Sue Reno Studio

Columbine and Plume Poppy acceptance for AQS Lancaster

2012-01-24T08:18:00.000-05:00

I’m very happy to share that two of my art quilts, Columbine and Plume Poppy, have been accepted for the AQS Quilt Show and Contest in Lancaster, PA, March 14-17, 2012. This is my hometown show, which makes it even more exciting. I’m really looking forward to seeing some of my friends and fellow art quilters when they come to town. It’s held in the Lancaster County Convention Center, which is part of the repurposed Watt & Shand building that’s been an obsession of mine for some time (see my series of ten art quilts about the building renovation here.)
Columbine is a newer work, and this will be its first outing to an exhibit. Plume Poppy is BIG - 81"h x 74"w - and really needs to be seen in person to appreciate the scale.

If you are planning on coming to Lancaster, there will be an unique opportunity to see ALL of the amazing Esprit collection quilts at the Lancaster Quilt and Textile Museum during the show week. More information is here.

Ginger in Progress - Update 3

2012-01-23T10:20:00.000-05:00

I finished the quilting and removed the basting on “Ginger” this weekend. It looks radiant! The top is made entirely from Indian silks, with a cyanotype on silk for the center image, and it just glows:

The back is looking very cool as well, you can see all the patterning from my free-motion quilting:

For the uninitiated, free-motion quilting means using the sewing machine as a drawing tool, and the thread becomes the line. I disengage the feed dogs, the mechanism that normally moves fabric through the machine, and move the fabric with my hands. It’s a learned skill that becomes becomes honed with practice, a bit like riding a bike or any other activity that requires hand/eye coordination. The trick is to get the right speed and “flow” so the the design seems natural. I find it helps to look a bit ahead of where I’m at and to stay focused on where I’m going. This patterning, which I use a lot in my work, involves creating a box, sewing into it, then stitching back out. It’s very meditative, and I make it all up as I go along.

Next up is rinsing and drying the work, which will create even more texture and sheen, and then a binding to finish off the edges. I am working like a madwoman on multiple projects and deadlines right now, so I will fit this in where I can. I’m very happy with how it’s turned out thus far.

You can see the previous posts on this work here and here, or click on Ginger under updates in the right sidebar. Many thanks for reading and commenting!

Turkey Hill Point Hike

2012-01-22T10:02:00.000-05:00

Turkey Hill is a favorite local destination for a moderate hike, and one that affords great views. We ventured out recently on a mild January day, and were rewarded with panoramas like this:

The trail has recently been rerouted due to the construction of two windmills at the top of the rise. They supply electricity to the nearby Turkey Hill Dairy.

There’s new signage at the overlook, and I learned that the first surveyor of the area, Benjamin Latrobe, went on to work for President Jefferson as the architect of the U.S. Capitol building.

This is a lovely spot, but not a pristine one. In addition to the windmills, it’s also adjacent to the large (and well managed) Frey Farm Landfill, But no matter, the lookout is wonderful. I made a small art quilt about it years ago, View from Turkey Hill. And it's the site of my great pawpaw discovery of '09.

Headed back down the trail:

A portrait of the artist in her natural habitat:

Cool designs from a carved out step into fallen timber:

Four views of a fungus:

It’s a huge and spectacular clump of Chicken of the Woods growing on a stump. It’s unusual in my experience for having a lot of honeysuckle vine incorporated into it:

This variety of fungus can be quite bright and colorful when new, but this one has faded to beautiful, subtle hues:

The patterning is also superb:

A small art quilt from my past, showing Chicken of the Woods in its more common vertical orientation on the side of a living tree:

After our hike, we stopped a favorite local watering hole for a late lunch and a libation:
And from there strolled across the railroad tracks in Marietta for another view of the Susquehanna River from the shoreline. I never tire of the river.

Seasonal Palette - Update 3

2012-01-19T18:06:00.000-05:00

One of the recurring themes in my work is the use of cyanotype to make prints on fabric. I never tire of the process. It is exciting and almost magical each and every time. It encompasses so many of my happy obsessions--plants, photography, fabric, and working outdoors, at the (hopefully tender) mercies of the elements. I could set up UV lights and expose the prints safely indoors, and I’m all for keeping my options open, but I think that would take some of the pleasure out of the experience. Of course the viewer can’t tell where and how I made the print, they simply see the result, but the my joy in making it is an integral part of the process for me. Perhaps that’s why most of my work is so cheerful, however somber my intentions in beginning it might be.

Above is one of the prints I showed underway in my last Seasonal Palette post, a painted fern specimen. The lighter blue lines top and bottom are from the edges of the sheet of glass used to hold the fern in place, and they won’t be in the finished work in this instance. Below is a section of another print, a length of ornamental sweet potato vine. I pinned it in place for the exposure, and you can see lovely variations in shading along the edges of some leaves where they lifted a bit.

I made five prints for this work, and pinned them up on a design board to think about them for a bit. One of the criteria for this exhibit is that the work must be a specific size, 78” tall by 32” wide. I wanted the design to be engaging all along its length, so it took some rumination and experimentation with placement to work all that out. My usual working method is to start with the prints and add patchwork elements around them, working outward until the proportions and flow seem correct. At the end I square everything up and then measure it. It’s a nice advantage IMO to working with fiber and/or mixed media; the imagery can grow organically. For this piece, I needed to think more like a painter who starts with a specific size of canvas, where everything needs to contained and constrained proportionally within that space. I’ve had to think IN the box, as it were. Not necessarily a bad thing, just different.

My Foto/Fiber Bonus Pack

2012-01-18T17:46:00.002-05:00

As I mentioned in yesterday’s post, the first three “Red Carpet” fiber postcards will be part of the three Fiber Bonus packs I am donating to Virginia Spiegel’s Foto/Fiber Fundraiser for the American Cancer Society. But that’s not all, folks! I’ve raided my studio and pulled out some of my favorite things to add to the fun and sweeten the deal.

I love collecting vintage linens and using them in my work. Some time ago I scored a set of quilt blocks embroidered with flowers. I used most of them in a bed quilt top (it remains a UFO at this point) and have decided to share the rest and so am adding one to each Bonus. With a little research I’ve identified the designs as Eveline Foland’s “Memory Bouquet” pattern. The patterns first appeared in the Kansas City Star newspaper from October 10 through November 11, 1930. The quality of the workmanship in these blocks is really excellent, and they are in very good condition for vintage blocks. They measure approx. 12” square, and would be wonderful either framed or incorporated into a project of your own. They are all different, but here’s an example:

But wait, there’s more! In each pack I will be including one of my original cyanotype prints on cotton, made from a photograph taken in my garden. They measure approx. 8” x 10”, and again, would be suitable for display as is, or used in your own artwork. Here’s one of them:

Next up, a piece of my hand painted cotton fabric, measuring approx. 11” x 22”. I have never offered either my cyanotype prints or my painted fabric for sale, so this a unique opportunity to own a piece of my work in this format.

Another one of a kind item--a strip of Seminole patchwork, approx. 16” x 4”, left over from my award winning quilt Sumac:

Whew! I think it will all fit in the envelope, and if there’s room I may find a few other little treasures to tuck in there.

So mark your calendars for February 15th and 16th, and hop on over to the Foto/Fiber Fundraiser page for more details on how it all works. There are many amazing artists donating their work, and 100% of the proceeds go to the American Cancer Society.

New Fiber Postcards - “Red Carpet”

2012-01-17T18:43:00.000-05:00

I’ve just completed a new set of fiber postcards/mail art pieces. I’m calling it “Red Carpet”. It’s based on the magnificent display my red maple tree puts on each year when the leaves drop to the ground, usually all within a day or two.

I did a set on the same subject, “Carpet of Leaves”, way back in 2005, and it was very popular. Here’s a card from that series:

I thought it was a good time to reprise the theme. Both sets were made in a similar fashion, starting with a length of white cotton fabric. I painted the fabric with textile paints and arranged maple leaves on it, then put it out in the bright sunlight to dry.

A heliographic print resulted, as the paint wicked out from under the leaves and the image of the leaves remained. This was layered with batting and stitched heavily with a variety of specialty threads.
After washing and drying, to intensify the texture of the piece, it was layered again with peltex (a stiffener) and a backing. Individual 4” x 6” cards were cut, and the edges stitched to reinforce them. Here are all 25 cards in the “Red Carpet” set:

Some of them will be going out in a swap with my fellow artists over at Postmark’d Art. I’ve been a member of this group since it’s inception, and have swapped dozens and dozens of cards, but have been on hiatus for the last several swaps due to being overcommitted elsewhere. I’m happy to be back on board and looking forward to the exchange.

And….drum roll please….the first three in the numbered series of “Red Carpet” cards will be part of my contribution to Foto/Fiber 2012 Fiber Bonus, Virginia Spiegel’s Fiberart for a Cause fundraiser to benefit The American Cancer Society . I’m so pleased to be a part of this worthwhile effort that I’m raiding my studio for all sorts of goodies--more on that tomorrow!

Seasonal Palette, Update 2

2012-01-16T18:23:00.000-05:00

I’ve been working joyously on my entry for the SAQA juried invitational exhibit, Seasonal Palette, that will debut at the International Quilt Festival in Houston, TX this autumn. My season of choice when applying was summer, and happily I received it as my assignment. Since so much of my work is botanically based, and I love making images of fresh plant specimens, I knew I would have plenty of material to work with, both conceptually and literally.

The Organic Garden

Of the works in my resume I submitted to the jurors, they particularly liked The Organic Garden, and requested that my new work for the exhibit be in a similar vein. It’s a good choice, and one I can willingly riff on. I’m not looking to duplicate it, but to capture the same kind of botanical exuberance and abundance, while using the saturated colors of high-to-late summer.

The timing of the acceptance was such that I had a limited window of opportunity to make summery prints, so even before I was sure of the ultimate direction and composition of the work, I ordered some treated cyanotype fabric and got busy. Depending on the type of plant, and the size of the print desired, I pinned the specimens to a board, or flattened them under glass.

Making cyanotypes is a fascinating blend of science and art--because I am dependent on the angle of the sun and the meteorological conditions on any given day, as well as the freshness of the treated fabric and other variables, the exposure time for a print is reckoned both by counting the minutes and by guesswork based on experience. The cyanotype gods were with me on this occasion, and I got some wonderfully crisp and vivid prints to work with.

Part of the criteria for this exhibit is the documentation of the creative process. I don’t like sketching and formal preplanning of my work, but I do love documentation. I always take pictures of the work as I go, save fabric samples, and often do work-in-progress blog posts, so this is right up my alley. I will be continuing to share parts of the process here, so stay tuned, and as always, thanks for reading!

“I’m Not Crazy” - Call for Entries

2012-01-05T19:06:00.001-05:00

I’m very pleased to announce that I will be serving as the juror for the upcoming SAQA exhibit “I’m Not Crazy”. The exhibit curator is Kathy Nida. I’ve admired Kathy’s work for many years and am excited to be working with her; her work shows great originality, and she is bold and fearless in her artistic expressions. Her theme for the exhibit is excellent and provides the framework for a variety of interpretations:

Theme: Mental illness carries with it a stigma; many of us have experience with disorders, temporary or permanent, curable or not, that in the past and in some cultures even today would be labeled as crazy. That stigma can make it difficult to admit its effect on our loved ones or ourselves. Disorders as common as anxiety or depression, or less common, like schizophrenia or multiple personality disorder, can have a devastating effect on families and friends, and on ourselves. Negativity towards those who have these disorders often causes many people to keep the diagnosis hidden from friends and family.

What does “crazy” look like?
What does it feel like?
How does the world look through the eyes of someone experiencing a panic attack or depression or other mental disorder?
How does loving or caring for someone with a mental disorder look and feel?

We’re looking for work that covers these experiences: from the eyes of the caregiver, the friend, the family member, and, of course, those who have experienced any of these disorders themselves. Your work can reflect the disorder or the chaos it holds on our lives, it can be humorous, it can be sad, it can be crazy or incredibly calm.

Please go read more about it on Kathy’s blog, or go to the SAQA Call for Entries page. You need to be a SAQA member to enter, but membership is very worthwhile for anyone working in the art quilt/fiber art field. I’ve been a member for many years, and a Professional Artist Member since 2009, and value the many opportunities membership provides. “I’m Not Crazy” will have a lot of visibility, with 7 venues already booked through the Mancuso Quilt Festivals, and others possibly to follow.

The online entry opens May 1st and closes May 31st, so you have time to produce new work or consider which of your current work would best fit the theme. I know this is going to be a great show, and I’m really looking forward to reviewing the entries--I hope yours will be among them!

And since I always like to have an image in my posts, here’s a gratuitous photo of one of my favorite calm and peaceful places, the Susquehanna River as seen from an overlook near Lock 12:

York County Ramble

2011-12-31T23:48:00.001-05:00

We had a glorious New Year’s Eve hike. We crossed the Susquehanna River and drove on increasingly narrow roads to a spot near Cuffs Run. The weather was mild for December, into the low 50’s (F), the wind was gusty, and the sky was blue.

Our goal was a rigorous scramble over rocks and through ravines, but the fallen leaves and wet ground made the going treacherous. Discretion being the better part of valor, we retreated to ramble a series of dirt and paved roads through the woods and the countryside. Wonders abounded, like this tree covered in burls:

There were many hawks, or perhaps eagles, riding the currents aloft:

We passed a vineyard in stasis:

A farm gate with a reminder of our mortality:

And a spectacular dry stone wall:

That stretched off into the horizon:

We came upon a weathered barn with cool gothic shutters:

And the road seemed to roll out before us endlessly:

When it was time to retrace our steps I spied a fallen branch sporting the dried husks of tulip poplar flowers:

On our drive home we stopped at the John Wright Restaurant in Wrightsville for a late lunch.

The food was good and the ambiance pleasant, but best of all was the view of the river and the Veteran’s Memorial Bridge.

Just as I never tire of the river, I always admire the beautiful form and proportions of this bridge.

Several years ago I made a small art quilt depicting it:

Nearby there are some historic lime kilns:

The stonework and masonry are fabulous:

May the New Year bring us all peace, good health, and prosperity, and may our travels, near and far, take us to places of beauty and wonder.

Craft Forms 2011 Preview Party

2011-12-07T23:25:00.001-05:00

On Friday evening I attended the Preview Party for Craft Forms 2011 at the Wayne Art Center in Wayne, PA. It was a first class event from start to finish, and my husband and I had a wonderful time. Here I am by my art quilt, Watt & Shand #8. To the left of it is Mama Rebel, by Catherine Winkler Rayroud; to the right is SemiAquatic by Clay McLaurin; on the pedestals from left to right are Serving Set by John Huckins, Folding Stools by Dan DeVos; and Platter by Fred Herbst.

Above is the view looking into the left side of the gallery. The artwork was of very high quality, IMO, and the buzz was that this one was of the best Craft Forms exhibits in memory. In the foreground is a wood laminate sculpture, Mitosis_1 by David Knopp. On the back wall (the blue section) you can see the large installation piece The Politics of Porcelain by Stephanie A. Rozene, flanked by two art quilts by Kathleen Loomis, the large red fiber piece in the left corner, Stronger Together than Apart, by Amanda Ladymon, and a crocheted grouping, Terrain, by Donna Lish, in the right corner. Just out of camera range on the right is another art quilt, Bluestairs, by Cynthia Friedman. I got to meet Cindy and chat with her about art and art quilting--always so wonderful to put a face to a name! Meeting the other artists who were in attendance and having the opportunity to learn about their inspirations and working processes was one of the high points of the evening.

Below is a view from the other direction. In the foreground is 2368 by Lily Liu. The circular object on the wall to the right is Implosion #3 by Beth Barron, a quilt-like construction made primarily out of band aids. On the back wall to the left is a woven tapestry, Wind Turbine Mania, by Catherine I. Theodore.

Another view of the gallery--so many treasures! I wish I had pictures and links for all of them for you. These pictures were taken early in the evening, before it got crowded with throngs of art patrons who paid for the privilege of attending the Preview Party. There’s a good article here with all the particulars of the evening and a list of the prize winners. I want to particularly thank the juror, Elizabeth Agro, for being so open and accessible during the reception and her Juror’s Talk and the Meet the Artist event the next day. She was very gracious about sharing her perspectives on choosing the art, the themes that developed, and the state of fine craft in general--very illuminating!

To add to the ambiance and good mood, there was great food. Scrumptious strolling appetizers were followed by a large buffet with a paella station, a dim sum dumpling station, and much more:

Desserts included gourmet cupcakes:

There was a wine bar and also a martini luge bar:
And live world music and jazz by Phylis Chapell and Siora:

In an adjoining gallery the Art Center is concurrently exhibiting Green from the Get Go: International Contemporary Basketmakers. It’s a stunning survey of world-class basketry with work by many of the big names in the field--really wonderful.

And all throughout the Art Center is the exhibit Philagrafika, an invitational portfolio of printmaking, also wonderful.

At one point in the evening I did a brief 5 minute video interview for a local television channel, where I talked about my piece in the show and the inspiration behind it, and was hopefully coherent and articulate enough make the editorial cut. I’m not certain when and where it’s airing, but will update if I find out.

All in all, a fun evening filled with fabulous art, creative and interesting people, and superb food and libation. My sincere appreciation to everyone who made it possible. The exhibit is up until Jan. 21 and it is well worth your time to attend if you are in the area.

12/29/11 A few addendums--there's a well written and thoughtful article about the show from the Philadelphia Inquirer up online here, and a set of pictures up on the Craft Forms website here. I'm in a picture on the second page; to my right in the pic is Camila Bryce, whom I struck up a conversation with because of her beautiful mud cloth coat, and on my left is Diana N’Diaye, who had beautiful work work in the show.

1/4/12 The exhibit is also featured on the Pennsylvania Guild of Craftsman blog, with a handy listing of all the PA artists included. Read it here.

Publications, Exhibits, and Gratitude

2011-12-01T21:47:00.001-05:00

By any measure I’ve had a great year, and I am both humbled and immensely grateful for all the opportunities that have come my way, and for all the people in my life who make it possible for me to be living the dream. Here’s a partial survey of where to see my work right now, starting with the newly published book The Studio Quilt, No. 6: State of the Art by Sandra Sider.

The cover image is by Melisse Laing, Seeing the Light (2009, photo by Bill Bachhuber).I’m waiting for my copy to arrive and will post more about it once I’ve had a chance to enjoy it; based on the artists involved, I know it will be just excellent. It’s available on Amazon.
My Groundhog and Green Bean was selected for inclusion.

Also recently released is Portfolio 18, the latest edition from SAQA (Studio Art Quilt Associates) documenting the art quilt movement.

Portfolio 18 contains 241 full-color plates of SAQA Professional Artist Members' works, with geographical and genre indexes. I’ve had work in the last several volumes and am pleased to be a part of this one as well. It’s available in the SAQA Bookstore.

This next publication came as a happy surprise. International Quilt Festival: Quilt Scene 2011 is an annual special edition magazine, a collaboration between Quilting Arts Magazine and Quilts, Inc., with feature articles, projects, and beautiful photography celebrating the best in contemporary quilting. I was thrilled to discover that this year’s edition features my Watt & Shand #6, representing the special exhibit Tactile Architecture.

That’s a peek of Cynthia St. Charles’ beautiful Springtime in the City on the facing page.

In exhibit news, The Art of Fiber opened at the Workhouse Arts Center in Lorton, VA last week, and I’m hearing a lot of good buzz online about it. It includes two of my Watt & Shand works, #4 and #9.

Also just opened is Art Quilts XVI: Something to Say at the Chandler Center for the Arts in AZ. This is a highly regarded show, and I’m thrilled that Watt & Shand #3 is a part of it:

And last but definitely not least in my embarrassment of exhibit riches is Craft Forms at the Wayne Art Center in Wayne, PA:

Watt & Shand #8 is a part of this international exhibit featuring fine crafts in all media. The opening reception is tomorrow night (12/2) and I will be attending--I am really looking forward to it as it sounds fabulous!

I will also be at the Meet the Artists event the next afternoon, and welcome the opportunity to share my work and the story and inspiration behind it.

Lest you think I’ve been resting on my laurels, assuming I had laurels and the time to rest on them, be assured that I am currently hard at work in the studio; a lot of what I’m working on needs to stay under wraps for the time being……..but stay tuned for further adventures and updates. And as always, a huge thank you for reading and commenting!

Watt & Shand Acceptances for The Art of Fiber

2011-11-07T09:54:00.000-05:00

Watt & Shand #4

I’m happy to announce that two of the art quilts from my Watt & Shand series have been accepted into The Art of Fiber Exhibition at the Workhouse Arts Center in Lorton, VA. The exhibit runs from November 23 to December 31st. The jurors are Candace Edgerley and Trudi C. Van Dyke.
Included are Watt & Shand #4, above, and Watt & Shand #9, below.

Watt & Shand #9

You can read more about the series at my website, or click on the Watt & Shand tab at the top.

Foto / Fiber Fundraiser

2011-11-01T20:04:00.001-04:00

I’ve known Virginia Spiegel for years. She is first and foremost an amazing artist whose work I admire, but also a charitable fundraiser par excellence who has raised over $215,000 to date for the American Cancer Society. I have donated artwork for several of her previous Fiberart for a Cause events, and have always been impressed with her dedication and professionalism. So when Virginia invited me to participate in her newest effort, I jumped at the chance to help out. I will be donating some bonus fiber surprises to the cause--read all about how it works below, and/or go to Virginia’s site for more information. Mark your calendars for this opportunity to donate, receive some great art, and do some good!

Foto/Fiber 2012
90 Photos AND 90 BONUS Fiber Surprises
One Donation To Fight Cancer = Two Rewards and More!

Gold Donor Day - February 15, 2012
Make a minimum donation of $100, choose a photo by Virginia A. Spiegel,
and choose a BONUS Fiber Surprise by a specific artist from an amazing list of generous fiber artists.

Regular Foto/Fiber - February 16, 2012Make a minimum donation of $50 and choose a photo by Virginia A. Spiegel.
Your BONUS Fiber Surprise will be chosen at random
for you from the list of generous fiber artists.

Artists donating BONUS fiber surprises include: Natalya Aikens,
Frances Holliday Alford, Pamela Allen, Sue Bleiweiss, Nancy G. Cook, Jane Davila, Vivika DeNegre, Diane Rusin Doran, Jane Dunnewold, Jamie Fingal,
Leonie Hartley Hoover, Leslie Tucker Jenison, Lyric Kinard, Susan Brubaker Knapp, Lynn Krawzcyk, Jane LaFazio, Susan Lenz, Jeanelle McCall
Linda Teddlie Minton, Karen Musgrave, Gail Myrhorodsky
Karen Stiehl Osborn, BJ Parady, Cate Coulacos Prato, Yvonne Porcella
Wen Redmond, Sue Reno, Susan Schrott, Cynthia St. Charles
Lura Schwarz Smith, Sarah Ann Smith, and Terri Stegmiller

Drawings for Fiber Art throughout the event.
All patrons of Foto/Fiber 2012 will also have multiple chances throughout Foto/Fiber to win amazing fiber art donated by:
Leonie Hartley Hoover
Lyric Kinard
Lynn Krawczyk
Yvonne Porcella
Mary Ann Van Soest
More information on how Foto/Fiber 2012 works is here:
http://www.virginiaspiegel.com/FotoFiberHowItWorks.html

Our goal – Raise $7,000 for the American Cancer Society
in just ten hours over two days.

Fiberart For A Cause has already donated over $215,000 to the American Cancer Society through the generosity of fiber artists and their patrons.

Contact
Virginia(at)VirginiaSpiegel.com
for more information.

Ashley and Bailey Silk Mill Studies at Marietta Art House

2011-10-30T21:28:00.000-04:00

Silk Mill Study #3

I’ve got 3 small framed textile works currently on display through December 18 at the Marietta Art House in Marietta, PA. The exhibit is Rivertowns Reviewed , “unique artist interpretations of streetscapes, buildings, river views and architectural details in Bainbridge, Marietta, Columbia and Wrightsville. Artists are encouraged to visit and find inspiration in the built landscape of these historic places. Architectural details, unusual viewpoints, interesting textures and patterns, fresh 'takes' on old signage, patterns in industrial buildings, and odd angles are examples of subjects to be considered. The idea is not to do traditional 'portraits' of famous landmarks but, instead, to search out lesser-known views for visual inspiration." There’s a very good article about it in the local paper.

The Susquehanna River and environs is a constant source of inspiration for my work. For this exhibit I was prompted to unearth a project I started some time ago about the Ashley and Bailey silk mill in Columbia, PA. I took pictures of the historic building just before a renovation project turned part of it into the Turkey Hill Experience, and blogged about it with lots of images here, here, and here. Finishing up my Watt & Shand project took precedence, and so on and so forth, but I hadn’t forgotten about it and am excited to be working on it again.
I turned several of my photos into thermofax screens, and had a fun afternoon making prints on a variety of fabrics, including ones I had previously hand painted:

The ultimate goal is a series of works exploring different aspects of the building, but to get familiar with the lines and angles involved I stitched up three of them as studies.

Silk Mill Study #1

Image size is a bit over 12” sq. I had them matted and framed by the wonderful Jenny of State of the Art, finishing out at 19” sq., and they look pretty fabulous if I do say so myself!

Silk Mill Study #2

I’m planning on being at the artist’s reception Sunday, November 13 from 2 - 5 p.m. There will be good art, good friends, and good food in a wonderful setting, so stop by if you are in the area.

Craft Forms Acceptance - Watt & Shand #8

2011-10-20T10:07:00.001-04:00

I’m thrilled and honored to announce that Watt & Shand #8 has been accepted into Craft Forms 2011, Dec. 2, 2011 - Jan. 21, 2012, at the Wayne Art Center in Wayne, PA. The juror is Elisabeth Agro of the Philadelphia Museum of Art. She reviewed almost 900 submissions, in all mediums, by applicants from around the world, and chose 126 works of art for this year’s exhibit.

Happily, the Wayne Art Center is close enough to my home that I will be able to attend the Preview Party on the evening of Dec. 2, and the Juror’s Talk / Meet the Artist event the next day from 1 - 3 p.m. I love attending fine craft shows, as the diversity of expression and creativity on display is tremendously inspirational. I have grown to enjoy coming out of the seclusion of my studio and putting on my extrovert hat for these types of events--it’s always so interesting to hear what viewers think about my work, and to get the chance to talk to other exhibiting artists.

This work is part of a series of 10 art quilts I created about the renovation of a historic building in Lancaster, PA into a hotel and convention center. You can see all ten on my website, track back the entire series in progress and see where they’ve been shown by clicking on the Watt & Shand tab at the top of the page, and/or read more about #8 specifically here.

Thanks for visiting and reading!

Modern India - The Mysore Magician

2011-10-18T21:27:00.001-04:00

I have an amazing tale to tell from my visit to Mysore, India. Allow me to set the stage…..
When I was studying at the University of Mysore back in the 70’s, I grew familiar with many of the street performers in the city. This particular magician and busker was a favorite of all the foreign students, and we would often watch him do his act, chat about his family--he had 4 sons and 2 daughters he was very proud of--and give him a generous tip. I posted this picture, and others, in my Vintage Mysore post, and in preparation for this trip I had the photographs printed out to take with me. This turned out to be a brilliant move.

I returned to Mysore this summer on a day trip from Bangalore, travelling with my daughter Alice. After a stop to admire Shivanasamudra Falls, our intrepid and excellent driver Ramakrishna took us to the Hotel Sandesh for an early lunch. Afterwards we conferred with him on the agenda for the rest of our day. We wanted to visit a few of the standard tourist attractions, but my main agenda was to revisit the University and some of the neighborhoods that were the scenes of past adventures. At this point I pulled out my photos, to reinforce the point that I had lived here previously and show him some of the half-remembered locales.. Ramakrishna looked through them with a mix of incredulity and amusement, then pulled out of the hotel parking lot with a thoughtful mien.

He suddenly stopped, backed up, and called out to the hotel doorman; they had a conversation (in the Kannada dialect) for a few moments. The doorman ducked around a corner of the hotel, and a minute later this man came over to our car:
He looked somehow familiar…..and we discovered he is the son of the magician I knew in the 70’s. He is also a street magician and busker, and one of his hangouts is the parking lot of the Hotel Sandesh.

Ramakrishna’s grandparents were from Mysore, and he had visited as a child. My picture sparked his remembrance of the father, from other trips shuttling tourists he knew of the son, he made the connection, and located him at that hotel at that very moment. The level of coincidence and serendipity that allowed all this to happen is just staggering to me.

The magician lived to a good age, but had long since passed away. His family didn’t have any pictures of him, until I gave this one to his son:

He did his act for us, pulling out the tricks of his trade from his bag. Astonishingly, many of them I recognized as the exact same tricks his father had done. It was like déjà vu.

I have some short videos that will give you an idea of his repertoire and his pleasing personality. First up, the standard ball and cup routine:

Next, a card trick. I’m still not sure what the point of this one was, but he sure was a whizz at shuffling and misdirection:

This one involves fire and a large quantity of rusty nails, and is not for the easily squeamish:

And last but not least, a performance on the fiddle. Watch his fingers, and listen to the great tonal characteristics he pulls from his very basic instrument:

We tipped him very well!

In general I emphatically am not a magical thinker, but in my personal history Mysore has assumed a mythical role. A bit of searching found this definition of contagious magic:
“magic that attempts to affect a person through something once connected with him or her, as a shirt once worn by the person or a footprint left in the sand; a branch of sympathetic magic based on the belief that things once in contact are in some way permanently so, however separated physically they may subsequently become.”

Parts of that seem applicable here; I’m not sure how to apply my usual logical processing to the situation. I’m glad that there are mysteries in the world, and that I’ve been privileged to experience a few of them.

If you are new here, you can view all of my India travel posts by clicking on the appropriate tab at the top of the page. Thanks for sharing the journey with me!

My Quilt is on a Billboard

2011-10-11T21:56:00.000-04:00

"Fireball" on a PA Artisan Trails Billboard

How cool is this? An image from my art quilt “Fireball” is currently on a giant billboard just outside of Gettysburg, PA.
For years I’ve been a member of a local artist’s group, The PA Arts Experience, which has provided me with exhibit opportunities (and has been a wonderful way to meet other artists, who I now count as friends). They are part of a larger group, PA Artisan Trails, which works to promote art tourism along several “Artist Trails” in different regions of PA. Last year I answered a call to upload pictures and information into their online database, and their marketer chose my Fireball to use on this billboard because she liked the colors and graphic appeal, and also because I had provided a high quality image.

A unique photo op like this called for a road trip. Here I am on the shoulder, heading eastbound on Rt. 30.

And here I am doing my best Vanna White impersonation. There’s some glare from the sun in these photos; the quality of the image and the color reproduction was actually excellent, I was very impressed.

Thank you PA Artisan Trails! And if your travel plans include Pennsylvania, be sure to take advantage of their extensive listings to help plan your journey.

Art Quilts XVI Acceptance - Watt & Shand #3

2011-10-03T21:34:00.003-04:00

Watt & Shand #3

I had welcome news in my inbox today. Watt & Shand #3 has been accepted into “Art Quilts XVI: Something to Say”, an exhibit at the Chandler Center for the Arts, Chandler AZ, from November 28, 2011 through January 28, 2012.

Watt & Shand #3, detail 1

The Art Quilts exhibition program has grown from a local and regional quilt show to a respected vehicle for contemporary works. The exhibition draws entries from around the world and allows thousands of visitors each year to experience quilting as an art form. The exhibition is juried by a panel of jurors including exhibition founder Diane Howell.

Watt & Shand #3, detail 2

For this work, I had themofax screens made from my original photographs, and screen printed the images using textile paints onto cotton and linen. I also printed and painted the majority of the fabrics used in the patchwork portions. I am particularly pleased with the way the color scheme worked out in this one--it’s very lively.

Here’s one of the images I made into a screen. At this point in the construction process, the scaffolding had been removed, and the new interior was being tied into the existing façade, but the window had not yet been replaced. I liked the way you could see intriguing bits of the process going on inside.

If you are new here, you can read all about my Watt & Shand series on my website, or track back all the blog posts, including a lot of work-in-progress reports, by clicking on the “Watt & Shand” tab at the top of the blog.

And as always, thanks for reading and commenting!

Ginger in Progress

2011-09-27T23:11:00.000-04:00

Remember “Ginger”? All those luscious silks? I started it earlier in the year, before my trip to India, and got the top pieced together before I left. I’m back at work on it now, and am enjoying the process greatly. I’ve got it all basted:

Yes, that’s hand basting, and a lot of it. Did you know there is such a thing as basting thread? It’s made from short staple cotton. “Staple” is a measure of the length of the individual fibers. Long staple cotton, like Pima, or Egyptian types, commands a premium because it is smooth and luxurious and holds up well over time. Basting thread is just the opposite. It holds up well enough for the time it takes to do the quilting, but when it’s time to remove it, the short fibers break readily and pull out of the quilt without a lot of resistance, making the job much easier.

I’m trying something new and using a wool batt. I want to maximize the amount of reflection I can get from the silks, so I want each stitch to make a good sized dimple in the quilt. Wool batting has more loft than cotton--the fibers are springier. And so far, it’s been quite pleasant to work with, with a nice feel and a good response under the needle.

I’m making good progress on quilting the leaf image in the center panel. I’ve got a lot of projects on my metaphorical plate all of a sudden, so by necessity I am skipping around a bit, but this one is such a pleasure I’m doing my best to find time to work on it.

New Work - Clematis ‘Will Goodwin’ - IQA Silent Auction

2011-09-21T22:08:00.000-04:00

Clematis 'Will Goodwin'

I’ve just finished a new small art quilt, “Clematis ‘Will Goodwin’”. It’s my contribution to the International Quilt Association’s Celebrity Mini Quilt Silent Auction. This is an invitational event and I was honored to be asked to participate. If you are attending the Festival in Houston this November, be sure to check it out along with all the other Auction quilts, and perhaps bid on your favorites. (Also while you are at the Festival, be sure to view my “Watt & Shand #6” and “Watt & Shand #10” in the Tactile Architecture Exhibit.)

Clematis 'Will Goodwin' - detail

It’s based on a photograph of said clematis, which grows up my mailbox post. I used the image to make a cyanotype print on cotton for the center panel. The size is 18” high by 17” wide, and it features hand embroidery, hand beadwork, machine quilting, and couched yarn. The fabrics are silks and textured cottons. It was fun to make--I always enjoy the meditative qualities of hand beading--and I hope it brings the high bidder a lot of pleasure.

“Seasonal Palette” Exhibit Acceptance

2011-09-19T22:07:00.001-04:00

I am thrilled to announce that I am one of the accepted artists for SAQA’s “Seasonal Palette” Exhibit. It’s a unique and interesting concept--32 artists will create a large art quilt, each depicting a season of the year. The artists will document their creative process, including photos, sketches, fabric swatches, etc., which will be displayed in booklet format along with the work.
The exhibit will debut in a special exhibit space at the International Quilt Festival in Houston, TX, in 2012, and then travel to additional venues. The list of accepted artists is online at the SAQA site here. I am in amazing company!

This concept is right up my creative alley. From Day 1 as a quilter I have extensively documented my work in progress, and I have rows of binders stuffed with notes about threads, fabric swatches and bead samples, pictures, and the external ephemeral (travel postcards, invitations, announcements, etc.) of my life that pertains to each quilt I make. I document for my own personal pleasure--probably some sort of mild and hopefully harmless obsession--as reference for future projects, and because it seems somehow to be relevant in a broader sense. For this exhibit it actually IS relevant, and should be a lot of fun.

I don’t have any pictures of the work, obviously, since at present it exists only in my imagination, but I don’t like to post without images, so I will share some photos of the late summer palette I found in my garden this afternoon. All pictures enlarge when you click on them--enjoy!

Japanese Anemone

Impatiens

Rudbeckia

Sedum Autumn Joy

Goldenrod

Leadwort

Coleus and Sedum

Lily of the Valley Berries

Tall Red Canna

New Work - Flood Stage

2011-09-15T10:41:00.000-04:00

I’ve got some new work, in a new (to me) medium, and I’m tremendously excited about it.

Flood Stage #1

It’s been an incredibly wet and rainy spring and summer here in Pennsylvania, and I’ve been looking for a means of expressing my reaction to my damp and dripping environment.

Flood Stage #2

A request from my friend, artist Janette Toth, was the catalyst for this new direction and series of works.

Flood Stage #3

She asked if I had some small works to hang at the Fresco Green Scene, for their involvement in Lancaster Art Walk in October.

Flood Stage #4

I’ve been Working Large for the past several years, and didn’t have anything on hand, but apparently I’ve been nurturing a pent up demand for small scale intimate work. I sat down at my needle felting machine with an assortment of wool and silk scraps and wool and alpaca roving, and the floodgates opened, as it were.

Flood Stage #5

I’ve lived near the Susquehanna River most of my life; my childhood home was on a hill with a spectacular view of it. I’ve hiked near it, sailed on it, swam in it, and was in Harrisburg, PA during the devastating floods caused by Hurricane Agnes. I’ve also spent a lot of quality time with the streams that feed into the river, and have witnessed floods caused by rains in the summer and ice jams in the winter.

Flood Stage #6

So with all of that experience and imagery crammed in my head, on the heels of Hurricane Irene, and in the midst of the lashings of Hurricane Lee, these small works came tumbling out all in a rush.

Flood Stage #7

I’m calling them “Flood Stage” and numbering them sequentially. They are all 8” high by 6” wide, and are mounted on mat board. They are at my framer’s right now--I work with Jenny at State of the Art, and she does an amazing job with her level of craftsmanship, but especially with collaborating in picking out the perfect mats and frames. My work is always transformed in her hands, and I’m looking forward to getting it back, and then seeing it hanging.
My artistic project plate is very full right now, but I hope to make time to expand on this theme and this new series. It is tremendously fun to work on, always a good sign!

Modern India - Shivanasamudra Falls

2011-08-03T06:08:00.002-04:00

On our road trip to Mysore, the driver recommended a side jaunt to Shivanasamudra Falls. Almost an hour’s drive on bumpy roads through small agricultural villages brought us to the site. The initial view was encouraging, and we proceeded down a set of steps to two viewing platforms.

The Kaveri river splits around a large island into a series of falls, then joins up again at the base.

It’s magnificent.

The falls run year round, and the river powers a nearby hydroelectric plant. It was the first one built in Asia, in 1902, and the power initially went to the Kolar Gold Fields.

I’ve seen my share of waterfalls, but nothing to compare with this. The way the falls broke up over the rocks was mesmerizing.

A quick video:

Another quick video:

Plus, there were monkeys.

Back at the parking area, we paused for some tender coconut water. Anyone who has visited the tropics will know this drill--for a small price, the vendor will lop the top off an immature coconut with a machete, and hand it to you so you can enjoy the coconut water inside. It’s generally safe from contamination, although the savvy traveller carries their own straws, and very refreshing and hydrating.

On the way back to the road to Mysore, through more small villages, we shared the road with the occasional tractor, but more often teams of oxen pulling carts. My favorite vignette was a very old man, dressed in a dhoti, riding a bicycle, and herding a large flock of black goats along the road. He was also talking on his mobile phone. It seemed symbolic of the ways things have changed, and not changed, since I was last here.

Modern India - Nandi Hills

2011-08-02T07:35:00.000-04:00

From Bangalore I made a day trip to the nearby Nandi Hills, an ancient hill fortress / hill station. The hills rise dramatically from the flat plains, and afford wonderful views of the surrounding countryside.

There are several paths to explore, and a large swath of the unique peninsular gneiss rock also found at Lalbagh gardens.

You can see how happy I am to be outdoors and hiking around!

At the edge of the gneiss outcropping, there is a fence in progress, to prevent the kind of potentially perilous behavior these teens are indulging in. The rock is slippery, so I exercised due caution. At the right of this picture, you can see very old fortifications:

The walls have small spy holes / rifle ports.

Yet another spectacular view:

As I hiked around in the lush environment, I kept encountering plants I’m familiar with as houseplants, like this Hypoestes:

This temple was built into and extended out from the rock:

Appropriately, there’s a large Nandi statue on the Hill; here’s the signage:

And the tree, covered with offerings:

And the Nandi:

The statue is regularly anointed with butter, into which are pressed flowers:

Also nearby is a small Muneswara temple under a spreading banyan tree:

There are some small guesthouses and restaurants available:

As well as a large Horticultural Guest House and formal gardens to stroll in.

The weather was ideal, with pleasant temperatures and cool breezes. It was another very good day in India.

Modern India - Bannerghatta National Park

2011-08-01T03:21:00.001-04:00

Gets your attention, doesn’t it? If this is what you saw in real life, it could be the last thing you saw…..Fortunately, I saw it while riding a bus through the Bannerghatta National Park Wildlife Safari, near to Bangalore, India. (All of the pictures enlarge if you click on them.)

After arriving at the Park, procuring a ticket, waiting in a queue to have my ticket inspected, waiting in another queue, and boarding the bus, I took one of the remaining available seats, towards the back. I was the only non-Indian on the bus. There was a certain amount of gesticulation and discussion, then I was waved forward with cries of “single seat, Madam, single seat!” to the front of the bus and a prime spot looking out of the windshield. This type of preferential treatment used to bother me, years ago when I was new to India, but I have since learned to selectively accept it. When immersed in a foreign culture it is my responsibility to be polite, friendly, respectful, and not act like an idiot. It is not my job to challenge the status quo at every instance, despite my egalitarian leanings.

One of the advantages of the “single seat” was that when the wildlife was located on the opposite side of the bus, the driver would gesture for my camera, lean out of the window, and take pictures for me. He was quite good at it. He captured the crocodile sunning on a rock, above, the water lilies, below, and many of the other pictures that follow. Again, I just handed over my camera and went with the flow. Everyone was happy.

It was a good photo safari. The infrastructure of the park was a rather faded in spots, but the animals without exception seemed healthy, happy, and very well cared for. They tended to gather at what appeared to be feeding stations, conveniently located for photo ops, which makes perfect sense. That’s what drew these spotted deer to this clearing:

Here are some bison:

More deer--obviously not spotted, but I’m not certain of their classification:

The elephants were not wild, as they were being bathed by attendants, but charming and picturesque nonetheless:

Next up were the sloth bears, who sport impressive claws for digging up termite mounds, and protruding lips for vacuuming up the termites. They are an endangered species, due to habitat loss, and the Park has a breeding program for them. They were living up to the “sloth” part of their name by napping in the road, and were loath to get up and amble off:

We left the herbivore section and passed through security gates to various carnivore habitats. We were lucky to spot quite a few lions:

Including this pair who were stalking each other:

They were obviously just playing--anyone with housecats will find these postures very familiar:

I wish I could convey to you just how LARGE a tiger is. It is very startling to see one materialize out of the underbrush:

My gardening friends will observe that there is a lot of orange flowered lantana growing wild here, if you can take your eyes off of the tiger:

This is how close he came to the bus, although he was not the least bit aggressive:

The park also has a colony of rare white tigers:

After the safari, I took a quick tour of the zoo. In general I find zoos a bit depressing, and this one was no exception, but again, the animals appeared to my inexpert eyes to be fed and cared for. Here was a truck delivering freshly cut fodder to the hippos:

There were some free-range monkeys:

Another good day and culturally interesting experience. I am having an excellent Indian adventure.