De La Sierra,30″ x 32″, fabric collage with apillera
Most Importantly to honor the Indigenous People
Mexico is home to numerous distinct indigenous people each with their own customs and languages. Certainly each of the 29 Mexican states has several native costumes influenced by the mix of Spanish, Mestizo and indigenous people. Moreover,most festivals have roots in the indigenous past. Primarily, these are the roots that I celebrate when I make my fabric collages. Moreover,the desire to create a way to combine by love of sewing with my love of Mexico inspired the start of my art quilt life. Similarly,my Mexican inspired fabric collages evolved from that. Above all,I create the collages with fabric, details and found objects that I identify with the Mexican experience.
Frolic of the Lizards,34″ x 34″Flowers for her Hair,29″ x 29″Bag of Cultural Gems,22″ x 29″
Many Ways to make Fabric Collages
First, I start by choosing the fabrics and colors that go together. In addition,my design wall helps me to find their “special” spot. Moreover,it is important to decide what will go on top of the space beforehand. Jewelry or a finished iconic piece of fabric may be highlighted like a bandana or an arpillera. If the piece has many busy objects, then there needs to have an open calm space as the background. Popular trends in handcrafts of past generations in the United States were likewise popular in Mexico. Tatting and doily making were crossborder trends. I sometimes choose these for my pieces.
Abuelita”s Treasures,22″ x 26″
Sewing the Pieces Together
Next I sew the fabric pieces together. Then I pay attention to the order in which I need to sew the items on. Depending on the embellishment, I may quilt the whole top firstand then hand sew on the embellishments afterwards. Artist made 3D figures, flowers and hair bows add interest. Found objects including antique huipil pieces may be used. Colorful ribbons remind one of the movement and action of folkloric dancing. Sometimes I will fuse fun fabric pieces to the top.The whimsy flows.
Mexican Fireworks,23″ w x 33″hEl Senor y La Senora Win Loteria,31″ x31″
In Conclusion
Finally,these fabric collages are fun to sew together and embellish. Furthermore,I hope that you will be inspired to create you own. In addition,please feel free share them with me.
In conclusion,here is a link to some of my favorite blogs. The Thelmdatter posts are historical and informational about the diverse handicrafts made in Mexico. Unfortunately,the blog has been discontinued.
The wisdom of the art world says that an artist should develop one identifiable portfolio of work. The audience should be able to recognize the work as work from the artist. At a later date, the artist may move in a different direction.Yet, isn’t following your heart why artists make art?
Following your Heart
My soul directs me to do something different. I must listen. So I have three portfolios that I take turns making; Mexican Inspired Fabric Collages, Nature Art Quilts and Abstract Art Quilts. Usually I make five or more pieces before moving on to another portfolio. The work remains fresh and new to me in this way.
Mexican Inspired Fabric Collages
De La Sierra, fabric collage
Mexican inspired fabric collages drew me to begin my art career. I gather fabric, details and found objects that I identify with the Mexican experience to use. The art pieces are mostly machine pieced together. Some embellishments require hand sewing. Whimsical, unusual effects are fun to include. To not make them would prevent me from following my heart. I draw on my knowledge of Spanish. I learned so much from my experiences dancing with Los Méxicas, the University of California at Santa Cruz’s Mexican folk dance group. Other influences include my travels to Mexico and my thirty six year elementary school teaching career working mainly with children of immigrants from Mexico. Following your heart takes many forms.
Abstract Art Quilts
Sandy Shore, an abstract art quilt
“Ann Baldwin May’s quilts are like abstract paintings.” Dave de Give “Oh, I didn’t realize that the art was a quilt.” I thought it was a painting. A visitor commented during Open Studios art tour. She had only seen a small photo of the abstract work in a catalogue.
No fabric squares or blocks. No patterns. I create color, texture and movement using tucks, decorative threads and fibers with undulating quilting stitches. I use pieces of mostly redirected fabric to create my abstract art quilts. Art quilts free me to use a wide range of colors. Art quilts free me to experiment with unusual fabrics.
Nature Quilts
Tree Along Creek,art quilt,32″ x 27″ 2019
My third portfolio is my nature quilts. I make trees, landscapes, seascapes and underwater fantasies. These fabric landscape and seascape collage art quilts use the fabric layering technique. I cover them with tulle and free motion quilted together. The tulle remains to hold the pieces in place but it is often invisible. Sheer fabrics and synthetics add a watery effect to the scenes. The art quilts are often colorful and whimsical. Some pieces I call underwater fantasies .
You may be interested in reading more about the techniques I use to create these art quilts.
Myself, the Artist.I am an artist. The tools I use are fabric, threads, batting and a sewing machine. If you look in my studio, you would see a sewing machine, cutting boards, rotary cutter, scissors and tools generally found in a sewing room or fabric studio. However, the items on the walls are quite foreign to a sewing room. Underwater fantasies, abstract art and maybe a Mexican inspired collage adorn the walls of my studio.
Myself, the Artist
Art Quilt Studio in the Santa Cruz Art Center, This is where I work.
How do you do that?
Sometimes it is hard for people to understand what they are seeing. Perhaps they recognize a fish swimming though kelp. “How did you get it to look like the light is reflecting off of the water? What? It is covered with what? I don’t see it. ” Myself, the artist explains the fabric layering technique. I lay the backing down on a table.Then I lay down the batting (soft center of a quilt). Next, create the scene. Finally, I cover the whole piece with tulle netting. After free motion quilting the layers together the tulle netting disappears. The tulle netting remains on top but it can’t readily be seen. Some nettings have extra sparkles on it that reflects the light like water.This answers the question,what do I do?
Traditional Blocks
Quilt blocks (squares) sewn together to create tradional bed quilts. Those blocks are made from patterns. The patterns may be new or a hundred years old. Myself, the artist comes from that world. I love the charming bed quilts that I have made. I just don’t do that anymore.
No more Patterns
I no longer use commercial patterns. When I buy a pattern, my expectation is that it will be correct. If if is a pattern for clothing, I pay attention to the measurements on the back. I expect the pattern to fit. Since I have been sewing clothes since high school, I have used many patterns for myself and my children. Sadly, more often than not, the clothing made from following these patterns carefully did not always fit.
The last straw for me was when my daughters were 3 and 4 years old. I was working full time. Yet, I wanted to make them each a dress with a pinafore. The pinafores were the same size as the dresses. The pattern had not adjusted them to be bigger to allow them to fit over the dresses. I was so disappointed. The dresses and pinafores were wore separately and loved to death by my daughters. I never bought another pattern after that.
Who created the Fabric Layering Technique?
Laura Fogg created the fabric layering technique. Meri Vahl learned it from her. I learned it from Meri Vahl. We are all art quilters located in Northern California. I create my own landscapes and underwater fantasy scenes from fabric. While the techniques are similar, each art quilt is unique.
Swimming With Sea Dragons, an art quilt,This is what I make.
Abstract Art Quilts
Abstract art quilts are also visible in my studio. The abstract pieces I make are designed on a design wall. My design wall is a large wall covered with white flannel. The fabric pieces stick to the flannel. I can move the pieces around until they find their spot. High end redirected fabrics from interior designers add a unique quality to my art. I choose solid colors but also fabrics with texture and movement that appeals to me. This answers the question,what do I do?
Gridlock II, art quilt This answers the question,what do I make?
Mexican inspired Fabric Collages
Mexican inspired fabric collages add whimsy to my studio. They reflect my love and respect for the Mexican culture. I love playing with the bright colors. Three dimensional found objects may also be hand sewn to the finished top.
Holly, Hannah and Jonathan speak with visitors to FABMO
A Volunteer’s Path to Chairman
by Holly Welstein, FabMo’s Board Chairwoman (edited for space)
Holly Welstein, Hannah and Jonathan Cranch welcome visitors.
A Volunteer’s Path to Chairman- How did I start down a volunteer’s path to chairman?
Recently I attended the annual Volunteer Appreciation BBQ. It went along with FabMo’s 11th official birthday! It was a great chance to socialize with a wonderful group of people on a special occasion. Yet my earliest contact with FabMo happened over 15 years ago. It was way before the nonprofit was official.
Some Musings of an Accidental Board Chair
My first experience was responding to a Freecycle post for promising free designer material. I ended up sitting on Hannah & Jonathan’s living room floor. They encouraged me to dump out textile treasures from large black plastic bags.The bags were piled up on their sofa. I could take what I liked. Everything went back in the bags, when I was done.But oh, be careful and look out for staples.
Needless to say, I was hooked on a volunteer’s path to chairman.
Hannah and Jonathan Cranch, founders of FABMO
Slowly, the FabMo enterprise grew. My involvement slowly grew along with it. I helped with simple things like setting up tables, sorting fabric and chatting with newcomers. That led to helping plan our first Maker Faire participation. Later I headed a Boutique committee for six years. That helped this volunteer’s path to chairmanThen I received an invitation to join the Board. So for the past three years I serviced as the Board Chair. Whew!!! I really wanted to do was sew purses with some beautiful fabric!
What I know at this point is that the work we do at FabMo and only happens because individuals step up to do it. So I send a big thank you to every volunteer. What I also know is that much of the behind the scenes work is mysterious to many of you.
How the Board Works
The FabMo Board of Directors invites you to consider whether volunteer service on the Board or a Committee is for you. Could your future include a volunteer’s path to chairman?
From chairing the Board meetings to representing FabMo being on the Board has many interesting aspects.
FabMo is an all volunteer organization. There are no paid staff or Executive Director. That means the FabMo Board is a working board that acts as an Executive Director when needed. Te board provides organizational leadership and vision and makes policy. We are responsible for financial oversight and staying true to its mission. We want the group to be financially healthy and stable. So that we can continue to do our important work. That is to divert valuable materials away from the landfill and into the hands of people who will use them.
We meet every 5-6 weeks.At times there is a special extra meetings . In the past year, we have purchased a van. We created a protocol for the van’s use. We adopted a policy for our social media presence.The board worked with the Treasurer to craft a budget. we began to write charters for our committees. A quarterly Committee Chairs meeting encourages communications within FabMo. Most of the work is overseen by committees but the Board has the final say. Could your future include a volunteer’s path to chairman?
In the Coming Year
This upcoming year the Board will be evaluating our current business and operating models to consider changes to support our mission. In particular, our rent continues to rise.It is crucial that we find new sources of revenue.We need to remain financially healthy going forward. Could your future include a volunteer’s path to chairman?
So who Serves on the FabMo Board of Directors?
Well in 2019, our 7 members are: Tina Baumgartner,Estelle Chalfin,Leslie Kern,Zita Macy,Michelle Redel,Ginger Silverman,Holly Welstein. Maybe in 2020, your name will be here!
I welcome the chance to chat with anyone interested in learning more. I can answer any questions you have. If you want to attend a Board meeting, please let me know. Warmly,Holly board@fabmo.org July 29, 2019
It has been great to be part of this all volunteer organization for about 10 years. I source many of the materials there that I use in my art quilts. I feel strongly about their efforts. Ann Baldwin May, art quilter
Some fond fabric memories have stuck with me for many decades. Sewing had been a passion of mine for many years. Then I focussed on quilting traditional bed quilts. I began my art quilting adventure ten years.Where did this passion for sewing begin? In search of the answer to that question, I looked back on some fond fabric memories.
Elementary School
For several years in elementary school, the local women’s chorus came to sing for the school. Singing ladies filled the auditorium stage, each wearing a dress of one solid color. I was mesmerized by all of the different colors. This choir sang only a couple of times at my school, but the image of their dresses stayed with me much more than the music. It was such a fond memory that at age thirty I sewed myself a one color dress (teal)that I wore to work for many years.
The Summer before Grade 7
This !960s crop top and shorts are similar to my first sewing project.
At age 12, I begged my mom to let me take sewing lessons during the summer. My memory is that I had to really push to convince my mom to sign me up. My mom was an incredible knitter but she rarely sewed. A friend of mine from sixth grade and I signed up at the local Singer Sewing Machine store downtown. We diligently chose patterns and fabric to make a pair of shorts and a crop top. If only the class had been designed for a total beginner, it would have been fine. However, the teacher expected women to bring in unfinished projects for her to help them finish. My friend and I had no idea of how to get started or what to do. What a disaster!
Eighth Grade
Luckily, I persevered. Eighth grade sewing taught me the basics of using a pattern and of skirt and blouse construction. I made a white collarless short sleeved shirt with a 7” zipper at the neck. The blue skirt was an A-line.Was there a waistband? Another a 7” zipper was necessary for the skirt. Putting in a zipper was definitely a learned skill. I don’t remember loving the class. But for some reason, I did want to continue to learn more about sewing.
High School
In high school in the late 1960s, I took two years of sewing. I continued to construct more difficult items for my wardrobe. Fond memories involve making jackets with bound buttons . Sophistication reigned when I wore those jackets.In those days, department stores like Macys and The Emporium where I worked sold fabric. As many teenaged girls did,I put a lot of thought into planning my wardrobe. My memory is that I worked hard to have a variety of styles and textures in my clothes. I knit a pale yellow shell to go with a skirt I had sewed. Didn’t everyone make sure their wardrobe was intriguing and fiber fresh?
Adulthood
Over the years I continued sewing clothes. I branched out into bed quilts. I was so passionate about traditional quilts. Often after a monthly lecture at our quilt guild, I wouldn’t be to sleep. I would be so excited to try out a new idea! The memory of my passion remains.
A Fashion Show
Another fond memory while transitioning to my art quilt career involved a fashion show at the Pacific International Quilt Festival. The group challenge was to create an outfit inspired by the book, Rare Bird by Iris Apfel. I made a tunic and skirt using African prints. The skirt is trimmed in black and white lace. While actual quilting was not involved, piecing the fabrics into blocks did take place. I created the fabric by sewing the blocks together. Then I cut out the pieces using a pattern. I had to pay attention to where the particular blocks would show up on the actual tunic.
Becoming an Art Quilter
I have now been making art quilts for ten years. People have told me that I have a good eye for color.My formal art education included one year of breath requirements ( drawing and painting). During my elementary school teaching career, I did work for several years at an arts infused school. When local artists taught my class, I participated along with the students. I later incorporated those lessons into my curriculum.
All in all not a lot of formal art education which makes me reflect on where the sources of my art success come from. I am not sure what I can attribute that to. Maybe the years of wardrobe planning did inform my eye for color. Throughout my whole life, I continued to play with fabrics, textiles and colors. Generally I thought all women did. However, recently I have become aware of the fact that color choices come easier to some than others. Based om my fond fabric memories, I conclude that practice and persistence counts.
Are you curious about how to become more creative? Have you ever thought how creativity works? Is someone born with it? Is it a developed skill? Or is it magic? I personally feel that it is a bit of all of those things. But for the most part, creativity is based on a lot of practice, making mistakes and hard work.
Becoming More Creative
American Democracy,2019 27″ w x 28″h
They must be a Genius.
I am not very musically inclined. Upon hearing a complicated piece of music, I would wonder how did someone create that? I would have no idea how the piece was put together. I assumed that the artist created the piece all at once. Therefore, they had to be some kind of a genius to be so special and creative.
Creativity is not a Fixed Entity.
More recently after creating many original art quilts, I have a clearer idea of how creativity works. Creativity is not a fixed entity. It must be nurtured and developed. The musicians might be very talented but probably they worked a long time on a particular piece working bit by bit. Maybe even different people contributed different parts. Ever notice that some people write the music and others write the words? People have strengths in different areas.Their genius takes years of practice.
Making Choices
When beginning an art quilt, first I decide what type of quilt I will make. Will it be an abstract, a nature piece or a Mexican inspired fabric collage? Then I begin to choose the colors based on the fabrics and materials that I have. It helps me to have a vague idea of where I am going. But I keep it flexible in case,I want to change things. Sometimes I start by making a lot of really interesting parts to be focal points. It could be a fabric doll, couched decorative threads or ribbons or 3D textural piece.
Plan something. Then Work to make it Better.
For an abstract art quilt, I begin by choosing a three color palette before adding light and dark hues. It is best to have an idea of what I am going to use these special details or parts for so that the colors I choose will work with the project. But there have been instances when these details haven’t worked as first intended. So were put aside and saved for another piece.
After choosing the colors, I take my first steps of laying the pieces on my design wall. Then I ponder, what I could do to make it better. How can I make it more artful or interesting? How can I add texture or movement to the piece? This is an ongoing process. I make those adjustments and continue on.
Fresh Eyes
Taking a break. Coming back to look again with fresh eyes is helpful and necessary. It is amazing how our eyes can fail to see things. Even when trying to look for errors and they are right in front of our face.
In Conclusion
After making over 400 art quilts, I have a clearer idea of how creativity works for me. Time in the studio working to create art is a must. I am motivated by the way different materials work together. Themes or colors may be the same but rarely do my pieces look similar. Serendipity does occur and should be embraced when it happens.
Most artists will say that inspiration is everywhere. I certainly do agree with that statement. For example,my friend, The Lady Who Loves Birds, https://www.ladywholovesbirds.com/ sent me this photograph of the Splendid Fairy Wren of Australia. Isn’t this an incredible bird? The colors are inspirational. I immediately knew that I had to use the colors in a subsequent abstract art quilt.
First,I gathered by fabrics, medium blue, black and white.
step 1final choices for fabric step 1
Then, I put the sample fabrics on my design wall.
trying out locations, balancing shapes and colors step2
Next, I sewed some pieces together. I begin to try out locations.
Cut up and placed on design wall step3
Then, I continue to sew pieces together and find the right spot for them. I look to balance color, shape and details.
on the table pinned , ready to be quilted step4
Finally,after the top is sewn together, I choose the backing fabric. I place it on a table. Then I cover it with the batting and the finished top. I pin the three layers together. This is called a quilt sandwich. Then I quilted the sandwich together using my scribble quilting technique.
Naming the Piece
I usually don’t do political art work. Yet, as I spoke about the quilt and called it by its colors, “my black and blue piece,” something hit home. During the summer of 2019 when I was working on it, I felt like the American democracy was bruised black and blue. American Democracy, 2019 seemed like a logical title.
A Funny thing Happened on the way to my Next Quilt
After I began gathering medium blue, white and black fabrics for American Democracy, 2019, I neglected to refer back to the fairy wren photo. Only after I had finished the piece and did I take another look at it. Much to my surprise, I realized that the bird actually had a lot of purple on it. I immediately set about creating a second piece incorporating more purple. Here is the result, Splendid Fairy Wren, abstract art quilt.
When trying out fabrics, I always start with larger pieces. Then after cutting or fitting in place, they may be much smaller. The sewing takes up some of the fabric. It is always better to have too much than too little.This is the completed art quilt.
Try these low tech quilting hacks to make to make quilting tasks easier. This post is about my favorite tools that I often use in my studio. Redirecting materials are a major motivating factor in my art. It so happens that it affects my low tech quilting hacks as well.
Threading the Needle
My regular sewing foot has a white plastic piece that holds it together. A bit of the white forms a background that allows for the ease of threading the needle. For years, I sewed clothing. Yet, never noticed this because I had no need to change the foot. As soon as I started quilting and began to use different feet, I noticed that threading the needle became more difficult.
What Had Changed?
I couldn’t figure out what had changed. It took me a while, the small white background was not longer there. So I recreated the white by using a small piece of white paper. I now keep a particularly stiff piece of white paper close at hand. For easy threading of the needle, I slip the paper behind the needle. When I use the walking foot or darning foot for free motion quilting, I can see the needle’s hole much better.
a useful white piece of paper to aide threading a needle
Easing of Fabric through the Feed-A Low Tech Quilting Hack
Many years ago I received a stick that looks like an orange stick used for nail care. Suzanne Cam gave them away as part of a quilting workshop. This tool has now become an indespensible tool. I use it often to grab threads, to gently guide fabric smoothly through the feed when necssary.
Moving Small Pieces- A Low Tech Quilting Hack
I also use the stick to move small pieces of fabric. For the fabric layering technique,I create my art flat on a table. I place the backing fabric down first. Then I lay the batting on top.Finally, I create the scene. At times this requires a gentle movement of small pieces of fabric or yarn. I use the stick for this. Nothing else creates a smooth curve or allows me to control the placement of small items or details.
a multiuse well used stick
Tiny Globs of Glue
At times I need to glue items to my fiber pieces. Often I only need the tiniest bit of glue not a glob of glue that might show. When my studio was in my home, I would use a plate from the kitchen to put the glue on. After moving to my studio,no plates were readily available.
Making Do
I flipped over the 3 ” plastic cap from the can of starch to use. To control the smallest bit of glue, I use a large needle or hat pin. When finished I can easily wipe off the residue of white glue . The pin or needle is then ready for its original intended use.
Plastic caps to control globs of glue
A Design Wall
I use a design wall to create my abstract pieces of art. It is essential for me to have a large space available. I would recommend at least 60″ high and wide. My studio design wall is about 90″ by 90″. I covered the wall with a piece of white flannel fabric. It is held in place by push pins. Portability is not an issue for me. Other quilters will swear by their expensive design walls. Don’t be fooled! Simple can be just as effective!
My large white flannel design wall design
True Confessions Time!
I am not an early adopter nor a gadget person. Quality standard tools and materials are necessary. These hacks are very low tech. Whatever works! For those still reading this post, I expect to hear a chuckle or two or daresay I, some laughing out loud at their simplicity. What simple hacks do you use? Please share.
Shane Townley was running a gallery in Laguna Beach a decade ago when he decided he needed a broader platform for his artists – one that gave them a bigger and better chance to sell their work than just the spot on one wall in one gallery. So he launched aniPhone app that catalogs artists and galleries, where any artist can sell her work. And now he has launched NYA Gallery, which not only has the classic white box storefront on the charming cobbled block of Franklin Place, but also another 9,000 square feet of artists studios, art storage and a frame shop on the lower levels. Welcome New York Art Center in TriBeCa!
Serving the Needs of Many
The studios will be open to the public and are generally for rent by artists, but some will also be donated as residencies for artists from other countries. He and his merry band of gallerists, handlers, educators and hangers (seen above) sell 50 percent of their artists’ work online, and also have a gallery on 1st Dibs. But Townley said they still need to sell in the 3D world. “Walls and artists go together,” he said. “They will still need a space to show.”
Townley spent four years here exploring different areas and neighborhoods while painting in a studio upstairs in 373 Broadway – biding his time till he figured out the New York art market. He came up with this idea as a way to replicate what he was doing in Laguna. His timing seems pretty good. “For Tribeca it couldn’t be a better time,” he said. “We’re onto something.”
NYA Gallery 7 Franklin Place (just west of Broadway, between White and Franklin) info@newyorkart.com 917-472-9015
New York Art Center, studios
The New York Art Center is new to the TriBeCa neighborhood. It has been in New York City for a number of years. Ann Baldwin May is excited and proud to be the first art quilter represented by New York ArtCenter and Gallery.
Color is probably the art element that attracts and motivates most artists to begin work. For most people it is the most engaging aspect. For my take on this subject, I am going to focus on how I choose to adding color to my abstract art quilts. In general, I chooose 3-4 colors to work with. Then I find the range of hues from light to dark to add for balance and interest. I often use bright colors while I find a pale palette of beiges and whites to be very calming. I work on a large white flannel design wall.
To begin, Where do I get my ideas? How do I decide on which colors I want to work with? Most of my materials are from FABMO, a non profit that gets castoff materials from designers. Swatches of a wide range of colors with slight variations provide a lot of choices. Here are some ideas I have inspired me to get started.
A Photograph
A friend sent me this photograph of a colorful bird from Australia. Rarely do I work from photographs. I will not be using the bird however, the hues of purple,blue and black will be in an abstract art quilt in the near future.
Look Down
While working on a piece,I tossed the extra fabric in a box on the floor next to me. I did this repeated. At the end of the day, I looked down and saw these wonderful grey and lime green colors together. I gathered them up and put the in a special place to work on later. This was the piece inspired by leftovers. May I note that I usually don’t use these colors.
Lingering Fog,34″ x 34″ 86 x86 cm 2019
Using Up Materials
Sometimes I just start a project with materials or colors that I want to use up. I might have too big a piece of fabric or too much of one color. Some artists might find this idea very unorthodox or even unsettling. When I started City Lights, I had a pile of blue fabric that I wanted to diminish. Sand Between My Toes allowed me to make use of whites and beiges. Sea Turtles is not an abstract art quilts but I had a large piece of blue synthetic fabric that I used for the background. The turquoise plants are also created from fabric I wanted to use up.
City Lights, a fabric art quilt,24″ x 22″Sea Turtles 35″ x 23 ” 2014Sand Between My Toes
Use the Palette of a Commercial Piece of Fabric
A fabric friend suggested this to me several years ago. I have to admit I couldn’t wrap my mind around this idea for a long time. Go to a fabric store. Look at the colors on the commercial fabrics. Very experienced designers work to create these prints. Choose a palette that you would like to use. You don’t need to use the fabric just let the colors inspire you.
In my abstract art quilt, Spring Break I did use some of the fabric. However, the process of chosing the materials was driven by the colors of the original piece of redirected linen. I looked for complementary colors from the fabrics I already had.
Spring BreakI built the fabrics around this piece of fabric.
In conclusion, inspiration for art can be found in many unusual places. Inspiration comes from spending time in your studio. Keep your mind open and inspiration will appear.
Techniques for creating texture on a flat piece objects are subtle. In other posts, I addressed other aspects of my mantra, Color!Texture!Movement! Moreover, adding color or movement creates a bolder statement. Above all,color impacts the viewer first and then movement next. But texture may even go unnoticed. However, now I will share my ideas for creating texture in my art quilts.
Tucks Create Texture
For instance, tucks are small seams sewn on the edge of a fold. Yet, a series of 3-5 tucks create texture. For example, in Upwelling they represent the layers of earth movement. Furthermore,this technique is also helpful to reduce the size of a piece of fabric by just a small amount.
Upwelling, 30″ x 34″ Tucks run the width of several pieces to create texture.
Naturally Thick Fabrics
On the other hand,corduroy or other thick fabrics add texture by their nature. Look for fabrics that naturally have an interesting texture like dupioni silk. Unfortunately, these fabrics are often challenging to work with. Most importantly,develop your skills so that you will be able to work with them more easily.
Couching Decorative Threads
In addition,couching (zigzaging)different threads on fabric adds texture. First,I couch threads on long strips. Then I cut the pieces apart to use as fabric. In addition,this is a good way to utilize small pieces of yarn or decorative threads. At the same time,use the same color of thread to emphasize the line aspect of art. in this way,the focus will be on the color of the yarn not the color of stitching thread.
Desert Sands, 16″ x 21″ 2015
Three Dimensional Objects
Furthermore,add texture with 3D objects. In addition,artistic people may create their own 3D object using fibers. Here I included two fabric figures that I had previously made. Similarly,on the male figure, I added a serape for the Mexican theme. Likewise,embroidery thread hair,jewelry and lace completed the female’s figure.Finally,I added found plastic objects.
El Senor y La Senora Win Loteria
True Confessions Time
Ultimately,sometimes I am motivated by just using up materials. What items can I add to my art to finish it up? As a result, this random technique led me to a positive ending. I had about 8 designer samples of short threads in different colors wrapped together. Spontaneously I decided to add them to the foot of a tree. Don’t they look like grass? Boy! did this work!
Under the Shady Tree, 37″ x 25″ 2019Under the Shady Tree detail 2
Start with Fiber
Fun With Fiber 6
Start with fiber. Here I used a redirected folded fiber piece. I added a found Mexican(Aztec inspired) clay head and redirected fabrics. Then I attached it to a highly textured piece of burlap.
In conclusion, the techniques to add texture include tucks, thicker fabrics, couching decorative threads, and adding three dimensional objects. There must be other ways to add texture. Do you know of any? Please respond with your suggestions. I am open to new ideas.
Winter Sunset greys,pinks and purple fabric in this abstract art quilt.
Creating Movement in Art
Above all as an artist I am interesting in creating movement in art.That is how I answered this question.“What are the essential elements you want your audience to know about your work? What do you want them to take away from seeing your art? “ asked a fiber artist friend.
She is well versed in the deep discussions generated by involvement with the Artist Conference Network. The ideas I had been thinking about came together. The question brought my ideas into focus; color, texture, movement. At this time I would like to address creating movement in my abstract art quilt pieces.
Subtle Wavy Lines
How does one make movement on something that is inherently static and flat? At first, I attempted to make every seam a curved line. That turned out to be a poor choice that affected the over all shape of the piece. I learned some straight lines are important for shape and balance. Another true life lesson learned, the importance of balance. Choose seams carefully for the visual impact. They may be wildly or gently shaped curves.
Activity on the Material
To begin, I choose the fabrics with movement in mind. I look for interestingly curved shapesthat are part of the fabric’s design. When I cut them up, they add interest and drama. They catch the eye and draw it in.
When I first selected this fabric of elongated greyhound dogs, I didn’t even notice the dogs just the colors and the shapes. I couched threads, rotated the fabric and then sliced the fabric into usable pieces. The shape of the animals disappeared yet the movement of their bodies remained. Other fabrics provide a pop of action to the piece. Creating the illusion of movement is an essential part of my abstract art quilts.
Greyhounds with some couching of yarnSkyward, the finished art quilt
Couching Decorative Threads
Couching decorative threads is another technique that is an essential part of my tool box. I sew multiple colored threads or yarns on to a strip of fabric. Then I cut them up into random lengths and use them as fabric. At first,the main purpose was to add texture to my pieces. Yet, sewing the threads in undulating parallel lines creates the slightest of distortion and movement.
Long strips of cotton with the threads couched on them.Winter Sunset, the finished piece
Adding Tucks
Adding tucks is another technique that started out as a way to add texture to a piece. However, movement was created at the same time. Tucks are small seams that run along the folded edge of fabric. When quilting over a series of parallel tucks they are folded up or down. This creates an illusion of movement.
Upwelling , Tucks run the width of several pieces to create movement.
Using the Design Wall
I create my abstracts on a design wall. I take time to balance the colors, fabrics, and quiet spaces for eyes to rest. Looking at the piece with fresh eyes may take several days or longer before sewing all the pieces together. Abstract artists have the added benefit of being able to rotate the completed piece. They check to see if viewing the piece from another direction it may actually improves it. It just might happen. Just because it was conceived and executed in one direction doesn’t mean that it cannot look better “upside down.”
Creating Movement While Quilting
In addition, the quilting process adds movement. I begin quilting in the middle of the piece making basically a large grid about 5” apart. Then the fun begins. I start quilting from corner to corner gently turning the fabric slightly side to side as I quilt. The thread line creates the movement. If the thread color contrasts with the fabric color, then the threads stand out. When the thread color matches the fabric, the thread may seem to disappear, yet the movement remains on a more subtle level. Many viewers look closer to try and understand how that affect can be.
Mossy Rocks, an art quilt
“It Dances.”
A former colleague of mine made an unsolicited comment about my work, “It dances.” Her remark touched me on several levels. Years earlier she admitted that she had no interest in attending an art quilt show. So when I heard her comment, I felt that I had truly opened her eyes to a new art form.
The Importance of Movement in Art Quilts
As you can tell movement in an art quilt is important to me. Yet not all art quilters share my view. A trend in quilting art quilts seems to be creating as many stitching lines on a piece as possible. These lines tend to be straight lines with about ¼” spacing . They may turn at sharp corners.
Does your quilting squash your fabric?
While attending a recent national art quilt shows, I noticed that almost 75% of the quilts had such quilting. I admit that such narrow line quilting may be effective for some pieces. The skill level is high for the artists that work that way. However, this style makes me cringe. Squashing and smashing the fabric into flat controlled pieces actually saddens me.Such tight stitching suffocates the fabric preventing it from moving or breathing.
In Conclusion
I create movement in several ways in my abstract art pieces. Some pieces of fabric are chosen based on their design element of movement. Couching decorative threads and tucks into gently waving lines adds subtle movement. Pieces are sewn together in a curve line piecing technique. Finally the artist generates wavy lines all over the piece quilting the three layers of fabric together.
Other resources that you may be interested in.
You may be interested in finding out more about the Artist Conference Network. It is an artist driven organization supporting artists as their more towards their artistic goals. Groups meet periodically to share and review each artist’s goals.
Burlap and Silk,An art quilt demonstrating the contrasting fabrics of soft and hard rough and smooth
An important life skill for artists to develop is resilience. Resilience helps one weather the rough spots in life. Learn who you are. Learn what your passion is and develop it . Be authentic. Friends, family members and those close to you may not see your passion as you do. Focus on what is true and real for you. This can be hard. As human beings we rely on the reflections of those around us to see ourselves.
Burlap and Silk, an art quilt demonstrating the contrasting fabrics of soft and hard rough and smooth.
Following One’s own Path takes Resilience.
Developing resilience is an important life skill for artists to combat certain comments people might make. “What are you doing that for? “People will say the first thing that pops into their mind without thinking. Realize that it is okay if some people don’t agree with your choice of activity. When someone doesn’t like what I am deeply involved in, I often think about model trains. Some people are extremely passionate about model trains, something that I have absolutely no interest in.
“Isn’t that a lot of work?” Just yesterday a neighbor made that comment about all of the work I do to maintain my garden. I love doing it. I can’t imagine not doing. It is the same way I feel about my art. Passion is what you can’t live without. It isn’t work if you like doing it. Picture water sliding off a duck’s back when disparaging remarks are made. Little by little build resiliency.
Being the Black Sheep takes Resilience.
Developing resilience is an important life skill for artists tostand up to certain activities other might want you to do. When growing up my family was into sports; listening, watching on TV and attending baseball and football games. Of course, I also did these things until I got old enough to realize that I didn’t want to do it anymore. I would rather be out doing something active than watching others do it. This act of resilience was easy for me. Being the odd man out may not be as easy for some people. Of course, it would be nice if the people we care about also cared about the things that we care about. But that doesn’t always happen.
Overcoming Setbacks takes Resilience.
Setbacks can also happen. Sometimes one’s work or family responsibilities take center stage. Being a responsible person creates its own confidence and resiliency. When one knows themselves and is authentic, then moving in a new direction can support one’s vision.
Life skills for artists Develop Resilience.
Many paths lead to success. If one path doesn’t work, find another. Take the long view. A different path might not immediately be visible. Keep working towards your goal, be it personal or professional or artistic.
The poster in my laundry room has this quote on it.
“Great spirits have always encountered violent opposition from mediocre minds.” Albert Einstein
Or as a favorite song, The Middle by Jimmy Eat World says
(partial lyrics)
“Live right now, yeah, just be yourself. It doesn’t matter if it’s good enough for someone else.
It just takes some time,
Little girl, you’re in the middle of the ride.
Everything, everything will be just fine,
Everything, everything will be alright, alright.
Just do your best do everything you can
And don’t you worry what thebitter hearts are gonna say.”
Resilience is a life skill that can be developed and nourished. It applies to our professional, personal as well as our artistic endevours. Things happen in life that are sometimes out of our control. Don’t take setbacks personally. Just forge forward.
Ann Baldwin May Art Quilts proudly announces that the following abstract art quilts are now on display on the website of New York Art; Beach Umbrellas, Sand Between My Toes, and Sunlit Boulders. They will be displayed in the future in the New York Art Gallery, 7 Franklin Place , TriBeCa, New York,10013.
How to make an Abstract Art Quilt with Sunset Through the Forest as as an example.
How to Get Started
choose Your colors
First, I prefer to choose a few contrasting colors. Then I search through my materials for fabrics, decorative yarns and threads in those colors. Sometimes I also choose lighter and darker hues of the same colors.
Make details with decorative threads.
Next, it is fun to make patterns with the decorative threads. For this piece I used the decorative threads to make several parallel lines on the fabric. I cut long strips and sewed the decorative threads in long lines.Then I randomly cut the long strips into 3 or other odd number of pieces. Creating texture- done!
Several different examples of decorative details
On the Design Wall
Next, I display the potential finalist fabrics on my design wall. My favorite choices are fabrics with movement and interest. Then, I also make sure that they are places for eyes to rest by including solid colors.
Trying out green and yellow bits of fabric randomly placed on the design wall
Balancing Colors
Next, balance out the colors and textured pieces so that they are not all on one side of the piece. Don’t be afraid to take a break to come back to view the work with fresh eyes. A fresh look is always helpful in looking for ways to improve a piece. How will one’s eyes move around the art work? Elimination of fabrics can still take place.
Balancing the fabrics and colors
Sewing Smaller Pieces Together
Continue to sew small pieces of fabrics together. Then remember to balance colors and fabrics so that they are equally spaced about the piece. Use this advantage of a design wall to view your whole piece.
Small pieces are sewn together
Sewing More Pieces Together
Continue sewing pieces together and checking for balance.
finished top, Sunset Through the Forest
Finishing
Lastly,I scribble quilt the three layers together to create an added level of movement. Scribble quilting is a technique I named using a flowing quilting line created by moving the quilt side to side while quilting with a walking foot.
Sea Dragons Exhibit at Aquarium,Birch Aquarium,San Diego.
TRADEMARK AND COPYRIGHT 2019 THE ASSOCIATED PRESS. ALL RIGHTS RESERVED. By Julie Watson
All things considered Seadragons & Seahorses, Birch Aquarium’s new permanent exhibition that brings seadragon conservation to the forefront. Above all,the exhibition is home to Weedy Seadragons and several species of seahorses and pipefish.
For the first time ever, Birch Aquarium has successful bred Weedy Seadragons behind the scenes of this exhibit. In short,only a handful of aquariums around the world have bred these unusual fish. The babies are not on display, but you can learn more about their exciting birth on our Seadragon Breeding Program page.
Birch Aquarium,Scripps San Diego,CA
Why Seadragons and Seahorses?
The husbandry of seadragons is increasingly vital due to the impacts of climate change, warming oceans, and illegal collection of wild populations, whose numbers are still widely unknown.
Birch Aquarium has been successfully rearing seahorses in captivity for nearly 25 years. Similarly, that makes us a leader in the field. Furthermore,we hope this new exhibit will result in our first successful seadragon breeding.
Weedy Seadragons
Surprisingly,these seahorse cousins use their bright coloration and seaweed-like appendages to hide among the kelp-covered rocky reefs of temperate southern Australian waters.
Sea Dragons in the Golden KelpSwimming With Sea Dragons
Monterey Bay Aquarium
From the first time I saw sea dragons at the Monterey Bay Aquarium, I was fascinated. Was it a plant? Was it an animal? Seadragons and sea horses are surprisingly cousins. Unfortunately, for the interested public the Monterey Bay Aquarium exhibit is no longer. The sea dragons returned to the wild as the Aquarium often does.
I have created several art quilts inspired by the sea dragons. However, nothing is quite like seeing the real animal. That is why I was so excited to hear of this new exhibit and the excitement that it is generating.
Announcing my participation in the juried Juried Open Studios 2019. Sponsered by the Arts Council of Santa Cruz County. Saturday and Sunday, October 5-6 , October 19-20. Moreover,my venue is at the Santa Cruz Art Center, 1001 Center St. located in the Historic Downtown Santa Cruz. Above all, I fill the lobby with Color! Texture! Movement! from11 to 5 pm each weekend. In addition,free motion quilting and curved line piecing demonstrations take place throughout the day.
Lingering Fog, art quilt
County Wide Event
Similarly,artists from all over the county open up their studios for three weekends in October. As a result of so many artists residing in the county, the group is divided in half. One part participates on the first weekend of the month. The second part participates on the second weekend of the month. After that,any artist can open their studios for the third weekend called the encore weekend.
Beach Umbrellas,an abstract art quilt
This will be my fourth year of participation in the Open Studios Tour featuring over 300 artists. Although my studio is small for Open Studios and First Fridays, I hang my art quilts in the lobby of Santa Cruz Art Center. I fill the artium or lobby with Color! Texture and Movement! There is room for from 10-20 large art quilts.
ATLAS Revisited, an art quilt inspired by the ATLAS at CERN is on page 127 of the Summer Edition,2019 of Art Quilting Magazine.
Collaboration between local artists and PhD physics candidates
First, Dr. Stephanie Bailey, Physics professor at the University of California, Santa Cruz announced collaboration between local artists and PhD physics candidates. My daughter‘s boyfriend is a physicist. As a result, this former history major thought that participation would be a good way for me to connect with him. However, my student collaborator studies theoretical physics. First,he showed me photos online of collider event displays. Smashing subatomic particles together creates a collider event display.They create predictable patterns and colors. Some look amazingly like fiber. I choose a photo of ATLAS at CERN to make my art quilt.
Techniques
Generally, I don’t work from a photograph. My inspiration usually comes from how the materials play with one another. However, due to the special circumstances of theoretical physics, I was forced to work from a photo. This required me to work backwards. I usually don’t do that. Working backwards entails thinking through each process of making your art piece before getting started. I had to figure out what would go on last. I had to have an idea of where I would end up and the steps to get there before even starting.
After that,I chose my fabrics based on the colors of the photograph. I had to eliminate some aspects of the photo due to size limitations. I hand stitched a running stitch of contrasting embroidery thread for some pieces. For others I strip pieced and then cut them apart. I made the starburst in the center by couching or zig zagging yarn. Light machine quilting was done by curved line stitching I call scribble quilting. See all of the collaboration art pieces at the R. Blitzer Gallery in Santa Cruz, California March, 2019.
Making your own luck through self promotion involves planning, organization and bravery. If you are an artist, the work begins by making great art. In this age of self promotion, one must present themselves in a professional manner.
Artists,make your own luck with People Skills.
Having strong people skills is essential. Working with people in a way that shows integrity and honesty. Be easy to work with. Go out of your way to help for example make things easier for the curator or organizer. Save those picky, finicky thoughts for when you are creating your art by yourself in your studio. Don’t create problems for others.
Artists,make your own luck by being ready to jump on an opportunity presents itself. This takes a bit of bravery.
Be consistent in your production of posts blogs or newsletter. Show that you are dependable and reliable.
Be someone who others want to work with. When a new opportunity comes up, they will think of you. Conversely, when I am planning a project or activity, I will leave out people who having proven to be a problem to work with in the past.
Dress the part.
Be yourself. Be authentic. But in general the public expects an artist to dress a bit differently. Sometimes I dress as a person working in an upscale gallery might.
When I am at a reception for an individual show or a group show, I wear something that identifies me as an artist. As a fiber artist I have made special clothing that I save for shows. Save the paint covered clothing for your studio.
Keep your own name tag with you. You never know when you will be at a meeting or a show where they forget to make name tags. I was one show where they made me a name tag. They had my name and a photo of my art on it. They even placed it in a plastic cover.That is the one I saved. Perfect.
Have unique business cards with you at all times. My cards are small handmade art quilts.People love my business cards. They illustrate what my art is while giving the contact information on the back.
Artists,make your own luck by Recognizing the Strengths of Others
Others in your field have strengths that should be recognized.Share or post about others, not just yourself all of the time. Promote the work of your friends or other people working in your field. It encourages others to look at your posts.
They are some people’s posts that I just delete because they just always about themselves and do it too often.When I share about others’ work, I find more people share items about my work.
Authenticity
Part of being an authentic person is realized our own strengths and weaknesses. While one may lead with their strengths, one must also develop their weaknesses. It is not as much fun and it is often a lot of work. Many artists find meeting with the public the hardest part of their job. Others find the paperwork and organization to be difficult. Overcoming a weakness begins with baby steps. Choose one weakness to develop your skills in and take small steps to improve in that area. Taking a class may help. Being brave helps.
In conclusion, what may appear as good luck is often the result of hard work, bravery, planning, and organization. Be persistent and don’t give up. Magic isn’t instantaneous.
First of all,I prepared this Pechakucha laser talk in anticipation of presenting it at an art quilt meeting. The Pechakucha,a Japanese word for chitchat. To clarify it is a format that gives a speaker a limited amount of time to discuss a topic. For example, I would have 4 minutes to present a limited number of photos to on one topic. At the same time,numerous presenters of a variety of topics are able to share. That is to say that I prepared to discuss my passion for making art quilts from redirected materials. Moreover,FABMO, a local nonprofit is where I get my materials from. http://fabmo.org
My Art Quilt World
To begin,I do nature art quilts, abstracts and Mexican inspired fabric collages. Furthermore, I am very passionate about using redirected materials and threads to keep them out of the landfill. My inspiration comes from the materials I find at FABMO . I have been a volunteer there for many years. To clarify,I brought photos from three pieces that I completed recently to present at this Pechakucha laser talk. So I could share the process with you.
Spring Break, an art quilt
Paisley pattern on linen
First I choose the fabric, Here is the material I started with. I liked the variety of color and decided to use the colors as a basis of an abstract art quilt.
Step 1 Beginning to place pieces on the design wall randomly
Next, I couched decorative threads and yarns with the idea of making interesting details. Then I cut up the strips randomly to use as fabric. Following that trying out other fabrics on the design wall.You can see several examples of redirected couched ribbon and yarn on different colored fabric.
Finally,the completed piece using scribble quilting. Scribble quilting moves the quilt side to side while quilting to create flowing lines of sewing.
Skyward, an art quilt
GreyhoundsGreyhounds in another direction
Originally, I chose this FABMO fabric for the movement and stark lines. But when choosing the fabric,I didn’t even noticed the dogs. They were not of interest for me. First,I began to couch green and black threads.
Here, I zigzagged a variety of colors.
Then,I continued couching other colored threads. Some of these threads were light blue but read more like grey against the light grey part of the fabric.
Can you believe that the tree is made from the same material?
Finally, I was ready to use the fabric to create tree branches. Using the fabric layering technique,I laid the back fabric down on the table.Of course the back is also another piece of material from FABMO. I covered it with batting and I laid an indigo dyed piece on top for the sky background.
The finished art quilt just showed the tree tops.
The finished piece,Skyward,succeeds in its interplay of light and dark on the branches. On the other hand,one doesn’t notice the dogs at all.
Under the Shady Tree, an art quilt
The finished art quilt, Under the Shady Tree made from redirected materials.
Next is the finished piece of under the Shady Tree. Aficionados of redirected materials may recognize the fence fabric. To clarify, I used the fabric layering technique.
Unusual materials can be used in unique ways.
Furthermore,notice several leaves with bluish and gold colors. To be clear,I used a multicolored synthetic knit that kept rolling up in other projects. I couched it to help it lay flat. Then I cut it into leaves.
a different view
Last but not least,Shiny sheer fabrics add interest.
Take apart details and see what interesting fibers one can find.
Creating Texture
Moreover,texture is created by taking apart fabric details. They can be used as bunches of threads to add interest. One can also find decorative threads,ribbon and small cording . Lastly, I laid it on the foreground , covered it with tulle netting and free motioned quilted the three layers together.
To sum up,I am all about color, texture, and movement which I create using redirected materials. Thank you for letting me share some of my recent works with you.
ALICE @ CERN
Originally published By Lisa Renner in University of California, Santa Cruz student newspaper.February, 2019.
A collaboration of Art and Physics
First of all,what happens when artists visit science labs and hear scientists explain their work? Find out by attending the exhibition The Fusion of Art and Physics on view in March,2019. R. Blitzer Gallery,2801 Mission St.Santa Cruz,CA Originally,UC Santa Cruz physicist Stephanie Bailey conceived of the show to feature works created by 17 pairs of artists and physics graduate students. Last fall, Bailey organized another science-art collaboration with the show Motors Surround Us. That show had pieces of art created from simple electric motors made by introductory physics students. https://annbaldwinmayartquilts.com/2018/07/why-art-and-science/
Meet Two Collaborators
In the beginning, Dr. Bailey linked Bryson Bost,an artist, and Johnny Davenport, the physics doctoral student together. First,the young scientist showed Bost the instruments he uses to explore really thin crystals at the lab. Then, he also showed him how it is possible to see what the crystals look like on an atomic scale. Finally,Bryson Bost,a 36-year-old artist, creates intricate patterns using acrylics and pigment inks “You could actually see the spaces in between atoms,” said Bost. “It was like I can’t believe I’m seeing a pocket dimension. It’s almost science fiction.”
A Whole New World
In addition,Bost felt honored to get a chance to see a world that he has no experience with. Moreover, Davenport’s explanation of his work was enthralling. “It’s so advanced you feel like you’re talking to a messenger of some god,” Bost said. For example,“You feel like you’re getting in touch with some strange divine formula for the fusion of art and science show.
No Jargon allowed
For his part, Davenport said he enjoyed the opportunity to translate his ideas into ordinary language. Aboveall, he avoided technical jargon. Similarly,Davenport thinks scientists spend too much time in their own world. “A lot of times we fall back on technical language to be able to communicate complicated concepts,” he said. “The hardest thing to do is to distill it down to something presentable to a different medium or a different audience. But science isn’t just intended to benefit scientists.” The move for scientists to communicate with the general public is extremely necessary in these times.
Creating Began
After that first dialogue, Bost went back to his studio. First, he began working on the creation for the show. The atomic-level images he saw inspired his art.After that, he created a piece filled with intricate patterns. Furthermore,his materials included acrylics and pigment ink. In all, he spent about 40 hours. What happens when artists visit science labs and hear scientists explain their work? Find out by attending the exhibition The Fusion of Art and Physicson view in March,2019. R. Blitzer Gallery,2801 Mission St.Santa Cruz,CA.UC. Santa Cruz physicist Dr. Stephanie Bailey conceived of the show to feature works created by 20 pairs of artists and physics graduate students. Last fall, Bailey organized another science-art collaboration with the show Motors Surround Us. This show had pieces of art created from simple electric motors made by introductory physics students.
Video of the Show
Video of Fusion Show at R. Blitzer Gallery (partial) Highlighting the Collaboration of Art and Physics at R. Blitzer Gallery, Santa Cruz,CA March, 2019. Music by Robert Blitzer observed by Charles Sutten, artist.
The Collaboration
Meanwhile,the collaboration between local artists and Ph’d Physics candidates at the University of California,Santa Cruz is over. Yet, I learned that there is a wide range of study within the field of physics. Above all,some scientists are studying theorical physics using a chalkboard, chalk and a computer. However,others are doing a variety of experiments in labs.
Dr. Bailey’s Brainchild
Firstly Dr.Bailey, a non artist , organized an art show, Fusion .In addition,it is part of a mission to bring the concepts of physics to a wider public. Certainly,“Art is a much more friendly and inviting way to attract people than physics,” she says. To clarify,Dr. Bailey worked with mosaic artist, Beth Purcell to organize the show. Above all,the artwork is more than a few pieces of beautiful art. Moreover,they can be considered extraordinary teaching tools. In other words something a professor can bring into the classroom to convey an important concept in physics.
Tauna Coulson is the curator
Similarly,the artists involved also exhibited a wide range of study; painting,glass, fiber, and multimedia. Tauna Coulson, is the curator of the show is working hard to make sure everything comes together.http://coulsondesign.com/author/tauna-coulson/ In conclusion,at the end of the 2019 school year, Dr. Bailey moved to Chapman College in Orange County, California. Their gain UCSC’s and the Santa Cruz community’s loss.
