A Mid-winter Evening's Rambling

After getting snowed out two weeks ago, I finally had my local artists and crafters gathering at the library where I work.  The event was a success, and I think that most everyone who participated is open to getting together in the future.  There are a lot of creative individuals in this rural area, and they are makers in a variety of media.  March is National Craft Month, so we will definitely plan something for that. 

In keeping with my obsession with making beautiful and useful things, I am reading the recently published Craeft, by Alexander Langlands (W.W. Norton, 2017).  I'm glad to know that the maker movement is worldwide, the book is from a British author.  In my region of the States, the Foxfire collection documenting Appalachian craft and stories is still sought after.  It appears that it doesn't take too much effort to garner interest in creative pursuits, the tough part is carrying the interest through to actually learning how to do something and keeping at the learning, building the skill level. 

Started last January, cast aside

The persistence needed in learning a skill is not easy.  As I type this, I am surrounded by piles of half-finished art quilts, all started as projects to showcase a new technique.  I had a discussion earlier today about finishing these abandoned projects.  I vaguely remember resolving in January of 2017 to get most of my UFOs (unfinished objects) done by the end of the year.  One year later, I am still contemplating the same UFOs, in the same state of being incomplete.  One solution that came up in the discussion was if another year goes by and the projects still are not finished, it is time to pitch them.  If I keep ignoring them, I'm not interested in them anymore, it is time to move on.

Two small pieces, in the embellishing stage, but I keep setting them aside.

Time to pitch them?  I'm not happy with these two.

What Is Art Worth? Part Three

A few more quick thoughts on this weighty topic, then I will move on, I promise.  I'm sure I will revisit this cost of art quandary in the future.  Much needs to be done by those of us who make things in educating the masses about why a piece of art costs what it does.  The cost is not just materials, but the time it took to put it all together, and something I call "intellectual or skill cost."  This is the time spent learning the technique and perfecting it, often years.

It still surprises and saddens me to encounter many who think that skill in art is sudden and spontaneous.  The skill in art is no different than learning to write, play a musical instrument, etc.  One has to start slowly, with very basic things and build upon those skills.

Samples of techniques from my early days of art quilting

Image copyright RPS

Some questions to consider:
Why does art matter to you? 
What makes artwork “good”?

What makes an artist “good”?

Who is supposed to be satisfied by art – the buyer, the viewer, the artist, or all three?

Is one form of art better than another?

What makes art valuable?

I'm most interested in responses to the first question.  It is something that I struggle to answer for myself, even as one who is trying to make at least part of a living off of art.  It is especially difficult to come up with a plausible answer to justify art to the rural community where I live.

Moving onward, I'm not sure what I'll have on Thursday, I really am trying to get back to two posts a week!

The Purple Collage, the Finale

Earlier this year, or maybe even last year, I periodically documented the creation of a fabric collage here.  It was finished for entry into the Mutton Hill Quilt Show, and here it is at the show:

Image and design copyright RPS

It was an experiment, not completely successful.  While I made it, I had in mind the paper collages of Kurt Schwitters (scroll down on the link for images of his work).  I think the influence of Schwitters is evident in my collage.  However, it is a bit of a wreck in the technique.  My most significant fault with my purple collage is the trial of sewing a slightly smaller quilt base, allowing the edges of the purple dyed damask napkin hang free.  I will not do that again!  It was hard to quilt near the edges, and I just don't like the floppy edges.  Additionally, the quilting made the whole thing lumpy!  The next collage that I make using a dyed napkin for a sub-base will have a slightly larger quilt base, not smaller.  I would like to try mounting future collages on canvas and stretcher bars, like a painting.  I have heard of other textile artists having good luck with that method, citing that would-be buyers relate to the treatment better. 

Another thing that I like about the collage is the seed stitching I did to create an unobtrusive border.  The stitching was necessary to try and secure the floppy edges, and it added more texture.  Not only is there paper sewn into this piece, but there really are pieces in there that would have been trash!  There are foil chocolate wrappers and plastic mesh produce bag pieces in the mix.  Look around as you go through your day with a vision to find unusual materials to stitch. 

Despite the problems, I really had fun making this and I still love it as a learning experience.  I will hang it somewhere in my house, as it is still a visual delight to me.  I hope to start my next collage this weekend.

Quilt National 2017

As I mentioned earlier, I visited the biennial Quilt National show earlier this summer.  This was the third trip to QN for me.  The first show I attended in 2013 was incredibly inspiring for me, and I was astounded by the variety of techniques and pleased with the blend of representational images and abstract constructions.  The next QN that I went to in 2015 fell short of that excitement and energy that I felt from 2013, but I still think the variety was there (a crucial element to me for an art quilt show).

The Dairy Barn, Athens, OH, home of Quilt National

This year, I left feeling rather confused.  I didn't feel that there was much variety in overall techniques.  After viewing the quilts and studying the catalog for a few days after, my confusion only worsened.  There were many quilts in this year's show in which I am struggling to see what the artists want me to see.  What am I missing?

More on Friday...

Quilt National Catalog Binge

Thirteen Quilt National catalogs, and that's not all that are out there!  In my still ongoing study of the Quilt National catalogs, I have noticed an expected increase in the innovation and creativity expressed in the entries.  I realize that it is useless for me to really discuss the QN shows here, as I cannot illustrate my points with images from the shows.

One thing I will discuss is a bit of a revelation happening within myself.  I am realizing that there are a surprising number of quilts through the thirteen catalogs that I cannot explain why they should be considered good art.  Now wait, I am not questioning the jurors or artists, I am questioning myself.  What is it that four other people see that I am not seeing? (The four people being the artist and the jurors.)  This struggle of mine is not exclusive to the QN catalogs.  I'm having the same trouble with nearly all of the the artwork illustrated in two books by the same author/artist on becoming a more creative painter.  I have the same feelings about nearly all of the contemporary artwork that museums and galleries think is fabulous.

I am often missing what the artist explains in the statement for the particular piece in the QN catalogs.  It does not matter if I look at the quilt first, then read the statement, or vice versa.

As I said in the last post, we do not have to like everything, but why am I sour about so much?  How many of you out there consistently find yourself indifferent or worse towards the majority of works in an art quilt show?  I find much that I consider innovative and amazingly creative, but so few quilts that I want to look at for more than a minute or so.

Sometimes, it is incredibly difficult to sufficiently explain why we like or love something.  This will be something I will be paying attention to more, to the point of adding to my journal the things I see in artwork that rocks my world.

Books and Pieces

I’m taking a bit of a break on the purple collage… at least a break from it here.  I am continuing to add to it; it will return on this blog in a week.  Thanksgiving is here, and I am using the days off from work to sew and ponder some ideas for the near future.  Here is another collage in the works, a 7X10” little thing, for the 2017 SAQA Trunk Show.

 image and design copyright RPS, 2016.  Please do not repost.

It is loaded with many bits and pieces, but using a limited color palette. 

Another item on my agenda for the next few days is perusing the stack of past Quilt National catalogs that I have loaned from the SEO libraries.  There are eight of the catalogs on my dining room table now, plus the five catalogs that I own.  I am planning on going through them in chronological order, beginning with the earliest.  I want to make some notes on the evolution of the show, and how art quilting itself has changed over the years.  Look for my initial thoughts here on Tuesday. 

On my initial skimming of the earlier QN catalogs, I noticed a number of quilts that were made from many random scraps, resulting in an overwhelming visual overload – there seemed to be a trend to use as many different commercial prints in one quilt as possible.  Unfortunately, I cannot illustrate any of them here.  I’m wondering if the perceived trend came from the rapid growth of the commercial printed fabric industry that was happening at the time.  It appears that quilters were wildly playing with these new “toys” (print fabric lines), without much regard to good design.  Of course, this is just my opinion… I do love the more is more approach to collage, but with some limits (like my little collage above… with three basic colors).

I always could end up feeling differently about these quilts that right now for, are too much, visually.  Maybe next week, maybe in two years, maybe never!  We all have different creative visions, and we don’t have to like everything we see.  However, when you see something you love, celebrate it!

Making Progress

Since my last post, I have sewn all the fabric pieces onto my collage-in-progress and I added more couched funky yarns.  Time to step back and evaluate it.  One way to see a work-in-progress a bit differently is to take a picture of it and make your evaluation from the picture.

image copyright RPS, please do not post elsewhere

Right away, I notice that the two dark purple lace pieces are aligned nearly the same way.  I like to have similar elements in a piece turned different ways.  I'm not going to rip one of them out, I will add another dark purple lace later, making sure to place it a perpendicular angle to the first two.  I've probably mentioned before, but it is a good idea to use each design element more than once in a piece.  I need to add one more of each of the purple laces, so this will be easy to fix.

Since I am using several different techniques in this collage, I like to keep switching back and forth in the application of them.  I'm not sewing all the fabric pieces at once, then the couching, etc.  Instead, I sew a couple of fabric pieces, couch a couple lines of yarn, add a lace trim, then back to fabric.  I'm not sure if it matters, but I would think that my back and forth method creates a more layered look.  Well, there's another future project to test my hypothesis...

Back to evaluating a work.  While I have a photo of the piece, I like to view the image in black and white too.  This allows me to see how I'm doing with contrast of value.

image copyright RPS, please do not post elsewhere

Clearly, I need to add some darker shades and some pale tints.  The fabrics, trims and yarns I have selected so far are too alike in value.  The same two lace pieces that are bothering me for the way I placed them are the only dark elements now.  It is important to have strong value contrasts to add more interest to a composition.  The background is a nice middle tone, most of the added pieces are about the same lighter value.  The more I look at this image, I think I might be OK if I add a few more dark pieces.  I have some work to do here!