in which i publicly humiliate myself

Because we’ve all done Stoopid with a Capitol 9 at least once………

“Normally” i would have thrown this in the unfinished pile where it would have sat forever, but the lace is too precious to me to “waste” it. And i *have* gotten much better at (im)patiently pulling or cutting out mistakes, because the initial idea is good. When they lack in interpretation though, cut your losses, or cut the threads!

Firstly, the lace puffed up and made itself look big, trying to scare me. I do believe i forgot to iron the underlayer (Lazy!) and a wrinkle in there resulted in this lofty attempt at escape.

What’s REALLY sad is that though i had a very clear picture in my head of how she would look when worked, i didn’t stop for any consideration on HOW i was going to do that, and just Started. Dear GAWDZ but this is Horridatious, looking as if an inexperienced newbie or a 4 year old got hold of it. I have done trite work, i admit it (we all honestly have) but this? Not only trite, but badly worked–NOTHING to do with what the figure is/says, NO beauty in any of that working, and seriously, i am embarrassing myself horribly by showing this. Is it any wonder she’s holding her head in her hands???? She’s wailing!!! “What have you done to meeeeeeeeeeee???”

I picked out ALL of the interior stitching. I slit the lace and flattened it down–nothing anywhere says that can’t be done, or will detract from the work. I don’t know about you, but there’s nowhere in my contract that says i HAVE to do something ONE way or it’s Wrong! I had to also soak the whole thing to let the resulting holes and pulls Relax. (Relax, Baby: i’ll still respect you in the morning.)

I had this bright idea to use several of my naturally dyed threads, and while the colourway would have worked, it took too much away from the figure, putting focus on the threads instead. I have gone to my commercially dyed threads in rebuttal πŸ™‚ As i’ve always said, colour is colour–yes, brown is too a colour!—and i’m not about to get all precious about just naturally dyed, so all my “bland, boring, beige” browns in all their glorious permutations are being hauled out.

I’m off to appease the Stitching Gawdesses with a cup of fresh coffee, small sweet biscuits and a sacrificial thread loaded needle or two…..i already gave blood, sweat and tears…………

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why do i bother???

It was all planned out in my head, but the needle and thread sampling did nada for me. Went back to the work blog and zipped through all the photos, and tada.

This figure (never attached to anything, from Jan 2016)

on this PP dyed cloth

and logwood threads

and this strip that came from aborted work (two photos because it’s too long to photograph easily)

with this manipulation on the PP

yes

’cause apparently planning is taking a hit lately, so i’m not going to waste time, just jump in.

“In progress” un-named.

Samara wing start —–again……….

She’s been hanging around since the first stitches added Aug 25th of 2016, the cloth deliberately designed in June of the same year during “res”, and me staring at her all along, wondering where she was going.

Autumn definitely, her browns of seed and stalk, the deep violets of twilight, the greys of shade and old nests, her faded features only glimpsed by outline and shadow. Autumn is both a joy and an overwhelming sense of sadness, lost or set aside dreams. There’s a sense of fecundity in the harvest, but also an end to the fruitfulness of long days. Sept 6/16

I’d had plans for her wings—- and neither plan really satisfied her or me.

I spent two hours this morning, fussy cutting, fusing and swearing, using a regular iron and little dinky heat tool iron, and have this to start embrilting (after i add the layer of cotton flannel that is my Go To “batting”—and though i use that, i am NOT a Quilter, i am an Embroiderer: i just use a few quilty techniques πŸ™‚ ):

Such luscious colours, and i’m so proud i did them all with natural dyes πŸ™‚ (As are the fabrics.)

 

 

even greater distances

I don’t know how many textile artists work, when out of the public eye on blog, Instagram and FB, but me, i keep files and a private blog for ideas, sketches, colour and fabric combos, inspiration and possibles. Though little was “accomplished” this year, i’m happy with the results, and the dye play i’ve been doing, BUT i found myself this morning opening a new file and category for “WORK 2018”.

A LOT of the 2017 notes are archived already. Some are switched to the 2018, and a LOT MORE deleted.

I love the little moon series i’ve created over the last two years, and intend to make many more, however i also need to get back to the larger works as well. “Samara” will be one of them, and after seeing her in the sun yesterday, i pulled a bunch of these naturally dyed fabrics.

They may not all get used here, but given the initially planned harder look, i think this is more on track with what she’s saying, softer, still strongly feminine, but with a more “fertile” approach. I want her wings to be more inviting, enveloping, brilliant even. Autumn after all is not just a time of endings, but of rich harvests and warm gatherings. I do need however more autumnal colours so into the dyepots again with some of these scraps.

For other work i’ve wanted to do, i guess i will be making larger pieces of the potassium permanganate dyed cottons after all. I must have cut up the piece i did during residency, thinking it was a “fail”, a lesson learned: leave it alone and the time will come as it needs to!

While digging around in the actual fabrics i still have, i found this, and am thinking to use it as a “marker” for a new series with the PP.

It’s snow dyed, with Procion, but that doesn’t matter. In the grand scheme of things, colour is colour. And the texture of this old rayon velvet is freekin’ awesome. It’s vintage, at least 20 years old and at a yard and a half, is plenty to incorporate into this dreamed of work.

Another week of dyeing, and i figure i will have enough of threads and cloth to “share” and to use.

 

Tabula Memoria journal available, and residency exhibit news

If you are interested in process, rather than project, the journal that accompanies “Tabula Memoria” is available through Blurb now. This was as much a labour of love as the actual work was, and i’m quite proud of it. The print quality is fantastic, and i am liking the response from the few who have seen it “in the flesh”. It’s a bit chatty, but that was part of the point as well!

The actual link is here, because clicking on the photo below takes you to only the preview, with a bit of a counter-intuitive search for the information!

 

I have yet to figure out the PDF conversion so at the moment, it’s only available as an actual Real Book. I also have not jacked the price very much above the base price, as i’d rather more be able to add it to their libraries! (And remember, the price is in CANADIAN DOLLARS.)

With the timeframe i’d had left to get work done for the end of residency show, i decided instead that since the owner of this work isn’t picking it up until near the end of September, that i could show this instead. Created with fabrics during my 2016 residency, and worked on during the 2017 residency, it suits perfectly in that respect as work done DURING res (because i have seen work in those shows that had nothing to do with res…which kind of defeats the purpose of the exhibition IMHO), and also, as celebrating 10 years of Contextural, it was a perfect opportunity for me to see and show how *i* have evolved in 10 years. (Though i have been a member for only 8!)

To show the scale, i gritted my teeth and had my photo taken with it, hanging at the 371 Gallery at the Alberta College of Art and Design (ACAD). I really don’t like getting my picture taken anymore, because it reminds me i am no longer a sweet young thing (yes, i was, a long time ago, and sometimes still, inside πŸ™‚ ), but it *is* important that people see the Actual Real Artist on occasion!

If you are in or near Calgary, Alberta, or are visiting, the exhibition is up, ready for you view it. The Closing Reception is Thursday, September 14th but you can come into ACAD’s public areas and take it in anytime daily until then between 8am – 8pm, weekends too. Remember to check the two areas – the Main Mall and Room 371. I don’t know at this point if i will be at the closing reception, but who knows?

the “Tabula Memoria” journal

Whoa! It’s a good thing that Blurb has easy to follow parameters and diagrams, and a better thing that i was able to bring into play old layout skills i learned in my teens!

I finished this on Aug 13th, and immediately ordered two copies: one for me, and one for the person who commissioned the work. Had to hold my breath until the 24th of August (Actually arrived on the 21st!) ) to have them in my hands, but OH OH OH, i’m so glad i did this.

Right from the beginning, i had all the digital originals in backed up files, and the physical sampling, writing and sketches in a distinct studio folder. The first time i tried to “make book”, i had no idea what i was doing, and tried to upload small photos with low resolution. (KEEP YOUR ORIGINALS!!!!!!!!!!!!!!!!!! And make sure they are properly edited and presented, none of this “there’s my 3 feet of floor around the 1 foot sized piece…. ) Figuring out the layout, the order, and the relevance of specific things for that endeavour was a nightmare, as i hadn’t documented as i went along. I also didn’t hit “save as” when i should have, and that book is gone, except for a few screenshots!

You *have* to pay attention to details, when self publishing. Unless you have a trusted, erudite, educated and very literate friend to proofread for you, trust the guides they give you!

In my mid teens, i worked for a small Canadian “literary” magazine in Guelph, Ontario, and one of my many jobs was actual layout of photos and text. Those were the days when it was “physical” work, printouts that had to be manually manipulated and then pasted down to a master sheet. While i had naive dreams then of being a poet, i never actually thought i could do my own books, never mind have them printed. The exception is a slim “chapbook” of poetry, published by a small London Ontario press, in 1978. “Tiger of a Different Colour” does have an ISBN though πŸ™‚Β  (That little magazine converted to Communism, and fired me when i wouldn’t go to Ottawa and participate in a possibly dangerous and illegal protest, risking arrest and jail! I was 16 and incredibly innocent, but i wasn’t STOOPID.) Edit: an hour after, i still have *most* of the work that was to be featured in that first book–i *can* rephotograph!

 

 

 

Now i’m thinking i really want to do a How To book after all, possibly from the FrankenStitch classes i have taught online.