Visit my booth at the Greenbelt Festival of Lights craft show Dec 5-6

Stop by my booth at the Greenbelt Festival of Lights craft fair next weekend, Dec 5 (10am - 5pm) & Dec 6 (10am - 4 pm) at the Greenbelt Community Center located at 15 Crescent Rd in Greenbelt, MD (map).  

It's exciting to be participating in this wonderful gathering of talented artists and craftspeople for my 5th year in a row. I'm looking forward to reconnecting with longtime supporters, meeting new folks, and showing my most recent wearable creations.  

An acceptance in the middle of a sea of rejections

I'm happy to report that "Focal Point" has been accepted into the Art Cloth Network show "Anything Goes". Elin Noble was the juror. She's a delightful, talented artist and teacher. It's an honor to have had her review my work. The first venue for the show hasn't yet been determined, so that's something else to look forward to. 

"Focal Point"

The joy of silk charmeuse

For a moment let's set aside the simple fact that it's just so much fun to say the word "charmeuse," especially when it comes out shar-MOOOZ. More important though is the fact that this stuff is absolutely wonderful to paint on. The brush with thickened dye just glides across the smooth, shiny side of the cloth, and the dye penetrates very well, giving good strike on both sides. 

My cloth is created by printing, dyeing, and a decent amount of hand painting. This isn't the fussy sort of "silk painting" as you can see from the photos below. Both of these length are destined to become scarves.

First layer of gestural marks and shapes on two 2-yard lengths of silk charmeuse

Beginning to add color

Background fill

Adventures in itajime shibori

Adventures in what?

From the same folks that gave the world sushi and origami comes the equally OCD collection of dye patterning techniques collectively known as shibori (she-BOO-ree). All of these methods involve creating a physical resist between cloth and a dye bath by folding, clamping, wrapping, stitching, and binding. I've been using arashi (ah-RAH-she)--pole wrapping--for several years and getting some satisfying results.

An example of the type of patterning produced by arashi shibori

I've also been experimenting with itajime (it-ah-JEE-may), another form of shibori that involves clamping folded cloth between wood or plexiglass forms to create a resist. With all of these techniques you get out what you put in. In the case of itajime, carefully folding and pressing the fabric is a time-consuming process, but ultimately produces better (or at least or regular geometric) results than loosely folded fabric.

Itajime scarves drying on the line

And, for your further entertainment, here's a video that compresses the somewhat fussy process of folding and pressing a 2 yard piece of cloth into a small triangular stack. In this video and the image above I'm working with cotton lawn.

Tuesday morning clothesline

I was in the studio at 6 AM this morning (before work) washing out the dye from Sunday and Monday. Last night, all of Sunday's wax and print work got a nice over-dye. I left 12 yards of cloth drying on the line today while I'm at work so they'll be ready for me when I get home. Tonight I get to press out all of the wax (ironing between mountains of newspaper) and launder out the residue. This is about my least favorite task, but it's the only way forward it I want to apply more color. It's that Karate Kid thing--wax on; wax off.

The clothesline as I left for work.

Let the season of making begin

I'm busy in the studio all year, but over the past 5 years or so I've fallen into an annual pattern of activity. January through April is usually a time for research and developing new ideas--and the time for a much needed winter vacation. May is usually the time that I'll fit in a workshop if I can. June through September I'm often working on art with an eye toward summer and fall exhibition deadlines. But, it's in October through December that the activity level really ratchets up. I sell wearable art (mostly scarves) online all year long, but I also do one 2-day craft show at the beginning of December. Producing enough work for 2 days of selling and working a full time job takes months of part-time effort. 

And as I write this, I've got several yards of printed fabric downstairs in the studio batching--oh, yeah, and dye-stained hands. I absolutely love this frenzy of dyeing, printing, and sewing, but I'll be exhausted by Christmas. That's just the way it is. 

Here are some photos of just some of the weekend's activities. Many thanks to Dan, my in-house photographer.  

Adding soy wax resist to silk crepe de chine using an Indonesian tjap. The wax will block whatever color I add next. 

Inking a large sheet of plexiglass with thickened dye for monotype printing.

Creating pattern on the monotype plate.

Printing the waxed cloth on inked plate.

Pulling the print.

The next steps will be letting the dye cure then putting the whole thing in an immersion dye bath. After that I'm not sure--probably removing the wax followed by...whatever it needs.  

Elements of Design: Day 10 (the end)

While the sun has yet to set on Columbus, it has indeed set on my 2-week design adventure. I got to the Barn early-ish this morning and finished yesterday's composition--gluing down loose pieces and making a few tweaks here and there. David gave a short slide talk about his own recent work, and we did one last crit. Then, after lunch, slowly but surely, folks began to leave. Slow leave-taking, especially after having spent so much time together, is like slowly tearing off a bandage. It might be better if a bell rang, we all said our goodbyes, and then ran--one big "Ouch," rather than so many little painful partings. 

I was among the last to leave because my flight isn't until tomorrow. I did one more small composition in the afternoon as I reflected on yesterday's film about Ellsworth Kelly, seen below in by portfolio. I felt that I just needed to park this idea for future consideration. 

I'm going to need to take some time to reflect on my takeaways from these 10 days. I definitely learned. I hope that I can make (and keep) a commitment to doing more thumbnails and studies. I also need to give serious consideration to paper and paint in addition to cloth, if for no other reason than it seems to access a different part of me--a different voice. 

And so, I'll close with a few thoughtful photos.

Sometimes messy workspace can be productive. (it got even messier than this)

Sometimes (often) beauty exists right beneath your feet. We just need to take the time to notice.

Sometimes the shadow of a thing is even more interesting than the thing itself.

Elements of Design: Day 9

Today was probably (definitely) not the most productive studio day, but it was certainly active. After a bit of work time this morning, we did critique for 90 minutes. After lunch we had a little field trip to visit Nathaniel and Michelle Stitzlein in their home/studio--the former Grange hall in Baltimore, OH. You have to check out their site and see their amazing work on their website.

So, then there was a little more time for work, followed by an excellent film about Ellsworth Kelly ("Ellsworth Kelly: Fragments"), which I highly recommend. If you have any interest in modern abstract art, run, don't walk, to stream this on Amazon. It's an hour of Kelly discussing his evolution as an artist as well as visiting some of his larger installations. 

And then I got about 30 minutes to work before we trooped off to see Nancy's (Crow) new studio. It's a barn big enough to hold a barn! The interior is stunning--all locally milled wood, huge design walls, an entire floor for quilt storage, and her husband John has the entire basement level for his wood shop. I count myself lucky to have seen the space before she moves in, at which time it will be off limits to everyone.

It was a great day, but introverted me had a little more stimulation than I needed between all of the activity and the level of energy it brought out in everyone else. 

I did manage to at least start a new composition. I'm trying to do this one in 4 panels with the intention to join them, but along the way also trying to create compositions that could stand on their own. I'm not sure I can pull that off, but it's an interesting experiment. 

This is where it stands so far. I keep producing this stuff that's incredibly narrative compared to any of my other work. This only comes out when I work in collage...and I'm thinking maybe I need to do a bit more of that.

Elements of Design: Day 8

In case you're wondering how long this is going to continue, it's 10 days total, so just 2 more entries after this one. 

We started the day with a slide lecture on the categories of design (hierarchical, etc.), then, as promised, we spent the rest of the day much as we did yesterday--only bigger. Today's composition was 8.5 x 22". While I could have also worked 11 x 17", I chose this shape and aspect because it's radically different from my usual work.

Once again, we began with a restricted shape vocabulary and limited color palette, then added both shape and color in three distinct layers. With each layer, the goal was to create a composition that could stand on its own.

You can see the three phases of my composition below. I was surprised by how anthropomorphic and narrative the shapes became. Also, increasing the size of the design space really drove home the importance of proportion. It isn't enough to simply scale up the size of shapes from a smaller composition to a larger one. Neither is it sufficient to use the shades from the smaller composition in a larger one at the same scale. There's a sweet spot in between.

Tomorrow I'm working on a contiguous design in 4 panels that will total 17 x 22".

Elements of Design: Day 7

I'm energized, I'm learning, but I've got to say that it's Tuesday and I'm already Wednesday-tired.

The shape exploration continued today. The compositions got larger and more complex, and there was a twist. First David asked us to create 2 compositions using the same rules as yesterday (limited range of shapes, etc.), but using 4 colors. Not a huge challenge, and I was pleased with the results, shown below.

Then came the challenge: pick one composition and add to it to double the number of shapes and colors. I was hesitant at first because I liked the results that I'd already gotten and feared the mess I expected to make. I have to say that this turned out to be a great exercise. It really drove home the point that good design is built on a strong foundation. Limiting the variables (shape, color, number of elements) in the first pass made it much easier to focus on basic structure. If I'd had 24 pieces moving around at one shot, I'm not sure I'd have arrived at this solution.

Tomorrow we'll be pushing this idea further: 2x the size and multiple cycles of addition. I spent the last couple of hours today painting paper and prepping for tomorrow morning.