Upcoming Show : Good Mail Day at Artstream Studios and Gallery

It's been much too long since I posted here! Who knows if anyone is still paying attention to this blog! I have lots of great news to share soon that is in the works, including a new website that will feature a line of quilt blocks I'm currently designing. And I will have exciting news to share around January, HUGE awesome news about my Foreclosure Quilt series. In the meantime, I will have four little postcard sized textiles on exhibit at Artstream Studios and Gallery in New Hampshire in a show called "Good Mail Day". It's curated by my friend Lisa Solomon and Susan Schwake. It features 60 artists and the work will be available for purchase online here.

Ogallala Aquifer Depletion, 2014. Four 4" x 6" indigo dyed linen textiles with
embroidery and ink.

Here are some pictures of the pieces I made using linen that I indigo dyed over the summer. I designed a quilt block about water resources and this idea grew out of that design.

Ogallala Aquifer Depletion, 2014. Four 4" x 6" indigo dyed linen textiles with
embroidery and ink.

The Ogallala Aquifer spanning eight mid-Western states is rapidly being depleted due to overuse of farming irrigation, specifically, the Center Pivot Irrigation system. This form of irrigation has become so efficient that farmers have really pushed the water use to the extreme.

Ogallala Aquifer Depletion detail, 2014. One of four 4" x 6" indigo dyed
linen textiles with embroidery and ink. Upper left piece.

 And now scientists say there will be no more usable water in the aquifer by 2030. That's right, 2030! It's just around the corner! This is the major water source for a huge majority of our US crops. Be sure to check out all of the amazing work in the exhibition that starts November 7th and runs through December. See my four here.

Artist : Dana Barnes

Dana Barnes is already well known and respected as a fashion designer but her new line of felted objects is clearly her best yet. Barnes recently unveiled her Souled Objects line in a show entitled  Unspun at Ralph Pucci International, Gallery Nine, in late 2012.

 I had been hearing rumors and seeing little 'coming soon' images of her work for months. Yet, every time I hit the website, there was no data. At some point I gave up looking, so despondent.

And then, there it was, one day while reading my friend Lari's blog, images. Finally, images.

The work is gorgeous. Fat, knubby, natural fibers that twist and turn and lie beautifully on the floor. She clearly has a love of felt and natural fibers.

What really surprised me, though, was the story behind their creation. She made these felted pieces as a solution to complaints from downstairs neighbors about her daughters' loud footsteps on the wood floors.

What a gem of a solution for everyone, especially the kids. Can you imagine growing up with that? How cool they must think their mom is. If only mine thought the same.

You can see her pieces at her website, Souled Objects. Pour yourself a cup of tea before you sit down as it's a bit of a slow stroll through the work (I'm guessing that was on purpose). Read a wonderful article about the work in the New York Times here.

Artist : Sergej Jensen revisited

I shared Danish artist, Sergej Jensen's work with you back in 2011. Coincidentally, last week, Joey Piziali, yet again mentioned I check out his new work at Anton Kern Gallery in New York. Oh my.

Untitled, 2011. 102" x 82" by Sergej Jensen. Image courtesy Anton Kern Gallery

Sergej continues his investigation into canvas. Literally, I mean the canvas. It's so funny how it takes just a gesture to remind you that a stretched canvas is really a work of fiber art. New directions are still to be had in painting.

Untitled, 2011. 114 3/16" x 94 1/2" by Sergej Jensen. Image courtesy Anton Kern Gallery

Jensen's new work includes some paint but displayed in an unusual way that once again reinforces the fact that you are looking at textiles, not just a painting. He found he liked the backside of the painting because of the way the paint seeped through randomly, without his control. He celebrates the surprise result by stretching the canvas backwards onto the frame.

Bat Girl Uschi, 2011. 47 1/4" x 59 1/16" by Sergej Jensen. Image courtesy Anton Kern Gallery

He has some more painterly pieces as well and a bit of wit. I wish I knew the story behind this one. My daughter is going through a Garfield addiction, she loves this one. I'd also love to know why the dimensions given are soooo exact, down to the 16th.

Untitled, 2011. 65" x 859 1/16" by Sergej Jensen. Image courtesy Anton Kern Gallery

And there's a little video of his latest show at Anton Kern, actually a lengthy one, eight minutes long, but worth watching. This is a chance to see the scale of these pieces, they are quite large, and some of the details up close (I wish he would have paused for more than a second on some of the details). It's the closest thing to being at the opening. I wish I were there.

And after doing a little digging, I found there's a monograph available now. Uh oh, looks like I need to squeeze two more inches on my studio library shelves. That's going to be a challenge. See more of his work at Anton Kern Gallery here.

Artist : Tracy Potts

Recently, I received a lovely email from artist Tracy Potts. I immediately recognized her name from following her on Flikr over the years, and always loving her art. It had been awhile since I had been on Flikr so I was blown away by the images of her new work that I'd somehow missed.

Something Told Me It Was Over, 2012.
Mixed media on canvas, 94 cm x 64 cm.

Tracy was so kind to tell me my work and the blog had inspired her. By seeing other people use craft in their work, she gained the confidence to jump in and explore the medium. She clearly nails it, don't you think? Yes ...

I Want to Be Your Everything, 2012.
Mixed media on canvas, 94 cm x 64 cm.

Her work is intensely personal and highly charged. I think it's that rare ability to incorporate craft with painting that works so well here.

74 Brilliant Suggestions, 2012.
Mixed media on canvas, 94 cm x 64 cm.

And also that subtle hint, just a hint, of representational that grounds the highly charged crochet, knitting and sewing that she overlays onto canvas.

The Soft Wall, 2012.
Mixed media on canvas, 94 cm x 64 cm.

Her email couldn't have come at a better time. You know how all of us artists go through those highs and lows in our work. I was at a dull thud that week, feeling a little helpless and wishing I could do more for artists to share their work. Thinking about reaching out more: curating, writing more articles, pushing craft further into the mainstream art world.

I Am Your Exotic Bird, 2012.
Mixed media on canvas, 147 cm x 128 cm.

Well, this work truly would fit into the gallery scene and it does. She is represented by a wonderful gallery in Australia, Anita Traverso Gallery, in Melbourne. Her work inspires me and I hope it does you too.

Studio Pepe Heykoop at Handful of Salt

I've got another article over at Handful of Salt. It touches on Dutch designer, Pepe Heykoop's creative leather pieces.

Matka Vases by Studio Pepe Heykoop. Image courtesy of Annemarijne Bax

There's something about those Dutch. I would love to know how they are taught because some of the most creative design in the world is coming out of that country. Hmmm, a trip next year perhaps? Head on over to Handful of Salt for the article.

Upcoming Show : Disintegration and Repair at Warm Springs Gallery

Four of my foreclosure quilts will be included in the July exhibition "Disintegration and Repair" at Warm Springs Gallery in Charlottesville, VA.  I'm thrilled to be a part of a show with some talented fiber artists who I've come to know online and in person. See below to learn more about the other artists in the exhibition.

Barbara Wisnoski

Grey Rain Sea, 152 x 157 cm by Barbara Wisnoski.

Barbara and I spent an afternoon together with our mutual friend, Myrna Tatar, last year to see Barbara's pieces at the San Jose Quilt Museum. Her work was even more impressive in person.

Lotta Helleberg

Forest Floor by Lotta Helleberg. Leaf printed, plant dyed linen,
wool thread, hand stitched. 21" x 33"

I met Lotta online last year and we had an instant connection through our work. Lotta's work is inspired by nature and is stunningly beautiful. Be sure to read Lotta's blog if you're interested in the fiber process. It's an amazing resource.

Karen Henderson

Accept by Karen Henderson. Hand woven silk, paper, rayon paper w/silk; batik, dye paint, discharge,
layered with cotton fabric, with stitching, paint and silver foil.

30” x 61”. Photograph by John Sterling Ruth

Karen uses many traditional fiber techniques including weaving, dyeing, and stitching to reflect the cycles of nature.

Margarite Gignoux

Strings by Margarite Gignoux. Handmade cotton paper, machine stitched and
mounted on canvas. 46" x 70"

Margarite uses a diverse variety of fabrics, papers, buttons, beads and other recycled materials to make powerful quilts that push the boundaries of the medium.

The exhibition runs from July 1st through July 31st at Warm Springs Gallery in Charlottesville, VA. There is an artist reception on Friday, July 6th from 6-8 pm. I won't be able to make it in person but I hope those of you near are able to visit.

Foreclosure Quilt : Riverside, CA

I finished another foreclosure quilt last month and am finally sharing it with you! I have to say things have been quite busy for me the past month but it's all been good. I have numerous projects under way in the studio that I'll share soon enough. But I've also been busy in the garden. I'm trying to grow most of our own food this year, which ties into my concerns about global farming and the land grab. But back to the foreclosures ... Riverside, CA.

Riverside Foreclosure Quilt, 2012. 34" x 46"
Tea stained voile, cotton, linen, yarn and embroidery thread.

Southern California has been hit as hard as other areas in the US. As many of you know, SoCal is a very large swath of housing that just seems to go on and on. Zooming in on a particular area was quite a challenge.

Riverside Foreclosure Quilt detail, 2012. 34" x 46"
Tea stained voile, cotton, linen, yarn and embroidery thread.

I chose Riverside because it seemed there was no neighborhood in the city that was immune to foreclosures. I wish I could wander around the city to appreciate it more. One thing that was apparent is a lot of these homes that were foreclosed on in the past couple of years have been fixed up and flipped. I'm not sure if that's a good thing or bad? On the one hand, it's great that they are being spruced up and helping improve the neighborhood. But, who is behind the fixing up and flipping? A reputable company or someone out to make some quick money?

Riverside Foreclosure Quilt detail, 2012. 34" x 46"
Tea stained voile, cotton, linen, yarn and embroidery thread.

I heard an story today on NPR about companies that are buying up the foreclosures, fixing them up and renting them out. It works if it's a small business who is managing a few properties. But are companies biting off more than they can chew? It sounds like even renters need to do their due diligence before the sign a contract these days. Here we go ... into the next phase of the messy 'clean up'. Who knows where this will lead?

Featured : Poppytalk and New American Paintings

I had the wonderful honor of being interviewed for two great websites last week, Poppytalk Handmade and the New American Paintings blog.

Lisa Solomon paid a visit to my studio last week and took some great photos of my space for the Poppytalk : In the studio feature, including a few wide angle shots which I've always wanted but didn't have the right lens. Thanks, Lisa!

Studio in February 2012. Image courtesy of Lisa Solomon

She asked some great questions as you'll see in the interview. I visited her studio a few months ago so we had some great conversations about our workspaces. We also have plans for trading some artwork, I'm so excited about that! Head over to the Poppytalk site for more images of the studio and a few more of my home.

Just before Lisa came over, New American Paintings blog contributor Ellen Caldwell interviewed me for their site.

Although we couldn't arrange a studio visit, we were able to have a great interview through email. Ellen's questions are wonderful and thought-provoking. Definitely spend some time looking back through her past interviews, great reads.

Work wall in January.

Besides all of this, I have been hard at work in my studio. I haven't been able to take any final images of my new finished piece, Phoenix for several reasons. Along with the sunny days, which make it impossible to photograph textiles, I lost a crucial part of my tripod! I put it down the other day and can't remember where! But, here is a glimpse of the finished Phoenix as well as the work in progress image of Riverside. Thanks to Lisa, you have some images!

Phoenix on the right, Riverside in progress in the center,
a Fog Linen Work runner in progress on the right. Image courtesy of Lisa Solomon

I'll keep you posted with some new images soon! In the meantime, enjoy the interviews!

Artist : Marian Bijlenga

I debated about calling this post Conversations on Flikr. We'll call it a subtitle and I'll get to that topic in a moment. I did discover Marian's work through flikr some time ago and was completely drawn in. She's based in Amsterdam and this piece certainly reminds me of a map of the water city.

Untitled by Marian Bijlenda, 2011. Horsehair, fabric,
machine embroidery. 43 x 43 cm

Today as I was doing my usual monthly gasping session perusing BrownGrotta's website rather than doing actual work, I came across Marian's work again. BrownGrotta representation, what a dream!


Untitled by Marian Bijlenda, 2011. Horsehair,
machine embroidery. 46 x 45 cm

Marian is a talented and very prolific artist. Her work is truly hers, unique and clearly all her own. The works are so delicate yet have a strong tie back to nature, using materials such as horsehair and fish scales. Fish scales?

Untitled by Marian Bijlenda, 2010. Fish scales.

There's a lot in that series. All stunning. Her flikr site offers lots more of her work and is well organized. And that gets me to Flikr. Some of my friends refuse to use it, some say it's a tad old but Marian uses it in a unique and beneficial way. As an open dialogue among other artists. The comments become a back and forth visual conversation that evolves and inspires. Go check it out and see what I mean. Thought provoking.



Sampler by Marian Bijlenda, 2011.

Marian Bijlenga's website can be found here. Her flikr page is here. Enjoy the tour!

Artist : Jiseon Lee Isbara

I first came across Jiseon Lee Isbara's artwork last year at the Wrapped in Tradition show at the Museum of Craft and Folk Art in San Francisco. Some of you might remember this stunning piece I shared from the show.

Blueprints, 2010. 25" x 34  1/2" Hand stitched, dyed and inkjet printed

silk fabric.

This one caught my eye in particular and I couldn't get it out of my mind. I tracked down her blog/website and discovered more from her 'meaningless squares' series as well as more recent series that are even more impressive. These are images from her new Embodiment series.

Embodiment, 2011. 5" x 47" x 4" Stitched and drawn,

ramie and cotton.

Her work is about "personal observation and artistic interpretation of her life as an artist, teacher, wife, mother and immigrant".

Embodiment detail, 2011. 5" x 47" x 4" Stitched and drawn,

ramie and cotton.

That really comes through in these pieces. Her mind seems to work like mine which is why I'm drawn to it. Perhaps you see your thought processes displayed here too. We struggle to control the chaos that goes through our minds as we multi-task through life. It's not an easy job. The titles really tell it all.

Accumulated, 2009. 365 pieces, 3 1/2" x 3 1/2" x 3 1/2"-6" x 6" x 6"

Hand stitched, silk and polyester strings.

Gorgeous work, no?

Accumulated detail, 2009. 365 pieces, 3 1/2" x 3 1/2" x 3 1/2"-6" x 6" x 6"

Hand stitched, silk and polyester strings.

Here's how a lot of us feel some days ... on autopilot. Who would have thought you could make such a beautiful poignant piece around that idea.

Repeated, 2010. 9"X 45' Woven, screen printed and stitched,

cotton.

Repeated detail, 2010. 9"X 45' Woven, screen printed and stitched,

cotton.

Jiseon Lee Isbara runs the Fibers Department at the Oregon College of Art and Craft. See more of her work here.

work table : Albuquerque and Phoenix

I don't know about you but when December hits, I go full swing in the studio. Something about nearing the year's end sets me off in a panic and I try to finish as many projects as I can before the holiday break. This is also a time of year, like most people, I reflect on what I've done over the past year.

work wall with Phoenix (left) and Albuquerque (right) in progress.

Having had a few sales of my foreclosure quilts (yeah!) means I don't have as many to pieces to enter into shows and galleries and that sets me off in a panic. What is really important to me about these quilts is to create as many as are needed and get them out into the public. This month and next, the foreclosure quilts will be featured in two magazines, Uppercase and New American Paintings. This means I need to have some new work to share with a broader audience.

Albuquerque in progress (detail).

Foreclosures are picking up in the Southwest again so I've spent this December studying New Mexico and Arizona. What I've found is shocking and doesn't take more than a few clicks on the internet to see just how severe foreclosures are there. The foreclosures are incredibly widespread in these cities. No neighborhood has been left unaffected but there are certainly focused pockets of devastation.

Phoenix in progress (detail).

I've discovered more data is being openly published about home sales throughout the US which brings to light even more foreclosures than are obvious on the maps from RealtyTrac.

Phoenix fabric study.

For example, what seems like an honest sale on the map, is really just a flip from one bank to another. Hmmm, is someone making money off of this? Of course! It's still happening and there is no regulation in sight to put a stop to it. To read the latest on the mortgage crisis, head over to my foreclosure series page and find links to the latest articles. Gretchen Morgenson has some new insights that are certainly worth reading.

Foreclosure Quilt : Atlanta

There's nothing like a deadline to make one motivated! I finished the Atlanta Foreclosure quilt just in time to hang it at the SOMArts Gallery on Monday for San Francisco Open Studios. I left all of my red thread at home over the weekend, brilliant! So there was a lot of last minute sewing to be done once I returned.

Atlanta Foreclosure Quilt, 2011. 19 1/2" x 19 1/2"
Recycled denim, bleached linen, cheesecloth, yarn and embroidery thread.

This is my smallest piece as the size was limited by the gallery. All of the materials are remnants from my studio. The backing on this piece is my remaining hemp napkin from my Inhabit Project with Vanessa Filley. Quilting with denim and thick hemp is not easy. My fingers were certainly sore, especially after working quickly at the last minute!

Atlanta Foreclosure Quilt detail

The color variations are a pattern that relates to how many foreclosed lots are located within a block. The more foreclosures, the darker the color. Given that I was limited with reusing my materials, it almost works out perfectly. You can see process photos here.

Atlanta Foreclosure Quilt detail

You can see this piece in person at SOMArts Gallery at 934 Brannon Street in San Francisco from September 30th to October 29th. Regarding Open Studios, I will be showing at Clara Street Studios in San Francisco's SOMA district with my friend, artist Ruth Freeman on October 15th and 16th from 11 to 6 pm. I used to work with Ruth over a decade ago in the architecture world. The address is 185 Clara Street at 5th Street, Studio 102B. I will have three of my Foreclosure pieces on display as well as all of my Idiom Series from last year. I hope to see some of you there!

Artist : Ruth Tabancay

A few months ago I came across Ruth Tabancay's quilts. As you know, I love anybody's work that pushes the limits of the traditional quilt to its' edge and her work does just that. Her pieces are made entirely out of tea bags. And surprisingly with the tea still in them.

On wall: Garden Variations, 2009 49"x65". On floor: Extending the Useful Life, 2010 33"x26"x65".
by Ruth Tabancay. Image by Dana Davis. 

Ruth has been working in this medium for the past ten years. The idea came to her while doing homework with her teenage daughter. They wrapped themselves in a comforter as they drank cups of tea. She saved and dried the tea bags and then sewed them together "to capture a moment of intimacy."

Garden Variations (detail), 2009 49" x 65" x 1". Tea bags, acrylic paint, embroidery floss, muslin, batting.
by Ruth Tabancay. Image by Scott Braley         

I had the wonderful fortune of finally meeting Ruth in person at the Scrap ART opening at the San Jose Museum of Quilts and Textiles. One of her tea bag quilts was included in the show. When I asked to write about her work, she told me that she recently completed the Fiber Art Certificate Program at the University of Washington, Seattle. She flew back and forth for a year from the bay area to Seattle. That's true commitment to your craft! It was an immensly rewarding experience and encouraged her to expand her medium. And here are some of her new pieces which frankly, have me floored.



Twice the Size of Texas,  Kala Artist Project Space, Berkeley, CA.
by Ruth Tabancay. Image by Dana Davis.



Twice the Size of Texas, installed at the Kala Artist Project Space, is a monumental piece.

"(It is) a 10 ft X 19 ft wall piece made of over 1400 pieces of plastic bags. The shape represents the North Pacific Gyre, the location of the Great Pacific Garbage Patch where plastic, among other discards, has been broken down by mechanical and photo-degradation into confetti-like pieces and moves very slowly in a clockwise direction toward the center. The exact size of this debris mass depends on the where one draws the boundaries but one of the more quoted estimates is twice the size of Texas."

Ruth Tabancay

Twice the Size of Texas (detail), Kala Artist Project Space, Berkeley, CA.
by Ruth Tabancay. Image by Dana Davis.

Another series she is currently developing is embroidery on vintage linens.

Embroidery on Vintage Linens by Ruth Tabancay. Image by Scott Braley.

Many pieces of these cloths–runner, doilies, coasters, napkins–have a floral theme in embroidery, crochet, or tatting as decoration, the craft of women in the 30's through 50's. I have embroidered on these cloths images that show what the textile might have actually experienced. Coasters have water, coffee, and red wine rings. Runners show fallen petals and leaves and the rust ring left by a metal vase. A napkin discretely hides chicken bones. A hanky staunches a bloody nose.

Ruth Tabancay

Recycling is a common thread that runs through all of Ruth's work and draws me in even more. She has the rare ability and confidence to push the boundaries of her practice. It makes a powerful statement.

Embroidery on Vintage Linens
by Ruth Tabancay. Image by Scott Braley.

See more of Ruth's art online at her website. Her work is currently on exhibit on the west coast at The San Jose Museum of Quilts and Textiles through October 16th. If you're on the east coast, her work is shown in a video slideshow at the Textile Museum in Washington DC for Green: the Color and the Cause. The show runs through September 11th.