Tag: art

https://annbaldwinmayartquilts.com/2023/07/unexpected-comments-about-my-art/

How to Break your Own Art Rules

Do you have rules for yourself when making your art? You make the rules. You can break your own art rules. For a long time I had a rule for myself that once a piece of art was finished, I would leave it alone. I chose to not change or update a piece.

When I started exploring art quilts I didn’t really know what I was doing. As I got better and more confident, I decided to leave my previous work as it was. Could it be improved? Yes. But why not just move on. Oddly enough, while I knew I could do better, some of these early pieces sold.

Well, a decade passed. Now, I have a better sense of myself as an artist. I decided to take another look at certain pieces. I gave myself permission to rework a piece. If I make the rules then I can break the rule. I liked this freedom and lack of guilt. Break your own art rules.

A Prolific Artist

My fellow artists have called me prolific. That also means that I have a lot of work on hand. During the pandemic I took a different view, reusing a former piece in response to the George Floyd murder. I reused a beige,cream and black abstract art quilt (12″ x 14″ 30 x 36 cm) as a background. I appliqued a black male figure with a sparkly golden heart on top of the abstract piece. Break your own art rules.

Honoring Black Men, a black figure on an abstract beige background — Honoring Black Men 2020, 12″ x 14″ 30 x 36 cm $125.

Luckily,this piece was successful. I repeated the process with a cream colored abstract with green accents. This time I added a woman dressed in a skirt and serape for a Mexican theme.

Green and beige abstract art quilt form the backgound for a Mexican woman with a rebozo(shawl). — Green and beige abstract art quilt form the background for a Mexican woman with a rebozo(shawl).
10″ x 12″ 25 x 30cm

Pumpkin pie,this abstract quilt began the background for a Day of the Dead skeleton.

Gees Bend inspired abstract,orange deep red — Pumpkin Pie, 7″ x 8″ 18 x 20 cm

Pumpkin Pie, yellow, orange and brown abstract art quilt reimagined with a skeleton,7" x 8" 18 x 20 cm — Pumpkin Pie reimagined with a skeleton,7″ x 8″ 18 x 20 cm

Breaking a Sewing Rule

I recently broke a sewing rule. I have been sewing since high school which is a long time ago. Somewhere along the way I got it into my head that when hemming a seam I should top stitch it. The stitches would supposedly look better that way. Recently I sewed several large fabric gift bags. First, I folded 1/4 ” fabric from the top and then another 1 1/2″ fold over. To sew this seam down easily, I sewed the seam down on the inside of the bag instead of on the front. However,if there was a difference it was slight.

Gridlock I ,black and white abstract art quilt 33″ x 31″ 84 x 79 cm

I cut up Gridlock I, a large black and white abstract piece( 33″ x 31″ 84 x 79 cm)into 4 smaller pieces. They are not all the same size to maintain a detail. However, because it is an abstract the four pieces work well independently. Changing a finished piece is something that I would never have done in the past. I broke my own rule. I come from the traditional bed quilt world. To me, this quilt seemed small compared with a double size bed quilt that I was used to making. However, as wall art it is too big. Many people don’t have a large wall to accommodate such a piece. Changing one’s mind is acceptable. Give yourself permission to do it. Break your own art rules.

What rules do you make for yourself? Maybe you have rules about certain colors or materials you use? Break your own art rules. No one will know or even care. Creativity might even flow!

http://annbmayartquilts.etsy.com

https://www.saqa.com/

https://annbaldwinmayartquilts.com/2023/03/how-to-make-art-in-a-less-than-perfect-situation/

https://annbaldwinmayartquilts.com/2023/01/why-one-begins-an-art-quilt/

How to Talk to the Public about your Art

Talking to the public about your art is important. However, it is not always an easy thing for artists to do. My home town has a vibrant art scene. Long before I had even considered becoming a quilt artist, I attended local art shows. Naturally, I was drawn to the fiber arts. During this time I had several experiences that informed my later experiences dealing with the public.

Talking to an Artist

At one art event the artist made beautiful artful jackets. I wanted to say something. Yet, I had no idea what to say. I just admired her work. Perhaps I would just say,” Hey,I sew too.” I had no clue as to what I expected her to say.

Knowing how to Engage the Public

Knowing how to engage the public can be difficult. I patiently waited while she spoke with someone else she seemed to know well. When their conversation was over, she turned and walked in the opposite direction from me. It was obvious that I had been waiting to talk to her. Much disappointment on my part. I don’t know what I expected but being left alone was not it. Instead of connecting with a fan, she literally turned her back on her public. Why did she do this? Was she shy? Possibly? or uncomfortable speaking to strangers? Not comfortable talking about her art? It is hard for me to know. It is likely one of these issues.

Another Fiber Artist

Another time a few years later, I spoke with a fiber artist. She cut up antique paper to create abstract art. Having viewed her art several times, I really liked it. The conversation went something like this. “I think you are my favorite artist.” Dead silence.I am not sure what I expected her to say. But what I didn’t expect was nothing. No response from the artist. Aren’t we generally taught to at least say thank you when someone gives one a compliment? It seems that she missed an opportunity to talk about her work. She could have asked me which was my favorite piece or maybe given me a sales pitch of some kind.

What I have Noticed as a Artist

Now that I am an artist, I am on the receiving side of comments. I have noticed that sometimes the public will make unusual comments. The public is not always sure of what to say. At times it comes out strange. Sadly, I can’t remember an example to share. Yet,I believe that people just want to make a connection with the artist.

Don’t get Waylaid by a Weird Comment

Rather getting stuck on responding to the weird comment, I usually just take it that the person wants to interact with the artist. So I reply with information about myself. For example, I talk about my three portfolios, how I got started in quilts and then switched to art quilts.This tactic has proven successful.

One Visitor’s Technique

Many visitors return each month on the First Fridays Art Tour.One such visitor to my studio always said “What is new? Show me your new work.” His young son came in alone while his father remained next door with another artist. The son also asked the same thing. They had a practiced system for engaging artists. Artists can develop a similar plan.

What I Learned

What I learned from these experiences. Obviously artists are all different individuals with unique personalities. Meeting the public is not easy for many.Talking about ourselves or our work is also something people are often not comfortable with. How to fix this situation?

Be Prepared.

Talking to the public and knowing what to say takes practice. Create a laser statement about your work. This is often called an elevator speech. Describe how you work in a few sentences. Practice so that you are comfortable with what you want to say. It could include a bit about your background, inspirations, art process or how long you have been doing art. Remember that you are basically inviting the public into your space. It is your job to make them feel comfortable. It is your party! Welcome your guests!

Be aware of how you are using the phrase, thank you. Thank you is often used in several different ways without us being aware of it. One way that we use it is to end a conversation or transaction. In the art world, we want to keep the conversation focussed on our art. After an artful compliment, follow up with your motivation or inspiration for the piece. Practice makes perfect. Pertaining to a sale, I was once advised to say,”Congratulations on purchasing a piece of art” rather than thank you. By using this phrase, the conversation is elevated for the better.

Treating people with respect is a definite. Respond as you would normally with a direct response. Speak to others as you would like to be spoken to. Relax, smile and do your best. It will get easier.

I recently sold a piece at a First Fridays event. The person loved the small Mexican inspired art quilt. As we finished the transaction, he specifically thanked me for explaining my work to him.

Build on Previous Successes

Often times artists enter the art world after success and experience in other fields. Many of the skills from other jobs transfer well to the second career as an artist. Written and oral communication skills,organizational skills, computer skills and cross job descriptions. Rely on those skills to build your confidence in your new career.

Be Intuitive.

Being intuitive when engaging the public can help you decide the direction of conversation. Recognize that all conversations will not result in a sale. Many people begin sharing about their family’s experience with quilts. If they have a family heirloom at home, will they want to buy another one from you? That is unlikely, in my opinion. Are they fellow quilters? Then they may be interested in your materials and what your process is. Are they beginning to move into the art realm? Maybe they would like to sign up for a class or mentoring.

Knowing when Not to Talk.

Knowing when not to talk to the public is important too. Picking up on little clues helps. Being in the moment helps. During one Open Studios event, a couple came in. They looked around a lot and seemed interested. I tried to engage them in conversation on several topics without much luck. They were not speaking much to each other either. I kept quiet. Later I realized that they were in disagreement as to which piece to buy. My discussion was getting in the way. They bought a large underwater fantasy. Yet, this couple did not desire a lot of interaction.

Get Help.

It is fairly difficult for all artists to possess the wide range of skills necessary for an art career. One should consider developing the skills that they lack. If that is not possible, then get help. If you find that it is just too much for you to interact with the public, find a friend or family member to help you. There is nothing like having someone else singing the praises of your work or what you have accomplished. Especially if they do it in a professional way.

Ways to engage the public.

Disclaimer- I am not an expert on communications. There are many great articles on the internet on this topic. That said my first career as a teacher required me to speak to awide range of people.

Dress the Part.

I like to dress the part something on the artistic side that might identify me as the artist. Before I even say anything, they know that they are in my space. This is time to put on your professional hat. I wouldn’t wear a paint splattered shirt. But that is me. If you are showing your work in the hopes of selling it, then it is the time to show your professional side.

Greet People

Greet people. Make them welcome in your space. Let them know that you are the artist. During First Fridays I display my art in the lobby of the Art Center. My studio is a small area in an unusual corner that is not always obvious. So I point out where my studio is. I bring out my work for First Fridays Art Tour and our annual Open Studios. What is obvious to you may not be obvious to the first time visitor. Use a simple explanation of your situation or layout to engage them.

Practice makes perfect. Think ahead of time of certain information that you would like to share with the public. How long you have been working on your craft? What is your process like? Where do you get your materials? What are you inspired by? Talk about your newest pieces.These are just examples. Speaking to strangers about your art does become easier with practice.

Artist made fabric business card about 3" x 4" 8 cm x 10 cm A good way to engage with the public. — Artist made fabric business card about 3″ x 4″ 8 cm x 10 cm

Listening to what someone is saying is important. Each art show is an opportunity to learn and develop one’s skills. Keep an open mind. Every conversation is not about making a sale. Enjoy. Feel out the situation. Be authentic. Some people want to talk while others don’t. One has to be open to either situation.

Remember Maya Angelou’s quote,”I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.” Did the visitor feel welcome? Did the visitor learn something about your art? Talking to the public is what Open Studios is all about.

Issues I need to work on

Issues I need to work on while talking to the public.My town is on the tourist trail. I often ask where they are from. That is fine. My mistake is that I will talk about a trip I took to their area rather than drawing attention to my art or my process. Some topics are easier to talk about than myself and my art. I need to direct the conversation to my art and my process.

Engaging with a Fellow Fiber Artist

More recently I went to a local arts fair. I wanted to connect with a fellow fiber artist. He sold jackets with ethnic fabrics as I often used. Mentioning that I have made my own clothes and now I do art quilts. Furthermore I commented that I had just spoken with a fellow artist who was wearing a vest he had made. I was looking for an artist to artist conversation. But this fellow couldn’t switch gears. He kept showing me fabrics that he had available to make a jacket out of. Listening and switching gears can be hard.

The Story Continues

The story continues. A few months after our first encounter this artist came to my studio. I was in the middle of a project. Yet, he popped in and said, “I just wanted to say hi. Don’t want to interrupt. I am also a maker. ” Oh, what kind of a maker are you? As he spoke I realized that I had met him before at this studio. I told him this. I mentioned that I had read something about his work in the local press. His demeanor was quite different from our first meeting. We all have our bad nights. We all just need to do our best and be kind to one another. The important thing is to listen and learn from our experiences. My impression of him is totally different after our second encounter.

In Conclusion

In conclusion, thank you for letting me share some experiences that informed how I talk with the public. Be yourself. But make the people feel comfortable entering your special space. Knowing what to say to engage the public takes practice in order for it to become second nature. With time it should become easier. Enjoy the time sharing your art.

http://www.saqa.com/

https://annbaldwinmayartquilts.com/2023/06/interacting-with-the-art-public-i-felt-like-i-was-in-a-movie/

https://annbaldwinmayartquilts.com/2023/01/life-is-change-develop-a-positive-attitude-towards-change/

https://annbaldwinmayartquilts.com/2021/10/seeing-critically/

https://annbaldwinmayartquilts.com/2023/04/what-most-people-dont-know-about-art-quilting/

Add Sheer Fabrics to Create a Surprise

I often add sheer fabrics as part of my art quilt process. Sheers add a subtle dimension to landscapes and seascapes art quilts. During one show, a visitor actually squealed in delight. He had viewed a piece straight on. However, when he walked away that he saw the reflection of the shiny sheer fabric. He squealed much to his own surprise. The sheer fabric proved subtle, yet very effective. The shape may not be visible when viewing straight on but sometimes it is. It depends on the available light. Quite by accident I discovered the surprise sheer fabrics can bring.

Cinnamon Tree 15" x 45" has peach colored sheer piece of fabric in the background. — Cinnamon Tree 45″ x 15″ 114cm x 38cm

I use small pieces of sheer when creating with my fabric layering technique. The sheer fabric may be used for almost anything. Cut the sheer fabric into any interesting shape imititating a slope of a mountain range, a branch or a cloud. The sky’s the limit depending on the artist’s plan. Some sheers have shiny pieces imbedded in them. This adds extra fun. Cinnamon Tree has sheer leaves,plants, rocks and a peach colored partial background. Maybe the sun is setting or peaking through the clouds.

Subtle Depth in the Background

The use of these sheer fabrics create a subtle depth in the background. Use small pieces to create shadows or who knows what. I like to leave something up to the viewer to decide what they think it is. Each viewer will probably see something different. In Sea Canyon Depths, there are several sheer pieces that may be difficult to see at first glance.

Sea Canyon Depths 40" x 17" , an underwater fantasy with sheer fabric foliage creating depth however not easily seen. — Sea Canyon Depths 40″ x 17″ 102 cm x 44cm

Beginning steps to creating include adding sheer fabrics early in the process. Sheer fabric on background — Beginning steps to creating include adding sheer fabrics early in the process.This is the beginning of Mexican Iguana, an art quilt that will ultimately show a rain forest landscape.

Mexican Iguana a little farther along with some plants and branches added. — Mexican Iguana a little farther along.

Finding Materials

One has to be imaginitive to access materials. Of course one could buy them. But what fun is that? Finding new uses for what some might call trash is part of my process. In addition, using unlikely materials creates unusual pieces of art. Flea markets and garage sales are good places to search. Preferably I choose to gather materials that speak to me. Then later I decide how I will use them. I try the fabrics out with other materials once I am in my studio.

Desert Trees in the Wash

The fabric for the trees in Desert Trees in the Wash came from FABMO.
I embellished the tree fabric with dark stitches to add texture. https://annbaldwinmayartquilts.com/2017/01/discovering-new-stitches/ Notice the peach colored sheer fabric in the background. I slipped in a small piece of a reflective sheer in the center.

Sheer Fabrics from FABMO

The San Francisco Bay Area has many unique things to offer. FABMO.org is one of them for artists and crafters. Every week this nonprofit’s volunteers pickup discontinued materials from the decorators at the SF Design Center. The materials are then made them available to the public to keep them out of the landfill. The sheer fabrics are often slow to be adopted. When I heard this,I started to gather them.I had no idea how I would use them. Slowly they made their way into my art quilts. Would that everyone had this access to a wide variety of sheer fabrics!

You can read more about the fabric layering technique here.

https://annbaldwinmayartquilts.com/2017/07/fabric-layering-technique/

https://annbaldwinmayartquilts.com/2022/11/how-to-use-small-pieces-of-fabric/

https://annbaldwinmayartquilts.com/2022/04/free-motion-quilting-hacks/

https://annbaldwinmayartquilts.com/2022/10/art-quilters-see-fabric-in-a-new-way/

http://www.saqa.com/

Can One Find the Source of One’s Creativity?

Great Blue Heron at Dusk The first art quilt I entered in an art show. 2010

Sources of One’s Creativity

An online art quilt group asked, Who was your favorite art teacher in high school? It just so happened that when I read this post, I was in the midst of planning an important high school reunion. The question resonated with me; however, not as expected. I had never taken art in high school.In college,my art courses totaled three quarters.

What are the sources of My Creativity?

I have won several awards for my work. I have participated numerous times in our courty’s juried Open Studios Art Walk. My art has been published several times in Art Quilting Studio. Several pieces were purchased by Kaiser Permanente. The art hangs in their Scotts Valley and Watsonville, California facilities.

So what is the Source of my Creativity?

I am fair at drawing stick figures and certain animals due to my time as an elementary English as a Second Language Teacher. My painting skills are nill. I did have some art training when my school became an arts infused school. When real artists taught my students, I practiced and learned along with them.

My True Passion

But sewing is my true passion. It was my first choice for an elective class for two years in high school. The rest of my life I practiced and honed my sewing skills that contribute to the success of my current art. Today my interest is in adding Color! Texture! Movement to each of my works of art.

Designing Outfits

Back in the day, I remember designing my school outfits with a variety texture in mind without realizing the lasting effects of those efforts. People have commented that I have a good sense of color. I also attribute this to my earlier efforts to dress fashionably. I wrongly assumed that this practice came easily to most.

This is the type of sweater popular when I was in high school.

The source of my so-called talent or skill is definitely traceable to my high school years with Mrs. La Meter, the sewing teacher. She encouraged smooth zippers and flat bound buttons.

I am as surprised as anyone about my success as I never started out to become an artist. Practice is key.

What is the source of your creativity?

Updated Ponderings of 2022

I continue to search and wonder at the sources of my passion for creating fabric art. I have minimal art training. On the other hand, I do have a life long passion for fabric and sewing clothing . Later moving on to traditional quilts and then art quilts.

I met another artist recently and spent the day with her. She shared her passion for drawing and painting. Whenever she has a free moment,she sketches what is around her. Whether she is waiting in line at the bank or a gas station, her sketch book is never far.

Sketching

Inspired by this new friend,while waiting on the phone for a bank representative, I tried to emulate her. I began to sketch the fresh pineapple on the kitchen table. I looked and sketched and looked and sketched. It didn’t turn out half bad. The problem was I wasn’t interested in continuing. Sketching didn’t hold my attention for a long period of time. I am sure if I kept at it I could become competent. There is the important part.

The Answer

It brought home the fact that the activity must engage the person enough that they will stick to it. It doesn’t matter if they are good or not. However, they must want to continue with it over a long period of time in order to master a variety of skills and become extremely proficient. It doesn’t matter what the skill or art form is. No one starts out a master. But they must be interested enough to continue doing it over and over. That is the source of creativity.

https://annbaldwinmayartquilts.com/2020/02/how-to-name-an-art-work/

https://annbaldwinmayartquilts.com/2019/09/becoming-more-creative/

https://annbaldwinmayartquilts.com/2021/12/on-calling-yourself-an-artist/

https://annbaldwinmayartquilts.com/2021/03/beginning-steps-to-creating/

https://annbaldwinmayartquilts.com/2021/10/seeing-critically/

Does it Help to be an Educated Artist?

An Educated Artist

I met an educated artist a while ago. Subsequently, we talked about art. She knew all the names of the unique colors. At certain times of the convo, I didn’t even recognize the name she used. Initially,her depth of knowledge blew me away. I had not studied art. I had not memorized nor had even heard of some of the colors. In short, I assumed that she was an excellent artist. However, was I correct to make that assumption?

Her Work

Subsequently, she showed me some of her work. These included drawings,paintings and mixed media that had done over the years. Her work was good not great or spectucular. Knowing all the correct art terms didn’t help her create better art. Maybe time spent is the studio is important. Focus one’s attention. Decide what one’s goals are.

What Makes a Great Educated Artist?

So what really contributes to making a great artist? Skills, time to practice, resiliency, and above all, the mastery of materials.

Skills and Materials

The great thing about art is that everyone can and should make art. Humans need to make art. Each human can choose what skills and materials they want to use. They may choose materials that they have readily available. The skill needed to use those materials needs to be developed.

Time

One has to have time to develop those skills. Time could be set aside daily or weekly. Or on the other hand, it could be developed over years. It is difficult to juggle a job, family and art. Each person gets to choose how they will handle it.

Resiliency

Resiliency is necessary to keep going. Artists need it so that they continue on in spite of setbacks. One cannot give up. Making a living from selling art is hard. Some choose different pathways to do something in art for their career. Teaching or commercial art are just two paths. Others wait until retirement to work on their art full time.

In Conclusion

Skills and the mastery of materials, time, and resiliency contribute to the making of a great artist.

https://annbaldwinmayartquilts.com/2022/06/how-to-discover-your-artistic-signature/

https://annbaldwinmayartquilts.com/2022/01/to-frame-or-not-to-frame/

http://saqa.com/

https://annbaldwinmayartquilts.com/2021/12/on-calling-yourself-an-artist/

https://annbaldwinmayartquilts.com/2020/04/forging-your-own-art-path/

What Do You Want to Know? Frequently Asked Questions

Smilin', the all silk art quilt was made after one of the times that we thought the Pandemic was over.

Frequently Asked Questions about Materials

Where do you get your materials from?

Above all,I usually get my materials from FABMO, a nonprofit that gathers materials weekly from the San Francisco Design Center. fabmo.org Then they make the materials available to the public to keep them out of the landfill. Furthermore,these materials are new, high end , high quality fabrics. For example,linen, silk and other unique fabrics are readily available. Most importantly,these fabrics cannot be found in regular fabric stores. It is a win-win situation.

More recently, people have been giving me fabric.Thy know that I will put good use to it. Sometimes it is just a few yards and sometimes it can be more.When a loved one who sewed passes, they may leave behind a lot of fabric. This year I was gifted a lot of fabric in this category. I keep the pieces I think I might use and pass on the rest to others who may use it.

Frequently Asked Questions about Inspiration

What motivates you?
Using fabrics and materials sustainably motivates me. I rarely throw anything out.

Where do you get your inspiration/ideas from?
My inspiration comes from how the materials play with one another. I usually decide ahead of time which portfolio I will make next. It could be abstract, nature, or Mexican inspired.

Frequently Asked Questions about Time

How long have you been sewing or quilting?
In high school,I took two years of sewing. Then I continued sewing. In the 1970s,I took my first quilting class at a neighborhood fabric store. I stopped counting my bed quilts at 300. Then around 2008, I began making art quilts.

Doesn’t it take a long time to make a quilt ?

Yes, it does. But I used to think about writing a book. A quilt doesn’t take as long as that.

Sewing Questions

What kind of a machine do you use?
Above all,my machine is a computerized Lily Husquavara.

Do you sew by hand?
For instance,I hand sew my sleeves or fabric tubes. Furthermore,art quilts with facings are handsewn to the back. Moreover, most of my quilts are done by machine. On the other hand,I do sew small details or found objects on my art quilts. by hand. However, the majority of my work is machine pieced and machine quilted.

Do you sew clothes?
In short,I rarely sew my own clothes anymore. In the same vein,I do not sew clothes for others.

How to Feel Good about Calling Yourself an Artist

On Calling Yourself an Artist,tree art quilt — Along the Path 34″ x 22″ 86cm x 56cm

Feel good about calling yourself an artist

I create wall art with fabric. They may be abstract, landscapes or seascapes. I have been doing this for over 10 years. Yet why is it so difficult to call myself an artist. It becomes easier when I am writing it on a show application.Why don’t I feel eel good about calling myself an artist?

What is the image of being an artist? The label artist comes with many postive and negative expectations. On the positive side, artists are flamboyant. They do the unexpected. Following society’s rules are not for them. One might say that they were the first rock stars. This lifestyle can be attractive to some.

For example, Big Eyes, the 2014 movie was about a man who was in love with the image of being an artist. He preferred the idea of being an artist rather than actually creating art. He also found that it was an easy way to con people too.

However, these are not the reasons that I make art. I make art because I have to. My one artistic skill is working with fabric and yarn. I know how to sew and quilt. Drawing and painting are not my strengths.

On Calling Yourself an Artist, blue and grey abstract art quilt — Between Showers
25″ x 20″ 63cm x 51cm

A Negative Stereotype

On the negative side, the general impression of artists is that they are moody and difficult to get along with.Their spontaneity makes them completely unpredictable. Their lives are disorganized to the point of total confusion. I ran into former colleague who used to paint. I asked her if she was still painting. She said, “No. I am happy now. Only unhappy tormented people paint.” Sadly, this person had something to give the world as a painter. Hopefully, this stereotype is changing. While society needs artists, artists also need to people that are approachable and reasonable to work with.

The Pressure

After college graduation when I was beginning to make my way in the world, I would tell people. I am a writer. When they asked what do you write? We would answer, I write checks. Somehow this deflected the weight of trying to live up to an image and responsibility of being a producing writer.

Furthermore the same pressure weighs on artist’s too. If I call myself an artist then I must be making art. I must be putting on shows. Art should be flying out the window. It should be my full time job.

People with art degrees feel even more pressure. They studied and worked hard to learn about art. However, a common complaint is that the schools teach them to make art. But they don’t teach them how to take their art to the next level and to sell their art. This pressure weighs heavy on some people.

In spite of these stereotypes, all humans can and need to create beauty. We do it in different ways. Cooking food, gardening dressing and decorating our houses. and in many ways.

Light in the Forest
42″ x 40″ 106cm x 102cm

Growing into a new Profession

It takes a while to grow in to any new profession. We work hard to get qualified. Then we try and find a position in our field. Yet it often takes time before we feel the title fits who we are.. Who truly felt comfortable their first year or years in a new position? Looking back probably not many of us. With my first born I felt like a mother for the first time not when she was born. It was weeks later when I was able to calm her down when she was fussing in her crib. We need to give ourselves time to grow into our new positions. Adding layers of expectations and stress is not helpful. Now after 10 years saying that I am an artist is becoming easier.

https://annbaldwinmayartquilts.com/2018/11/sources-of-ones-creativity/

All art quilts shown in this post sold. You may find more at my etsy shop. https://www.etsy.com/shop/annbmayartquilts/

African Fabrics in Art Quilts

My art quilts are all about Color! Texture! and Movement! Inclucivity and respect are important themes that motivate me. It is no wonder that African fabrics embody my vision. The contribution of the African fabric to the fabric world is undisputed.

My Earlier Art Quilts

Travel Enriches is one of my earlier quilts. In our early thirties, my husband and I were able take a year traveling around Europe. We encountered people from the world over.We met people from Africa, the Middle Eastern and Asia as well as Europeans. For me traveling is not only about taking in the famous sights. It is about learning how other cultures think and live. This art quilt celebrates the brotherhood of man.

African Crabs continues in this same vein bringing together divergent fabrics from around the world in this fabric collage. Even in my early pieces, I added 3D pieces of found jewelery or items. An adventure in color for the brave.

**Together,We All Win**, 50″ h x 33″ w, 2010

I created Together, We All Win for a show with a theme of games. My family was obsessed with football. Of course I thought of the arm action meaning touchdown! The title has a double meaning two things.To win a game, the team needs to work together. The world is a better place when we all work together. Bright and varied African and international inspired fabrics create the body.

Later Works with African Fabrics

African Abstract began with the deep red and green fabric in the center of the piece. It was a challenge to find colors that coordinated with it. Serendippity happened when the fabrics had circles and dots on them. Several bone beads hand sewn on continue the movement.

https://annbaldwinmayartquilts.com/product/african-woman-art-quilt/

Under the Savannah Shade using African fabrics — **Under the Savannah Shade** using a mix of African fabrics and other fabrics, 33 ” x 38″, 2017

Under the Savannah Shade has vibrant oranges, greens and yellows. Decorative threads are zigzagged onto fabric and then cut apart for texture. Quilting with swervy lines from one side of the art quilt to the other adds movement.

In Conclusion

African fabrics bring a unique combination of color, joy, and movement to the textile world. Honor the black experiences by using them in your art quilts.

https://www.etsy.com/shop/kame79

Black Lives Matter

There are several shops on Etsy selling African fabrics.

Here is one.

Learning more about African Fabrics

Information is provided by Kitenge a fabric and tailor shop in London.

Did you know that African print fabric (commonly known as ‘Ankara’ in West Africa and ‘Kitenge’ in East Africa) were first produced in Indonesia? As early as the 1800s,West African soldiers serving in Indonesia started to import the fabrics into Africa. Later, European traders replicated the fabrics using modern machinery, particularly the Dutch who are one of the main producers of the fabrics today.

Have you discovered African wax print clothing and would like to learn more? Or would you like to know more about the current market and what is causing African textile mills to close?

Continue reading to find out how you can help support the African textile industry…

Method

The method of producing African wax print fabric is called batik, which is an ancient art form. Melted wax creates designs printed onto the cloth. Then the dye is applied usually using 2 or 3 colors. The wax-resist dyeing technique and special machinery creates the famous crackling effect.

Features & Benefits

The 100% cotton, colourful cloth keeps you cool in hot climates and warm in cold climates. The vibrant and bold anakara fabric prints are fun to wear and make you feel good.

Wearing modern African print clothing can make you stand out in the crowd. Be unique, be different and add some colour to your life!

Hidden Meanings

Tribal patterns and motifs of the wax print fabrics identify each unique African culture . Each design and colour can reflect local traditions and symbols such as the group, marriage and social status of the wearer. Some African women use them as a non-verbal way of communication.

A typical African print fabric shop at a market in Tanzania, East Africa

Current Market

Sadly, several remaining African textile mills are closing and skilled, local workers are losing their jobs. The main reason being that they simply cannot compete with the cheap Asian imports from countries including China and India sold at nearly half the price!

Counterfeit Fabrics over Originals

Locals are purchasing ‘fake’ counterfeit fabrics over ‘original’ African (or European) produced fabrics because of the price difference, which is understandable due to the current economic climate. The original fabrics are usually sought after for special occasions.

The counterfeit fabrics claim they are made in an African or European country on the selvedge! Yet, sadly the trademarks and logos are false.

Quality and Colourfastness

However, the quality and colourfastness of the counterfeit fabrics are inferior to the European and West African produced fabrics. It takes the Chinese 1 to 3 months to copy a new design so speed to market is key for the African and European textile mills to differentiate themselves and compete.

African Governments

African Governments should do more to stop the importation of counterfeit wax print fabrics from Asia before it is too late. Otherwise, the designs of African textile mills will continue to be copied and exploited and the local industry will continue to suffer.

Support Small Businesses

Small businesses like us play our part in supporting the African textile industry by producing high quality, African Wax Print Clothing locally using original fabrics that are made to last.

“The customer feedback we have received about our fabrics overall has been very positive and is one of the main reasons behind our success” (Sian, Kitenge Founder)

Ankara Fabrics

Ankara fabrics are easy to fall in love with due to their bright colours and unique designs. Modern afrocentric clothing designs are stylish and fun to wear. Go bolder as it could transform your life (and your wardrobe). Take a look at our latest Ankara styles.

Please help to share this post on social media to show your support for the African textile industry. Raising awareness of the current market situation is really important for its chance of survival.

https://artsandculture.google.com/exhibit/the-fabric-of-africa/xwISIFA_fBjSIA

How to Begin Creating Art

Face with a Key Nose

Beginning Steps to Creating, Mixed Media assemblage, art in a box with open sides, antique key orange and peach — Orange Key,9″ x 7″

Beginning Steps to Creating Art

Beginning steps to creating art suggests some new ways of thinking about making our world beautiful. Creating comes naturally to humans. We are innately artists. We try to make our world beautiful. Some of us draw; while some of us paint. Others create beautiful food and table settings for our loved ones to enjoy. Others create beauty in their gardens.

Unfortunately, many of us do not feel that we are artistic. I certainly didn’t for many years. Yet, each of us can create beauty in our unique way. Here are some suggestions for beginning steps to creating a more beautiful everything or whatever you choose.

Beginning Steps to Creating Beauty

Part of my career as an elementary school teacher was spent at an arts infused school. We brought in special artists to teach across the arts curriculum from drawing, painting to theatre and dance. I had been at this school before this program started.

When the program began, the whole school adjusted its focus. I witnessed sn incredible shift in students’ attitudes. We told the children that we are going to try and make all of our work beautiful. We would not criticize the work of others. Trying to do one’s best was the important part. The attitude of the whole school changed for the better. It was so powerful to witness that change.

Think Differently.

Looking outside the box. Many times it is our own perspective that keeps us from seeing things in a new way. Often we acquire materials or fabric with a particular idea in mind. Then it is difficult to get rid of that idea or to envision a new use for the item.

Beginning Steps to Creating,Do these look like coffee beans on the fabric? — Do these look like coffee beans?

When I got this green fabric, it reminded me of coffee beans. That is the image that stuck in my head. I wasn’t sure how to use the fabric. It sat on the shelf for a long time. Then I began to think differently about it. How could I use it a different way? I decided to use the ovals as bit of motion in the truck of a tree. What little bits of color could I highlight to pull those colors to the forefront and diminish the greenish colors ? A peachy orange shade would do the trick. As my county recovered from the largest forest fire ever, my art quilts reflect that new growth.

Rebirth of a Forest,art quilt,29" x 22" fabric tree made from fabric that looked like coffee beans,greens and oranges — Rebirth of a Forest,art quilt,29″ x 22″

Turn the Fabric Around

Another way to look at a piece of material or fabric in a new way, is to turn it around. If it has definitite figures on it ,what will they look like from another direction? New and unrecognizable is what I would be going for. When an abstract artist finishes a work, they often turn the art upside down and sideways to see if it might look better from a different angle. The original fabric for the trees and branches in Skyward was a black,white and gray fabric that had greyhound dogs on it. The movement of the fabric caught my eye before I noticed that there were actual dogs on it.

grey and black dogs on fabric, Beginning Steps to Creating — Greyhounds

black and white branches on an indigo died background,Beginning Steps to Creating — Skyward, an art quilt

Imagining Shapes

While working on my nature quilts, I cut out shapes for trees, branches, fish, rocks, or waves. I look at the fabric to see if the shapes on the fabric tell me what it would like to be in my piece. Does a swervy line imply a wave? Maybe a mountrain will appear from the shapes on the fabric? If no shape strikes me on the fabric, then I create my own mountain or a river. The idea is not to find a piece of fabric that has a river on it. But to create a river from lines that the original fabric artist had not thought about..

Visualization

As I am creating, I try to visualize what the piece is lacking. What color or shape needs to be in a particular spot? This often guides me to a hue or textile choice. This is a newly acquired skill for me. I surprised myself when I realized visualization was happening. You can make it happen for you too.

Activities to Practice Beginning Steps to Creating

Here are a couple of powerful skills that can be practiced with no materials at all. Look at pieces of art in the real or virtual world. There certainly are many examples available on social media. Ask yourself, do you like this work? What do you like about it ? How would you make it better? If it were your piece to change, how would you modify it?

Keys to my Heart, 9" x 7", mixed media, art in a box, antique keys and white details — Keys to my Heart, 9″ x 7″

Another practice activity is to think of how many different non traditional ways an item could be used. I recently acquired a box of antique keys. I am venturing forward into assemblage, putting repurposed items together in unusual ways. What could the keys be used for? The possibilities are endless; a nose? hair? or other body parts or just purely decoration? While I searched the internet for inspiration, I came up empty. Left to my own devices,I have sprinkled this post with the ideas that I came up with.

Face with a Key Nose, mixed media — Face with a Key Nose

In Conclusion

Start with baby steps. Create small bits beauty in your life. Practice helps. I took an assemblage class over two years ago. It took me this long for the ideas to perculate through my brain. Be kind to yourself during the learning process. Trying in the first step. There are no mistakes just whether you as the artist likes it or not. If not, modify it. Dip into your humanity and make the world more beautiful.

https://annbaldwinmayartquilts.com/2021/07/art-materials-hard-or-soft/

https://annbaldwinmayartquilts.com/2021/09/develop-your-art-passion/

https://annbaldwinmayartquilts.com/2021/01/first-steps-towards-assemblage/

https://annbaldwinmayartquilts.com/2021/02/recent-attempts-at-assemblage/

https://annbaldwinmayartquilts.com/2021/05/paper-as-art-material/

More ideas- Here is one of my favorite artists.
https://www.janetsilverglate.com/

Recent Random But Good Acts

Let Us Breathe, Ann Baldwin May

Recent Random But Good Acts demonstated how divergent parts of one’s life can come together and make sense.

Recent Random But Good Acts

Shelter in Place

During the recent Shelter in Place, I was horrified,like many Americans, to see the murder of George Floyd. How to process forward from such a horrific event! Not an easy task! How to even begin distilling my views? Yet I felt compelled to create something. A decade had passed since I had created political quilts. It had been so long. I hadn’t even remembered that I had made them.

Finally, I created an art quilt with two black figures, a man and a woman dressed in African fabrics, appliqued on a variety of skin toned fabrics in the background. Red and blue hearts on their chests represented the love the black people have this country in spite of the fact that the love is not always returned.

We Are the Story,Recent Random But Good Acts — Let Us Breathe, Ann Baldwin May,2020

In the past several years, I had refrained from entering national shows. My focus became local. I choose to show at the juried county Open Studios, local shows and First Friday Art Tour.These events have all been cancelled . When I saw a call for entry, Racism: In the Face of Hate We Resist, I considered entering. Yet, I hestitated. My piece is subtle. Maybe it it time for black artists to shine and take the spotlight. Then I remembered the slogan, White Silence is Violence. I needed to enter the show to show my support to the issue. This slogan rang true to me because that is exactly the way I feel about good men who are not vocal enough about women’s rights. So I entered my piece and was accepted.

Dr. Carolyn Mazlotti, curator

Dr. Carolyn Mazlotti, founder of Women of Color Quilters Network, is the curator. I had heard her speak at a Studio Art Quilt Associates(SAQA) conference several years before. She has done an incredible of curating and promoting the show. There will be seven or more venues. However at the time of my acceptance, many were still being arranged. So I was not made aware of the venues at all. That was not a problem for me as I sent my art quilt off. But it set the stage for the random event.

wild fires

Plans for the show in Minneapolis continued while wild fires raged in California. Many fires started due to a spectacular lightening storm with lightening strikes hitting dry foliage. Unfortunately, one large fire was nearby in my county. The large property adjacent to my house was on mandatory evacuation. Firefighters were in short supply due to the overwhelming number of fires through the state. Another lightening storm was predicted in several days. We moved special items to my studio located in a safe spot, downtown. I self evacuated myself to a friend’s house 12 miles away. Luckily, more firefighters arrived and the forecasted lightening storm was uneventful. In general, the weather cooperated. I returned home after the second storm passed over us. Even though we were all fine, it took a week to readjust and recover from the disorientation.

Random Act #1

It was during that first week back home that the first random event happened. I received an email from an old friend, Heidi. She included a photo of my artwork in a Swedish newsletter. What? How did she get my art? How did my art get into a Swedish Newsletter? Heidi and I went to high school together. We had reconnected at a previous high school reunion. As far as I knew she was not Swedish. She graciously slugmailed me Posten,the newsletter of the American Swedish Institute in Minneapolis. Then the random pieces fell together.

We Are The Story — Announcement in Posten,the newsletter of the American Swedish Institute.

Random Act #2

Heidi had previously worked at the American Swedish Institute so she was on their newsletter mailing list. She informed me that in fact she was half Swedish and half Finnish.The American Swedish Institute in Minneapolis is the site of the first venue of the shows. My art quilt was the photo chosen to advertise the new show.

Random Act #3

The newsletter had chosen my art quilt out of many. That is random.

Random Act #4

Then they printed my name along side of the quilt. This doesn’t often happen. If the name had not been prominently shown, my friend wouldn’t have even suspected that it was my art.

As an aside the Textile Center of Minneapolis is one of the major sponsers of this show. The Textile Center’s gift shop was one of the first places outside of my local area that I had shown my work. Unfortunately, it was during the Great Depression of 2006-08. The Textile Center will be final venue of the show in June,2021.

In conclusion, if my friend had not worked at the Swedish Institute, she would not have received the newsletter. If the Institute had not placed my name center stage and very visible, my friend might not have noticed it. So it was with much relief that I finally undertood how the different parts of my life had come together recently through rather random connections.

Home

https://carolynlmazloomi.com/
https://textilecentermn.org/wearethestory/

https://annbaldwinmayartquilts.com/2020/07/political-quilts2008-2014/

https://annbaldwinmayartquilts.com/2021/02/visual-arts-network-santa-cruz-county/

Need a pick me up? View Art here.

Pajaro Valley Arts Show 2020

**“People, Places & Poetry”**

Finally,the theme of this year’s show is “people, places and poetry”. The artists were asked to create a passionate expression of people and places that they have experienced in life. We asked our members to create fresh new and original artwork to make this truly a unique member’s exhibit.

In conclusion,PVA thanks our curators, laura laura and Lyn MacDonald

(If you are interested in purchasing any of the beautiful artwork in the show with a listed price, please contact our Gallery Coordinator at brianna@pvarts.org

Group1 Pajaro Valley Arts Show

Found Torso by Jeff Arnett, $450, Sculpture 14" x 9" x 3",Pajaro Valley Arts Show — Found Torso by Jeff Arnett, $450, Sculpture 14″ x 9″ x 3″

Winter of Rain by Jeff Arnett,Pajaro Valley Arts Show — Winter of Rain by Jeff Arnett

Silence by John Babcock, $2400, Pigmented paper, bamboo, wood & brass 47" x 24" x 3",Pajaro Valley Arts Show — Silence by John Babcock, $2400, Pigmented paper, bamboo, wood & brass 47″ x 24″ x 3″

“A special eye is always on you”. Billy Collin’s “All Eyes” by Michael Bashista, $300, Marble Sculpture, 12" x 5,Pajaro Valley Arts Show" x 4" — “A special eye is always on you”. Billy Collin’s “All Eyes” by Michael Bashista, $300, Marble Sculpture, 12″ x 5,

Green Dew Drops by Jean Sheckler Beebe, $475, Acrylic on Panel with Woodfried Ceramic Cup, 17.5" x 23.75" x 5" — Green Dew Drops by Jean Sheckler Beebe, $475, Acrylic on Panel with Woodfried Ceramic Cup, 17.5″ x 23.75

Poem to accompany Green Dew Drops by Jean Beebe

Blanketed Boulders by Mike Beebe, $600, Acrylic on Panel with Woodfried Ceramic Cup, 17.5" x 23.75" x 5" — Blanketed Boulders by Mike Beebe, $600, Acrylic on Panel with Woodfried Ceramic Cup, 17.5″ x 23.75″ x 5″

Poem to accompany Blanketed Boulders by Mike Beebe

Family - Bound By Memories by Eva Bernstein, $300, Monotype, 15" x 15" — Family – Bound By Memories by Eva Bernstein, $300, Monotype, 15″ x 15″

When We Were... by Sarah Bianco, $2100, Mixed Media on Canvas, 60" x 72",Pajaro Valley Arts Show — When We Were… by Sarah Bianco, $2100, Mixed Media on Canvas, 60″ x 72″

Watsonville at Home by Jeri Bodemar, Color Photograph Poster, 36" x 24" — Watsonville at Home by Jeri Bodemar, Color Photograph Poster, 36″ x 24″

Group 2 Pajaro Valley Arts Show

Reborn in Starlight by Brad Burkhart, $850, High-fried Clay Relief, 14" x 22" x 3" — Reborn in Starlight by Brad Burkhart, $850, High-fried Clay Relief, 14″ x 22″ x 3″

Sundown by Brad Burkhart with comments Pajaro Valley Arts Show — Sundown by Brad Burkhart with comments

Spring Showers by Ruth Carroll, $1300, Oil on Linen, 18" x 24" — Spring Showers by Ruth Carroll, $1300, Oil on Linen, 18″ x 24″

Woody at the Lighthouse by Larry Cohen, $250, Digital, 11" x 14" Pajaro Valley Arts Show — Woody at the Lighthouse by Larry Cohen, $250, Digital, 11″ x 14″

Covid Reflections by Kati D'Amore, $500, Oil on Linen, 16" x 20" — Covid Reflections by Kati D’Amore, $500, Oil on Linen, 16″ x 20″

Blue by Karen Druker, $575, Mixed Media, 28" x 22" — Blue by Karen Druker, $575, Mixed Media, 28″ x 22″

Happy Haint Studio Spirit (Belle) by Laura Laura, $500, Assemblage, 38" x 24" — Happy Haint Studio Spirit (Belle) by Laura Laura, $500, Assemblage, 38″ x 24″

Face of the Vase by David Fleming, $1150, Oil on Canvas, 30" x 24" — Face of the Vase by David Fleming, $1150, Oil on Canvas, 30″ x 24″

Cassandra: Face on the Vase by Jeanne Lance (to accompany David Fleming artwork)

Magdelena by Judy Gittelsohn, $2500, Golden Acrylic on Linen, 24" x 18" — Magdelena by Judy Gittelsohn, $2500, Golden Acrylic on Linen, 24″ x 18″

Group 3 Pajaro Valley Arts Show

People, Places, Poetry (to Christo) by Jane Gregorius, $300, Mixed Media, 18" x 18" — People, Places, Poetry (to Christo) by Jane Gregorius, $300, Mixed Media, 18″ x 18″

Le Printemps (Springtime) by Michele Hausman, $1800, Oil on Linen, 18" x 24" — Le Printemps (Springtime) by Michele Hausman, $1800, Oil on Linen, 18″ x 24″

Soil Song by Michele Hausman Pajaro Valley Arts Show — Soil Song by Michele Hausman

Flying to Freedom VI by Anita Heckman, $250, Linocut, 12" x 12" (Framed: 19" x 19") — Flying to Freedom VI by Anita Heckman, $250, Linocut, 12″ x 12″ (Framed: 19″ x 19″)

The Poet by Hedwig Heerschop, $750, Color Photograph, 20" x 24" — The Poet by Hedwig Heerschop, $750, Color Photograph, 20″ x 24″

The English Langue by Derek Walcott (to accompany artwork The Poet by Hedwig Heerschop)

Lavender Field by Joan Hellenthal, $600, Pastel, 16" x 18" Pajaro Valley Arts Show — Lavender Field by Joan Hellenthal, $600, Pastel, 16″ x 18″

Thinking of Miles by Anouk Johanna, Water- soluble Colored Pencil, NFS

The Beauty of a Spring Day at Pleasure Point by Bill Kennann, $750, Oil on Canvas, 14" x 18" — The Beauty of a Spring Day at Pleasure Point by Bill Kennann, $750, Oil on Canvas, 14″ x 18″

Dickey Bird by Peter Koronakos, $135, Assemblage, 7" x 3" x 10" Pajaro Valley Arts Show — Dickey Bird by Peter Koronakos, $135, Assemblage, 7″ x 3″ x 10″

"VOTE" Your Vote is Your Vote by Lucien Kubo, $650, Mixed Media/Assemblage, 16" x 16" — “VOTE” Your Vote is Your Vote by Lucien Kubo, $650, Mixed Media/Assemblage, 16″ x 16″

A Conversation by the Sea by Barbara Lawrence, $3000, Oil on Canvas, 30" x 30" — A Conversation by the Sea by Barbara Lawrence, $3000, Oil on Canvas, 30″ x 30″

Group 4 Pajaro Valley Arts Show

Art and Allergies by Carol Worthington Levy, $800, Acrylic on Clay Board, 20" x 16" — Art and Allergies by Carol Worthington Levy, $800, Acrylic on Clay Board, 20″ x 16″

Hope For the World by Gaby Litsky, $150, Textile-Quilt, 23.5" x 19.5" — Hope For the World by Gaby Litsky, $150, Textile-Quilt, 23.5″ x 19.5″

Cuba by Lyn MacDonald, $500, Oil Paint on Cast Paper & Mixed Media, 25" x 22" — Cuba by Lyn MacDonald, $500, Oil Paint on Cast Paper & Mixed Media, 25″ x 22″

Running Mates by Helen Mackinlay, $100, Lino Etching with Monotype, 11" x 14" Framed — Running Mates by Helen Mackinlay, $100, Lino Etching with Monotype, 11″ x 14″ Framed

My Garden, A Never Ending Inspiration by Martine Mahoudeau, $325, 9" x 12" — My Garden, A Never Ending Inspiration by Martine Mahoudeau, $325, 9″ x 12″

Art of the Splash by Francine Marshall, $1499, Oil on Canvas, 24" x 30" — Art of the Splash by Francine Marshall, $1499, Oil on Canvas, 24″ x 30″

Alien Landscape by Marty McGillivray, $150 (unframed), Photography, 12.5" x 18.5" — Alien Landscape by Marty McGillivray, $150 (unframed), Photography, 12.5″ x 18.5″

California Gold by Marlene Mirassou, $250, Archival Digital Photograph with Handmade Redwood Frame, 36" x 16" — California Gold by Marlene Mirassou, $250, Archival Digital Photograph with Handmade Redwood Frame, 36″ x 16″

Going Viral - Black & White by Chris Miroyan, $750, Acrylic on Panel, 36" x 24" — Going Viral – Black & White by Chris Miroyan, $750, Acrylic on Panel, 36″ x 24″

The Border Crossed Us by Ann Baldwin May, 32" x 26" — The Border Crossed Us by Ann Baldwin May, 32″ x 26″,$3200.

Group 5 Pajaro Valley Arts Show

Taipei Temple by Don Monkerud, $150, Photo, 16" x 20" — Taipei Temple by Don Monkerud, $150, Photo, 16″ x 20″

Reflecting in South County by Bruce Nicholson, $350, Multi, 15" x 18" (Framed) — Reflecting in South County by Bruce Nicholson, $350, Multi, 15″ x 18″ (Framed)

The End of All Our Exploring by Janis O'Driscoll, $80, Photopolymer Etching on Stonehenge with Eco-print Pieces on Washi Mounted on Wood Panel, 14" x 11" — The End of All Our Exploring by Janis O’Driscoll, $80, Photopolymer Etching on Stonehenge with Eco-print Pieces on Washi Mounted on Wood Panel, 14″ x 11″

Woman Emerging by Jeff Owen, $600, Sculpture - Stainless Steel, 35" x 18" — Woman Emerging by Jeff Owen, $600, Sculpture – Stainless Steel, 35″ x 18″

This Place by Rosy Penhallow, $550, Wood, Metal Coil, Gold Pigment, 18.5" x 6.75" — This Place by Rosy Penhallow, $550, Wood, Metal Coil, Gold Pigment, 18.5″ x 6.75″

Red Dot by Bela Ravikumar, $200 Digital Print Media, 15" x 11" — Red Dot by Bela Ravikumar, $200 Digital Print Media, 15″ x 11″

Eyes on Fire by Ronit Reznichky, $800, Acrylic on Canvas, 24" x 24" — Eyes on Fire by Ronit Reznichky, $800, Acrylic on Canvas, 24″ x 24″

Tribal III by Vivienne Riggio, $800, Wire, Plaster, Acrylic Paint, 28" x 15" x 15" — Tribal III by Vivienne Riggio, $800, Wire, Plaster, Acrylic Paint, 28″ x 15″ x 15″

Going Places by Rose Sellery, $1200, Mixed Media & Found Objects, 20.5" x 8.75" x 8.5" — Going Places by Rose Sellery, $1200, Mixed Media & Found Objects, 20.5″ x 8.75″ x 8.5″

Sunrise on Hope by Beth Shields, $1200, Oil on Canvas, 40" x 20" — Sunrise on Hope by Beth Shields, $1200, Oil on Canvas, 40″ x 20″

Group 6 Pajaro Valley Arts Show

Shelter In Place by Judy Stabile, $250, Mixed Media Collage, 12" x 16" — Shelter In Place by Judy Stabile, $250, Mixed Media Collage, 12″ x 16″

Midnight Glass by Madeleine Stober. $333, Acrylic, 48" x 18" — Midnight Glass by Madeleine Stober. $333, Acrylic, 48″ x 18″

At Gortyn, Crete by Lee Taiz, $400, Watercolor, 24" x 29" — At Gortyn, Crete by Lee Taiz, $400, Watercolor, 24″ x 29″

This Must Be The Place by Terry Teitelbaum, $96, Photo Print on Metal, 12" x 12" — This Must Be The Place by Terry Teitelbaum, $96, Photo Print on Metal, 12″ x 12″

Back To the Garden by Lynne Todaro, $850, Bronze, Nickel-Silver, Found Object, 10" x 14" x 8" — Back To the Garden by Lynne Todaro, $850, Bronze, Nickel-Silver, Found Object, 10″ x 14″ x 8″

Line Dance by Sally Vaughn, $295, Giclèe on Metal of an Original Tempera on Paper, 12.5" x 24" — Line Dance by Sally Vaughn, $295, Giclèe on Metal of an Original Tempera on Paper, 12.5″ x 24″

Looking Back by Lynda Watson, Pencil Drawings on Paper, Sterling Silver, Mixed Media, 14" x 6" NFS — Looking Back by Lynda Watson, Pencil Drawings on Paper, Sterling Silver, Mixed Media, 14″ x 6″ NFS

Harriet Tubman by Melissa West, $85 (unframed), Linoleum Block Print, 22" x 25" — Harriet Tubman by Melissa West, $85 (unframed), Linoleum Block Print, 22″ x 25″

Eureka Dunes 4 by Chad Williams, $300 (on metal unframed), Photo, 10" x 30" ($475 on single matt with black frame) — Eureka Dunes 4 by Chad Williams, $300 (on metal unframed), Photo, 10″ x 30″ ($475 on single matt with black frame)

Autumn Glory by Sylvia Winsby, $150, Pastel, 9" x 12" — Autumn Glory by Sylvia Winsby, $150, Pastel, 9″ x 12″

Art and Allergies by Carol Worthington-Levy

About Pajaro Valley Arts (PVA)

Our Mission: “Bringing the community together through the arts.”

Pajaro Valley Arts (PVA) has been successfully carrying out its mission of “bringing the community together through the arts” since 1984. PVA fosters and promotes the arts in this community with professional visual art exhibits in partnership with guest curators, schools, city government, and local organizations. This organization encourages all art forms and helps connect the community to the artists and their work at no cost to the public. PVA believes every person deserves to have access to the arts and conducts year-round programming to fulfill this vision.

History and Accomplishments:

The Pajaro Valley Arts Council, known as Pajaro Valley Arts (PVA), was founded as a nonprofit 501(c)(3) organization in 1984 in Watsonville, California, to promote and foster cultural events in the Pajaro Valley and south Santa Cruz County.

Serving Santa Cruz, Monterey, and San Benito Counties, PVA creates access to high quality visual arts exhibits and promotes arts education to our community. The first class gallery and management office is housed in one of Watsonville’s premier historic dwellings, a 116 year-old structure provided rent-free by the City of Watsonville. We work collaboratively to develop and promote opportunities for public participation in and appreciation for the arts. PVA opened the its first gallery in 1986, and continues to present rotating visual art exhibitions in both the gallery and off-site locations.

Annual exhibits

We produce seven to eight exhibits each year in our gallery and off-site locations. Five annual exhibits highlight the schedule: Take Away’s: Art to Go, our winter fundraising exhibit; our year-long PVUSD Student Art Show in, in collaboration with the City of Watsonville and PVUSD at the Watsonville Civic Plaza; our thematic summer membership show; Sculpture Is, at Sierra Azul Nursery and Gardens; and Mi Casa es Tu Casa showcasing community collaborations celebrating the traditions of Day of the Dead. We support and encourage all art forms and strive to connect the community to artists and their work.

Working with other regional arts organizations

PVA maintains on-going relationships with the regional arts community through membership in the Associates of the Arts Council of Santa Cruz County, Santa Cruz County Alliance for Arts Education, and other local cultural organizations.

A combination of our staff, volunteers, and your support enables us to fulfill our mission. Please consider joining our organization as a member or volunteer.

https://pvarts.org/

https://pvarts.org/https://www.etsy.com/shop/annbmayartquilts/

Black Lives Matter and Art

First of all,We Are the Story represents Black Lives Matter and Art. For example,this is a multi-site initiative of quilt exhibitions. Above all,Dr.Carolyn Mazloomi worked tirelessly to curate these shows. Furthermore,much thanks to the Textile Center & Women of Color Quilters Network for their ongoing support.

Black Lives Matter and Art

Barbara Eady, “Black Lives Matter” – WCQN exhibit “We Who Believe in Freedom”

September 2, 2020 update from the Textile Center of Minneapolis, MN.

First,Textile Center and Women of Color Quilters Network (WCQN) announced extending the schedule for We Are the Story. To clarify, this seven quilt exhibitions is curated by Carolyn Mazloomi, September 10, 2020 through June 12, 2021.

Black Lives Matter and Art — We are the Story, art quilt show venues.

Group and Solo Exhibitions

Above all,group and solo exhibitions build upon symbols of liberation, resistance and empowerment.Similarly,they offer visually compelling accounts of the experiences and struggles of Black history.

During this year,Minneapolis became the epicenter of the nationwide protest movement against police brutality in America following the murder of George Floyd.The Textile Center and Women of Color Quilters Network (WCQN) joined forces to create We Are the Story, a multi-venue initiative in the Twin Cities, September 10, 2020, through June 12, 2021.

Dr.Carolyn Mazloomi, a member of Textile Center’s National Artist Advisory Council is the curator. Previously,she founded the Women of Color Quilters Network. After that,We Are the Story opened in September with exhibitions at Textile Center and the American Swedish Institute.

We are the Story

Due to challenges related to the pandemic, Textile Center extended the timeline for We Are the Story into June 2021. That is to say this will ensure that the quilts can be seen in person by as many people as possible. Furthermore,the exhibition will coincide with the first anniversary of George Floyd’s death in Minneapolis.

Two Juried Exhibitions

To clarify,Gone but Never Forgotten: Remembering Those Lost to Police Brutality and Racism: In the Face of Hate We Resist serve as a centerpiece for We Are the Story. Likewise, given the urgency of these issues in America, quilters from around the nation worked quickly. For instance,the calls were open in mid-June to all artists regardless of age, color, national origin, citizenship status, race, religion, creed, gender, sexual orientation, gender identity in mid-June. In short,four hundred and twenty three quilts were submitted by the July 31 deadline. Mazloomi selected 89 quilts for the two exhibitions.

The First Venue

As part of We Are the Story, the American Swedish Institute presented the Minnesota premiere of Women of Color Quilt Network’s We Who Believe in Freedom. From September 10 through November 1, 2020. In addition,to honor the 55th anniversary of the Freedom Riders, We Who Believe in Freedom represents works by members of Women of Color Quilt Network.

We Are the Story also includes four solo exhibitions.

First, I Wish I Knew How it Feels to be Free
Quilts by Dorothy Burge, Chicago, IL presented at Textile Center
Sacred Invocations Quilts by Sylvia Hernandez, Brooklyn, NY
The Protest Series Quilts by Penny Mateer, Pittsburgh, PA
Freedom Rising: I Am the Story Quilts by L’Merchie Frazier, Boston, MA.

Organizations taking part include

1.The University of Minnesota’s Weisman Art Museum, Division of Indian Work in South Minneapolis

2.The University of Minnesota’s Robert J. Jones Urban Research and Outreach-Engagement Center in North Minneapolis

3. Homewood Studios in North Minneapolis, Studio 106 in Burnsville

4.St. Catherine University’s Apparel, Merchandising and Design Gallery.

A series of Zoom Talks

In addition, a series of Zoom talks happened.They included We Are the Story: Let’s Talk about Race presented by Textile Center, Women of Color Quilt Network and Friends. Furthermore,these Zoom presentations focused on issues of police brutality, racism, and inequities in America. Clearly in support of Black Lives Matter. Lastly,they will also introduce the more than 100 quilters featured in these exhibitions. The Zoom talks will be open to the public.

WE ARE THE STORY CALENDAR OF
SCHEDULED EXHIBITIONS

Black Lives Matter and Art

Gone but Never Forgotten: Remembering Those Lost to Police Brutality

Textile Center, Joan Mondale Gallery
September 15 – December 24, 2020

To be clear,Gone but Never Forgotten: Remembering Those Lost to Police Brutality is a national juried exhibition.For example,it showcases 26 quilts that honor those whose lives were violently. On the other hand,it critiques the targeting and criminalization of Black bodies throughout history.

Racism: In the Face of Hate We Resist

Textile Center, Joan Mondale Gallery, Mary Giles Gallery, Community Gallery
March 26 – June 12, 2021

Clearly,this international juried exhibition, Racism: In the Face of Hate We Resist builds on these narratives. For example by featuring 63 quilts they share the stories of resistance and fortitude. To be clear these stories aret integral to the survival of Black people in America. During this time, quilts from the other We Are the Story exhibitions are to be exhibited.Clearly a community-wide outreach initiative will provide an opportunity for our community to have one last comprehensive viewing.It is planned as our community observes the first anniversary of George Floyd’s death.

We Who Believe in Freedom
Quilts by members of WCQN

American Swedish Institute, Osher Gallery
September 10 – November 1, 2020

We Who Believe in Freedom presented in 2016 to honor the 55th anniversary of the Freedom Riders. For example,it represents works by members of WCQN that tell the story of the African American experience.

I Wish I Knew How it Feels to be Free Quilts by Dorothy Burge, Chicago, IL

Textile Center, Community Gallery
September 29 – December 24, 2020

Similarly,Dorothy Burge, a member of WCQN, is a multimedia artist and community activist. To be clear,she is inspired by both historic and current social justice issues. For example,she is one of the strongest voices in Chicago for police accountability and reparations for survivors of police torture. Dorothy will be a featured guest in our Zoom Let’s Talk About Race conversations.

We Are the Story
Quilts by Penny Mateer, Pittsburgh, PA

Weisman Art Museum
October 15 – March 14, 2021

Likewise,Penny Mateer is an artist/activist who works with textiles and recycled materials. Clearly,quilting and embroidery take center stage in her work. Consistently she draws from this rich history of creating functional objects that provide warmth and comfort. Moreover,fabric is her primary material to establish a shared experience. After that,discussion sparks around current events. In addition,her social practice centers on a community-made public art project to promote voting.

Freedom Rising: I Am the Story
Quilts by L’Merchie Frazier, Boston, MA

Clearly,L’Merchie Frazier is a public fiber artist, quilter, historian, innovator, poet and holographer. Furthermore,she has served the artistic community nationally and internationallyfor more than 25 years.In addition,she has had visual and performance art residencies in Boston, Brazil, Taiwan, Costa Rica, Africa, France, and Cuba. In other words,her social justice artistic work activates youth. Above all,her work with adults involves a model that levels the playing field.

Sacred Invocations
Quilts by Sylvia Hernandez, Brooklyn, NY

Lastly,Sylvia Hernandez is a celebrated and self-taught master quilter. She creates timeless, handcrafted works that address community and human right issues. Sylvia is currently the president of the Quilters of Color Network of NYC, co-president of the Brooklyn Quilters Guild. Currently a member of the WCQN,she teaches at El Puente Academy of Peace and Justice. She has worked with AgitArte in Puerto Rico.

Thanks for your support:

What Makes my Art Unique? Coming into my Own as an Art Quilter

Sea Turtles,23" x 35"

Coming into my Own as an Art Quilter

For the past ten years, I have worked to come into my own as an art quilter. It took that long to grow into the artist I am today. Growth happens when we least expect it. I started making art quilts about 12 years ago. I entered and was accepted into my first juried art show in 2010. The next year the same piece won an award. Subsequently, there was not turning back. I was off and running. This year,2019 I was accepted into New York Art to show in their gallery in TriBeCa in New York City.

https://annbaldwinmayartquilts.com/2019/11/following-your-heart/

https://annbaldwinmayartquilts.com/2018/12/on-being-brave/

black, white medium blue abstract art quilt — American Democracy,2019 27″ w x 28″h

Others’ Art Quilts

At first,I would look at art quilts in galleries and shows. It was puzzling that none of them looked like mine. At first,I was worried. This struck me as worrisome. It took me a while to realize what that meant. After that, I realised that I had my own style. This became reassuring. No one has had my experiences, my life, but me. No one chooses the materials that I choose. That is why the quilts are different.

Underwater Fantasies

Living on the California coast, marine landscapes are popular.In the beginning when I started doing underwater seascapes, I was concerned about how make a fish’s face or mouth. Then I went to the Monterey Bay Aquarium. I saw examples of everything . For example, some fish mouths went up, some mouths went down ,some were big and some were small with everything in between. Subsequently,this freed me to create as I chose. Clearly,I don’t do scientific drawings. However,I do create whimsical seascapes I call underwater fantasies. This is who I want to be.

Sea Turtles,an underwater fantasy art quilt — Sea Turtles,23″ x 35″

Wavy Quilting Lines

I have noticed that many art quilts that win awards at art quilt shows are heavily quilted with tight quilting lines, mostly straight lines ¼” apart. To me that kind of quilting just tries to control the fabric and squeeze all movement out of the quilt. Movement is one of my guiding influences . My quilting lines swerve and wave from corner to corner. It is what I do. It is my style.

an abstract art quilt in beiges and browns — Petite Neutrality, 11″ x 12″

Working from Photos-NOT

I do not like to work from photos. I do not want to create anything that can be copied with a camera. That’s just me. Yet many other art quilters do work from photos. They do create award winning pieces.

Once, I tried to make a landscape quilt using fabric with rocks and trees on it instead of just creating my own. It was not fun trying to find the exact fabric I needed. Just thinking about it gives me a headache. Now I prefer to work in the realm of impressionism. Yes, it will obviously be a landscape or a seascape. But I trust the viewers’ eyes and minds to interpret a scene as they see it.

https://annbaldwinmayartquilts.com/2019/09/becoming-more-creative/

underwater seascape — Marine Canyon Dwellers,
26″ h x 25″w

Threads and Colors

The color of threads changes according to what fabric is near or next to them.The threads and fabric don’t need to match exactly. I love that quality. It frees the artist from certain restraints.More recently I have been making abstract art quilts by choosing three contrasting colors. Then I find the hues of those colors to increase the range of the colors. It is what I do. It is my style.

Creating Texture

To add texture, one might find some 3D decorative threads hanging freely down off of the top. One might see rows of couched decorative threads throughout the piece adding more texture. My nature pieces may include lots of threads used to create bushes or brush in the landscape.One might see straight or curving tucks to add texture and movement. It is what I do. It is my style as an art quilter.

a tree with a fence,fabric art — Under the Shady Tree, 27″ x38″h

My Three Portfolios

I have three portfolios that speak to me; Nature quilts(trees, landscapes and underwater fantasies) Mexican inspired pieces ( often fabric collages) and abstract art quilts. I usually rotate between each portfolio making several pieces before moving on. In this way , each portfolio feels new as I haven’t done it for a while. Creating Color! Texture! Movement! in each piece remains consistent. It is satisfying to finally recognize who I am and what I do as an art quilter.The good news is I now know who I am as an art quilter. https://annbaldwinmayartquilts.com/2019/10/myself-the-artist/

Mexican themed fabric collage — De La Sierra, fabric collage with appillera, 32″ x 30″

https://annbaldwinmayartquilts.com/2018/12/on-being-brave/

https://annbaldwinmayartquilts.com/2020/01/memories-of-color-favorites/

https://annbaldwinmayartquilts.com/2018/11/sources-of-ones-creativity/

https://annbaldwinmayartquilts.com/2020/04/forging-your-own-art-path/

https://annbaldwinmayartquilts.com/2019/03/pechakucha-laser-talk/

https://www.etsy.com/shop/annbmayartquilts https://annbaldwinmayartquilts.com/blog-posts/

https://annbaldwinmayartquilts.com/2019/09/fond-fabric-memories/

African American Quilts On Display

Arbie Williams. "Medallion" (1987), quilted by Willia Ette Graham

Art Museum inherits 3,000 African American Quilts

Charles Desmarais October 16, 2019Updated: January 30, 2020, 10:08 am

Arbie Williams, “Medallion” (1987), quilted by Willia Ette Graham.

A Gift of nearly 3,000 Quilts

Over all a gift of nearly 3,000 quilts, was announced Wednesday, Oct. 16,2020. Furthermore, all of the quilts were designed and produced by African American artists. Officials of the UC Berkeley Art Museum announced the gift. Eli Leon put together the extensive collection over more than three decades. Dr.Leon was a white Oakland psychotherapist. Meanwhile he became a respected expert on African American quilts. When Leon died in 2019, he left the quilts and a few other items to the Regents of the University of California. https://www.sfchronicle.com/bayarea/article/Eli-Leon-scholar-and-collector-of-African-12757330.php

The Unusual Gift

Subsequently,the gift will add 15% to the museum’s permanent collection, said BAMPFA director Lawrence Rinder, in an interview with The Chronicle.

Stories of Communities of Color

Furthermore,the quilts help to broaden the horizons of art history. In addition this will include the culture and the stories of communities of color. In just the past few years, exhibitions of works by artists of color have been taking place in museums worldwide. Above all,collectors and institutions are trying to diversify their collections. https://datebook.sfchronicle.com/art-exhibits/why-is-african-american-art-having-a-moment-the-reasons-are-as-varied-as-the-art-itself

Major Commitments

In addition,the two largest visual arts organizations, the San Francisco Museum of Modern Art and the Fine Arts Museums of San Francisco, made major commitments. This year, SFMOMA sold a key Mark Rothko painting to raise millions of dollars . For example,this will enable the museum to broaden its collection through purchases of works by women, LGBTQ artists and artists of color. After that,the Fine Arts Museums acquired 62 works by 22 contemporary African American artists . Rosie Lee Tompkins, Untitled (1996), quilted by Irene Bankhead.

Similarly,Lawrence Rinder knew Leon. In the past,they had worked together on an exhibition of the quilts of Rosie Lee Tompkins. In addition,more than 500 works of Ms. Tompkins are part of the the gift. Moving forward, Mr. Rinder will curate a larger Tompkins show as his final project before retiring He said the quilts are decidedly not “folk art.”

It’s Art Art

Likewise,“Not to me,” he was quick to say. “I think it’s ‘art art.’ I don’t make those distinctions. To clarigy, labels like that justify the exclusion of people who are less well off or people who are not white.

“Some people think if you slap a label , it can help us understand where it comes from.On the other hand, I don’t care about any of that at all. Most importantly,I see emotion, expression, technical skill. … The rest doesn’t matter to me in the least.”

Monin Brown and Hattie “Strawberry” Mitchell

Adventurous Designs

For example,Leon tended to collect adventurous designs. However,it was not because the works look modern. “He believed deeply in a connection to African traditions. He conducted research on motifs, patterns and methods that he saw as rooted in Central Africa,” Variations on a Theme,artist unknown

Funds for Conservation

After that,Rinder said gifts and grants are being sought to fund conservation of the fragile works. Moreover, he believes the university is committed to their care and display. Furthermore in a statement, UC Berkeley Chancellor Carol Christ said, “BAMPFA is uniquely suited to ensure that these wonderful works of art receive the exposure and attention they deserve.”

Gladys Henry, “Medallion” (1992), quilted by Rose McDowell.Edited for space
https://datebook.sfchronicle.com/art-exhibits/uc-berkeley-art-museum-inherits-grand-trove-of-nearly-3000-african-american-quilts Charles Desmarais

Charles Desmarais is The San Francisco Chronicle’s art critic. Email: cdesmarais@sfchronicle.com Free weekly newsletter: http://bit.ly/ArtguyReviews

https://annbaldwinmayartquilts.com/2020/07/political-quilts2008-2014/

https://annbaldwinmayartquilts.com/2017/08/eli-leon-collector-of-quilts-and-other-items/

https://annbaldwinmayartquilts.com/2020/07/political-quilts2008-2014/

Loc Art App in Santa Cruz County, CA

LOC ART APP: THE ART MARKET APP

This app is undergoing a name change, All Hands Market. It will be up and running soon. (4-2022)

by Fleur Williams on November 22, 2019 in Art, Local People, Shop Local

Creation

LOC ART app has launched with the goal of revolutionizing art sales. Created by Santa Cruz residents Derick Delucchi and Dominic Elkin, Loc Art is an app that intersects art and technology. The process of browsing, buying and selling local art becomes more accessible, social, and smoother than ever before.

Both Delucchi and Elkin grew up in Santa Cruz. They experienced the abundant local art scene first-hand. After college,while returning to work here, they decided to help this cultural epicenter thrive in a more clear and consistent way. Delucchi envisioned an app as an easier way to connect the community with local creatives. In early 2017, Elkin began designing Loc Art App around this vision. Together they refined the product. The Loc Art app officially launched in the fall of 2019.

A Unique Guide

Loc Art App is a unique guide to the Santa Cruz art scene. The Loc Art app gives art enthusiasts the opportunity to discover talented artists. Original artwork located locally. Through the Loc Art app, collectors can browse and shop diverse forms of art from high-quality artists. The platform provides a convenient way for shoppers to communicate directly with their favorite artists. Commission are also available. Artists have the opportunity to showcase their work and sell it.

Loc Art app offers a digital art market experience that is user-friendly, personal, and professional. Additionally, the app provides a calendar with notifications of local art events, allowing people to keep track of classes, festivals, and markets happening around the county throughout the year.

Active Members of the Community

As well as pioneering the app, Delucchi and Elkin are active members of the community. Delucchi (whose family has been here for over 100 years) is a 4th generation firefighter who works for Cal Fire throughout the county. Elkin currently works for iheartjane, a Soquel-based startup software company.

We recently caught up to co-founders Derick and Dominic to talk about what motivated them to create Loc Art and how they imagine it evolving as more people jump on board.

Local Santa Cruz: What inspired you to launch Loc Art?

Derick: It started mostly by talking to friends who are artists and hearing about the challenges of trying to market and sell artwork. Especially when they really just wanted to spend more time creating. Then, when Dominic and I toured Open Studios a few years ago, we talked with some of the participating artists who were experiencing similar issues. That’s when we started working on the project and came up with the idea to design an app that would help local artists sell their work to the community.

At the moment, Loc Art is currently only available in Santa Cruz. But the inspiration was to create some kind of business that could grow community to community. Hopefully, something that could possibly spread across the U.S. and maybe even internationally. While still maintaining a grassroots feel. Once we get a business model down locally we can hopefully take that model and bring it to other communities. That way we can share the app in others interested in helping out their art scene in the same way.

Dominic: We feel like there is a big inefficiency in the way that the community interacts with art culture. We want to bring the same functionality that people experience anywhere else into the art realm. We think it would make it feel less like a “walled garden” . It would be approachable and easier to find something you are interested in.

Why do you think it’s challenging to become immersed in the local art scene?

Derick: SC has such a great art scene. But it can still be difficult for artists to dive in. There’s not always enough time for collectors to find new or established artists. Opportunities like Open Studios, for example, often only happen once a year. There were over 300 participating Open Studios artists this past October. I only made it to about 50, so there were still hundreds of artists I wasn’t able to visit. Art markets featuring a number of artists pop up around town as well. But we’ve talked to people at those events who were overwhelmed trying to get around to see all the booths. They want to have enough time to check everything out.

In terms of collectors, there’s also kind of a stigma around buying original art. That it’s only available for people who are maybe a little bit older in life or who have a larger amount of money to invest in art. For both locals and newcomers in the community, it can sometimes be a high barrier of entry to get into the art scene. It helps if you know people that are already a part of it. These are things we hope to change with this platform. We see art as something that everyone should be able to enjoy at whatever level works for them.

Dominic: Right now, you almost need someone you trust to show you around the art world. It’s hard to know where to go to look at paintings, take a photography class, or even just explore artists that you mightlike.

How does the app provide a solution for all types of artists and collectors, and what excites you about the potential of this platform as it continues to develop?

Derick: The more we became aware of the difficulties the community was facing, the more we thought it would be easier to have everything available on one platform. People could discover artists and search through a large number of them quickly. Artists could present their work or communicate with buyers at any time of the year.

Based on the technology of the app, we’d like to eventually include videos of the artists talking about their work. There are also more chat features on the app. It is less about you being on an app just to buy and receive an order. It becomes about having opportunities to get to know the artists and learn about their inspiration and work. So, there’s a more personal connection available when you shop on Loc Art than if you were buying a piece on Etsy.

Right now we have a QR code that takes people to the app if they scan it. We might implement a QR code for artists who hang up their art locally, So, you could quickly scan artwork you see around town on your phone. The artist’s profile would come up, and you could follow them and stay connected with them that way.

Another big thing we’re excited about is the calendar on the app that helps people get out to more art events and classes. For right now, we’re sharing dates of events that other businesses in SC are putting on, like the Makers Market, Open Studios, and holiday markets. We’ve partnered with the Cabrillo College Extension program to promote their art classes, as well as the All Hands workshops. Hopefully, in the future, we can branch out and host our own community events.

Dominic: We’re excited to continue to innovate tech for the art community. Eventually, we would like to give artists the ability to treat Loc Art like their virtual store – with a unique link to their own account, where their artwork is hosted. We are looking to build features leveraging feedback from the community of artists who are actually using our platform.

How has the SC art scene impacted you personally and inspired the creative design of Loc Art?

Derick: Dominic and I were both lucky to have had so many great art classes available to us throughout all our years of school. I took several classes in film photography as well as ceramics and jewelry classes. I was aware that many people around the country don’t have the luxury of having diverse art classes. Getting that first-hand experience and enjoying the process of creating was a huge draw for wanting to bring attention to local artists and support other art-oriented people.

The business has come a long way since my original idea. I never thought I’d have my own app, but it’s been exciting to see technology merging with the art scene. There’s a huge connection that happens that makes the experience of art so much easier for everyone to enjoy.

Dominic: What a great question. I think growing up in Santa Cruz (and around the art and creativity here) pushed me to walk my own path. There are some “characters” in Santa Cruz that aren’t afraid to do things their own way. I think Loc Art reflects that in its own way, too. We are going against the norms, but for the right reason – to support art.

Loc Art is available to download on the Apple Store and Google Play Store and is compatible with iOS and Android.

https://creativehandsofmexicodotorg.wordpress.com/author/thelmadatter/

See a New Vista with these Mexican Inpired Fabric Collages

Abuelita''s Treasures

Mexican Inspired Fabric Collages

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.

Mexican fabrics, yellow,black,red — Frolic of the Lizards,34″ x 34″

Mexican fabrics, yellow,black,red,bandana — Flowers for her Hair,29″ 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.

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 inspired — Mexican Fireworks,23″ w x 33″h

Mexican fabric collage — El 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.

https://annbaldwinmayartquilts.com/2022/07/art-solutions-came-to-me-in-a-dream/

https://annbaldwinmayartquilts.com/2020/07/political-quilts2008-2014/http://ann

https://annbaldwinmayartquilts.com/2020/03/fabric-layering-technique-another-look/

The Joy of Following your Heart

blueVirgen de Guadalupe

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

Mexican themed fabric collage inspiration for listening to myself — 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

an abstract art quilt in pale blue, light green and cream colors — 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, inspiration for listening to myself — 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.

https://annbaldwinmayartquilts.com/2020/04/an-abstract-art-quilt-sunset-through-the-forest/

https://annbaldwinmayartquilts.com/2019/11/mexican-inspired-fabric-collages/

https://annbaldwinmayartquilts.com/2019/12/coming-into-my-own-as-an-art-quilter/