What are people thinking when they ask weird questions and comments? Meeting with the public to share one’s art is always opening one up to an unknown experience. In reality that is part of the fun. Yet, at times it is difficult to know what the people are thinking. This blogpost shares some unusual questions and comments that I have received.
Vacant Lot 43″ x 31″ 109 x79cm
At a recent First Friday Art Tour, I had a large tree art quilt on display Vacant Lot, 43″ x 31″ 109 x 79cm on display. A young woman showed interest in the piece. She explained that she was an artist. She wanted to learn more about the process. I explained the process of creating the piece with the fabric layering technique on a table, creating the scene and then free motion quilting the layers together. https://annbaldwinmayartquilts.com/2017/07/fabric-layering-technique/ Her weird question,Is it was easy to do?
Is that Easy to Do?
Well, anything is easy if one knows how to do it. But it is not easy if one doesn’t know how to sew or quilt. Above all,the free motion quilting technique is the highest level of quilting. It is not done by beginners. Much practice is needed to accomplish mastery. I am not sure exactly how I responded to her weird comment. However, her question stayed with me. I hope my answer advanced her understanding of art quilts in spite of her weird questions, requests and comments.
Another Unusual Request
The month that I moved into my first studio outside of my home in 2016,I received an unusual request. A local gallery was hosting a film festival for a weekend. They needed help with the acoustics. The curator asked if I would hang my quilts on the walls of the gallery during the showing. Furthermore,they insisted I bring just my largest art work. Although I was occupied with the move, I happily hung my largest art quilts.
Is Art Quilting Expensive?
While talking to someone at an art event, they mentioned how expensive art quilting is. The fabric is so expensive. Yes, fabric is expensive. Yet, I disagreed with them since I generally don’t buy fabric. I shared other sources than retail to obtain material. I explained my sources of fabric. My favorite is a local nonprofit gathers high end designer fabrics and makes them available to the public for a donation. Furthermore,my guild has an annual flea market that sells all kinds of material. Fabric is available at yard sales or second hand shops..Sometimes when people find out I use fabric they will gift me fabric. I realise it takes a while to build up a stash of fabric. Yet she seemed open to these ideas. As a public school teacher I definitely did not have a lot of extra funds to spend on gathering store bought fabrics.
Overheard Conversation at an Art Quilters meeting
Fast forward- At a subsequent large gathering for art quilters,I overheard two friends discussing the merits of their new Tesla vehicles. Yes, the meeting took place in Silicon Valley. Still, that conversation caught my attention forcing me to eat my words a bit.
I enjoy meeting and engaging with the public. I listen to them their thoughts and experiences. Their words often stick with me as these did.
What most people don’t know about the roots of art quilting is that they are firmly based in Northern California. Art quilting is one of the newest art genres. SAQA(Studio Art Quilt Associates), the art quilters professional organization started in San Jose,California. SAQA has grown to be an international organization with over 4000 members. Northern California remains a hotbed for art quilting.
Yvonne Porchella, founder of SAQA wearing her signature checkerboard glasses. Ms. Porchella always included black and white checkerboard patterns in her art.
What many don’t know about the beginnings of art quilts
Yvonne Porcella
In 1989 in San Jose, CA, Yvonne Porcella http://yvonneporcella.net/bio.html invited about 50 art quilters to come together into an organization to promote quilting as an art. This local group became Studio Art Quilt Associates(SAQA). It currently has over 4000 members internationally. I am surprised at how many people including accomplished art quilters from our region are unaware of SAQA’s northern Californian roots of art quilting.
Yvonne Porcella was born and raised in Watsonville, Santa Cruz County,California. (I taught there for thirty years.) Ms.Porcella began her art career fascinated with the colorful costumes of her Croatian background. Her signature detail is a black and white checkerboard fabric she added to many of her pieces. Luckily, I was able to hear her speak at the San Jose Museum of Quilts and Textiles. Sadly, she passed soon thereafter in 2016.
What many don’t know about the beginnings of art quilts.
Studio Art Quilt Associates(SAQA)
SAQA promotes art quilts as an art form. The organization has been instrumental in the inclusion of art quilts into many museums and high level galleries. From SAQA’s website, Studio Art Quilt Associates, Inc. (SAQA) is a nonprofit organization whose mission is to promote the art quilt: “a creative visual work that is layered and stitched or that references this form of stitched layered structure.” Our vision is that the art quilt is universally respected as a fine art medium. SAQA’s core values are: excellence, innovation, integrity, and inclusion. Over the past 30 years, SAQA has grown into a dynamic and active community of over 4,000 artists, curators, collectors, and art professionals located around the world. With our exhibitions, resources, publications, and membership opportunities, we seek to increase the public’s appreciation for the art quilt and to support our members in their artistic and professional growth.
SAQA’s success in promoting art quilts has lead to an increased interest in the variety of techniques and styles of art quilting from museums and galleries to the local guild level. SAQA is divided into regions. There are 347 members in our NorthernCa/ Southern Nevada Region. https://saqanorcalnv.com/ However, it must be remembered that there are many more art quilters of all levels than are not SAQA members. Seemingly, the roots of art quilting in northern California have spread worldwide.
San Jose Museum of Quilts and Textiles
San Jose Museum of Quilts and Textiles formed in 1977 as the first museum in the United States to focus on quilts and textiles as an art form.Ms. Porcella was a board member of the SJMQT for many years. The meeting room and gallery is named in honor of her support for the museum. One might ask why is this museum in San Jose. Part of the answer is the local support from art quilters in Northern California.
This is the short subjective list of talented quilt artists living in Northern California.
Extra Special Expertise
Nancy Bavor www.quiltworth.com Los Altos Hills Master’s degree thesis,University of Nebraska, Lincoln-The California Art Quilt Revolution
SAQA(Studio Art Quilt Associates) is the international professional level art quilt organization. It is open to any one who wants to elevate their expertise from quilters to collectors. Find more information at the website, http://www.saqa.com/. Due to SAQA’s success in promoting quilts as art, many traditional quilt venues include art quilt sections. In addition, local traditional quilt guilds offer classes in art quilts. In this way, art quilts and SAQA are inseparable.
A Little Northern California Humor
I was born and raised in Palo Alto, California. Then I went to UC,Irvine in Orange County, Southern California for my education. There I met my husband and got married. We lived in Orange County for 10 years including beginning my elementary school teaching career in Santa Ana. Before moving to Northern California, my husband and I traveled in Western Europe for a year. Upon our return we moved to Santa Cruz, California where we have lived since 1980. About that time I kept hearing about Silicon Valley. I know my California geography. But where was that? Little did I realize that my hometown and home county had become Silicon Valley in my absence.
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 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.
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.
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.
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.
Here are some examples where good advice went bad. Or in other words the advice did not work out for me.
Anna’s Irish Tulips, a king sized bed quilt
Several years ago I completed that queen sized bed quilt. Charming tulips with leaves popping out from the sides alternated plain cream colored blocks. In the empty blocks I hand quilted flowers. I made a scalloped hem knowing that this would truly be a family heirloom. Needlessto say, I was extremely proud of my work. After all,I had been quilting for years. This was the culmination of all my work.
Good Advice Gone Bad
While I was proud of my work, the appraiser gave the quilt a very low appraisal for a queen size bed quilt with some handstitching. In 2005, $350 was a low appraisal. Disappointment reigned. Yet over the years, what a lot of money I saved. I have a large inventory. What if I had had all of them appraised?
Forest Fires of 2020
Most importantly, our county did suffer horrible forest fires in 2020. Many people did lose their homes. Our home was close to the fires. No mandatory evacuation was ordered. Nevertheless I self evacuated myself to a friend’s house in south county for four days. I moved precious items to my studio downtown where they would be safe. None of them were quilts. Some of my quilts were already in my studio.
A few years ago I began to have success. Consequently, I wanted my quilts to be photographed professionally. So I asked a well known quilt artist for a local recommendation. She told of a man who had photographed quilts for a museum. Meanwhile,I called him up. His prices were based on the size of the quilt. They were in my price range. Therefore, I made an appointment to drop the quilts off at his studio 25 miles away.
As it turned out, the photographs were terrible. The colors were not even correct. Isn’t that our least requirement that the colors to be right? So I took my own photos. The results satisfied me.
What did I learn? Of course,each person may come to their own conclusions. My thoughts are to trust myself. Furthermore,digital cameras have improved so much in recent years. Therefore, I can take my own photos. First of all, I am proud of the family heirloom that I created. Above all,listen to yourself. Believe in yourself. Keep going. Do not be deterred by negative comments. Most importantly, it is what happens to you but how you react to it.
I am honored to be the first Featured Fiber Artist at the Santa Cruz Art League’s (SCAL)virtual interviews. This posting represents my memory of the interview as well as combined with the notes I made beforehand. Val Miranda, executive director of the Santa Cruz Art League narrated . During a technical glitch, I lost sound. Val engaged with the audience at that time.
Featured Fiber Artist
Let Us Breathe, Ann Baldwin May
First Featured Fiber Artist
Val Miranda: Ann Baldwin May,art quilter As Execuive Director of the Santa Cruz Art League I am pleased to have you as our first Featured Fiber Artist.please inroduce yourself. How did you come to art?
Ann: Thank you, Val. I am very honored to be the first Featured Fiber Artist at the Santa Cruz Art League.My sewing career reaches back to high school where I took 2 years of sewing. The focus was on clothes construction. In the 1970s I started quilting. My focus was bed quilts.
Exploring other Avenues of Creative Expression
Around 2008-09, I began exploring other avenues of creative expression. So I moved towards art quilts. I took a class on fabric layering from Meri Vahl. During this time I created several large art quilts combining my love of Mexican folk dance with my quilting. These 3D colorful skirts and costumes stand out as Mexican outfits.
My First Juried Art Show
In 2010, I entered my first juried art show. It was the Pajaros show in Watsonville in conjuction with the Birding Conference put on by the Pajaro Valley Arts Council. My work was included on the brochere. The following year, Great Blue Heron at Dusk won an award at another show. So I was encouraged to continue.
In 2016, I opened my studio at the Santa Cruz Art Center downtown,Then I applied to Open Studios for the first time. So for Open Studios and First Fridays, I take over the lobby and fill it with my art.
I am all about Color! Texture! and Movement! I make Nature art quilts; like underwater fantasies, trees and landscapes. Abstract and Mexican inspired fabric collages.
Traditional Quilts versus Art Quilts
Val- Can you tell us a little bit about the difference between traditional quilts and art quilts?
Ann-Most people are familiar with bed quilts. A quilt is made up of three layers sewn together; the back , the batting inside and the top. Being able to wash a quilts is foremost for a bed quilt. 100% cotton is always used for washability and durability.
An art quilt often uses tradional quilting techniques to make wall art. When one is not concerned with washing a quilt, a wider range of fabrics can be used. There is also a wide variety of art quilters and the techniques they use. Many art quilters do not have experience with making bed quilts or even sewing. Some dye their fabrics, paint on their fabrics or print their own designs on fabrics. I don’t do any of those techniques.
FABMO offers an Incredible Variety of Materials
For me there is such an incredible variety of printed fabrics and materials.I choose to use those to create my art. I am a big fan of FABMO, the non profit now based in Sunnyvale. Volunteers go weekly to the San Francisco Design Center. They collect all kinds of materials to keep them out of the landfill. They make these materials available to the public for a donation. PreCOVID they were coming to Santa Cruz about 5 times a year to Harvey West Park. They are having several selection days in Sunnyvale. But I haven’t been to their new location. sign up for their newsletter at https://www.fabmo.org/
Other Local Featured Fiber Artists
Val- That is interesting that art quilters use such a variety of materials. Are you familiar with Consuelo Underwood’s work at teacher at San Jose Statet University. I know her work to be very engaging.
Ann- No, I don’t know her. I wanted to give a shout out to Susan Else. She lives in Santa Cruz. She creates 3D figures out of fabric often with whimiscal themes. More recently she has been adding electricity and lights to her pieces. One of her pieces is of a merry go round with the animals riding the people.
The Piece in the Member Show
Val- Could you tell us a little bit about the piece that you have currently in the Member Show?
Ann- My piece in the Member Show is Let Us Breathe! Physically the art quilt is in Minneapolis. Digitally it is in the Art League show. Several weird random events happened concerning this art quilt.It’s all good.
The Murder of George Floyd
Around Memorial Day when we all witnessed the murder of George Floyd, I was horrified. as many others.The artist buzz on the internet questioned how this would affect one’s art. At first I was too stunned to do anything. Later I thought about what I could create within my own style to address the issue of racial injustice.
So I made an abstract type of art quilt for the background, incorporating African designs to support my view. Then I created a cutout silouette of man and a woman. I dressed them in African fabrics. I made red white and blue hearts to place on their chests. My thoughts were for them honoring thier cultural roots. Including their love for America while America was not returning their love.
A Call for Entry
Then I saw a call for entry from Dr. Carolyn Mazlotti who I had heard speak at a conference before. The call was for Rascism:In the Face of Hate We Resist. I hesitated applying. My thoughts were that this was a moment for black artists to shine. Then I thought of the saying, White Silence Eguals Violence. So I decided to enter the show to show my support for the BLM.To my surprise and joy,my piece was accepted.
I was instructed to send my art immediately to Ohio where Dr.Mazlotti lives.As you can imagine Dr.Mazlotti worked quickly to organize this show. She explained that there would be 7 venues and that she was writing a book about the shows. However, when I sent my quilt off, I had no knowledge of where the venues would be.
The Fires Began
Then the lightening stuck and the fires began. I live near UCSC. So when UCSC was evaculated I was extremely worried that we would be next. When my friend from Watsonville offered me a room in her house, I jumped at the opportunity.I ended up staying there for 4 days. After the second lightening storm passed over SC, I returned home.
A Bit of Disorientation
Luckily, everything at home was fine. However the whole experience was disorienting. It was during that first disoriented week back that I heard from Heidi, a friend from high school who lived in Minneapolis. Her text included a photo of my art quilt. She said that it was in a Swedish magazine.What? I was totally confused. I had no idea how these very different parts of my life had come together. Heidi graciously sent me the newsletter. The random pieces began to fall into place.
Announcement in Posten,the newsletter of the American Swedish Institute.
The First Venue for the BLM Show
The Swedish American Institute in Minneapolis is the first venue for the show. The title of the show morphed into We are the Story. The newsletter chose my art for their article promoting the show. My name was printed prominently. If it hadn’t been, Heidi would not have known that it was my art.
I also learned that Heidi is half Swedish and formerly worked at the institute. Therefore , she was on their mailing list. The number of random events really surprised me. Without one of them, I wouldn’t have learned about any of it. Finally, all of the different parts of my life came together to make sense.
My Process
My process changes depending on which portfolio I decide to make.My nature quilts are the most popular with the public, landscapes, underwater fantasies and trees. I use a table to create these works of art.
Nature Quilts
I lay a piece of backing fabic on a table. Then I cover it with batting, the soft material that goes inside of a quilt. Then on top I create a scene. When I am finished, I cover the scene with tulle netting. I free motion quilt the three layers together. Free motion quilting involves lowering the feed dogs on the machine. This lets the sewer control the movement of the quilt.
Abstract Pieces are made on a Design Wall
green yellow bits on design wall, an abstract piece in the making
My abstract pieces are made on a design wall . I use a huge piece of flannel covering the wall. Fabric adheres to the flannel. I choose 3-4 colors that I want to use. Then I search for the complimentary hues, the light and darker shades of that color. I look for decorative threads or details in that color wave to include to add texture.
Sometimes I couch or zigzag yarns to create fabric that I cut apart to use. Then I put them up rather randomly on the design wall. I balance the fabrics or details that stand out more. Sometimes I choose to do curved line piecing to create movement. I begin sewing pieces together. I keep checking that the piece is balanced for color and texture.
Mexican Inspired Collages or Art Quilts
Mexican inspired collages or art quilts start with me choosing the fabrics that go together or that I want to use. I gather my materials with no plan in mind. So I consider color and what I want to use. I often have to work backwards. Finishing the plain top and then adding 3D objects or found objects.
But sometimes I need to plan where the objects will be placed. I have to wait until after quilting the top to add the 3D found objects. Quilting over thick or hard objects creates problems for the sewing machine. If I add a bright ribbon, I then it can be added while quilting so I don’t duplicate sewing. So lots of forethought goes into these pieces.
Market Day
I have written detailed step by step instructions on these processes on my webstite if anyone is interested.
Val-What do have in store for the future? This is the answer I should have given.
About a year ago , I took Janet Siverglate’s class in assemblage. I have been mulling ideas around since then. I have a piece just about finished using wooden sewing spools and some whimsical items.
Val- I have only been at the Art League for four years now. I am aware that they was a Fiber Show a few years back. Maybe that is something that we can consider doing again in the future.
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
Found Torso by Jeff Arnett, $450, Sculpture 14″ x 9″ x 3″Winter of Rain by Jeff ArnettSilence 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,Green Dew Drops by Jean Sheckler Beebe, $475, Acrylic on Panel with Woodfried Ceramic Cup, 17.5″ x 23.75Poem to accompany Green Dew Drops by Jean BeebeBlanketed 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 BeebeFamily – 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″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″Sundown by Brad Burkhart with commentsSpring Showers by Ruth Carroll, $1300, Oil on Linen, 18″ x 24″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″Blue by Karen Druker, $575, Mixed Media, 28″ x 22″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″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″
Group 3 Pajaro Valley Arts Show
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″Soil Song by Michele HausmanFlying 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 English Langue by Derek Walcott (to accompany artwork The Poet by Hedwig Heerschop)Lavender Field by Joan Hellenthal, $600, Pastel, 16″ x 18″Thinking of Miles by Anouk Johanna, Water- soluble Colored Pencil, NFSThe 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″“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″
Group 4 Pajaro Valley Arts Show
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″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″ FramedMy 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″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 MirassouGoing Viral – Black & White by Chris Miroyan, $750, Acrylic on Panel, 36″ x 24″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″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″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″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″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″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″Midnight Glass by Madeleine Stober. $333, Acrylic, 48″ x 18″Midnight Glass by Maddie StoberAt 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″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″Looking Back by Lynda Watson, Pencil Drawings on Paper, Sterling Silver, Mixed Media, 14″ x 6″ NFSHarriet 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)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.
The Growth of Art Quilts’ Popularity-Art Quilts: 1980–1999
Art quilts from Studio Art Quilt Associates(SAQA) 1980s-1990s
When did art quilts start?
How did art quilts establish themselves as an art form and move into mainstream gallery showings, exhibitions, and more? How did art quilters band together? Where did the driving force behind textile art come from? Quilting Arts contributor Sandra Sider answers these questions. She explores the history of the art quilt from 1980–1999. In additionMs. Sider to tracks the growth of art quilts’ popularity.
The Origin of Art Quilts
You may be surprised to learn that the term art quilt did not exist until 1983. Robert Shaw explained in his book The Art Quilt(1997). After launching The Quilt Digest, Michael Kile teamed with curator and writer Penny McMorris to organize The Art Quilt. This traveling exhibition of new works by sixteen artists, above all, trailblazers in the field. The catalogue declared. After that the art quilt emerged. It heralded a dramatic and fundamental change in the history of quilts. Art for walls, not beds, created by artists expressing themselves in original designs of cloth and thread.A first step in the growth of art quilts’ popularity
“Forest in New England” • Noriko Endo • 1996 • 55″ x 84″ | Photo by Nagamitsu Endo
New venues for art quilt exhibitions and workshops
Several institutions promoting art quilts were founded from the late 1970s until the mid-1980s. The American Museum of Quilts and Related Arts now San Jose Museum of Quilts & Textiles) started in 1977. Quilt San Diego now Quilt Visions sprung forth in 1985. New England Quilt Museum began in Lowell, Massachusetts, in 1987. That is to say that they are all leaders in the art quilt venue world! Another step in the growth of art quilts’ popularity
Five Quilt Institutions
The following decade saw five quilt institutions founded across the country. Beginning with the Rocky Mountain Quilt Museum in Golden, Colorado, in 1990. The following year, the National Quilt Museum was founded in Paducah, Kentucky. In 1995 the Virginia Quilt Museum was established in Harrisonburg. The La Conner Quilt Museum in La Conner, Washington (now the Pacific Northwest Quilt & Fiber Arts Museum), opened its doors in 1997. The same year philanthropists and quilt collectors Robert and Ardis James were instrumental in founding the International Quilt Study Center & Museum at the University of Nebraska in Lincoln. These venues exhibited quilts of all types.They provided quilt artists with refreshing new avenues to explore. In addition these venues provided spaces where their work could be collected and appreciated. Venues are important for the growth of art quilts’ popularity.
“Four Patch: Hay/Wheat/Rye/Barley” • Dorothy Caldwell • 1994–05 • 96″ x 98″ • Collection of Eleanor McCain | Photo by Gulf Reflections Studio, Inc
Quilt Surface Design Symposium
Quilt artists Nancy Crow and Linda Fowler founded the Quilt Surface Design Symposium (QSDS) in Ohio in 1990.They offered a broad variety of educational opportunitiesadding to the growth of art quilts’ popularity. During the first decade of QSDS, hundreds of students experimented with new techniques and processes in these workshops. Most importantly, the art quilters of the future developed their skills therein.
Quilting By the Lake
By the 1990s, Quilting By the Lake (founded in 1981) in upstate New York had also become a popular destination for quilters in general. Many classes focussed on art quilts by the end of the decade. Empty Spools Seminars in Asilomar, California(1986)and at Art Quilt Tahoe(1998)expanded where quilt artists shared their expertise. Meanwhile, art quilters practiced their skills. All of these increased the growth of art quilts’ popularity.
“Dashboard Saints: In Memory of St. Christopher (Who Lost His Magnetism) • Terrie Hancock Mangat • 1985 • 99″ x 124″ • Collection of the International Quilt Study Center & Museum, Lincoln, Nebraska | Photo courtesy of the artist
Nonprofit Professional Organizations
SDA-Surface Design Association
Several nonprofit professional organizations helped bring momentum and innovation to the Art Quilt Movement during the 1980s and 1990s. Founded in 1977, the Surface Design Association provides a platform for the exchange of ideas, methods, and materials.Theirs is a wide community working in textile media and fiber arts.
Women of Color Quilters Network
In 1985, Dr. Carolyn L. Mazloomi founded The Women of Color Quilters Network. This non-profit group fosters to preserve the art of quilt making among women of color. Today, a few men are members include a few men. The organization offers quilts and fiber art to museums for exhibition. In addition, they research and document African American quilt making.
SAQA- Studio Art Quilt Associates
In 1989, Yvonne Porcella invited 50 quilt artists to join with her to found Studio Art Quilt Associates (SAQA).They organized conferences and exhibitions. In addition they developed a database of artwork by its members. SAQA promoted their members art to galleries and museums. Now SAQA has grown to 3,500 members in 39 countries. It continues to support the art quilt through education, numerous exhibitions, professional development, documentation, and publications. Moreover,the importance of these different organizations cannot be overemphasized.
“Robe of the Dragon” • Yvonne Porcella • 1982 | Photo courtesy of the artist’s estate
In conclusion
In the 1980s and 1990s, art quilts thrived. Makers focused their energy and imagination on this relatively new medium. Museums supported their efforts. Publishers catered to their talents. Artists began to travel to teach workshops internationally. Many of them networked with students and colleagues to share new techniques and exhibitions. They formed a flourishing community of quilt artists that would grow astronomically in the 21st century.
Sandra Sider, a studio quilt artist, has published articles and books concerning fiber and art for four decades. Ms. Sider has a Masters in Art History from the Institute of Fine Arts, New York University. She is a past president of SAQA. In 2012 she became curator for the Texas Quilt Museum. Visit her website here.
Choosing a name for an art work is not an easy task. Yet, when the title of one’s art piece fits the work, it feels like pure genius.The title can capture the essence of the piece. What the artist wants to say or what the piece is about. I find it worth the effort. Yet, many times genius can elude us.
How To Name An Art Work
“Untitled- Number 325” The running joke of a prolific artist from a fiber group was just that. Untitled Number 325. That is how she answered when asked what the name of her latest piece was. She liked doing the work but not the naming part of it. So each piece was left unnamed.
On the other extreme,Brad Burkhart,a local clay sculptor created a lengthy group process to name a piece. He asks the group questions which lead to a consensus for the piece by consensus. He strongly supports and promotes this process. How to name an art piece can be a private or a public effort.
I Put on my Poetry Hat
Both of those processes feel unsatisfactory to me. I name my pieces by several different methods. My preferred method is to put on my poetry hat metaphorically. I try to think of an engaging title that adds to the viewer’s experience. What I was thinking about while making my art?
At times I think about what the piece looks like. People read all of my titles once they realize that they are engaging and interesting. Naming my art is an opportunity to share my creative vision and to engage with the audience. I don’t want to hand such an important element of my expression over to anyone else.
Here are some examples of my art and how and why they were so entitled.
What I Was Thinking About
Rogue Wave, an abstract art quilt, 36″ x 36″
A rogue wave or sneaker wave often hits the Central Coast of California in the winter. It is a large,strong, unexpected wave that can be very dangerous. While making this art quilt, warnings for rogue waves were being broadcast daily on the news. As my pieces included colors that reflected water and movement, I chose that title.
A Fitting Genre and Style
This art quilt is named Sherman Alexie Comes to Bookclub,
Sherman Alexie Comes to Bookclub is a modern piece inspired by the new membreño colors of black, white and rust. Mr. Alexie is a Native American author who writes about urban Indians. I thought that it was a good fit for this piece. Although it is a bit of an inside joke, if the audience doesn’t know Sherman Alexie .
Under the Savannah Shade using African fabrics, 36″ x 42″
Under the Savannah Shade is a bright abstract art quilt. The African fabrics in greens, oranges, and yellows reminded me of a hot summer’s day. Wouldn’t some shade be nice? The blue material provided that shade.
Descriptive Titles
When genius eludes us, a descriptive title will do. What do you see in the art piece? Does it remind you of something? What location is it inspired by?
Challenges
Under the Shady Tree,37″ x 25″Great Blue Heron at Dusk, 31″ x 25″Gridlock I, 33″ x 31″Gridlock II, 42″ x 36″
May I share some challenges to naming one’s art. Early in my art career, I named some pieces Gridlock I and Gridlock II. Gridlock II was juried into a “MAYHEM”show at the ARC Gallery in San Francisco. In spite of that honor, I couldn’t remember which piece was number I and which was number II. I decided to avoid numbering my art again. You may have a different opinion.
Naming a Series
Shore to Sky ZShore to Sky F
Yet, when I did a series of small abstract art quilts based on the colors of the sky meeting the land and water . I named them Shore to Sky A,B ,C through Z that presented no problems. Maybe the wider range of colors helped me differentiate the pieces better.
Conclusion
Part of being as artist is sharing one’s vision with the local community and the greater world. Naming one’s art can add to the presentation of our work. It is a personal statement. Do not miss this opportunity to connect with the public.
These are just some examples of how I named my art quilts. Were they helpful either directly or indirectly? Do you have some ideas of your own that you think worked well? Please share.
De La Sierra,30″ x 32″, fabric collage with apillera
Most Importantly to honor the Indigenous People
Mexico is home to numerous distinct indigenous people each with their own customs and languages. Certainly each of the 29 Mexican states has several native costumes influenced by the mix of Spanish, Mestizo and indigenous people. Moreover,most festivals have roots in the indigenous past. Primarily, these are the roots that I celebrate when I make my fabric collages. Moreover,the desire to create a way to combine by love of sewing with my love of Mexico inspired the start of my art quilt life. Similarly,my Mexican inspired fabric collages evolved from that. Above all,I create the collages with fabric, details and found objects that I identify with the Mexican experience.
Frolic of the Lizards,34″ x 34″Flowers for her Hair,29″ x 29″Bag of Cultural Gems,22″ x 29″
Many Ways to make Fabric Collages
First, I start by choosing the fabrics and colors that go together. In addition,my design wall helps me to find their “special” spot. Moreover,it is important to decide what will go on top of the space beforehand. Jewelry or a finished iconic piece of fabric may be highlighted like a bandana or an arpillera. If the piece has many busy objects, then there needs to have an open calm space as the background. Popular trends in handcrafts of past generations in the United States were likewise popular in Mexico. Tatting and doily making were crossborder trends. I sometimes choose these for my pieces.
Abuelita”s Treasures,22″ x 26″
Sewing the Pieces Together
Next I sew the fabric pieces together. Then I pay attention to the order in which I need to sew the items on. Depending on the embellishment, I may quilt the whole top firstand then hand sew on the embellishments afterwards. Artist made 3D figures, flowers and hair bows add interest. Found objects including antique huipil pieces may be used. Colorful ribbons remind one of the movement and action of folkloric dancing. Sometimes I will fuse fun fabric pieces to the top.The whimsy flows.
Mexican Fireworks,23″ w x 33″hEl Senor y La Senora Win Loteria,31″ x31″
In Conclusion
Finally,these fabric collages are fun to sew together and embellish. Furthermore,I hope that you will be inspired to create you own. In addition,please feel free share them with me.
In conclusion,here is a link to some of my favorite blogs. The Thelmdatter posts are historical and informational about the diverse handicrafts made in Mexico. Unfortunately,the blog has been discontinued.
Some fond fabric memories have stuck with me for many decades. Sewing had been a passion of mine for many years. Then I focussed on quilting traditional bed quilts. I began my art quilting adventure ten years.Where did this passion for sewing begin? In search of the answer to that question, I looked back on some fond fabric memories.
Elementary School
For several years in elementary school, the local women’s chorus came to sing for the school. Singing ladies filled the auditorium stage, each wearing a dress of one solid color. I was mesmerized by all of the different colors. This choir sang only a couple of times at my school, but the image of their dresses stayed with me much more than the music. It was such a fond memory that at age thirty I sewed myself a one color dress (teal)that I wore to work for many years.
The Summer before Grade 7
This !960s crop top and shorts are similar to my first sewing project.
At age 12, I begged my mom to let me take sewing lessons during the summer. My memory is that I had to really push to convince my mom to sign me up. My mom was an incredible knitter but she rarely sewed. A friend of mine from sixth grade and I signed up at the local Singer Sewing Machine store downtown. We diligently chose patterns and fabric to make a pair of shorts and a crop top. If only the class had been designed for a total beginner, it would have been fine. However, the teacher expected women to bring in unfinished projects for her to help them finish. My friend and I had no idea of how to get started or what to do. What a disaster!
Eighth Grade
Luckily, I persevered. Eighth grade sewing taught me the basics of using a pattern and of skirt and blouse construction. I made a white collarless short sleeved shirt with a 7” zipper at the neck. The blue skirt was an A-line.Was there a waistband? Another a 7” zipper was necessary for the skirt. Putting in a zipper was definitely a learned skill. I don’t remember loving the class. But for some reason, I did want to continue to learn more about sewing.
High School
In high school in the late 1960s, I took two years of sewing. I continued to construct more difficult items for my wardrobe. Fond memories involve making jackets with bound buttons . Sophistication reigned when I wore those jackets.In those days, department stores like Macys and The Emporium where I worked sold fabric. As many teenaged girls did,I put a lot of thought into planning my wardrobe. My memory is that I worked hard to have a variety of styles and textures in my clothes. I knit a pale yellow shell to go with a skirt I had sewed. Didn’t everyone make sure their wardrobe was intriguing and fiber fresh?
Adulthood
Over the years I continued sewing clothes. I branched out into bed quilts. I was so passionate about traditional quilts. Often after a monthly lecture at our quilt guild, I wouldn’t be to sleep. I would be so excited to try out a new idea! The memory of my passion remains.
A Fashion Show
Another fond memory while transitioning to my art quilt career involved a fashion show at the Pacific International Quilt Festival. The group challenge was to create an outfit inspired by the book, Rare Bird by Iris Apfel. I made a tunic and skirt using African prints. The skirt is trimmed in black and white lace. While actual quilting was not involved, piecing the fabrics into blocks did take place. I created the fabric by sewing the blocks together. Then I cut out the pieces using a pattern. I had to pay attention to where the particular blocks would show up on the actual tunic.
Becoming an Art Quilter
I have now been making art quilts for ten years. People have told me that I have a good eye for color.My formal art education included one year of breath requirements ( drawing and painting). During my elementary school teaching career, I did work for several years at an arts infused school. When local artists taught my class, I participated along with the students. I later incorporated those lessons into my curriculum.
All in all not a lot of formal art education which makes me reflect on where the sources of my art success come from. I am not sure what I can attribute that to. Maybe the years of wardrobe planning did inform my eye for color. Throughout my whole life, I continued to play with fabrics, textiles and colors. Generally I thought all women did. However, recently I have become aware of the fact that color choices come easier to some than others. Based om my fond fabric memories, I conclude that practice and persistence counts.
Are you curious about how to become more creative? Have you ever thought how creativity works? Is someone born with it? Is it a developed skill? Or is it magic? I personally feel that it is a bit of all of those things. But for the most part, creativity is based on a lot of practice, making mistakes and hard work.
Becoming More Creative
American Democracy,2019 27″ w x 28″h
They must be a Genius.
I am not very musically inclined. Upon hearing a complicated piece of music, I would wonder how did someone create that? I would have no idea how the piece was put together. I assumed that the artist created the piece all at once. Therefore, they had to be some kind of a genius to be so special and creative.
Creativity is not a Fixed Entity.
More recently after creating many original art quilts, I have a clearer idea of how creativity works. Creativity is not a fixed entity. It must be nurtured and developed. The musicians might be very talented but probably they worked a long time on a particular piece working bit by bit. Maybe even different people contributed different parts. Ever notice that some people write the music and others write the words? People have strengths in different areas.Their genius takes years of practice.
Making Choices
When beginning an art quilt, first I decide what type of quilt I will make. Will it be an abstract, a nature piece or a Mexican inspired fabric collage? Then I begin to choose the colors based on the fabrics and materials that I have. It helps me to have a vague idea of where I am going. But I keep it flexible in case,I want to change things. Sometimes I start by making a lot of really interesting parts to be focal points. It could be a fabric doll, couched decorative threads or ribbons or 3D textural piece.
Plan something. Then Work to make it Better.
For an abstract art quilt, I begin by choosing a three color palette before adding light and dark hues. It is best to have an idea of what I am going to use these special details or parts for so that the colors I choose will work with the project. But there have been instances when these details haven’t worked as first intended. So were put aside and saved for another piece.
After choosing the colors, I take my first steps of laying the pieces on my design wall. Then I ponder, what I could do to make it better. How can I make it more artful or interesting? How can I add texture or movement to the piece? This is an ongoing process. I make those adjustments and continue on.
Fresh Eyes
Taking a break. Coming back to look again with fresh eyes is helpful and necessary. It is amazing how our eyes can fail to see things. Even when trying to look for errors and they are right in front of our face.
In Conclusion
After making over 400 art quilts, I have a clearer idea of how creativity works for me. Time in the studio working to create art is a must. I am motivated by the way different materials work together. Themes or colors may be the same but rarely do my pieces look similar. Serendipity does occur and should be embraced when it happens.
Shane Townley was running a gallery in Laguna Beach a decade ago when he decided he needed a broader platform for his artists – one that gave them a bigger and better chance to sell their work than just the spot on one wall in one gallery. So he launched aniPhone app that catalogs artists and galleries, where any artist can sell her work. And now he has launched NYA Gallery, which not only has the classic white box storefront on the charming cobbled block of Franklin Place, but also another 9,000 square feet of artists studios, art storage and a frame shop on the lower levels. Welcome New York Art Center in TriBeCa!
Serving the Needs of Many
The studios will be open to the public and are generally for rent by artists, but some will also be donated as residencies for artists from other countries. He and his merry band of gallerists, handlers, educators and hangers (seen above) sell 50 percent of their artists’ work online, and also have a gallery on 1st Dibs. But Townley said they still need to sell in the 3D world. “Walls and artists go together,” he said. “They will still need a space to show.”
Townley spent four years here exploring different areas and neighborhoods while painting in a studio upstairs in 373 Broadway – biding his time till he figured out the New York art market. He came up with this idea as a way to replicate what he was doing in Laguna. His timing seems pretty good. “For Tribeca it couldn’t be a better time,” he said. “We’re onto something.”
NYA Gallery 7 Franklin Place (just west of Broadway, between White and Franklin) info@newyorkart.com 917-472-9015
New York Art Center, studios
The New York Art Center is new to the TriBeCa neighborhood. It has been in New York City for a number of years. Ann Baldwin May is excited and proud to be the first art quilter represented by New York ArtCenter and Gallery.
Burlap and Silk,An art quilt demonstrating the contrasting fabrics of soft and hard rough and smooth
An important life skill for artists to develop is resilience. Resilience helps one weather the rough spots in life. Learn who you are. Learn what your passion is and develop it . Be authentic. Friends, family members and those close to you may not see your passion as you do. Focus on what is true and real for you. This can be hard. As human beings we rely on the reflections of those around us to see ourselves.
Burlap and Silk, an art quilt demonstrating the contrasting fabrics of soft and hard rough and smooth.
Following One’s own Path takes Resilience.
Developing resilience is an important life skill for artists to combat certain comments people might make. “What are you doing that for? “People will say the first thing that pops into their mind without thinking. Realize that it is okay if some people don’t agree with your choice of activity. When someone doesn’t like what I am deeply involved in, I often think about model trains. Some people are extremely passionate about model trains, something that I have absolutely no interest in.
“Isn’t that a lot of work?” Just yesterday a neighbor made that comment about all of the work I do to maintain my garden. I love doing it. I can’t imagine not doing. It is the same way I feel about my art. Passion is what you can’t live without. It isn’t work if you like doing it. Picture water sliding off a duck’s back when disparaging remarks are made. Little by little build resiliency.
Being the Black Sheep takes Resilience.
Developing resilience is an important life skill for artists tostand up to certain activities other might want you to do. When growing up my family was into sports; listening, watching on TV and attending baseball and football games. Of course, I also did these things until I got old enough to realize that I didn’t want to do it anymore. I would rather be out doing something active than watching others do it. This act of resilience was easy for me. Being the odd man out may not be as easy for some people. Of course, it would be nice if the people we care about also cared about the things that we care about. But that doesn’t always happen.
Overcoming Setbacks takes Resilience.
Setbacks can also happen. Sometimes one’s work or family responsibilities take center stage. Being a responsible person creates its own confidence and resiliency. When one knows themselves and is authentic, then moving in a new direction can support one’s vision.
Life skills for artists Develop Resilience.
Many paths lead to success. If one path doesn’t work, find another. Take the long view. A different path might not immediately be visible. Keep working towards your goal, be it personal or professional or artistic.
The poster in my laundry room has this quote on it.
“Great spirits have always encountered violent opposition from mediocre minds.” Albert Einstein
Or as a favorite song, The Middle by Jimmy Eat World says
(partial lyrics)
“Live right now, yeah, just be yourself. It doesn’t matter if it’s good enough for someone else.
It just takes some time,
Little girl, you’re in the middle of the ride.
Everything, everything will be just fine,
Everything, everything will be alright, alright.
Just do your best do everything you can
And don’t you worry what thebitter hearts are gonna say.”
Resilience is a life skill that can be developed and nourished. It applies to our professional, personal as well as our artistic endevours. Things happen in life that are sometimes out of our control. Don’t take setbacks personally. Just forge forward.
Announcing my participation in the juried Juried Open Studios 2019. Sponsered by the Arts Council of Santa Cruz County. Saturday and Sunday, October 5-6 , October 19-20. Moreover,my venue is at the Santa Cruz Art Center, 1001 Center St. located in the Historic Downtown Santa Cruz. Above all, I fill the lobby with Color! Texture! Movement! from11 to 5 pm each weekend. In addition,free motion quilting and curved line piecing demonstrations take place throughout the day.
Lingering Fog, art quilt
County Wide Event
Similarly,artists from all over the county open up their studios for three weekends in October. As a result of so many artists residing in the county, the group is divided in half. One part participates on the first weekend of the month. The second part participates on the second weekend of the month. After that,any artist can open their studios for the third weekend called the encore weekend.
Beach Umbrellas,an abstract art quilt
This will be my fourth year of participation in the Open Studios Tour featuring over 300 artists. Although my studio is small for Open Studios and First Fridays, I hang my art quilts in the lobby of Santa Cruz Art Center. I fill the artium or lobby with Color! Texture and Movement! There is room for from 10-20 large art quilts.
Article of Fusion of Art and Physics-For those of us who are neither physicists nor artists, it’s easy to think that there is no overlap between physics and art. But a new show in Santa Cruz called Fusion of Art and Physics aims to remind us that there are ways to build bridges between the two.
Fusion of Art and Physics Show opens at the R. Blitzer Gallery on March 1,2019. It features the results of 17 collaborations between visual artists and physicists. After the show’s opening reception, participants will share what they learned from each other in a panel discussion.
UC Santa Cruz physicist, Dr. Stephanie Bailey
The show is the brainchild of UC Santa Cruz physicist Stephanie Bailey, who has attempted to blend lessons from the humanities into her teaching of physics. Bailey’s idea was to pair up a roster of Santa Cruz County artists with grad students and faculty in the physics department at UCSC. Like Jane Austen’s Emma, Bailey played matchmaker, looking for complementary interests between artists and physicists. Her own pairing put her with mosaic artist Beth Purcell. Together, Bailey and Purcell built mosaics on musical instruments to illustrate standing waves, the vibrational waveform often created in music.
Art Enhances Science
“I don’t consider myself an artistic person at all,” says Bailey. “But I still very much welcomed working with an artist.”Bailey’s sales pitch to her fellow physicists was audacious. Art, she told them, isn’t a distraction from science—it enhances it.
“I really believe that working with an artist can enrich the work of a physicist, lead them to think about their problems in new and different ways, and even create a few a-ha moments,” she says.
Brad Burkhart
Santa Cruz sculptor Brad Burkhart https://burkhart-sculptor.com/ didn’t need convincing. Burkhart’s partner on the physics side was Hendrik Ohldag. He is a physicist from the Stanford Synchotron Radiation Laboratory where he studies magnetism. Burkhart entered the partnership already inspired. He is quick to share his favorite title Art and Physics: Parallel Visions in Space, Time and Light by San Francisco surgeon Leonard Shlain.
“I’ve always been interested in the overlap between the arts and the sciences,” says Burkhart. “It’s [Shlain’s] premise that art leads science by 50 years or so. Artists come up with a visual framework that is later discovered and proven by scientists.”
Gates of Paradise
Inspired by the Gates of Paradise at the Baptistry of Florence, Burkhart turned his artistic attention to creating small bas-relief panels from high-fired clay that are similar to what he saw in Florence. Burkhart visited his scientist partner Ohldag in the physicist’s lab, and Ohldag returned the favor by visiting Burkhart during Open Studios. Eventually, Burkhart created a series of his relief panels guided by feedback and comments from Ohldag.
“I’m going to have a description of how we collaborated. I’m going to have Hendrick’s comments on the four sculptures as well,” says Burkhart.
Randie Silverstein,glass artist
Glass artist Randie Silverstein says that her collaboration with physics grad student, Alex McDaniel led to an enormous breakthrough in my work. I’ve been doing glass art to explore the material further. Then I conceived of and manipulated the materials in ways I hadn’t done before. Randie’s work took off in a totally new direction.
For Bailey, the non-artist who found herself curating an art show, Fusion is part of a mission to bring the concepts of physics to a wider public. “Art is a much more friendly and inviting way to attract people than physics,” she says. Of the work she created alongside mosaic artist Beth Purcell, she says that the artwork is more than a few pieces of aesthetic pleasure. “I consider them extraordinary teaching tools, something I can bring into the classroom to convey an important concept in physics.”
‘Fusion of Art and Physics’ runs through March. Opening reception is Friday, March 1, 5-9 p.m. Artist and physicist panel discussion on Saturday, March 16, noon-2 p.m. R. Blitzer Gallery, 2801 Mission St. Extension, Santa Cruz. slbailey109.wixsite.com/fusion/blog.
Brad Burkhart, clay artist participated in the Collaboration between Art and Physics. He is a lover of Physics as well as clay scultpure.Brad recommended that I read Art and Physics a book by Leonard Shlain. It truly opened my eyes to the science of art.
Brad Burkhart shares his process-clay and physics
Since finishing my sketches for the project, I have been turning them into clay relief form. Due to time issues,not all sketches could become sculptures for the group show on March 1. My goal was to finish 4 of the 6.Notwithstanding this goal was daunting. Each of the clay pieces require over a month of slow drying before firing. By necessity, I sped up the drying process. I used an electric heater in the studio. Moreover, I devised an open lath support under the sculptures to allow them to dry faster. Finally, I found local potters,Steve and Bonny Barisof. They agreed to do this firing for me.
The process-
Below are a few photos of the transformation from sketch to sculpture.
Firing is always an unpredictable process. This one was no exception. The three top pieces came out beautifully. However, apparently I had not dried the bottom one enough. Unfortunately, it fell apart in the kiln.
But the disintegration of piece #4 led to some new insights. My wife and I discussed the broken piece. We decided to mount the main pieces on a board. A quote on Chaos Theory is its show title. After that, we named the other pieces in a similar way. As a result, using physicist quotes or theories added to the exhibit.. I invited Hendrik to participate. In the end we went with my wife’s suggestions for the show. In other words,her suggestions were easier to understand by average viewers. However, I present them both below because they are both insightful. I am still deciding on final names for the pieces. Although I have definitely embraced Hendrik’s name for #3.
Hendrik’s Suggestions:1.) Superconductivity by John Bardeen, Leon Cooper, John Robert Schrieffer2.) What is it? Fermi-Dirac or Bose-Einstein3.) Einstein, Soccer and Gravitation Waves4.) Parity or no Parity, Noether, not Hamlet will answer this question.
Wife Ann’s Suggestions:1) “Things” Can Be Regarded on One Level as Structures and on AnotherLevel as Processes —-T. R. Young
2) By Making Everything as Small as Possible the Waves Become MuchMore Agile and Faster —-H. Ohldag
3) Are You the Observer or the Observed?
4) The Final Outcome…Is Radically Affected by Tiny Changes in theInitial Conditions —-S. Morgan
Complexity theory also denies the concept of the objectivity, or separation of the observer from the observed (Young 11).
4) Steev Morgan: Applying Chaos Theory to Artistic and Cultural Practice
Continuing Work at Hendrik’s New Lab
In addition to preparing sculptures for the show, I have continued to interact with Hendrik at his new lab. I am awaiting his comments about having my piece “What’s Your Sign?” in his new lab at the Berkeley Cyclotron. He is just getting started there.
In the meantime, we discovered that the research conducted at SLAC resulted in a significant breakthrough in understanding the speed of magnetic waves. Previously it had been thought that 1 mile per hour was the limit. But they discovered through the experiment that if materials were made small enough, this speed could increase up to 500 miles per hour. This is particularly significant because computer memories use magnetic storage. With the right design, it now appears possible to significantly increase storage. Moreover,while lowering energy use significantly.
Naming a Piece at the New Lab
I try to name my works through a group consensus process. We have been attempting such a process at Hendrik’s new Berkeley Lab location. We hung an unnamed piece in the researchers’ lounge with a suggestion box nearby. See the piece below with set of suggestions. Feel free to participate in the process by e-mailing Hendrik or myself your suggestions. I envision sorting these out along with names for the show pieces later this spring.
We all make mistakes but then learn from them. I Love Mistakes-Learn from them. I would like to share some mistakes that I have learned from. All mistakes are not bad. Errors are often touted as being something to avoid. Keeping one’s mind open can lead to embrasing errors as a good discovery. Postits and the microwave oven, for example, were originally mistakes.
Grasses in the wetlands with a moon overhead
A Fabric Layering Technique Example
While working on a wetlands fabric layering piece, some fabric turned under at the top. This unexpectedly added movement and added interest to the marsh. I continued doing it and added it to my toolbox. I Love Mistakes. Learn from them.
An Abstract Example
One example is how I discovered a signature detail of mine by mistake. When working on abstract pieces, I generally first pull out all of the possible fabrics within my chosen range of colors. A particular color was missing. Not finding a bigger amount, I solved my problem by sewing some small pieces together at odd angles to make a large enough piece of material. It pleased me,I liked the way it looked.
I Love Mistakes-Learn from them.
This example is how I discovered a signature detail of mine by mistake. I started to do it more. sewing small pieces of fabric together (about 1-1 1/2″ long) that had been trimmed off other pieces. Not wanting to waste any fabric anyway, I now often include some small pieces sewn together to each of my abstracts. I is now my signature detail.
Greys,pinks and purple fabric in this abstract art quilt
Tension Takes Over
Another example is the day the tension on my machine seemed to have a mind of its own. The sewing machine started to pull the bobbin thread from the bottom up to the top of the fabric. Stitches looked like dots. I liked the effect. I tried it using different colored threads. Using a cream colored fabric,I preferred a black thread on the bobbin(bottom) and a cream colored thread for the top. I adjusted the tension so that the bottom thread would pull up and create dots .
Knots, art quilts with fibersstitches with poor tensionKnots, detail showing stitching with poor tensionKnots, detail 2
In Conclusion
Keep an open mind towards mistakes. Are they interesting? Do they make your piece more interesting? Then accept your mistake. Learn to love and accept mistakes.Learn from them. Add the technique to your toolkit and use it. Embrace new discoveries.
The newest art genre-art quilts are one of the newest genres to enter the field of art. Back in 1989 The Studio Art Quilt Associates(SAQA)https://www.saqa.com/ began in Northern California by a group of about 50 artists. As a result,it has now spread across the globe and grown into a membership of over 4000. Yet,not all quilt artists use the same techniques nor materials. After that,there is a wide variation. Fabric is the medium. Likewise,two or three layers of fabric may be used for the final product.
Studio Art Quilt Associates(SAQA)
Since their start,SAQA promotes art quilts as fine art. From SAQA’s website, Studio Art Quilt Associates, Inc. (SAQA) is a nonprofit organization whose mission is to promote the art quilt: “a creative visual work that is layered and stitched or that references this form of stitched layered structure.” Over the past 30 years, SAQA has grown into a dynamic and active community of nearly 4,000 artists, curators, collectors, and art professionals located around the world. Our vision is that the art quilt is universally respected as a fine art medium.
In addition,SAQA offers a wide range of resources for its members. Consequently,the entries in their shows are of the highest quality and expression.
The Fabric of our Lives
First of all,clothing or fabric is near and dear to our hearts. We all wear clothes for our whole lives, sometimes twenty four hours a day. Furthermore,we wrap ourselves in extra layers to stay warm. That is to say that quilts represent home, love and well being especially at night. Moreover, idioms in various languages attest to the depth of fabric’s affect. In the same vein,the texture of its weave reaches deep into cultures, past and present.
A Family Member’s Quilts
To begin,many conversations that I have had about art quilts start with a reference to a family member’s hand made quilts. This bothers some artists who want to distance themselves from seamstresses and the bed quilters. Not me though, I started out making bed quilts. In other words,I know the pull and charm of them, notwithstanding the love they embody. Abstract art or fabric collages use similar techniques as traditional quilts. Yet their function is quite different. They are not diminished by the quilts people wrap themselves in.
Shared Experiences
Furthermore,creating bridges in communication is more helpful than not. We have a possible entry to conversation through our shared experience with fabric. Yet, for the artist,this beginning must move on to a discussion of the actual art or the process to make the piece.
Museums
Above all,top notch museums have shed light on quilt artists with their gallery shows. This has helped to elevate the interest and value of all art quilters. Only then can the art viewing public begin to understand fabric as part of the artist’s palette of materials.
Long may this newest art genre-art quilts prosper and grow! Feel free to ask questions to further your own knowledge.
