Artist : Recheng Tsang

Recheng Tsang's work defies categorization. Are they installations, sculpture, ceramics? You could say they evoke textiles even though they're made of porcelain.

ovals, glazed and unglazed porcelain, aluminum wire and panel, 53" x 93", 2012

by Recheng Tsang. Image by Muffy Kibbey.

Whatever you want to call them, they're beautiful. Hundreds of painstakingly handmade porcelain tiles, delicately assembled to form stunning wall installations.

Ovals (detail), glazed and unglazed porcelain, aluminum wire and panel, 53" x 93", 2012

by Recheng Tsang. Image by Muffy Kibbey.

And then there's the detail. A single hint of color, just quietly slipped in, but making such a bold statement. It completely changes the meaning of the entire piece.

frayed : white, unglazed porcelain and acrylic on plexiglass, 6" x 6" each panel, 2011
by Recheng Tsang.  Image by Muffy Kibbey.

I first learned of ReCheng's work via Handful of Salt, back when I was a reader and not a writer for the site yet. I loved Regina's profile on Recheng. I felt as though I knew her already. She likes Richard Tuttle, she sews and she procrastinates by cleaning her house. Hmmm, boy does that sound familiar. I admire her honesty.

Circles and Variations, glazed porcelain on plexiglass panel, 24" dia, 2012
by Recheng Tsang.  Image by Muffy Kibbey.

A few years down the road and I still remembered reading the article but now my friend Myrna Tatar mentioned her name to me every time we met. "You must connect with Recheng. You're both working with ceramics and I know you'd love her work." Myrna was right.

Study for Ovals, glazed and unglazed porcelain on aluminum panel, 10" x 10", 2012
by Recheng Tsang.  Image by Muffy Kibbey.

The best bit, Recheng lives just over the Bay Bridge from me. In a couple of weeks, I'll have the chance to visit her studio and meet her in person. I can't tell you how excited I am. Maybe she'll let me snap a few photos I can share with you soon.

circles and variations : white, porcelain and lithium on wall, 15" x 63", 2010
by Recheng Tsang.  Image by Muffy Kibbey.

Until then, see all of Recheng's work on her website and read the Handful of Salt profile here.

Artist : Motoi Yamamoto

One of the comments made on my last post about installation artist, Jean Shin, was by Kristin L. She had a great question: How do installations move around? Of course, each exhibit varies but Motoi Yamamoto's salt installations have a very unique answer to that question.

Labyrinth by Motoi Yamamoto. March-May 2012

Incredible, no? But when you see these in the scale of a museum, they're even more amazing.

Labyrinth by Motoi Yamamoto.
September - December 2012

Yamamoto began this series after the early death of his sister at the age of twenty four to brain cancer. He had worked in other mediums, like glass, but it was at her funeral in Japan that salt began to play a role in his work. Salt is thrown over your shoulder as part of a purification ritual after a Shinto funeral. His first works were made in private as a way to remember his sister.

Labyrinth by Motoi Yamamoto.

As Yamamoto began to work in the medium, he learned so many other important human needs for salt: for humans health, as a food preservative, even as a form of money. I just read yesterday the word salary comes from sal i.e. salt when salt was used as currency during roman times.

Labyrinth by Motoi Yamamoto.

These installations have also become a sort of labyrinth, a symbol of being born and life itself. How fitting then to have a labyrinth made of salt. Yamamoto says he often has at least one vivid dream of his sister when working on each piece.

Labyrinth by Motoi Yamamoto.

Regarding installation, the museums and galleries are often open during his slow on site process of making each piece. He often works up to twelve hours a day to complete a piece. Here's a video showing the installation in progress.

And at the end? All of the salt is returned to the sea during a public ritual called umini kaeru. It was a janitor at an exhibition in South Carolina that thought it was tragic to simply throw the piece away and suggested a ritual should take place.

See more of Yamamoto's works on his website. His work can be seen right now in the US, at the Laband Gallery at Layola Marymount College in Los Angeles until December 7th. I feel honored to have visited his hometown ten years ago in Kanazawa, Japan. A beautiful town by the sea, I can see how this city could have inspired him.

Artist : Jean Shin

One of the consistent questions people ask when they see my new Land Grab series is "How do you plan to show the work?" I always answer "Just like you see it, on the floor or on the wall." This answer always leads to raised eyebrows. Not in a frame or on a canvas? A lot of artists chose to create installations because it really is the best way to present their idea behind their work.

Alterations, 1999.

And hence, I'd like to make my point that there is a LOT of great, mind blowing art that isn't 'framed' or uses only one medium. I found a great artist to share with you who wrecks those entire notions: Jean Shin. I found her work after reading Lari's blog about this artist, who mentions Jean as a major inspiration in her work. I wasn't sure at first, what those blue 'vases' were in the photo above. Until I saw this.

Alterations, 1999.

Clever and amazing.

Hide Series, 2004.

The above materials are made up of leather and suede shoes and shoelaces. Let me just say, Jean is all over the map with her materials, which is her point. But it all works, it all makes sense for each of its' subjects.

In her own words:

By transforming accumulations of everyday objects into visually alluring conceptual explorations, my work speaks to the optimism inherent in giving new form to life’s leftovers.  In my sculptures and large-scale installations, I seek to recall an object’s past, as well as suggest its greater connection to our collective memories, desires and failures.

- Jean Shin

I tend to have a weakness for artists who use repetition in their work. She has a way of placing the pieces in such a way that they almost breath with the lives of the past owners. I love this piece.

Stepping Stones (Pots and Pans), 2007.

Putting the everyday object in an unexpected location can completely turn around the meaning of a piece. In the case above, from a cooking pot to a musical instrument.

Chemical Balance, 2005-9.

What happens to all those pill bottles we leave behind every year in our overuse of medications. The title tells it all, Chemical Balance.

See more of Jean Shin's work at her website. Jean was featured along with her co-designer, Brian Ripple, in The Boston Globe for their "Retreat" installation at the deCordova Sculpture Park and Museum in Lincoln, MA.

Artist : Vicki Grima

Once again, Lari Washburn and Sophie Truong have spotted an artisan who I also admire. I came across Vicki Grima's 87 spoons project on Sophie's Pinterest board, spoon obsession. I, too, have an obsession with spoons, and Vicki's certainly push the envelope.

Vicki Grima, 87 Spoons, 2011. Cool Ice

It all began with a Culinary Clay workshop she attended in Bali in 2010. Returning to her native Australia, she continued exploring the subject in her own studio.

Vicki Grima, 87 Spoons, 2011. Cool Ice spoon BRT bowl

These are gorgeous, especially the ones that are paired with the contrasting textured bowls.

Vicki Grima, 87 Spoons, 2011. Cool Ice spoon BRT bowl

Functional sculpture is what these are. They almost look like something you would find lying in the bottom of the ocean in the rough brown sand.

Vicki Grima, 87 Spoons, 2011. Cool Ice spoon BRT bowl

See more of Vicki's 87 Spoons series and her other work on her website. If you head over to Lari and Sophie's websites, you'll see their own work with spoons over the past few weeks at Ingrid Bathe's workshop in Maine. I SO wish I could have been there working alongside them.

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.

Artist : Lady Saphire

I came across these images the other day and had to share. Stunning, absolutely stunning, don't you agree?

Every morning a grapefruit, 2012 by Lady Saphire.

There's just something so compelling about them. The idea of using a tradiational frame to confine such a beautiful chaos.

Most Grateful to Tom L. Too, 2012 by Lady Saphire.

It gives new meaning to the word 'framework'.

Many Years in the Making, 2012 by Lady Saphire. 

The artist's statement reads:

"Materials. From everywhere – on the street, broken, loved, unloved - the excitement of a torn piece of paper, a candy wrapper, scraps of fabric, plastic. So many beautiful objects, life is incredible."

Lady Saphire

Most Grateful to Tom L., 2012 by Lady Saphire.

See more images here with detailed photos. I can't wait to see what comes next.

Artist : Jen Lee

I can't tell you the angst I feel that I can't find out more about Jen Lee and her work. As you know, beautiful images are fluttering around all over the internet, which is great except when you can't find where they came from and give them their proper credit.

Jen Lee, 2011. Image from ArtBlogArtBlog.

 I discovered her work through Pinterest via Maria Bohlin. After a few dead ends and lots of "Jen Lee, artist" searches on Google I came up empty-handed. I'm not alone in that thought, I found a great comment along the same lines just below this piece over at Crude Vessels.

Jen Lee, 2011. Image from Crude Vessels

But I just had to share Jen's stunningly, ethereal work with you anyway in the hopes that someone out there can tell us more and lead us to find her. So if you know anything, please comment below and I'll update the post.

Jen Lee, 2011. Image from ArtBlogArtBlog.

These pieces make one realize that ALL paintings on canvas are just textiles! We forget this once they are wrapped around wood frames. The geometry calls attention to it as well as the obvious fact that they aren't framed (gallery owners across the country would shudder at that thought). Not to mention the pieces celebrate the rawness of the canvas: the texture and color are brought forth.

Jen Lee, 2011. Image from ArtBlogArtBlog.

I know, I know. Calm down, you say. I'm getting all esoteric on you. But really, for something so simple, they are really powerful pieces. Are they not? In the meantime, just enjoy these images. And Jen, if you're out there, let us know where to find you!

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.

Artist : Barbara Wisnoski

I'm constantly reminded what a small world this is. About a month ago, I came across Barbara Wisnoski's stunning wall hangings. I printed one of them for my inspiration wall and intended to share her work here.

Platonic Target, Barbara Wisnoski 81x162 cm

My friend Myrna was visiting my studio a few weeks ago and I showed her the picture. It ends up that Myrna had met Barbara recently in an airport coming back from the Fiberart International opening where both of thier work was featured.

White Rag Quilt, Barbara Wisnoski. 170x195 cm

Myrna called me this week to tell me that Barbara was coming out for the opening of Scrap ART at the San Jose Museum of Quilts and Textiles this weekend. A chance to meet Barbara and see her amazing artwork in person? An opportunity I wouldn't miss.

White Rag Quilt detail, Barbara Wisnoski. 170x195 cm

A lot of her pieces seem to reference the landscape, a subject you know I'm always drawn to. They remind me of aerial photos of fields. Sure enough, I find a piece entitled Field.

Field, Barbara Wisnoski. 165x229 cm

What I really love about these pieces are how differently they look up close. The detail is incredibly intricate. I can't wait to ask her how long it takes to make each work and how she pieces them together. I'll let you know what I find out.

Field detail, Barbara Wisnoski. 165x229 cm

Barbara sums up the approach to her work as this:

"As maniacally repetitive process, (these pieces) embody the meaning I derive from textiles and ritual, and carry contradictory connotations of repetition’s beauty and innate absurdity."

Platonic Landscape detail, Barbara Wisnoski. 145x81 cm

"I am interested in the relationship between texture and time. The process of building a piece, whereby a fabric loses its singular quality and becomes part of the whole, reminds me of how time washes a harmonious patina over objects and memories. The prospect of decay is key to the work: seeing how pieces done long ago have changed over time reminds me that they were made from living fibres and, like us, evolve and deteriorate. Also like us, these pieces become more themselves, therefore more beautiful, with age."

Barbara Wisnoski

Evening, Barbara Wisnoski. 145x165 cm

 Please check out all of Barbara's work on her website here. I hope some of you can make it to the opening and the show who live nearby. The opening is this Sunday, the 21st from 2 to 4 at the San Jose Museum of Quilts and Textiles. The show runs through October 16th. If you plan to come to the opening, let me know. It would be great to meet some of you in person!

Artist : Denim quilts by Julie Floersch

Thanks to Sophie for reminding about the new Denim exhibition at Mr. Kitly in Brunswick, Australia, featuring the work of Renilde de Peuter and several other talented artists. It was here that I discovered Julie Floersch's denim quilts. I had to know more!

Denim Quilt by Julie Floersch

She had been interested in making quilts but thought she would pick it up when she was older but couldn't get the thought out of her head. This was her first quilt she made. That girl can sure make a complicated plan!

first quilt by Julie Floersch

I think I like the back just as much as the front.

Here's an article about her quiltmaking and her tumbler site. She now makes quilt accessories like earings, necklaces and purses under the company name of KWILTI.

Purse by Julie Floersch

I hope we see more of her quilts in the future. She's truly gifted.

Artist : Cy Twombly 1928 - 2011

 “It’s more like I’m having an experience than making a picture.”

Cy Twombly

We lost one of our greatest painters this week. He certainly lived a long life and was incredibly productive throughout.

Hero and Leander (to Christopher Marlowe), Rome 1985, 202 x 254, Cy Twombly.

My first experience of seeing one of his paintings in person was when I wandered into a room full of his chalkboard paintings at the Hirshorn in Washington DC twenty-four years ago. It looked something like this ...

from menil.org

After being blown away by those I followed his paintings for years, always instantly recognizable, always beautiful in their urgent, intense way. Look what he does to some paper and scotch tape. Stunning.

Untitled, 1974. Wax paper, pencil, scotch tape, collage 75 x 106cm. Cy Twombly.

And guess what? He attended Black Mountain College too. What is it about that school?! Today I spent some time delving into his sculptures. I had seen very few of these and had no idea he had created so many.

Untitled, New York 1953. wood, wire, twine, nails, housepaint and wax on cloth, 15 9 7/8" x 4" Collection of Robert Rauschenberg.

His gesture translates effortlessly between materials. His fingerprints show through it all.

Orpheus (Du Unendliche Spur) 1979. Wood, nails, paint, graphite. 266 x 244 x 22.2 cm. Collection of the artist by Cy Twombly.

Read his obituary in the New York Times. And visit his website here.