heart.)

(Above: The Wall of Ancestors Series, Kissing Cousins.)

(Above: The Wall of Ancestors Series,The Greatest Generation.)

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Tagging more keys

December 8, 2014, 11:20 am

≫ Next: Stained Glass LXIII

≪ Previous: New work for the Wall of Ancestors and more tagged keys

(Above: More tagged keys. Click on any image in this blog post to enlarge.)

Quite a few tagged keys sold at the Sustainable Midlands Holiday Sale on December 1st. So, I decided to make another grouping and photograph the step-by-step process for making them.

(Above: Piece of heavy watercolor/printmaking paper.)

First, I prepare a piece of heavy watercolor paper for the tags. To do this, I sponge paint both sides with watered down acrylic paint and then use an old toothbrush to fling fine, black ink spots to emulate aging.

(Above: The other side of the watercolor paper.)

For this piece, I used a more intensely rusty looking paint. Why? Well, I didn't use a brand new piece of paper. It was originally a very light toned silkscreen of geometric shapes. I bought an entire pile of old silkscreens at auction for around six dollars. The darker tones completely covered any trace of the former artwork. Why buy new acid free paper when used is available for so much less money! LOL!

(Above: Scoring the paper with my mat cutter.)

After the paper was dry, I ran it through my dry mount press. This isn't necessary but it does render the paper totally flat. The dry mount press operates as if a "giant iron". I'm fortunate to have all my framing equipment at my disposal ... including my mat cutter. I scored the paper into 7/8" strips ...

(Above: Tearing the paper along the scored line.)

... and then hand tore each strip. Obviously, a mat cutter isn't necessary. Any straight edge (ruler) and an Exact-o knife (razor blade) will do quite nicely.

(Above: Strips of watercolor paper.)

These are all the strips I tore. Please notice the white, torn edges. These resemble the deckled edges of handmade paper.

(Above: Painting the deckle.)

I prefer the deckled edge to blend with the painted paper. I like the color to be a bit softer, more like the less intense side. Thus, I paint them with more, watered down acrylic paint ... and uncurl them in the process.

(Above: Completed strips of watercolor paper.)

Unfortunately, I forgot to snap photos while I made this latest round of tags.

Fortunately, I've taken photos from other times when I've made the tags. The photo above was taken about two years or more ago. It pictures the work table in my studio with other strips of paper.

It does, however, show the little cabinet I keep of clipped vintage letters. I have compartments for A through Z plus one for "little words" like "the, and, with, from, and of", one for punctuation, and one for numbers.

This photo was taken two or so years ago too ... when Olivia was my studio assistant and we made a large pile of tags! This is how I work!

(Above: Tags laid out with selected old keys and a roll of my zigzagged cording.)

Yesterday, I carefully selected an old key for each of the tags I made. This is undoubtedly my favorite part of the process. Some keys just look perfect for "the key to happiness" and others seem to be heavier and appropriate for "the key to courage", etc. I also have a roll of cording. I make the cording the same way as I start a fiber vessel .... except I only use two strands of yarn ... making a very thin cord. (Click here for the tutorial for making a fiber vessel.)

I use a big nail and a hammer to put a hole on one end of each tag. Then, the cord is slipped through the hole. The open-toed free-motion foot seems to be the perfect one for the task. I zigzag over the end of the cord ... a lot ... and then cut the threads.

The same is done for the other end ... attaching the selected key.

Because I snip the threads, they will unravel ... until I roll a dab of matte medium around the threads. Others might use fray-check but I buy matte medium by the gallon. Thus, it is used ... totally clear ... acid free ... and without a gloss finish.

I do the same to both sides of the stitching. So ... there you have it! Tagged keys. These will be going to Crafty Feast next Sunday, December 14th at the Columbia Convention Center. I'm looking forward to it.

(Above: Wall of Ancestors, Committed Suicide.)

Recently I made over fifty new pieces for The Wall of Ancestors. I blogged them HERE.

Yet, I forgot one. Here it is!

(Above: The Key to Travel.)

I also made The Key to Travel last week ... and forgot to blog it!

Plus ... last week I received two photos from The Perfect Fit in Santa Barbara, California. This upscale clothing and tailoring location bought twenty-five of my vintage wooden spool Christmas ornaments for their display window! This is how it looks! I'm impressed!

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Stained Glass LXIII

December 10, 2014, 2:26 pm

≫ Next: Fiberarts for a Cause. I'm one of "The 100" Artists!

≪ Previous: Tagging more keys

Click on any image in this blog post to enlarge.)

This is Stained Glass LXIII. Despite all sorts of other deadlines, art opportunities, and hair-brained ideas for new work, I'm still very much working toward having enough to fill my booth at the ACC (American Craft Council) shows in Baltimore and Atlanta. They aren't until February and March, but those dates are fast approaching.

(Above: Stained Glass LXIII. Framed: 63" x 23". $1200.)

I've made an earlier piece based on the idea of "squares on point" but this one is different. I varied the size of the square and I really like the result. Below are more detail shots.

(Above: Detail of Stained Glass LXIII.)

All my "stained glass" series pieces are made exactly like my "In Box" series pieces ... and the free, on-line tutorial is HERE. Enjoy!

(Above: Detail of Stained Glass LXIII.)

I'm also announcing the fact that I'm one of 100 Artists selected to be part of Virginia Speigel's Fiber Art for a Cause Fundraiser benefiting the American Cancer Society. I'll be posting more about this unique and exciting way to raise $10,000 in a single day ... but, for now, please just visit Virginia's post explaining the project. IT IS HERE. I just haven't decided which piece I'm donating ... but it will be over the $100 minimum! Why shouldn't it be! This is one very worthy cause and one very fun way to helping!

(Above: Detail of Stained Glass LXIII.)

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Fiberarts for a Cause. I'm one of "The 100" Artists!

December 12, 2014, 12:11 pm

≫ Next: Art from the Arts, Night of Terror ... and installation in progress

≪ Previous: Stained Glass LXIII

(Above: Me holding Key XI, my Fiberart for a Cause donation. Click on any image in the blog post for an enlargement.)

I am very honored to be among "The 100" invited artists donating work to Virginia Speigel's Fiberart for a Cause benefiting the American Cancer Society. It's a unique way to raise $10,000 in a single day. Why does Virginia do this? Well, Virginia's sister Nancy Spiegel Rosman was the chair of the American Cancer Society's "Relay For Life" in Forest Lake, MN ... for years and years. Virginia figured out a way for fiber artists to get involved as well. After all, their Dad is a colon cancer survivor! In less than a decade, Virigina's Fiberart for a Cause has raised over $240,000 ... and is now (with your help! Hint, hint!) about to add another $10,000 in a single, exciting day! CLICK HERE for more information about this initiative!

One hundred artists were asked to donate a fiber art creation worth at least $100. The first 100 people pledging $100 on Wednesday, February 4th after 10:00 AM CST, will receive one of the art works ... selected by a random drawing! Awesome!

Because I might be mailing my donation to someone in England, Italy, Australia, or South Africa ... etc., I knew that my artwork, if framed, needed Plexiglass. I also knew that I wanted to donate something that really speak to my work. What could be more perfect than one of my old, rusted keys in a most unique, framed presentation? Key XI fits the bill ... though it is a bit difficult to photograph due to the glare from the Plexiglass. I adore kilim rugs, assorted beads, and using my Embellisher to turn scraps of material into original fabric. All the stitching was done by hand.

(Above: Key XI.)

I also love turning picture frame moulding "on its side" for unusual shadow-box presentations. The Plexiglass was installed with copper nails inserted through brass nuts and pre-drilled holes.

(Above: Key XI, detail.)

I'm really pleased to know this piece will have a new home!

(Above: Me ... this morning at the American Red Cross ... donating platelets.)

When my husband Steve took the photo at the head of this blog post, I didn't realize that I was still wearing the American Red Cross identification sticker. Why? Well, it's Christmas. This is a time for GIVING ... and I'm a regular donor. This morning I gave platelets. This is the photo I posted on Facebook ... encouraging others to "give the gift of life". How appropriate for a day during which I'm blogging about Virginia's generosity and the project she has made available for others to help by contributing!

(Above: Laura-Jane Gibson as Clara in Birmingham Royal Ballet's production of The Nutcraker.)\

While on Facebook, I found this great photo of my future daughter-in-law ...

(Above: My son, Mathias Lenz Dingman as the Nutcracker Prince and his dancing partner ... one of my favorite's at BRB ... Arancha Baselga as the Sugar Plum Fairy.)

... and this amazing photo of my son and his dancing partner, Arancha Basel. Nutcracker! Yes, it is definitely CHRISTMAS.

I am also linking this post to Nina-Marie's "Off the Wall Fridays", a site for sharing fiber art work.

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Art from the Arts, Night of Terror ... and installation in progress

December 16, 2014, 10:31 am

≫ Next: Surprise trip to London!

≪ Previous: Fiberarts for a Cause. I'm one of "The 100" Artists!

(Above: One of thirteen vintage garments intended for the upcoming Art from the Ashes invitation exhibition. Click on any image to enlarge.)

Last month I posted the first few photos that resulted from a collision between my hair-brained ideas for natural dyeing with an upcoming art opportunity. (That blog post is HERE.) Happily since mid-October, I've been rusting vintage garments with old nails, wire, and assorted washers ... often tying the fabric around pebbles ... and frequently baking my concoctions in a covered, cast iron pot donated by my mother.

I've brewed up magnolia, kutzu, oleander, and rosemary in antique cauldrons. Poke berries were colorful but didn't have lasting color. Acorns and crepe myrtle pods worked wonderfully. White vinegar and sea salt smells pretty wretched when baked with railroad spikes but the stains are tremendous. All in all, I've been having a blast ... partly because I have no formal ideas for what I'm doing and partly because I have no expectations. Thus, everything is surprising and the results are thrilling me!

My intentions are to use these garments (and others ... as I plan on continuing these experiments) in the creation of an installation. I'm hoping to use several alcoves at the Tapps Art Center, making "vignettes" with these garments. My focus is to make visible the fears and terror felt by the average citizens on the night during which one-third of Columbia was burnt by General William T. Sherman's troops. This Civil War "March to the Sea" occurred 150 years ago. Columbia is gearing up to commemorate the event.

I've been working to stain these garments with Columbia earth, from the soil and the plant life in my own backyard. The destructive power suggested by the rust is meant to reflect that night, those fears, and the uncertain future.

Recently I took the first thirteen, finished garments to Gallery 80808/Vista Studios for a photo shoot. Each piece was pinned to the gallery's nice, white walls ... under the four skylights. It is a perfect location for capturing quality images. This blog post includes one shot of each garment. Yet, I shot until my camera's batteries died ... hundreds and hundreds of pictures. Most were deleted. One-hundred-and sixteen were saved. These images are now on a Flickr! set.

Wonderfully, I was contacted by Cindi Boiter, the editor of Jasper Magazine and co-owner of Muddy Ford Press. Cindi and her husband Bob are considering one of these pictures for the cover of the literary publication that will accompany the Art from the Ashes exhibition! I'm excited and my fingers are crossed!

Knowing that my work would be considered for a book cover, I shot several details of each garment. It was an interesting process ... thinking about whether a vertical or a horizontal image might be better ... thinking about how the colors and textures might interfere or enhance the text ... wondering whether a more abstract detail would suit the publication or a more figurative suggestion. I could imagine several different ways these garments might be used for illustrative purposes. Which would I pick? I don't know! What would you pick?

There is now a website for the city's sesquicentennial commemoration. It includes Art from the Ashes but it also includes the juried showCrafting Civil (War) Conversations at the McKissick Museum. My piece, Stitching Together, was accepted ... and delivered yesterday. Honestly, I never thought this subject would have inspired me the way it has but I'm certainly enjoying the experience!

Later this evening I'm going to another photo shoot. This one will include all the invited artists involved in Art from the Ashes. Evidently, there will be an article on our work and this exhibit! I'm excited ... and thankful for this awesome opportunity!

This garment was NOT rusted or naturally dyed. It was soaked in alum water, hung to dry, and pounded with flowers from the backyard ... mostly tiny sprigs of pink clover. I blogged about it HERE. I call this garment Antebellum and plan to showcase it to contrast with the other pieces.

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Surprise trip to London!

December 26, 2014, 3:28 pm

≫ Next: A New Year!

≪ Previous: Art from the Arts, Night of Terror ... and installation in progress

(Above: Curtain Call in London's Coliseum for English National Ballet's Nutcracker.)

When Steve and I are planning a big trip, I generally mention it on my blog ... before we leave. This time, however, was different. We decided to surprise our son Mathias Lenz Dingman who was guest dancing as the Nutcracker Prince for English National Ballet. He had no idea we were in the audience when I (illegally) snapped the above photo.

(Above: London's Coliseum before the Nutcracker curtain came up for the show!)

I wasn't supposed to snap this photo either but I certainly wasn't the only one doing it! LOL! We surprised Mathias by the stage door after the sold-out audience departed. He was only expecting to see his fiance Laura-Jane Gibson and her parents Jim and Jane. (They didn't know we were coming either!) It was wonderful ... and Mathias' performances were spectacular. We were able to see two shows. All the shows were sold out. Mathias couldn't even get Laura-Jane a ticket for his final performance!

(Above: Mathias Lenz Dingman and Erina Takahashi.)

Now ... this blog is supposed to be fiber orientated. It is generally written as a way to share my work and inspirations, focusing on the pieces I stitch. I did have an art quilt with me but I'm not ready to share it. Instead, I'd like to share one of the pages from English National Ballet's lovely program (paraphrased):

Facts and Figures
Some fascinating statistics from the Wardrobe Department

Each Sugar Plum Fairy top skirt takes one day to make. There are nine. Under the top skirt are sixteen layers of netting.

Over 3000 meters of fabric are used for Nutcracker costumes. 400 total costumes were made.

Each Flower Man's shirt takes sixteen hours to make and each waistcoat takes 34 hours. There are twenty in the production.

Each Sugar Plum Fairy costume requires over 2000 British pounds worth of man hours and fabric, not including the cost of the donated Swarovski elements.

The value of the Swarovski elements used in the Nutcracker costuming is 10,000 British pounds.

Fabrics for the Nutcracker costuming includes German faux fur, American stretch faux fur, German lycra, brocade from India and France, and English moleskin.

There are 24 people working on costumes including three wig makers, a head dressmaker, a milliner, and two dyers/distressers.

I don't know how many Swarovski elements were on Mathias' costume but he certainly sparkled!

(Above: Rochester Cathedral. Click on any image in this blog post to enlarge.)

Of course we did a lot of sight-seeing while in London as well as in Rochester. We stayed south of the city and took a train to nearby Rochester on our first day. It is a charming city with a beautiful cathedral ...

(Above Rochester Castle.)

.... and a well maintained ruin of a castle. A leisure day in Rochester was a perfect way to get over jet lag.

(Above: Me on one of four bronze lions in Trafalgar Square.)

Before going to London, I told local friends that I was going to tick off one of the items on my "bucket list" ... and I did. What? Well, I was intent on riding one of Sir Edwin Landseer's twenty-foot bronze lions at the base of Nelson's Column in Trafalgar Square. I've been told that this is actually against the law but the police can't possibly haul in all the tourists doing it. Tourists must work together, however. The back sides of these lions are quite slick and definitely polished from people mounting them. I helped push a father and his children up. Then, they pushed me up. Steve took photos ... of me ... but also for the family!

Now ... I'm on a mission ... getting my picture made with other lion sculptures! I found lions outside the British Museum and will have to visit Grant's Memorial in DC. These lions are featured on the opening credits for Netflix's House of Cards. This could be a new series!

(Above: St. Paul's Cathedral and the Millennium Bridge.)

We had to plan our days carefully because it starts to get dark in London around 3:30 PM. By 5:00, it's night. One evening, however, we managed to get to St. Paul's in time for Benjamin Britten's A Ceremony of Carols. It was perfect! A very special holiday treat.

(Above: The German made harp used for Britten's A Ceremony of Carols.)

Almost every section of London has its own market but Notting Hill has "the best" with the weekly Portobello Market.

(Above: Row house in the Notting Hill area near Portobello Market.)

We had such a great time looking at the make-shift street vendor stalls and browsing through the meandering antique dealer booths. There was something for everyone!

Watching people from all across the globe trying to find special Christmas gifts and travel souvenirs was great fun.

The displays ranged from haphazard collections of silver ...

... to neatly organized vintage buttons at Rita Stephenson's corner enclosure in one of the sprawling antique malls. (She was charming but I resisted!)

The colors, textures, and exotic nature of the Portobello Market was quite inspirational.

There were moments when I felt like I'd stepped back in time ... like watching this attractive, totally vintage clad but tattooed girl shop for letters from a block print dealer.

The street musicians were GREAT ... and also visually interesting!

I took hundreds of photos ... and then we went to other markets!

In the Southwark Market we drooled over fresh fruit and vegetables ...

... and sweets!

By the time we arrived at the Spitafield's Market it was late and we were hungry. Our friend Molly Harrell clued us into the fact that Beigel's Bagels are "the best in the world" ... and now we agree!

Steve and I aren't much for shopping. In fact, the only thing we bought was a refrigerator magnet for our friend Dolly Patton who watches Max the Cat when we are out of town. (She collects these ... whether she knows it or not! We get her one everywhere we go!) Yet, I can easily see why people need to visit an ATM while shopping in such fabulous, original locations. Old, iconic British telephone booths are now being "recycled" into ATMs! Awesome!

(Above: The Tate Modern seen through a beautiful stand of late autumn birch leaves.)

We had great weather the entire week but it was still "winter"! As much as we might have liked staying outside in the markets, we had to go inside ... museums! We've been to the Tate, but until this trip I hadn't been to the Tate Modern.

(Above: Interior at the Tate Modern)

We saw several excellent exhibitions and each one stimulated an equally fascinating discussion. The space is enormous. I would go back in a second!

(Above: The National Gallery)

We'd been to the National Gallery ... several years ago ... but it is always worth a repeat visit. The building is as lovely as the artwork.

(Above: The National Gallery ... people in front of the wall of Van Gogh's oil paintings.)

The only room that was crowded was the one with the wall of five Van Gogh's paintings. We waited and stood in front of each masterpiece.

(Above: Van Gogh's Sunflowers, 1888.)

Of course these are fabulous ... and very, very worthy of the crowds ... but ...

... as far as I'm concerned, this Botticelli takes my breathe away! No one was elbowing me to get a better look and there was even a bench!

(Above: The entrance to Highgate Cemetery.)

We nearly spent an entire day at Highgate Cemetery. There are two sides to this amazing, mostly Victorian resting place. The east side is open daily to the public for a small admission fee. Karl Marx is buried there. The west side, however, requires a tour-guide. Tours are generally booked well in advance ... except for Saturdays. On Saturdays, it is first-come/first-serve and tours depart every half-hour or so. We went then and had a very, very well informed guide.

He was full of good stories and included the Dickens family graves even though they generally aren't "on the tour". He said, "It's Christmas! This is a gift!" He knew his history backward and forward. I was able to take lots of photos and still keep up with the group.

After touring the west side, we leisurely visited the east side. It is an amazing jumble of new and old graves, profound epitaphs, and lots and lots of ivy.

These are only a few of the hundreds of photos I took between copying down personal epitaphs.

To visit all these place, Steve and I got our own "oyster cards". These are the plastic passes swiped on London area trains and the underground. No matter how many places we went, the system wouldn't charge us more than the "day rate". It was definitely "the way to go"!

(Above: Model of the British Museum.)

Another day was spent in the British Museum. Both Steve and I have been there but it was years and years ago! It is gigantic! There's no way to see a measurable fraction of it but we managed to see Witches and Wicked Bodies, an exhibition of rare engravings from the Renaissance to the nineteenth century. It was WILD ... a survey of witchcraft, the occult, harpies and hags by Albrecht Durer and Goya through the Pre-Raphelite Rossetti ... exploring everything from the vilest to the most profane as well as the exotic temptresses and the most grotesque beguilers.

We also wandered around the "highlights" ... the Rosetta Stone and the architectural elements from Athens' Parthenon ...

... and through the vast collection of Egyptian artifacts and mummies. These were the rooms that I remember best from a childhood visit. We dragged my sister Wanda into the museum, kicking and screaming that she HATED all museum. When the building closed, we dragged her out ... kicking and screaming that she wanted to see "just one more room". LOL!

(Above: Gold oak wreathe from 350 - 300 BC.)

I found the British Museum as fascinating as I did then. Now, however, I'm impressed by the sense of time. This absolutely marvelous gold necklace looks like it might grace the red carpet at a high celebrity event ... and yet it dates to 350 - 300 BC.

(Above: Cradle to Grave by Pharmacopoeia.)

Not too far away, however, is Cradle to Grave by Pharmacopoeia. This remarkable piece explores health issues, the way people deal with sickness and try to secure well-being. It was created by Susie Freeman, a textile artist, David Critchley, a video artist, and Dr. Liz Lee, a general practitioner. Each side of this long, Plexiglass enclosure displays a length of fiber netting, one for a woman and one for a man. Each piece contains over 14,000 drugs, the estimated average prescribed to every person in Britain within their lifetime. Photos and notes from the artist's family members (showing "life moments") were positioned at the edge of the netting. It truly read like a "time line".

We saw skeletal remains from 11,000 BC too!

TIME ... it is always my strongest inspiration. The trip to England reinforced this!

I am linking this post to Nina-Marie's "Off the Wall Fridays", a site for sharing fiber art ... even if I didn't show any of my own this week!

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A New Year!

January 5, 2015, 4:19 pm

≫ Next: In Box CLXXI and getting ready for a sesquicentennial

≪ Previous: Surprise trip to London!

(Above: Detail from Stained Glass LXIX. Click on any image to enlarge.)

After Steve and I almost caught up on things after our surprise trip to London, we headed north for a New Year celebration in Slippery Rock, Pennsylvania with my parents. We had a great, long weekend.

(Above: Mom and Dad and Steve ... New Year's breakfast.)

Typically German, we had enough sauerkraut for an entire year! LOL! Thankfully, we all really like it. Yet, we also started the New Year off with homemade pancakes and other goodies ... courtesy of a holiday gift gift basket from Uncle Larry and Aunt Gloria. Most importantly, we watched football ... including our beloved Ohio State Buckeyes! Our team won and is now in the National Championship's final game! Go Bucks!

(Above: Stained Glass LXIX. Inventory # 3335. Framed: 63" x 23". $1200.)

Before leaving, however, I finished two more pieces that will go with me to the ACC (American Craft Council) shows in Baltimore and Atlanta. A three work is under way.

(Above: In Box CLXX. Inventory # 3334. Framed: 19 1/4" x 15 1/4". $225.)

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In Box CLXXI and getting ready for a sesquicentennial

January 9, 2015, 7:47 am

≫ Next: Drypoint workshop with Steven Chapp

≪ Previous: A New Year!

(Above: Detail of In Box CLXXI. Click on any image to enlarge.)

The past month has been busy. Steve and I went to London to watch our son Mathias Lenz Dingman guest dance as the Nutcracker prince for English National Ballet. We both ended up sick with sinus issues and plenty of deep coughing that had us popping pills for over a week. We visited my parents in Slippery Rock, Pennsylvania for New Years. Back home, our beloved cat Max ended up ill at the Cat Clinic. Who knew cats could contract pancreatitis? While almost everyone I know gained weight over the holidays, Max lost TWO POUNDS, which is quite a lot for a cat. He's now on the mend and has a check-up at the veterinarian's office today at 3 PM. In the mean time, I had my annual mammogram and check-up, discovered I haven't had a bone density test in five years (one is scheduled for Monday), and donated platelets at the American Red Cross. For me, this past month has included more medical attention than most any year in my past! Yet, I'm still working! In Box CLXXI was finished and will be headed to the ACC (American Craft Council) show next month!

(Above: In Box CLXXI. Inventory # 3336. Framed: 33 1/2" x 21 1/2". $525.)

Truthfully, I've gotten a lot of other work finished but am simply not in a position to share it quite yet. Why? Well, the resident artists at Gallery 80808/Vista Studios are planning an unusual exhibition for the coming spring's Artista Vista gallery crawl. It is called "The Gossip Game". A curator at the Columbia Museum of Art selected an artwork for the permanent collection and showed it to the first artist on our list. She created a work based on her impression of the museum's piece. She passed her artwork to the next artist on the list. No one gets to see anything except the art created by the person immediately ahead on the list. December was "my month". I receive a painting on paper from Laurie MacIntosh. I made an art quilt ... which has just been passed on to my mentor, Stephen Chesley. So ... stay tuned!

(Above: Detail of In Box CLXXI including my signature block.)

(Above: Twenty-four strands of waxed linen thread onto which bolls of cotton have been stitched ... suspended from the rafters in the atrium at Gallery 80808/Vista studio ... with the lower third being spray-painted black.)

I also finished stitching bolls of hand-picked cotton onto seventy-two, 16' in length, strands of waxed linen thread. I picked the cotton last fall. The bolls are stitched every eight to twelve inches apart. Each strand took approximately a half-hour to stitch. The storage and transportation system is unique, to say the least. (Each length is carefully wrapped around 60" x 40", half-inch thick, foam-centered board.) Bolls of cotton want to snag anything they come into contact with and tangle very easily. Last Sunday I hung three groups of twenty-four strands from the rafters at Gallery 80808/Vista Studio and spray-painted the lower third black. This is to resemble the "burning of Columbia". The exercise of going up and down the ladder 144+ times proved that I am "old". I felt it for two days! LOL! Yet, it was important. More than just coloring the lower third, the day taught me exactly how to work with these strings. I feel ready to install them at the Tapps Art Center for next month'sArt from the Ashes exhibition! This is one of the city's events commemorating the sesquicentennial of William T. Sherman's Civil War burning of Columbia. It is being sponsored by Jasper Magazine and Muddy Ford Press who are also publishing a literary volume with pieces by local poets and writers.

I am linking this post to Nina-Marie's"Off the Wall Fridays", a site for sharing fiber art.

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Drypoint workshop with Steven Chapp

January 12, 2015, 11:34 am

≫ Next: War Map

≪ Previous: In Box CLXXI and getting ready for a sesquicentennial

(Above: Cotton, drypoint with Chine-collé. Plate: 4" x 5". This is one of three pieces that I'm considering "finished" and "good"! Click on any image in this blog post to enlarge.)

On Saturday I took a one-day drypoint workshop with Steven Chapp. It took place at if ART Gallery, just around the corner from my studio. I was a little worried. I don't generally DRAW anything. Each person was to come prepared with a design and ideas for shading/cross-hatching! There were about ten or eleven people enrolled. Most were working, professional artists with at least some experience in print-making. There were two architects and one guy who isn't an artist at all. Fortunately, none of this mattered. The workshop was great and everyone was both challenged and successful!

(Above: Steven Chapp demonstrating how to ink a plexiglass plate.)

I decided to attempt an image of a boll of cotton. After all, I've picked three bags of them and recently finished stitching hundreds onto 16' lengths of waxed linen thread. (These are headed to an upcoming installation.) Thus, I really know what they look like ... even though I sort of "cheated" by drawing one from a photo found on-line! LOL!

(Above: Steven Chapp giving feedback on the first pull of my cotton boll drypoint.)

The workshop was excellently prepared. In front of each seat was a "kit" with everything needed, including a detailed hand-out, a gallon Ziploc bag of moistened printing paper neatly between plain piece of newsprint, a 4" x 5" piece of plexiglass, and other items. First, we used metal rasps to bevel the edges of the Plexiglass. This prevents the paper from tearing under the press' pressure. Then, we used a variety of provided tools for scoring our Plexiglass plates ... drawing and cross-hatching into the surface ... transferring our image. Soon, we were learning how to ink and wipe these plates and making a "first state". In the photo above Steven Chapp talked about my cotton boll. He recommended adding texture around the the edges ... increasing the contrast. There was a variety of sandpaper. I used these. He also recommended additional work in several areas ... to achieve a more balanced look and a better overall result. Every idea improved the piece.

Finally, we were introduced to making a Chine-collé. This was awesome! Acid-free photo-mount was used to attach the cut piece of thin, tan paper to the surface. I ended up with a nice edition of three prints. One I'll keep. One will be a gift for a special friend who is providing the opportunity for my Cotton Boll installation. One ... well ... I don't know yet! In any event, I also have several other, less successful pulls (including the one in the photo above). My plan is to fuse fabric to the reverse and stitch on them. Sounds like fun!

By the way, this workshop only cost $65. It was very, very well worth every penny. I highly recommend Steven Chapp for both experienced print-markers as well as total novices!

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War Map

January 15, 2015, 10:01 am

≫ Next: TEDxColumbiaSC

≪ Previous: Drypoint workshop with Steven Chapp

(Above: War Map, 22" x 22". Monogrammed, vintage damask dinner napkin, rusted and naturally stained with plant life from my own backyard. Dense hand stitching. Click on any image in this blog post for an enlargement.)

Last fall while experimenting with rusting and natural dyes made from magnolia leaves, rosemary sprigs, stems of oleander, and the ever obnoxious kudzu, I used an old wire to tie pebbles into the fabric of a vintage, damask dinner napkin. At first, I didn't even notice that it was monogrammed with my initial, "L". The distressed, ruinous looking results were, in my opinion, FABULOUS and encouraged me to try the same thing on a vintage garment.

(Above: Vintage sleeping gown rusted and naturally stained.)

Most dyers aren't looking for this sort of effect but I've been working toward an installation that would evoke the fears on a particular night: February 17, 1865. This was when General William T. Sherman's troops (and likely many of the local citizens in an attempt to prevent their bales of cotton from falling into Sherman's hands) burned Columbia, South Carolina ... my city. There are several exhibitions and events scheduled here to commemorate the sesquicentennial occasion.

(Above: Stitching Together, sculptural art quilt. For more on this piece, CLICK HERE.)

One show, Crafting Civil (War) Conversations, is being held at the McKissick Museum. The slate of jurors was top-notch. I can't wait to see the show. I was fortunate to have my work, Stitching Together, accepted. Yet, I have even more artwork in the Art from the Ashes show at the Tapps Art Center! This opportunity has provided more inspiration that I ever would have imagined. Work is still just pouring out of me. War Map is the latest. I've really enjoyed stitching on this piece. It's been to London and Pennsylvania, my hand stitching project for traveling. Eventually, I had to "call it done".

(Above: Detail of War Map.)

Instead of traditional batting, this piece has recycled white acrylic felt for its middle layer. The felt used to be the packaging material for a kayak or canoe being shipped from a North Carolina manufacturer to River Runner, my local outdoor shop. (Thanks, Guy Jones!)

(Above: Detail of War Map.)

To me, all the hand stitching resembles an aerial view of a military map, the plotting and planning for troop movements, cannons, conflict, and other things "blowing up" as well as the topography. The rust and dirty, black streaks of natural plant life staining seem fitting for the ruin in the wake of a war.

(Above: War Map, reverse.)

Most of the time I don't stitch through three layers of fabric. Instead, I stitch through just the top and middle ... later attaching a backing to cover the mess of threads on the reverse. This time, however, I "played it neatly". The reverse was once a hand appliqued card table sized tablecloth.

(Above: Detail of War Map.)

I'm not sure if this piece will hang in the upcoming Art from the Ashes exhibit or not. I've already arranged for three installations. I can't really expect more! LOL! I'll be installing at least two of the three installations on Sunday, January 25th ... and blogging about the experience! Can't wait to see my visions become a physical reality!

(Above: Detail of War Map.)

I am linking this post to Nina-Marie's "Off the Wall Fridays", a site for sharing fiber artwork.

(Above: Detail of War Map, including the original hand-stitching monogrammed "L".)

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TEDxColumbiaSC

January 21, 2015, 11:40 am

≫ Next: Cover Girl!

≪ Previous: War Map

(Above: Me with the big X on the stage of the Midland's Technical College's Harbison Theater. Click on any image in this blog post to enlarge.)

For the past few months I knew Monday, January 19th would eventually come. For the past few weeks I really, really, really knew the days were ticking down! Why? Well, every day since late December, I spent at least an hour practicing my TEDxColumbiaSC presentation, trying to memorize my own words, struggling to remember the transitions from paragraph to paragraph, and working with Steve who would be advancing my 21 images for me. Was I nervous? You bet! People who know me well were surprised. I've never been even slightly nervous in front of a crowd. This was different. I've NEVER had to memorize ANYTHING. I'm perfectly happy in an "improv" situation. Talking about my work while showing pictures in a pre-arranged order isn't an issue either ... but ... sitting on that stage, facing video cameras and a standing-room-only crowd while hand stitching wrapped wooden spools and reciting my lines ... SCARY!

(Above: VIP Reception at SOCO.)

There was a VIP Reception for TEDxColumbiaSC presenters, sponsors, and those who bought an "elite ticket" which included several "perks". I had a chance to chat with several other speakers. We were all a little nervous!

(Above: Steve and me at the VIP reception.)

None the less, it was a great evening. We went home and continued rehearsing!

(Above: The TEDxColumbiaSC presenters ... all very happy ... on the stage after everyone was done speaking!)

Three days later ... it would be all smiles! Everyone did a great job. The audience was fantastic, responsive, and happy to applaud wildly. There aren't words to describe the energy! Being part of this event and numbered among these fine people is undoubtedly one of my proudest moments.

TEDx events happen globally. They were created in the spirit of the international TED's mission ... "ideas worth spreading." (If any reader hears about such an event in their area, PLEASE GO! If seeking inspiration and/or positive energy ... this is it!) From the TED website:

TED is a global community, welcoming people from every discipline and culture who seek a deeper understanding of the world. We believe passionately in the power of ideas to change attitudes, lives and, ultimately, the world. On TED.com, we're building a clearinghouse of free knowledge from the world's most inspired thinkers — and a community of curious souls to engage with ideas and each other, both online and at TED and TEDx events around the world, all year long.

(Above: Back stage waiting area ... technically the set design shop.)

But ... I'd like to share a few more moments from Monday ... like the picture above. This is the set design shop for the theater. I put my purse down beside the miter saw which looks a lot like the one in my framing shop. Volunteers had set up tables with goody-bags and a counter with snacks and beverages.

I tried to spend some time taking photos but this didn't calm my nerves. (Yes, we had entertainment between several speakers ... including a contemporary bass player and two accomplished poets!) I found a quiet place and continued rehearsing.

Other speakers played on their telephones ... in fidgety sorts of ways. There was a lot of pacing. Everyone seemed to be going over their lines ... lips silently moving ... shuffling scripts ... and one lady attempted to use a ball-point pen to write a few words on her palm. That actually broke the tension! Everyone laughed! (She washed it all off! LOL!) I knew I wasn't alone with my feelings!

Whenever I started to feel calm, I seemed to walk by the entrance to the stage. Scary! After looking at the bright lights and being fitted with a wireless mic, I returned to my quiet place to rehearse. Over and over again ... my lines in my head.

What was my presentation about? Precious! As a visual artist working with found objects, I am acutely aware that the old family photos, buttons, clock gears, crocheted doilies and vintage linens, and other objects I use were once someone else's precious possessions. My presentation urged people to USE their precious things and MAKE A PLAN for the future of their precious things.

During the lunch break ... I actually walked out and faced the empty seats!

One of the official photographers volunteered to snap the photo above! I was the second presentation after lunch! This meant, I got to sit in the audience for the final group.

The last group of speakers included the only other visual artist, my friend Michaela Pilar Brown. She talked about the "freedom to fail", an important topic for artists when facing new creative directions or receiving rejection notices. Yet, on this day, no one failed!

After the program ended, all the presenters were invited up on stage. Michaela and I took that opportunity to pose with Cindi Boiter, the editor of Jasper Magazine ... the sponsor of our "next big thing". Michaela and I both have work in the upcoming Art from the Ashes exhibition at the Tapps Art Center! We install on Sunday!

UPDATE: My friend Doni Jordan was in the audience and took this photo! Thanks, Doni! Plus, I'm linking this post to Nina-Marie's "Off the Wall Fridays", a site for sharing fiber arts ... which really was an important part of my TEDxColumbia presentation!

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Cover Girl!

January 24, 2015, 6:06 am

≫ Next: A busy weekend

≪ Previous: TEDxColumbiaSC

(Above: Art from the Ashes, a Jasper Magazine publication.)

This morning I opened an email that let me know Cindi Boiter, editor of Jasper Magazine, posted an image of the cover of the new book she edited, Art from the Ashes. This was exciting news! Why? Well, several months ago Cindi requested a CD of my images ... all the photos of the rusted and naturally stained vintage garments I was making for the upcoming art exhibit ... also called Art from the Ashes. So, I knew one of my photos would be on the cover. I didn't want to know which one. I wanted it to be a surprise, a chance to share the news on the appropriate day, not keep a secret for weeks on end.

(Above: The rusted and naturally stained vintage garment from which the cover image was shot.)

Quickly, I clicked to the link and saw the detail from this former sleeping gown. Excellent! It is quite an honor to have my work featured in this way. Thank you, Cindi!

Later today, Steve and I are driving to Duluth, GA. It is just outside Atlanta. Tonight is the opening reception of Intertwined: Contemporary Southeast Fiber Art at the Hudgens Center for the Arts. This exhibit runs from January 13th through March 21 and then travels to the Unitarian Universalist Congregation of Atlanta, Atlanta, GA from Mar. 23 - Apr. 21; Lamar Arts, Barnesville, GA from May 1 - June 27; and finally to the Annette Howell Turner Center for the Arts, Valdosta, GA from Aug. 3 - Sept. 30. My piece, The Virgin of Gone and Forgotten Triptych, is included.

We return early on Sunday morning. Why? Well, by 2 PM Sunday afternoon I'll be at the Tapps Art Center hanging three installations and two art quilts for Art from the Ashes. That opening is the following Sunday, February the first from 5 - 7. There's a panel discussion on Thursday, February 5th from 7 - 9. This is quite an exciting time in Columbia!

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A busy weekend

January 26, 2015, 10:23 am

≫ Next: Two installations up and one more to go!

≪ Previous: Cover Girl!

(Above: Working with the 72 strands of cotton in my installation for the upcoming Art from the Ashes exhibition with Alejandro Garcia-Lemos nailing his work onto the wall behind me.)

This weekend was wonderful. I'd been looking forward to it for months. Why? Well, Sunday afternoon was the first opportunity to start installing work for the upcoming Art from the Ashes exhibition at the Tapps Art Center. I'd made arrangements in advance.

(Above: Daniel on the 12' ladder.)

Some of the artwork will be hung by the Tapps Art Center staff. Some installations, like Alejandro Garcia-Lemos', was hung by the artist and his own assistant. My cotton bolls, however, needed a little of both! I couldn't have done this without the 6'3" Daniel who works at Tapps. I handed up each strand of cotton. He went to the very tippy-top of the ladder to hook them in place ... seventy-two times!

In order to create this work, I'd consulted with Caitlin Bright, the Executive Director at Tapps. We thought 16 - 18 feet would be the correct length because the ceiling is somewhere in the neighborhood of 20' in height. Caitlin's floorplan says that the dimension of the recessed circular dome is 47' 9". I googled for the equation for finding the circumference. The results indicated that we'd need to hang the strands of cotton every 24 1/2". Well, something wasn't correct. Perhaps I measured incorrectly in my living room and made each strand about a foot longer than needed. Also, we had them closer together than 24". Yet, both these things didn't matter at all. Far better to be a bit long than too short. Far better to have them closer together rather than looking too spartan in arrangement.

I'm now working with the strands ... shortening them by stitching some of the bolls together. This actually looks even better ... a more creative sense of texture ... a more random appearance. I'm halfway finished with this task. I'll be returning to the Tapps Center soon. Once these cotton bolls are perfect, I've got two other installations ready to hang! Another blog post or two will be written before next Sunday's official opening from 5 - 7! Can't wait!

(Above: Me and my work, The Virgin of Gone and Forgotten, triptych, at Intertwined: The Southeastern Fiber Arts Alliance juried show at the Hudgen Art Center.)

On Saturday, Steve and I drove to Duluth, GA for the artist's reception of Intertwined. I often can't attend shows in which my work appears due to distance and my unwillingness to give up precious studio hours. Yet the stellar list of artists accepted into this show was too impressive to ignore. Plus, Steve and I drove by the Cobb Galleria convention center, the site of the American Craft Council's Atlanta show in March. It was nice to get a look at the loading dock, parking, and the basic "lay of the land" before pulling up in the rental cargo van!

(Above: Me with Jim Arendt in front of his "Best of Show" sculptural fiber art work.)

The exhibit lived up to and beyond my expectations. The Hudgens Art Center is a fabulous facility. The staff and board of the Southeastern Fiber Arts Alliance are wonderful. I met Leisa Rich, a talented artist who bought one of my pieces last year, and Dot Moye, of Davis-Moye art consultants. Plus ... there were awards! I'd totally forgotten about them until it was announced that there were prizes for three honorable mentions and a "Best of Show". Unexpectedly, my piece won an honorable mention and another South Carolinian fiber artist, Jim Arendt, won the top award! What a fantastic night!

(Above: In Box CLXXII. Inventory # 3339. Framed: 33 3/4" x 21 3/4". $525 plus tax and shipping. Click on image to enlarge.)

Now, please don't think I been flitting around the country and playing with cotton installations without also being busy making new work! I'm still stitching ... trying to get ready for the upcoming ACC shows. I'm in Baltimore next month and returning to Atlanta in March! I've got to have work finished, framed, and ready to go. Here are the two latest works!

(Above: Detail of In Box CLXXII.)

(Above: Lancet Window XLVIII. Inventory # 3340. Framed: 31 1/4" x 11 1/4". $375 plus tax and shipping. Click on image to enlarge.)

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Two installations up and one more to go!

January 27, 2015, 10:57 am

≫ Next: Night of Terror, installation and a trip to McKissick Museum

≪ Previous: A busy weekend

(Above: Cotton and Nails in a Coffin, two of three installations that I'll have in the upcoming Art from the Ashes exhibition at the Tapp's Art Center during February.)

Last night I put the finishing touches on the seventy-two strands of suspended cotton bolls that surround the circular desk at the Tapp's Art Center. On each side, six strands have been pulled to the side ... allowing access to the desk and foot traffic in the area. I'm very, very pleased with the work.

(Above: Nails in a Coffin seen through some of the strands of cotton.)

Behind the circular desk is a curved wall. Last night Nails in a Coffin was hung in perfect quietness. I was completely alone in the space ... an awesome experience in and of itself. This work is a collaboration with poet Al Black. His three poems (which I might get his permission to include on my blog) are framed above three ledges. Each ledge has a fiber vessel filled with wrapped, rusted nails. There are also eight wall-mounted, white cubes. On each cube is a shallow fiber vessel filled with more wrapped nails. Above the cubes are framed fiber works. Each includes the impressions of rusted nails on scraps of vintage napkins. I'm very pleased with this work too!

The opening of Art from the Ashes is this coming Sunday, February the first from 5 - 7. The accompanying literary volume (on which my work is featured!) will be available and several poets, including Al Black, will be reading. On Thursday, February 5th from 7 - 9 is an artists' panel discussion. I'll be there for that too!

I'm very grateful to Cindi Boiter and her husband Dr. Bob Jolley for making this exhibition possible through their businesses Jasper Magazine and Muddy Ford Press. Working toward this exhibition has proved to be one of the most inspired experiences in my artistic life. The work is still pouring out of me and will continue even after the month. Several months ago I would have doubted that the sesquicentennial of General William T. Sherman's burning of Columbia could provide such a powerful catalyst for making artwork ... but it has!

Generally, I like to include more writing with my blog posts ... but not today! Why? Well, I've got a third installation to hang for this show! With any luck, I'll be blogging again ... more photos. So ... just enjoy the images provided below!

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Night of Terror, installation and a trip to McKissick Museum

January 28, 2015, 9:38 am

≫ Next: On Gold and other things

≪ Previous: Two installations up and one more to go!

(Above: Night of Terror, installation, alcoves one through three. Click on any image in this blog post to enlarge.)

Had anyone asked me a year ago whether the sesquicentennial commemorating General William T. Sherman's Civil War burning of Columbia would prove fruitful and inspiring for art, I would have laughed. Yet, this invitational exhibition has been most exciting. This is likely due to the four summer lectures provided by Jasper Magazine and Muddy Ford Press, the sponsors of the show. Artwork has simply been pouring out of me. This opportunity also took a hair-brained idea for rusting and staining vintage garments with dye concoctions using plant life from my own backyard into the realm of reality. Knowing the Tapp's Art Center well (from two previous solo shows), I knew I wanted to fill the front six alcoves with these garments in order to express the fears experienced by women, children, and other marginalized citizens on February 17th, 1865.

(Above: Night of Terror, alcove one.)

I blogged about my experiments with rusting and natural dyes HERE and HERE. I created a Flickr! album with photographs of thirteen of the garments. Yet, until last night the actually installation was just an image in my head.

(Above: Night of Terror, alcove one, bottom ledge.)

On Sunday and Monday I installed Cotton and Nails in a Coffin, two other installation for the same show, Art from the Ashes. Yesterday, I got to PLAY with the collection of garments, rusted nails, wire, and other items in the actual alcoves ... making my vision come to life... my third installation. It was SO MUCH FUN and very rewarding.

(Above: Night of Terror, alcove two.)

Deciding which garments went well together, which should be nailed to the wall, which would be suspended, and what would sit on the bottom ledge was like having a conversation with my raw materials.

(Above: Night of Terror, alcove two, bottom ledge.)

I started around 3:30 PM and finished by 7:00. By that time, I was alone in the space with all the lights on and snapping photos.

(Above: Night of Terror, alcove three.)

A detail shot of the sleeping gown suspended on the left is featured on the cover of Art from the Ashes, a book featuring short prose and poetry reflecting on the sesquicentennial. The opening and book launch is this coming Sunday, February first from 5 - 7. I can't wait!

(Above: Night of Terror, alcove three, detail.)

I didn't snap a ton of detail shots. Why? Well, I didn't have my tripod and the interior was a bit dark due to the late hour, but I couldn't resist this shot.

(Above: Night of Terror, alcove three, detail.)

A month or so ago my cyber friend Dale Rollerson shared a bit of knitting that inspired me. I don't knit (even though I learned on two different occasions). I'm not good with counting or tension or any of the other skills that are highly valued for quality knitting ... but ... what Dale was doing was different! She used two extremely different sized needles for a wonky result. She made a small sample and fused it into other fiber work. This technique seemed promising. I used a large wooden dowel with a sharpened end and a Chinese chopstick, didn't count a thing, dropped stitches, went off in different directions and then stapled the thing to the wall. It sort of reminds me of military mesh but also the ways so many textiles unravel, deteriorate, and fall to pieces when exposed to elements that distress them ... like the city on fire! Thanks Dale, for this idea! (By the way, Dale is the owner of my very favorite contemporary embroidery supply site, The Thread Studio in Perth, Australia.)

(Above: Looking from in front of alcoves 1 - 3 toward alcoves 4 - 6 on the opposite side of the Main Street entrance into the Tapp's Art Center.)

(Above: Night of Terror, alcoves 4 - 6.)

Alcoves 4 - 6 are on the opposite side of the Main Street entrance into the Tapp's Art Center. I enjoyed creating these vignettes just as much as the first three.

(Above: Night of Terror, alcove four.)

Alcove four includes a garment that isn't rusted or naturally stained. This central sleeping gown was "flower pounded". I call it Antebellum and consider it representational of the times before the Civil War. I blogged about it HERE.

(Above: Night of Terror, alcove four's bottom ledge.)

I used one of the tablecloths I rusted. I have two other tablecloths with rust and natural staining but didn't use them. Sometimes I don't need everything I gather together for an installation. I think I might free motion stitch one of the tablecloths into its own art quilt ... if I can find the time! LOL!

(Above: Night of Terror, alcove five.)

One of the last things I tried was using acorns and seed pods from wintering crepe myrtle. It worked well ... even on the garment sent by another cyber friend, Martha Ginn.

(Above: Night of Terror, alcove five's bottom ledge.)

The pods and acorns produced a strong enough black dye that even the polyester content in this garment was affected. I loved using it on the bottom ledge ... almost like it was "dead" or run over by war. Thank you, Martha!

(Above: Night of Terror, alcove six.)

This is the last of the six alcoves. It includes one of the children's garments that seemed to fall apart during the rusting and natural dyeing experiments.

(Above: Night of Terror, alcove six's bottom ledge.)

I started trying to add stitches in an off-white thread ... obvious patch marks ... but never finished. Yet, it looks great on the bottom ledge, another totally damaged work suggestive of ruin, fear, and the horrors of war.

(Above: Exhibition signage at the McKissick Museum.)

I look back on yesterday and marvel. It was a very good day. Installing Night of Terror was great but it wasn't the only artistic thing I did.

(Above: Me putting the quilting stitches on Stitching Together, my piece in the juried museum show Crafting Civil (War) Conversations.)

In the morning I went to the McKissick Museum to put the first quilting stitches on my work Stitching Together. This sculptural art quilt includes brown crayon grave rubbings from unknown Confederate soldiers' markers in Elmwood Cemetery here in Columbia as well as black crayon grave rubbings of lambs, praying hands, doves, olive branches and other symbols of peace from the nearby, historic African-American Randolph Cemetery. The rubbings are on a vintage tablecloth and free motion stitched to recycled, white acrylic felt that was once packaging material for a canoe being shipped to my local outdoors shop. These two layers were next basted to another vintage tablecloth and put onto the mid-19th antique, wooden quilting frame. Thus, the three layers are ready to be quilted. I made the chairs as well from pieces of a newer quilting frame donated by Kathleen Loomis.

While I stitched, one of the McKissick's curators and staff person were hanging other work in the exhibition. This show asked artists to submit work in response to a Martin Luther King quotation in which he looked forward to a day when sons of former slaves and sons of former slave owners could sit down to a table together.

For me, I see my piece as a place for daughters of former slaves and daughters of former slave owners might sit down and mend our country's racial differences. Below is the signage that accompanies my piece.

I could have stitched all day ... but then I won't have gotten to play with my installation!

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On Gold and other things

February 4, 2015, 12:34 pm

≫ Next: Panel Discussion, three poems, and two new Lancet Windows

≪ Previous: Night of Terror, installation and a trip to McKissick Museum

(Above: On Gold VI. Inventory # 3346. Framed: 9" x 11". $150 plus tax and shipping. Click on any image in this post to enlarge.)

Every once in a while I see a new custom picture framing product that I can't resist. It happened several months ago ... when Crescent Mat Boards introduced their Couture Line. Most of the small samples didn't appeal to me at all, but 1314 Gold Leaf took my breathe away. It is undoubtedly the most attractive in the collection. It is the most beautiful mat board I've ever seen. It is featured prominently on all the company's marketing material for these new mat boards. Hand gold-leafed, 100% cotton rag, 8-ply, black core ... what was not to like? THE PRICE, of course. At just over $200 a sheet WHOLESALE, I couldn't justify buying it without a really, really good reason.

(Above: On Gold IV.Inventory # 3344. Framed: 11" x 9". $150 plus tax and shipping.)

I found a great reason! Because this is gold leafed, it doesn't really require glass or plexiglas. The surface is sealed. It didn't take me long to figure out how to mount small pieces using gel medium ... allowing both the beautiful mat board and my artwork to be presented without glass ... open to the touch! I cut my 32" x 40" sheet into sixteen 8" x 10" pieces. These are the finished works. I'm calling the series On Gold for obvious reasons. Later this month they are going with me to the ACC (American Craft Council) Baltimore Show. I hope people like them!

(Above: On Gold II. Inventory # 3342. Framed: 9" x 11". $150 plus tax and shipping.)

It's very difficult to get a good photo of these works. The reflection off the gold leafing is dazzling.

So ... I had my husband Steve pose with a few ... just to give a better sense of size.

(Above:On Gold VIII. Inventory # 3348. Framed: 11" x 9". $150 plus tax and shipping.)

The "top mounted" presentation, however, isn't difficult to see in this detail shot.

(Above: On Gold VII. Inventory # 3347. Framed: 9" x 11". $150 plus tax and shipping.)

To adhere the fiber art work to the gold leafed mat, I applied heavy gel medium to the reverse of the work, positioned it onto the mat board (already secured in the frame), put a piece of silicone paper over the top and then a piece of foam-centered board, and finally added weights. I have enough weights to do four at a time. After several hours, I removed the weights, foamcore, and silicone paper. (The silicone paper prevented any of the gel medium ... oozing up from the holes .. from sticky to the foamcore. Most of the gel medium was dry. The piece was stuck to the gold-leafed mat board. Yet, some of the gel medium was still wet in my interior holes. I used a Q-tip to remove all the excess medium. Within another hour, all the gel was dry.

(Above: On Gold X. Inventory # 3350. Framed: 11" x 9". $150 plus tax and shipping.)

I'm really pleased with the way these little gems turned out. The rest are further below. Scroll on down!

Before getting to these other works, I want to share last Sunday morning! I sat with my installation Cotton (and my other work too!) that is currently hanging in Art from the Ashes, an invitational show commemorating the sesquicentennial of Sherman's Civil War burning of Columbia, my city. The Tapp's Art Center's executive director was worried that children might damage the strands of cotton. Why? How? Well, the Columbia Presbyterian Church rents the facilities every Sunday morning for two services. So, I volunteered to be there from 6 AM until 1 PM. I brought my hand stitching and was quite productive. The congregation was most delightful. Most read Al Black's poetry our collaborative installation, Nails in a Coffin. The pastor took the photo above and sent it to me during the coffee break.

I took the photo above. The installation was admired and nothing was damaged. I'll be there again this coming Sunday. The exhibit's opening was last Sunday evening. Tomorrow, Thursday, February 5th, is the artists' panel discussion from 7 - 9. The show looks great.

(Above: Death of Desire. Grave Rubbing Art Quilt Series. 27 1/2" x 40 1/2". Crayon on silk grave rubbing with vintage and used buttons. Hand and free-motion machine embroidery. Click on image to enlarge.)

In other news, Death of Desire, is headed to an invitational exhibition called Southern Highlights at the Ruth Funk Center for Textile Arts in Melbourne, FL from May 15 - Aug. 22nd.

Spool Quilt has returned in its crate from the show in Arizona ... requiring two FedEx ground deliverymen to get it back into the house!

Skirt! Is a Rebel is currently part of the SAQA's (Studio Art Quilt Associates) on-line exhibition Photo to Fabric. (Guest curated by Priscilla Stultz.)

Plus ... I receive a nice sized box of old thread from Phillippa Lack, a very talented silk and fiber artist working in Cheyenne, Wyoming. Thank you, Phillippa! I'm unraveling it all ... adding it to the rest of my collection of thread ... all of which is part of an exhibition called Threads: Gathering My Thoughts. I'm also sending proposals for this work to be seen elsewhere ... anywhere ... and suggestion of fiber receptive locations are always welcome!

And ... serendipitously ... Kayle Rice, a Facebook friend, in Kalamazoo, Michigan must have known that I was planning another round with my clipped letters. From time to time, I have to add to my stash. I was planning on doing just that during the upcoming Sunday services at the Tapp's Art Church while sitting with my installation! Kayle sent me all these wonderful, colorful letters to sort into their little alphabetized trays! I'm thrilled. Thank you, Kayle!

Further below are the rest of the sixteen pieces in my new On Gold series!

(Above: On Gold I. Inventory # 3341. Framed:11" x 9". $150 plus tax and shipping.)

(Above:On Gold XI. Inventory # 3351. Framed: 11" x 9". $150 plus tax and shipping.)

(Above: On Gold XII. Inventory # 3352. Framed: 11" x 9". $150 plus tax and shipping.)

(Above:On Gold XVI. Inventory # 3356. Framed: 11" x 9". $150 plus tax and shipping.)

(Above: On Gold XV. Inventory # 3355. Framed: 11" x 9". $150 plus tax and shipping.)

(Above: On Gold III . Inventory # 3343. Framed: 11" x 9". $150 plus tax and shipping.)

(Above: On Gold XIV. Inventory # 3354. Framed: 11" x 9". $150 plus tax and shipping.)

(Above: On Gold XIII. Inventory # 3353. Framed: 11" x 9". $150 plus tax and shipping.)

(Above: On Gold V. Inventory # 3345. Framed: 11" x 9". $150 plus tax and shipping.)

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Panel Discussion, three poems, and two new Lancet Windows

February 6, 2015, 1:18 pm

≫ Next: Framed brooches and last push toward ACC Baltimore

≪ Previous: On Gold and other things

(Above: Lancet Window L ... as in FIFTY ... Roman numerals! Inventory # 3358. Framed: 31 1/4" x 11 1/4". $375 plus tax and shipping. Click on image to enlarge.)

Daily I split my time between custom picture framing (the "day" job aka the "paying" job), making art, and doing the many things that go into growing a career as an artist. What does that really mean? Well, the first part is fairly obvious. I work at Mouse House, a business I own with my husband Steve. We frame pictures for our clients. Our hours are weekdays from 9:30 - 5:00 and some Saturdays from 10 - 2. It's a full time operation. Yet, I'm the boss! I do have a great deal of flexibility in terms of my day time hours. Frequently, I'm mounting and framing my own work. This is also when I blog, enter work into my inventory book, apply for juried shows and other opportunities, and ship artwork to various locations.

(Above: Lancet Window XLIX. Inventory # 3357. Framed: 31 1/4" x 11 1/4". $375 plus tax and shipping. Click on image to enlarge.)

The past two weeks have been packed full with installations and exhibitions ... but I've also been MAKING ART! Behind the scenes I've been working hard to create a good collection of pieces for the upcoming ACC (American Craft Council) Baltimore wholesale (Feb. 18 and 19) and retail shows (February 20 - 22). I can't ease up because March will find me at the ACC Atlanta show. I need all the art I can make! Thus, two more Lancet Window Series pieces are part of this final push. Over the coming weekend I hope to make two or three more small "In Box Series" works. MAKING ART is what I live to do. The day job and the "other job" is what I have to do in order to sustain the "making".

(Above, from left to right: Cindi Boiter, editor of Jasper Magazine; Michael Krajewski, and me at last evening's artists' panel discussion for Art from the Ashes show at the Tapp's Art Center.)

So ... the "other job". Like custom picture framing and "making art", its another full-time commitment. In a sense, I'm constantly working THREE full time jobs! Yet, these are all labors of love.

The job of growing an art career is a commitment to being organized, keeping good records, following-up on the details of documenting, marketing, selling, and shipping artwork. It involves Internet searches for opportunities and follow-through on projects. It means a lot of writing: artist's statements, exhibition proposals, interviews, press releases and articles. It means a lot of record keeping too. But, sometimes it also means the honor and great fun of an artists' panel discussion! That's what I did last night.

Cindi Boiter and her Jasper Magazine made it possible for me to create THREE installations and hang two art quilts in an invitational exhibition called Art from the Ashes, one of the events in the city-wide sesquicentennial commemoration of Sherman's Civil War burning of Columbia. Last night the public gathered to listed to six of the visual artists (including me) talk about their inspirations, creative process, and the deeper meanings behind the works in the show. It was great!

(Above: Poet Al Black and me in front of our collaborative installation, Nails in a Coffin.)

One of my installations was a collaboration with local poet Al Black. Al and I were the only two non-Southerns involved in the Art from the Ashes project. He's from Indiana, played football for Purdue University, and is a Big 10 fan. (He teased me all fall but cheered for my Ohio State Buckeyes in their successful bid for the National Championship.) More importantly, Al Black is the kind of poet with whom any visual artist would be proud to collaborate, especially on a project inspired by the Civil War. Like Walt Whitman, Al served with country as a conscientious objector ... working in battlefield hospitals ... tending war torn wounds ... and writing profoundly deep words thereafter. Al graciously gave me permission to reprint all three of his poems in this blog post. Read them for yourself. I'm sure you will be touched.

(Above: Nails in a Coffin, a collaborative installation with Al Black.)

Handful of Nails, Part I
The Undertaker

Before
this war of hubris
I was
a cabinet maker

crafter of tables & chairs
couches for the parlor
pie closets, shelves
dressers and beds
to lie on

Now

I hammer together
rough boards and nails
housing
for the dead

if the resurrection
comes to pass
a handful of nails
is all
they'll find

(Above: Handful of Nails, Part Twoand view of wrapped, rusted nails.)

Handful of Nails, Part II
The Native Son

I was your native son
your barefoot soldier
your collateral damage

tenant farmer's son
forced to fight
or find other fields to plow

you planted me
along the hedgerow
no place for momma to pray

only a handful of nails
remain to testify
that once I was a man

(Above: Nails in a Coffin, detail.)

Handful of Nails, Part III

Soldier Blue

Soldier blue

Yankee Doodle Dandy

marched south then east

and north to heart of sedition

I saw America

not in Leaves of Grass

but in the blisters

on the soles of my feet

in Pee Dee gator swamps

typhoid found me

name and address

pinned upon my chest

my family will send

the undertaker

to build me a pine bed

with a handful of nails

and carry me north

so I don't have to

sleep alone in

blood red clay

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