Today I decided to go ahead and put the last coat of polyurethane on my screens that I talked about back in this post. I've slowly been plodding away at it during the week, braving as much of the heat wave as I can stand.
(Side note: Kathy left a comment that she couldn't stand the odor from polyurethane. I'm using the water based one and doing it outside and there's practically no smell at all. And I'm pretty wimpy about those things so if I think that, then its good.)
My surface design idol, Carol, also left a comment on the post where I talked about painting the frames saying that she tapes off the mesh while she's applying the poly to avoid accidental drips on the mesh. Awesome advice.
Wish I would have listened.
I thought I was super careful but when I picked up one screen today I noticed a thin brush stroke that trailed right smack through the middle of the screen. I stared at it. I could see all the times in my studio when I would go to the trouble of charging a screen with dye and constantly printing that empty gap in the pattern.
I admit that I scowled at it.
Stupid mark.
I put the screen back in a tray and moved on to the other ones. And I kept thinking about it. What a waste. What an annoying glitch in my plans. So much prep work to be ruined by such a simple little mistake. Drat.
And then I realized how foolish I was being. My plans for screen printing revolved around not being careful. I wanted a randomness (controlled to an extent so I can come out the other end with something I like), an organic feel.
Isn't that what that little brush stroke was going to give me? I picked the screen back up and looked closer. Then I took my brush, dipped it in the polyurethane and started dripping, swiping, brushing along the surface of the screen.
I blocked more areas, created a pattern, permanently altered the screen into something that would generate images I would love.
Its not about fighting the mistakes, its about learning to walk side by side with them to see what they can teach us.
22 July 2011
21 July 2011
liquid heat
1. 196/365: The sun sets on the Big Apple, 2. Oman, 3. Wildflowers, 4. Vaðlareitur in Eyjafjörður
The sun is burning so heavy, it feels like liquid heat sticking to everything. A simple walk from a building to the car feels like a burden, a weight so difficult to carry that it borders on madness.
One wonders when the break will come, when the great relief will finally reach us.
One wonders when the break will come, when the great relief will finally reach us.
19 July 2011
beat the hot weather with art GIVEAWAY :)
Michigan is in the midst (like many other states) of an absolutely hideous heatwave. Today got up to 96 degrees and tomorrow is supposed to top out over 100. Add humidity and storms and you've got a generally large group of grumpy people.
I was complaining to a friend the other day that there is absolutely no point for it to be this hot, that it serves no purpose. She disagreed - said its perfect weather for dyeing brilliant colors on fabric.
I kept thinking about that. That even though things are seriously out of whack in the comfort area, its not impossible to find a little something good about it. Hot sweltering weather that threatens to make you sweat buckets within seconds? Perfect weather for staying in your studio and making art. No-guilt-staying-indoors kind of weather.
To that end, I thought you might like to take a little class with me via my DVD Print Design Compose. All you have to do is leave a comment on this post telling me what your favorite surface design technique is and I'll pick a random winner on Saturday and post the result on Sunday.
In the DVD I show you how to do three surface design techniques (thermofax screen printing - shocker, right? ;-) - , soy wax batik and freezer paper stencils. Then we actually cut up the fabric we print (easier then you think!) and design an abstract art quilt (the one on the cover of the DVD is the example in the video) from start to finish.
Here's a little preview that Interweave put together (love the freeze frame at the beginning, looks like I'm blowing out candles!) to give you a sense of the DVD:
Get commenting and stay cool! :)
I was complaining to a friend the other day that there is absolutely no point for it to be this hot, that it serves no purpose. She disagreed - said its perfect weather for dyeing brilliant colors on fabric.
I kept thinking about that. That even though things are seriously out of whack in the comfort area, its not impossible to find a little something good about it. Hot sweltering weather that threatens to make you sweat buckets within seconds? Perfect weather for staying in your studio and making art. No-guilt-staying-indoors kind of weather.
To that end, I thought you might like to take a little class with me via my DVD Print Design Compose. All you have to do is leave a comment on this post telling me what your favorite surface design technique is and I'll pick a random winner on Saturday and post the result on Sunday.
In the DVD I show you how to do three surface design techniques (thermofax screen printing - shocker, right? ;-) - , soy wax batik and freezer paper stencils. Then we actually cut up the fabric we print (easier then you think!) and design an abstract art quilt (the one on the cover of the DVD is the example in the video) from start to finish.
Here's a little preview that Interweave put together (love the freeze frame at the beginning, looks like I'm blowing out candles!) to give you a sense of the DVD:
Get commenting and stay cool! :)
18 July 2011
my medium does not define me
On some of the email lists I belong to, there is a passionate discussion going on that was sparked by the following comments that a 2011 Quilt National juror made in the show catalog:
" What about these works of art demands that they be formed from cloth and thread? Is there a message and meaning that can only be revealed through this medium?"
I don't have the book (so its possible, even likely, that there is far more expanded on this statement) but have been intrigued by the heated response to this.
There is a part of me that doesn't understand the question. Why do painters use paint? Why do potters use clay? Why do artists who draw use pastels or charcoal or colored pencils?
Seems to me like its largely a matter of personal preference.
I've encounted back lash when I tell people I'm a fiber artist. In fact, I remember not too long ago getting an email from a blogger letting me know that she had blogged about me. When I read the post, she referred to me as an artist but always put the word in quotes. So it read (and I'm paraphrasing), "I found this blog where this "artist" does this..."
I was confused at the time. It felt really condescending and I debated about whether or not I should say something to her about it. In the end, I let it go because I didn't feel like it was worth the amount of energy it would take up. It felt negative and I don't want that kind of energy attached to my work.
Why do fiber artist feel the need to so vehmently defend fabric as a medium?
I guess the discussion is good. It makes us think about things. To answer the questions, I use fabric because I like being able to hold it in my hand, tear it, reassemble it, print, paint, stitch, layer. Could I do this with other mediums? Maybe, but the draw for me is the versatility of it, the endless variations.
I don't know....in the end I don't think it matters.
I'm an artist.
My medium does not define me.
" What about these works of art demands that they be formed from cloth and thread? Is there a message and meaning that can only be revealed through this medium?"
I don't have the book (so its possible, even likely, that there is far more expanded on this statement) but have been intrigued by the heated response to this.
There is a part of me that doesn't understand the question. Why do painters use paint? Why do potters use clay? Why do artists who draw use pastels or charcoal or colored pencils?
Seems to me like its largely a matter of personal preference.
I've encounted back lash when I tell people I'm a fiber artist. In fact, I remember not too long ago getting an email from a blogger letting me know that she had blogged about me. When I read the post, she referred to me as an artist but always put the word in quotes. So it read (and I'm paraphrasing), "I found this blog where this "artist" does this..."
I was confused at the time. It felt really condescending and I debated about whether or not I should say something to her about it. In the end, I let it go because I didn't feel like it was worth the amount of energy it would take up. It felt negative and I don't want that kind of energy attached to my work.
Why do fiber artist feel the need to so vehmently defend fabric as a medium?
I guess the discussion is good. It makes us think about things. To answer the questions, I use fabric because I like being able to hold it in my hand, tear it, reassemble it, print, paint, stitch, layer. Could I do this with other mediums? Maybe, but the draw for me is the versatility of it, the endless variations.
I don't know....in the end I don't think it matters.
I'm an artist.
My medium does not define me.
beyond thermofax screens
Believe it or not, thermofax screen printing was not my first foray into the wonderful world of screen printing.
That honor goes to the fabulous Kerr Grabowski and the week long class I took with her on deconstructed screen printing. That was the first time I'd done what I call abstract screen printing. I tend to look at printing in two categories: abstract and realistic.
When I want abstract prints, I do deconstructed printing. When I want, for example, the image of a ginkgo leaf exactly as its meant to look, I do thermofax screen printing.
I've had a hankering lately to do some abstract printing and the deconstructed variety sounds like it will hit the spot. I ordered some supplies today and decided to do a little check up on the state of my silk screens.
I use these regular old plain ones for smaller printing and they work like champs. But I've not been so happy with the duct tape on them and today I decided to change it.
If you're new to screen printing, here's the scoop: you have to protect the wood frame because you're going to get it wet - with water and paint and dye and whatever else you toss on it. If you don't protect the wood, it will warp and rot and generally become useless. And since these buggers aren't so cheap, that's not a great prospect.
When I was new to the game, I went the duct tape route. Which means I taped off the edges into submission and its worked decently. But as I used the screens more, it became evident that its not a long term solution. I noticed the last time that the tape was lifting at the edges but not wanting to deal with it then, I ignored it.
Bad idea.
This is what I was calling a "clean" screen (this is what it looks like after I yanked the duct tape off) :
Not very clean, is it? Here's another view:
The other thing that I've never really been a fan of is how much screen area I'm loosing to the duct tape. See the rectangular stain on the mesh in the photo above? Everything between that line and the wood frame was tape.
You can really see the difference in this photo:
Think of all the printing you could do with that extra room.
Basically I had two choices. I could replace the duct tape with new tape and try to take up less room with it or I could use polyurethane.
I went the second route.
What you do is paint the wood edges of the screen with several coats of polyurethane and you leave all that extra space free. It takes more effort then the tape. I have to wait for each coat to dry (which isn't really that hard since its 96 degrees here today) and it takes a little more finesse because if I get it on the mesh of the screen, it will block that area.
I set about my work in the sweltering heat that Michigan is being smacked down with and this is what everything looked like after the first coat:
I did decide to add a permanent well to the screens by brushing about a two inch strip of poly on the end of the mesh. (A "well", in case you don't know, is a blocked area of the screen where you put paint or dye before you pull it across the screen. If you don't create this, the paint or dye will just go straight through the screen and create a big old blob. You can create a well with tape or polyurethane. I chose the latter.)
I'm going to let them dry overnight and do a few more coats over the course of the week. My hope is that next weekend cooperates and I can get some good deconstructed printing done. I figure if I prep supplies during the week, it'll let me go gangbusters on the good stuff rather then having to putter with it later.
There always seems like there is a lot of prep work with these things but its sooooo worth it in the end, don't you think? :)
That honor goes to the fabulous Kerr Grabowski and the week long class I took with her on deconstructed screen printing. That was the first time I'd done what I call abstract screen printing. I tend to look at printing in two categories: abstract and realistic.
When I want abstract prints, I do deconstructed printing. When I want, for example, the image of a ginkgo leaf exactly as its meant to look, I do thermofax screen printing.
I've had a hankering lately to do some abstract printing and the deconstructed variety sounds like it will hit the spot. I ordered some supplies today and decided to do a little check up on the state of my silk screens.
I use these regular old plain ones for smaller printing and they work like champs. But I've not been so happy with the duct tape on them and today I decided to change it.
If you're new to screen printing, here's the scoop: you have to protect the wood frame because you're going to get it wet - with water and paint and dye and whatever else you toss on it. If you don't protect the wood, it will warp and rot and generally become useless. And since these buggers aren't so cheap, that's not a great prospect.
When I was new to the game, I went the duct tape route. Which means I taped off the edges into submission and its worked decently. But as I used the screens more, it became evident that its not a long term solution. I noticed the last time that the tape was lifting at the edges but not wanting to deal with it then, I ignored it.
Bad idea.
This is what I was calling a "clean" screen (this is what it looks like after I yanked the duct tape off) :
Not very clean, is it? Here's another view:
The other thing that I've never really been a fan of is how much screen area I'm loosing to the duct tape. See the rectangular stain on the mesh in the photo above? Everything between that line and the wood frame was tape.
You can really see the difference in this photo:
Think of all the printing you could do with that extra room.
Basically I had two choices. I could replace the duct tape with new tape and try to take up less room with it or I could use polyurethane.
I went the second route.
What you do is paint the wood edges of the screen with several coats of polyurethane and you leave all that extra space free. It takes more effort then the tape. I have to wait for each coat to dry (which isn't really that hard since its 96 degrees here today) and it takes a little more finesse because if I get it on the mesh of the screen, it will block that area.
I set about my work in the sweltering heat that Michigan is being smacked down with and this is what everything looked like after the first coat:
I did decide to add a permanent well to the screens by brushing about a two inch strip of poly on the end of the mesh. (A "well", in case you don't know, is a blocked area of the screen where you put paint or dye before you pull it across the screen. If you don't create this, the paint or dye will just go straight through the screen and create a big old blob. You can create a well with tape or polyurethane. I chose the latter.)
I'm going to let them dry overnight and do a few more coats over the course of the week. My hope is that next weekend cooperates and I can get some good deconstructed printing done. I figure if I prep supplies during the week, it'll let me go gangbusters on the good stuff rather then having to putter with it later.
There always seems like there is a lot of prep work with these things but its sooooo worth it in the end, don't you think? :)
17 July 2011
i'm (finally) for sale
I know today is supposed to be the usual Where I Stand Sunday post but I've got something a little more on my mind and thought I'd post something different today.
I've been asked many time is if I sell my artwork. I do. But its been sporadic. Meaning if you happen to be in front of it and ask me about it, I'll sell it to you. There's been a few factors that have stopped me from really getting organized about it - how to price it, not having a big stock pile, wanting a consistent portfolio.
But I decided last week that enough is enough, its time to take this step. It feels like its a necessary (and up until now - missing) part of where I want to go with my art career. So today, instead of taking pictures of my feet, I spent the time putting up several pieces into a new etsy shop.
Many of these pieces have appeared in the articles I've published recently with Quilting Arts and Sew Somerset.
I've got more I want to post but its a start and I'll keep adding pieces to it over time. I've got a lot of work in my studio that is eager to find a new home.
Please go have a look if you are inclined and thanks for taking this step with me. :)
12 July 2011
are websites obsolete?
Are websites obsolete?
This is a question I kick around often. With blogging, facebook, twitter, linked in, my space and a bazillion other ways to connect online, is anyone still looking at a basic little website?
As artists, an online presence feels like a necessity. By that I mean its far easier to connect with others who share our passion for our particular medium if we place ourselves online somehow. I'm lucky to be surrounded by a very talented group of fiber art friends in my area but by being online, I've "met" people that have really inspired and motivated me to be a better artist.
As far as social networking goes, I decided a while back to pick two and stick with them. I chose facebook and blogger (I do have a twitter account but mostly just post links to new blog posts and new e-zines). I've been happy with the two, they are things I can maintain consistently and not feel chained to.
But a website? Does anyone just go browse websites anymore?
And what should it look like? Lots of graphics? Sparse and clean? Logos? How do you organize the artwork? How much work should you put up there?
It gets kind of overwhelming pretty quickly. I can't even tell you how many different versions my website has been through. Last week I decided I needed to wipe the slate clean and make it reflect where I'm at in now in my art career. But more then that it needed to be simple to update (since I do my site myself) so that I could keep up with it as I make new work.
Here's what my home page looks like now:
Its totally minimalist and miles away from the first version I did years ago. If you're inclined, please go have a peek and let me know what you think.
I've got a lot of new artwork to photograph and get up there. My portfolio is woefully not up to date but I've decided to take photos of five pieces a week and upload them. Anything beyond that and I'll get that twitchy feeling that comes with too much work to keep up with and just not do any of it at all.
I still need to decide what to do about Where I Stand Sunday. I'd like to capture the project in its entirety somewhere. Its a lot of photos and a lot of writing and its not something I want to loose sight of. (I still secretly hope to one day publish a book about it.) I'm thinking my flickr account but that's still up in the air.
I'm relieved to have it done. Its really simple but it makes the artwork the star and that's what I was hoping for.
Sometimes the best solution is the simplest one, don't you think?
This is a question I kick around often. With blogging, facebook, twitter, linked in, my space and a bazillion other ways to connect online, is anyone still looking at a basic little website?
As artists, an online presence feels like a necessity. By that I mean its far easier to connect with others who share our passion for our particular medium if we place ourselves online somehow. I'm lucky to be surrounded by a very talented group of fiber art friends in my area but by being online, I've "met" people that have really inspired and motivated me to be a better artist.
As far as social networking goes, I decided a while back to pick two and stick with them. I chose facebook and blogger (I do have a twitter account but mostly just post links to new blog posts and new e-zines). I've been happy with the two, they are things I can maintain consistently and not feel chained to.
But a website? Does anyone just go browse websites anymore?
And what should it look like? Lots of graphics? Sparse and clean? Logos? How do you organize the artwork? How much work should you put up there?
It gets kind of overwhelming pretty quickly. I can't even tell you how many different versions my website has been through. Last week I decided I needed to wipe the slate clean and make it reflect where I'm at in now in my art career. But more then that it needed to be simple to update (since I do my site myself) so that I could keep up with it as I make new work.
Here's what my home page looks like now:
Its totally minimalist and miles away from the first version I did years ago. If you're inclined, please go have a peek and let me know what you think.
I've got a lot of new artwork to photograph and get up there. My portfolio is woefully not up to date but I've decided to take photos of five pieces a week and upload them. Anything beyond that and I'll get that twitchy feeling that comes with too much work to keep up with and just not do any of it at all.
I still need to decide what to do about Where I Stand Sunday. I'd like to capture the project in its entirety somewhere. Its a lot of photos and a lot of writing and its not something I want to loose sight of. (I still secretly hope to one day publish a book about it.) I'm thinking my flickr account but that's still up in the air.
I'm relieved to have it done. Its really simple but it makes the artwork the star and that's what I was hoping for.
Sometimes the best solution is the simplest one, don't you think?
11 July 2011
left behind
1. L'hôpital abandonné, 2. Loved the old school structure in this barn, 3. Untitled, 4. Up to another world, 5. Hausfriedensbrecher unterwegs auf dünnem Eis, 6. VEB Kombinat Medizin- und Labortechnik, Leutzsch, 7. Chair., 8. "Estoy Quebrada..."-imagenes-editadas-de-cris, 9. Abandoned Baggage 1
There's something magical about things that have been abandoned. Secretive. Enticing. And just a little bit unnerving.
The colors of decay seem full of life, an odd contradiction.
Beauty is everywhere, even in the things that have been left behind.
The colors of decay seem full of life, an odd contradiction.
Beauty is everywhere, even in the things that have been left behind.
10 July 2011
where i stand sunday
At the start of 2009, these were my intentions. I've walked with them in mind ever since, writing them on my board in my studio to look on. Some things have been accomplished, some are still waiting and some no longer feel necessary. Time is the master of perspective, a master at clarity. One stands out more then others: live an artful life.
Its become obvious that this is a lifelong pursuit.
And I am happy for it.
Where I Stand is an ongoing photo essay examining the different places I spend my life standing. Too often we take for granted the everyday places we spend our lives walking on. The ground we tread on has its own stories to tell.
07 July 2011
the feeling that ties it all together...
I've been spending snippets of time in the studio where I can find it. My focus has been on continuing the Remnant collages. Laying out the foundations requires that I be in my studio, the other layers can be created while I watch tv or visit friends or when I want to indulge a whim.
I keep wandering in and looking at them. Not out of vanity, not because I think they are the end all be all but because that nagging feeling has begun again.
That restlessness.
That wondering, ragged questioning, quiet nervousness. The feeling that pulls everything in at the edges and makes it hard to see what is right in front of me.
I've realized over the past few years that there is a constant degree of tension in art making for me. (Do you find that too?) A kind of uncertainty that is neither unpleasant or welcome. It just is.
I don't mind it. It doesn't get in my way. Like many of the idiosyncrasies that follow me into the studio, its one that has been with me for as along as I can remember and has made itself known that its not going anywhere any time soon.
We may as well be friends.
Its the feeling that makes me want to gorge on making things until I can't stand up straight anymore, to forget the clock and spend the night at my print table in my studio rather then my bed.
I find myself sitting quietly among the mess of fabric and canvases more. I'm feeling that connection to my art returning and its a kind of relief that I can't describe. It feels like I've been forgiven, like I'm back where I need to be.
Me and my restlessness.
05 July 2011
on the chopping block
Every year in the summer the company I work for decides we all need to go away for a week and forces us into vacation mode. While its definitely not my favorite time of the year to take time off, who am I to complain about nine days off in a row? You don't have to tell me twice.
There are lots of things that need to be done that don't rank anywhere near the "fun" or "interesting" scale but with all that extra time off, I decided to make a serious effort to get in as much studio time as possible.
Today was a good day in that regard.
There's been a different kind of excitement lingering in my mind when I think about what I want to make. I feel like I've finally hit that sweet spot for what I want my work to be. Its been a long time coming, I've been at this for a while, but you know, I'm okay with that. Because each step has helped me get here. And now that I know where "here" is, I'm going to make myself comfortable and really settle in.
I continued on with my remnant collages.
My first step was to go through my stack of completed quilts and decide which ones should go on the chopping block. I came away with this pile:
I don't really have much trouble cannibalizing old work. Its not that I hate these pieces (most of these have been in shows or books) but I don't feel like they represent what I want to say anymore.
So in my mind, its better to yank out the scissors and give them a new purpose. I'd rather love them in a new piece of work then feel okay about them in their current state.
I also love working on these collages because I get to yank out all my scraps and dump them out and make a mess. Messes are goooooooooodddddd:
Right now I'm busy completing the five pieces I started back in this post. They are on the small side, 10" square. There's a certain kind of comfort level at working smaller right now, like we're still getting to know each other and we're doing that in several brief little visits.
What I find really interesting about these pieces is that they make me kind of twitchy when I'm working on them. I'm not very practiced at combining prints. In fact, I often feel allergic to it. I tend to work in more solid block and keep the imagery clear and graphic.
These are new and I've gotten to a point where when I start to feel like I want to pull back and simplify, I know I'm on the right track. Basically I work on it until I get nervous that its getting out of control - and keep going.
Its intoxicating.
That freedom.
I've got six total complete, four just need the edges completed. And three more that are very nearly finished:
I have an 18" canvas waiting on me. My plan is to begin that one tomorrow if I can find some free time.
I feel like I've finally found something I can dig my teeth into for the long haul, a series topic that I may never tire of. Its not really an idea that I ever thought I could wrap my mind around.
And yet here it is.
And all it took was a pair of scissors and some old artwork.
There are lots of things that need to be done that don't rank anywhere near the "fun" or "interesting" scale but with all that extra time off, I decided to make a serious effort to get in as much studio time as possible.
Today was a good day in that regard.
There's been a different kind of excitement lingering in my mind when I think about what I want to make. I feel like I've finally hit that sweet spot for what I want my work to be. Its been a long time coming, I've been at this for a while, but you know, I'm okay with that. Because each step has helped me get here. And now that I know where "here" is, I'm going to make myself comfortable and really settle in.
I continued on with my remnant collages.
My first step was to go through my stack of completed quilts and decide which ones should go on the chopping block. I came away with this pile:
I don't really have much trouble cannibalizing old work. Its not that I hate these pieces (most of these have been in shows or books) but I don't feel like they represent what I want to say anymore.
So in my mind, its better to yank out the scissors and give them a new purpose. I'd rather love them in a new piece of work then feel okay about them in their current state.
I also love working on these collages because I get to yank out all my scraps and dump them out and make a mess. Messes are goooooooooodddddd:
Right now I'm busy completing the five pieces I started back in this post. They are on the small side, 10" square. There's a certain kind of comfort level at working smaller right now, like we're still getting to know each other and we're doing that in several brief little visits.
What I find really interesting about these pieces is that they make me kind of twitchy when I'm working on them. I'm not very practiced at combining prints. In fact, I often feel allergic to it. I tend to work in more solid block and keep the imagery clear and graphic.
These are new and I've gotten to a point where when I start to feel like I want to pull back and simplify, I know I'm on the right track. Basically I work on it until I get nervous that its getting out of control - and keep going.
Its intoxicating.
That freedom.
I've got six total complete, four just need the edges completed. And three more that are very nearly finished:
I have an 18" canvas waiting on me. My plan is to begin that one tomorrow if I can find some free time.
I feel like I've finally found something I can dig my teeth into for the long haul, a series topic that I may never tire of. Its not really an idea that I ever thought I could wrap my mind around.
And yet here it is.
And all it took was a pair of scissors and some old artwork.
02 July 2011
its not about finishing
I've talked about my superpower here many times.
I am a List Maker. I organize my life via neat little columns of writing (hand writing, not typing - I remember it better if I actually put pen to paper) and post it notes. Nothing thrills me more then a parade of colored squares with details arranged across my desk (I know, a little weird but what can I say? I'm a Virgo).
Part of my commitment to myself to slow down during the month of June had been to let my lists get sleepy. Instead of dictating deadlines, I simply kept them more as a tool to remember things I want to get done at some point.
And a realization hit me:
The lists will never ever be finished.
Seems pretty obvious, doesn't it? But the truth is that I get tied up in getting. things. done. (Do you?) I'm always moving around the idea that there will be an end to the list, that I can reach a point where there will be nothing left to do.
Life isn't built that way. I feel sort of silly for taking so long to understand this.
A certain degree of urgency has drained away, a tenseness has creeped out when I wasn't looking. I'm not feeling frantic about not having enough time, not getting things done, not crossing off the whole list with thick lines that signal finished.
Don't misunderstand, I'm not about to just wander without purpose. Some deadlines still need to be honored but imagine how much more enjoyable it will be (and how much less stressful) if I don't treat it like a race?
Feels more balanced.
I'm off work for the next nine days. My day job shuts down for a week every july. Its not really my favorite time to take a break (we all know how I feel about the heat and sun) but who am I to complain about so much free time? You don't have to tell me twice. ;-)
I've got a list. Its long. Its impossible to finish in the time that I have off. But instead of springing out of bed in a frantic rush to start ticking things off, I did this instead:
Candy apple red nail polish.
And I ordered some supplies from Dharma. And I'm heading out to pick up strawberry pies for a small gathering with friends tonight. And I'm listening to the westie snore softly beside me while I write this post.
The Lists and I are going to be good friends, I can tell.
I am a List Maker. I organize my life via neat little columns of writing (hand writing, not typing - I remember it better if I actually put pen to paper) and post it notes. Nothing thrills me more then a parade of colored squares with details arranged across my desk (I know, a little weird but what can I say? I'm a Virgo).
Part of my commitment to myself to slow down during the month of June had been to let my lists get sleepy. Instead of dictating deadlines, I simply kept them more as a tool to remember things I want to get done at some point.
And a realization hit me:
The lists will never ever be finished.
Seems pretty obvious, doesn't it? But the truth is that I get tied up in getting. things. done. (Do you?) I'm always moving around the idea that there will be an end to the list, that I can reach a point where there will be nothing left to do.
Life isn't built that way. I feel sort of silly for taking so long to understand this.
A certain degree of urgency has drained away, a tenseness has creeped out when I wasn't looking. I'm not feeling frantic about not having enough time, not getting things done, not crossing off the whole list with thick lines that signal finished.
Don't misunderstand, I'm not about to just wander without purpose. Some deadlines still need to be honored but imagine how much more enjoyable it will be (and how much less stressful) if I don't treat it like a race?
Feels more balanced.
I'm off work for the next nine days. My day job shuts down for a week every july. Its not really my favorite time to take a break (we all know how I feel about the heat and sun) but who am I to complain about so much free time? You don't have to tell me twice. ;-)
I've got a list. Its long. Its impossible to finish in the time that I have off. But instead of springing out of bed in a frantic rush to start ticking things off, I did this instead:
Candy apple red nail polish.
And I ordered some supplies from Dharma. And I'm heading out to pick up strawberry pies for a small gathering with friends tonight. And I'm listening to the westie snore softly beside me while I write this post.
The Lists and I are going to be good friends, I can tell.
27 June 2011
should it have a purpose?
Instead of me waxing poetic today about my own thoughts, I'd love to know your's:
If you make it, should you intend to exhibit it, sell it, give it away - is it enough to just make it?
Should art have a purpose?
If you make it, should you intend to exhibit it, sell it, give it away - is it enough to just make it?
If no one ever saw what you make, would you continue to create?
26 June 2011
where i stand sunday
I've found a new way to see things. The mundane has become fascinating, something as simple as a broken paint line on black asphalt holds a new kind of interest as the camera lens brings out textures and tones in a way that my eye could never assemble.
Where I Stand is an ongoing photo essay examining the different places I spend my life standing. Too often we take for granted the everyday places we spend our lives walking on. The ground we tread on has its own stories to tell.
22 June 2011
leaving the umbrella behind...
I did a stupid thing.
I was acting like I was solely in charge of my art making. I tried to push my creative self to the side, let my brain take over and rule the roost.
I'm not sure at what point I made this error. This realization has come after a long pause (which is why the blog has been kind of sleepy lately). I've been taking the time to step back and examine the relationship I have with my creative self. I think I have a pretty good one but she's been unhappy and I needed to figure out why.
I couldn't figure out what the problem was, really. All I knew was that I had to stop. Stop chasing things for a moment and examine where the holes were, how did they get there, why are they here, do I mind having them punctuating the things I thought were solid...
Reflection is an odd beast. Its humbling and empowering all at the same time. One thing I have managed to pull forward is that I'm not making enough art. Art that's just for the sake of art.
I need to give it the due respect it deserves, offer it a more prominent place in my schedule.
I feel as if I've lost a little bit of the spiritual connection with my creative self. I've not been giving her a fair shake lately. And this understanding makes me feel cruel somehow.
Because its my responsibility to make sure that part of myself is protected, given the freedom to roam as much as it is able. I don't want to put my art making on a schedule, that seems like that would defeat the purpose. But I do have to manage it somehow, make it fit into the limited free time I have so that it can continue to grow.
Today when I was driving home from work there were thunderstorms rolling across the state. I love them, they are so full of passion and change and everything feels new when its done. That's kind of what making art is like, isn't it? You start out with a simple thought and slowly roll your way into the storm and if you're lucky, it pours.
I've finally realized that the real trick is learning how to stand in the storm without an umbrella and really let yourself go.
19 June 2011
where i stand sunday
I am forever fascinated by shadow, the careless way it paints itself across any surface - inking dumbed down versions of reality. I study it constantly, watching as it shifts without regard for keeping track. Its a flexibility I envy and crave, an ability I wish was a basic human component.
Where I Stand is an ongoing photo essay examining the different places I spend my life standing. Too often we take for granted the everyday places we spend our lives walking on. The ground we tread on has its own stories to tell.
18 June 2011
remnants fabric collage class - join me!
remnants collage 1Lynn Krawczyk
One of the things that's been much on my mind this year is the topic of classes. I get asked frequently if I teach and my answer is always yes - and no.
I do teach. I'm happy to teach but my schedule is a beast and I can't always fit everything in that I'd like to. But I've been wanting to figure out a way to make it work so I'm taking steps toward that.
I'm really really really (I mean, really) excited to announce that I'll be teaching a new class called Remnant Fabric Collage. What in the world is that? So glad you asked - here's the info:
When: Sunday October 16, 2011
Where: The Hyatt Place (located in Livonia, MI - follow the link for complete directions)
Time: 9am-6pm
Class fee: $85 (includes a box lunch and some class supplies)
Class description: Do you have bits of fabric you can't bare to throw away? How about an unfinished quilt project or one you just aren't feeling the love for anymore?
Use up your leftovers and give your unfinished and old projects new life by creating a fabric collage of them. In this class you will create a collage on a 10" canvas. You'll learn to create your background, take the plunge and cut up your unfinished or old quilt and add in embellishments. You can also use paper with this technique!
We'll explore the addition of surface design through screen printing and various ways that hand stitching can add texture and interest to your work.
This is a fabulous way to create freely and put all those remnants from your sewing room to work!
remnants collage 2Lynn Krawczyk
There's a couple of reasons its being held on a Sunday. (1) Because my full time day job keeps me pretty well occupied during the week and (2) I don't think there are enough art classes available to working folks on the weekends.
So there you have it. I know its a bit ahead into the future but it'll be here in no time at all. If you are interested in attending, you can contact me at FibraArtysta@earthlink.net
Hope to see you there!
13 June 2011
for the love of circles
1. SGF2008 - concentric circles, 2. many, 3. Circles, 4. circles, 5. Circles, 6. circles become ghosts, 7. circle of life, 8. Circles of Gold, 9. Midsummer Circles by Richard Long
12 June 2011
where i stand sunday
We've had days of summer snow, dandelion fluffs floating in slow motion across the yards and sticking to everything in a lazy sweep. The quiet weather days offer a chance to explore the doings of the plants and animals I share a space with. A gift of apples for the family of deer that live near us provide a punch of color amongst the plethora of green.
Where I Stand is an ongoing photo essay examining the different places I spend my life standing. Too often we take for granted the everyday places we spend our lives walking on. The ground we tread on has its own stories to tell.
11 June 2011
on the subject of small artwork
I read a lot of blogs. Which means I come across a lot of different opinions about what art is and what it isn't and what it should be.
And this is all fine.
But this past week I've noticed that there were several posts that were fairly opinionated about small format artwork. In fact, a couple were pretty scathing. I really believe that everyone is entitled to your opinion but it stuck in my head for several days and I just can't seem to dislodge the idea from my head that some people think a piece of artwork can't be art if its small.
I work small. Always have. I most likely always will. While I sometimes make larger pieces, its not the general rule for me.
So according to some people in the fiber art world, that means I'm not a serious artist.
Hmmm...I must have missed the memo.
"Collage 1"
Lynn Krawczyk
12" fiber collage on canvas
NFS
If you don't like my work because you think the colors are tacky or the composition is weak or in your opinion its just plain ugly - I can live with that. But because its small? Really? That one I'd debate emphatically...
There was a time when this debate would majorly upset me. But not anymore. I've grown into my art and I'm comfortable where I am with it. The fact that I reach for a 12" canvas or an 8" canvas or constrain my compositions to smaller spaces doesn't mean I get to slack on design or colors or any other aspect of the work.
"Sunset Daydreams"
Lynn Krawczyk
6" art quilt on 8" canvas
published in Quilting Arts magazine Feb/March 2011 issue
$80
Making art is an intensely personal experience. That means what works for you might not work for someone else. And my practices might make you want to run screaming in the other direction.
But isn't that what makes moving in the art world exciting? Why would we all want to be the same?
"Ginkgo Imprint"
Lynn Krawczyk
6" art quilt on 8" canvas
$80
I can't say that I will always work small. I'm not even entirely sure of all the reasons why I choose it. Lack of larger spaces, lack of time...could be part of it. But I watch other artists with limited space and time make mammoth pieces so its certainly doable if you really want to work larger.
I guess that means I don't. I like a compact space, I like they hyper focus attention to detail it demands of me. Its like a strange enticing romance that I'm not willing to give up yet.
"Dream Time Graffiti 3"
Lynn Krawczyk
deconstructed screen printing fabric collage on 8" canvas
$80
In the end, you have to do what you love. And my main purpose for this post really is to dissuade anyone from feeling like they need to alter their art making practices just because someone else has attacked them. I've seen it happens many times...a new artist reads a strong opinion from a well known artist and suddenly they think they are wrong for doing the things they way they want to.
Not so.
Make the art that pleases you. Be it small, godzilla size or anywhere in between.
And this is all fine.
But this past week I've noticed that there were several posts that were fairly opinionated about small format artwork. In fact, a couple were pretty scathing. I really believe that everyone is entitled to your opinion but it stuck in my head for several days and I just can't seem to dislodge the idea from my head that some people think a piece of artwork can't be art if its small.
I work small. Always have. I most likely always will. While I sometimes make larger pieces, its not the general rule for me.
So according to some people in the fiber art world, that means I'm not a serious artist.
Hmmm...I must have missed the memo.
"Collage 1"Lynn Krawczyk
12" fiber collage on canvas
NFS
If you don't like my work because you think the colors are tacky or the composition is weak or in your opinion its just plain ugly - I can live with that. But because its small? Really? That one I'd debate emphatically...
There was a time when this debate would majorly upset me. But not anymore. I've grown into my art and I'm comfortable where I am with it. The fact that I reach for a 12" canvas or an 8" canvas or constrain my compositions to smaller spaces doesn't mean I get to slack on design or colors or any other aspect of the work.
"Sunset Daydreams"Lynn Krawczyk
6" art quilt on 8" canvas
published in Quilting Arts magazine Feb/March 2011 issue
$80
Making art is an intensely personal experience. That means what works for you might not work for someone else. And my practices might make you want to run screaming in the other direction.
But isn't that what makes moving in the art world exciting? Why would we all want to be the same?
"Ginkgo Imprint"Lynn Krawczyk
6" art quilt on 8" canvas
$80
I can't say that I will always work small. I'm not even entirely sure of all the reasons why I choose it. Lack of larger spaces, lack of time...could be part of it. But I watch other artists with limited space and time make mammoth pieces so its certainly doable if you really want to work larger.
I guess that means I don't. I like a compact space, I like they hyper focus attention to detail it demands of me. Its like a strange enticing romance that I'm not willing to give up yet.
"Dream Time Graffiti 3"Lynn Krawczyk
deconstructed screen printing fabric collage on 8" canvas
$80
In the end, you have to do what you love. And my main purpose for this post really is to dissuade anyone from feeling like they need to alter their art making practices just because someone else has attacked them. I've seen it happens many times...a new artist reads a strong opinion from a well known artist and suddenly they think they are wrong for doing the things they way they want to.
Not so.
Make the art that pleases you. Be it small, godzilla size or anywhere in between.
08 June 2011
the season of pause
Summer has officially arrived. And that means I'm slowing down. My process nearly demands this of me, its something that I've noticed has grown into a habit over the past few years.
Summer is for planning and experimenting. Summer is for daydreaming and a meandering pace in the studio.
I think its because so many years of school has ingrained in me that this is truly the end of the year. There should be a break here but my adult self no longer gets to indulge in that. So I do a sort of substitution, I let my creative self off the leash to stomp around for a few weeks.
Today when I got home from work (to the tune of 100 degree weather for the second day in a row), I was greeted with these:
I'm not a gardener. My idea of gardening is that the plant has to meet two criteria: (1) I only have to plant it once and (2) I don't want to have to dump three gallons of water on it every day during the hot parts of the season. Surprisingly, my peonies are happy with this arrangement and are thriving.
Today my list making began with I my "Anything Goes List." And that's just what its all about - I make a list of everything I've ever wanted to do art wise - no matter how big or small. It gets pretty out of control pretty quickly but its really freeing. Its playing, its the ultimate daydream, its a nothing-is-too-outrageous kind of deal.
Its something I'll spend probably about a week on, adding to it here and there. And then over the rest of the summer I'll poke at it and see what's in there that I think I want to tackle. That list will end up forming the frame for my autumn and winter project lists.
In between all that I'll putter and play. I've felt this lethargic time coming for a couple of weeks now. I've wanted my studio to be different, I've wanted to let my mind wander and not focus. Its something I need to do and will. The only time I break this ritual is if something irresistible comes along.
So summer is here, my season of pause. Its a welcome old friend.
Summer is for planning and experimenting. Summer is for daydreaming and a meandering pace in the studio.
I think its because so many years of school has ingrained in me that this is truly the end of the year. There should be a break here but my adult self no longer gets to indulge in that. So I do a sort of substitution, I let my creative self off the leash to stomp around for a few weeks.
Today when I got home from work (to the tune of 100 degree weather for the second day in a row), I was greeted with these:
I'm not a gardener. My idea of gardening is that the plant has to meet two criteria: (1) I only have to plant it once and (2) I don't want to have to dump three gallons of water on it every day during the hot parts of the season. Surprisingly, my peonies are happy with this arrangement and are thriving.
Today my list making began with I my "Anything Goes List." And that's just what its all about - I make a list of everything I've ever wanted to do art wise - no matter how big or small. It gets pretty out of control pretty quickly but its really freeing. Its playing, its the ultimate daydream, its a nothing-is-too-outrageous kind of deal.
Its something I'll spend probably about a week on, adding to it here and there. And then over the rest of the summer I'll poke at it and see what's in there that I think I want to tackle. That list will end up forming the frame for my autumn and winter project lists.
In between all that I'll putter and play. I've felt this lethargic time coming for a couple of weeks now. I've wanted my studio to be different, I've wanted to let my mind wander and not focus. Its something I need to do and will. The only time I break this ritual is if something irresistible comes along.
So summer is here, my season of pause. Its a welcome old friend.
07 June 2011
i don't do it alone
I get a lot of questions about how I go about setting up my etsy shop or how to do publicity or even about blogging.
The biggest secret to it all is that I don't do it alone. No one does. Everyone goes somewhere for their sources or information and ideas and inspiration so today I thought I'd share my favorite spots with you. :)
Now let me caution you, its super easy to get overwhelmed with the amount of information out there. When I first began studying different marketing techniques and such, I subscribed to every list I could. And then I whittled it down to the ones that are the most relevant to what I do and even those don't always apply.
The important thing to remember is that these are idea sparkers, not the end all be all absolute truth of the only way to do things. So keeping that in mind, click away and have fun! :)
The biggest secret to it all is that I don't do it alone. No one does. Everyone goes somewhere for their sources or information and ideas and inspiration so today I thought I'd share my favorite spots with you. :)
Now let me caution you, its super easy to get overwhelmed with the amount of information out there. When I first began studying different marketing techniques and such, I subscribed to every list I could. And then I whittled it down to the ones that are the most relevant to what I do and even those don't always apply.
The important thing to remember is that these are idea sparkers, not the end all be all absolute truth of the only way to do things. So keeping that in mind, click away and have fun! :)
05 June 2011
where i stand sunday
Today I'm sitting. An early morning rising has cleared my schedule of to-do's and the day feels like the summer vacation that I miss from school days, the times when the clock didn't matter and passing the hours in a slow lazy pace was a requirement.
Where I Stand is an ongoing photo essay examining the different places I spend my life standing. Too often we take for granted the everyday places we spend our lives walking on. The ground we tread on has its own stories to tell.
03 June 2011
would it be different if i....?
I've had an idea knocking around in my brain for a while, one of those things that I thought maybe would work out but would have to wait for a free moment because it wasn't really necessary when deadlines were looming.
I was handed a free day off work today (they are upgrading software, I work on the computer so no computer = no work). We've actually had sun lately so the time to experiment finally arrived.
Add to the unexpected time off that I have soda ash soaked fabric from a previous dyeing session and leftover dye from earlier this year and really - how much more of a hint do I need?
The majority of my artwork now is comprised of backgrounds made from torn strips of fabric. I got to wondering if I tore fabric into strips prior to dyeing if I would get a different look from it instead of tearing them from a single yard.
So I set about my work in early afternoon right before the hottest part of the day. I only tore one yard of fabric since I didn't really have all that much dye to work with.
I dumped dye:
I left them to batch while I went about my day (blacktop driveways during summer make excellent dye cookers):
I should mention that since I frequently make mud colored fabric when I dye, the above photo did not panic me in the least. It looks like everything will be one solid color of dark but that rarely seems to happen. The variations show up after the wash out, trust me (check out the next photo if you still don't believe me).
I rinsed and rinsed and rinsed:
I'm coming clean with the fact that I'm super lazy when it comes to properly washing out my hand dyed fabric. I basically just rinse it to within an inch of its life and call it good. Is this the correct way to do it? Nope, not at all and I don't endorse it if you ever plan to wash anything you make with your hand dyes. All of my hand dyes will bleed horribly if I ever washed them again, they frequently let go of dye when I do other surface design treatments that require a washout. I'm okay with this, doesn't bother me in the least. (Its also the reason I don't sell my fabric. I've been asked frequently about that and that's honestly the real reason why.)
Why am I mentioning this? Because - putting torn strips through a washing machine for a proper wash out would be quite a bear. I'm sure I'd have to use a lingerie bag and say a little prayer so if you decide to do this, just keep it in mind.
I accidentally dyed the dog a little bit:
Since he's white, it really shows too. Poor westie.
I decided to take advantage of our warm windy day and very loosely tied the strips to a drying wrack so they could flop around at will:
And here are the results:
I'm. in. love.
They have a totally different vibe to them then I'd get from tearing from a yard piece. Each one seems to have more of a pulse. I think I'll be doing much more dyeing this way from now on.
This could be a productive summer in the dyeing department...
31 May 2011
did you miss it?
What does the picture above have to do with a $20 shopping spree in my shop?Well, if you are a subscriber to my new E-Zine, then you already know. If you aren't, you can see the May 2011 E-Zine here. And just to be sure that you don't miss out on any future discussions on art and - not to mention the giveaways - you can sign up here! :)
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