November 24, 2016

Four days in New York

Central Park on a beautiful fall day

My husband and I spent four days in New York City last week.  We timed the visit around the Agnes Martin exhibit at the Guggenheim, and the show was definitely worth the visit.  It's difficult to convey the impact of her work in photos, as almost all of it is very quiet.  Her work looks minimalist, but is at heart abstract expressionist.  If you can be in New York before it closes (January 11), do go.

We filled our days with museums, walks in Central Park, music, good food, and time with friends--a lovely visit.  Here are the exhibits I went to:

Carmen Herrera at the Whitney (through January 2).  




Carmen Herrera is not someone whose work I knew about.  I love her work, which has much in common with Ellsworth Kelly.  You can read an analysis of why her work is not better known in this NYTimes article.  Herrera is now 101 years old, and still working.

Paths to the Absolute: Kandinsky, Malevich, Mondrian, Newman, Pollock, Rothko and Still, at the Di Donna Gallery (through December 3).  An exhibit of 13 paintings, on the occasion of the opening of a new gallery space.

Zao Wou-Ki (1920-2013) at the Asia Society, through January 8.  Zao Wou-Ki was born and trained in China, and then moved to Paris.  To my eye, his landscape paintings are a stunning blend of traditional Chinese painting, J.M.W. Turner, and abstract expressionism.  Here's a google image search of his paintings.

Three exhibitions at the Morgan Library:
Hans Memling: Portraiture, Piety and a Reunited Altarpiece
Word and Image: Martin Luther's Reformation
Dubuffet Drawings, 1935-1962 (through January 2).  This exhibit was a revelation to me.  I'm not particularly fond of Dubuffet's paintings, but was drawn to many of his drawings.

Dubuffet, Table Laden with Objects, 1951

Dubuffet, Landscape with Figure, 1960

Landscape with figure, detail


Jerusalem 1000-1400: Every People Under Heaven at the Metropolitan, through January 9.  Very interesting exhibit with a combination of material artifacts and manuscripts--in many different languages.  Includes a letter and a book manuscript in Maimonides own hand.

Kerry James Marshall, Mastry, at the Met Breuer, through January 29.  Striking work by a contemporary African-American artist.

Paul Klee (the Berggruen Collection), at the Met Breuer, through January 8.  I went to the Met Breuer for the Kerry James Marshall exhibit, and noticed they had a large exhibit of works by Klee as well, great bonus!

"The First Jewish Americans" at the New York Historical Society, through February 26

And a couple of very nice, reasonably priced restaurants:
Le Petit Poulet, 52 W. 33rd St. (between 5th and Broadway)
Il Violino, 180 Columbus Avenue (near 68th St.) (near Lincoln Center)

New York is a great place to visit!

View from the top floor of the Whitney Musuem


November 14, 2016

Post-election silence


I find that I can't post about my work in progress as though nothing else is going on in the world. Since I like to keep this blog focused on my studio work, I've posted my thoughts about the election on Facebook instead.  If you'd like to read the post, you'll find it here.  

I am hoping that writing these thoughts out will clear space in my mind for other things. . .

Penny

October 24, 2016

Folding and dyeing




While I continue to develop screens for printing designs on napkins, I thought I'd also try some folding techniques, while I also tried out a few more colors.  In these seven napkins, each fabric square was dyed one color, low water immersion, and washed out.  Then I soda-soaked again, folded in various patterns, and overdyed with a 3% solution of Dharma's MX Indigo dye.  Depending on the base color, the dark blue Indigo overdye either stayed dark blue (over light blue and lavender) or changed as it merged with the base color (most noticeable on the rust colored fabric, where the orange and blue together turned the darker color to more of a brown).  Here's a record of the folds, starting at the top and going left to right for each row:

  1. Light blue base:  a diagonal accordion fold, with dark blue applied in horizontal bands.
  2. Gray base: diagonal accordion fold
  3. Pumpkin base: folded in half to make a triangle, then accordion folded perpendicular to base of triangle.
  4. Tan base: One corner secured with a clothespin, holding on to the opposite corner, I twisted the fabric like a rope.
  5. Green base:  folded vertically, and then a flag fold.
  6. Rust base: folded vertically, then folded horizontally into small squares.
  7. Lavender base:  This one not folded, but simply scrunced into a tight "hockey puck" in the base of a small plastic container and the dye poured on both sides.
My goal is to have designs that look appealing when the napkin is folded, as well as when it's open.  Getting the design to look good on the folded napkin is the more challenging of the two.  I think all of these work OK, with my favorites probably #1, 4, and 6.  I like #3 better in the folded state than unfolded.  Your opinion most welcome!


October 14, 2016

"Lines and Rows" workshop with Claire Benn



Last month I wrote about my preparation for a workshop with Claire Benn, working up designs for hand-printed napkins.  Once at the workshop, my direction changed from clean-line designs to something else.  The two above are my favorites, both done by stamping with matte medium to make a paper-laminated screen.  The one on the left used a 3" square of acrylic, the one on the right, a variety of stamps I made in a bowl shape.  The virtue of the paper laminated screen is that it can be made any size (here I'm aiming for an image 18x18), and can be re-used many times.  I've worked with a "paplam" screen once before, a very large one made for Accident II.  In that case, I wrote on words with the matte medium.  So, in addition to stamping, I can also try drawing some designs onto the screen.

Below are two more pieces made with the bowl stamps, the first stamping directly with dark blue dye onto lighter blue cloth.



In the one below, I stamped with discharge paste onto the blue cloth, and then later stamped again with dark blue dye.  I like these also, but I'll probably explore doing more designs with a screen, since I can do the whole napkin in one pass, rather than hand-stamping each unit of the design.



 And here's one I did from a thermofax screen, based on a hand-drawn design.  The thermofax is limited to about 8" across, so I needed to print three times to get across the 18" field.  I think I'll try another version of this design on a paper laminated screen.  It turns out that for this project, I like the imprecision of the paper laminated screen rather than the precise reproduction one gets with a thermofax print.


I'm pleased with the new direction, and will continue to work on more designs, as well as variations of the ones I came up with at the workshop.  

October 13, 2016

Exhibition web site now up!



Finally, the web site is up.  I've been waiting for the video of David's recital at the opening.  Everything is now there, including photos and commentary on each of the quilts and the text of my short gallery talk, which focuses on the character of abstract art.

September 27, 2016

Workshop with Paula Kovarik



This summer, I had the good fortune to take a week-long workshop with Paula Kovarik at Arrowmont School of Arts and Crafts.  The workshop was called "Follow the Thread," and was aimed at teaching a process of generating quilting lines that are not just the standard repetitions, but that originate from an idea or inspiration, with the line developing from there, and then changing as the thread leads one on.  I deeply admire Paula's work, and leapt at the chance to do a workshop with her.  (You can see other posts of mine about Paula's work here.) Paula's own work is often "whole cloth"--that is, the cloth is one piece of fabric or simply pieced, and the focus of the work is in the stitching. I don't imagine myself ever doing whole-cloth pieces, but was confident I could still learn a lot from Paula. I had two goals for the workshop.  The first was simply to further develop my skills and confidence in machine quilting.  This is the aspect of quilting that I feel the least comfortable with.  I'd like to do it more confidently, and would like to build it more into the overall design of a work.  And I'd like to enjoy it more!  The second goal was to work further with floral motifs based on the line drawings I began doing a few years ago.  I wanted to work on simplifying the drawings further so that I could use them in repeated designs.  I had been thinking of using the designs as motifs in printing fabric, but I thought it wouldn't hurt to try them out as stitching designs along the way.  I made a great deal of progress towards both goals during the week, inspired not only by Paula, but by the awesome work of other students in the workshop.

The photo at the top is probably my favorite piece from the workshop, stitching based on a drawing of perennial salvia.  You can see the whole thing (about 15" square) in the bottom left below, along with other exercises.  (Double-click to enlarge.)


Here's another sample where three of the designs are worked off a drawing of a branch of ash leaves.  The upper right corner is a trial of the variegated black-to-white thread that Paula had us try.  It provides an easy way to build in serendipity, as the white disappears if sewing on white fabric, or the black if sewing on black (as in the set just below the white sampler).




And a final example, with the panel on the right a riff on early drawings of clover, a couple of other permutations of the ash leaves, and some simple squiggles just for fun.


I expect to spend some time developing one or more of these motifs in my workshop next week with Claire Benn.  But if they don't find a home on printed fabric, I may well incorporate them into some quilting. . .


September 23, 2016

A new project




I will be taking a week-long workshop with Claire Benn in early October on "Lines and Rows: Rhythm and Repetition."  Claire describes the aim of the workshop:  "to focus in on the power of the repetitive mark, building lines and rows to create cloth that has rhythm and simplicity."  This will be a chance to followup on work I did with Claire in 2014 (which led to my Accident II quilt) and also work I did with Dorothy Caldwell in 2013.  Claire asked participants to prepare ahead in various ways, including laying out 100 of the same thing in lines or a grid, looking for pattern everywhere, and narrowing one's focus to a small number of types of marks/shapes of interest.  I've spent the last few weeks, since the close of my show, working on this, and look forward to developing ideas further at the workshop.  I have a humble goal in mind, which is to make fabric that I can then turn into table napkins.  I've long made napkins for our own use at home, and also as gifts for others, but have made them from commercial fabrics. A few years ago, I made some from Marcia Derse's beautiful fabric, which is commercially produced but based on her hand-dyed/painted fabric.  I have been wanting to come up with some designs that would work for making my own fabric, and Claire's workshop gives me that opportunity.

I made the design at the top by cutting up black construction paper.  The idea for the design came from a drawing by Karl Benjamin:




I am entranced by this drawing--something very appealing to me about the piled up block shapes.  I pulled out one column of the blocks, changed them from white to black, and increased the space between the blocks.  Multiplying the columns, changing the order in some columns:

This is still very close to the Benjamin drawing--too close for me to feel comfortable using it--so I decided to try the same idea with triangles, and came up with the design at the top of the post, which I will enjoy playing with more.  I'll also do some trials with wedge-shapes.  Here's a postcard I made some years ago, but never sent because I like it too much: 


I got another interesting shape by manipulating a photograph in Photoshop.  Here's the photo, which was a collection of 100 blossoms from a chestnut tree:


Through cropping and various manipulations, I came up with this:

I collected 100 examples of several things, but my favorite was pine needles.  Here are a few different arrangements of 100 needles.  So much potential here for beautiful line drawings!  Another option is to turn one or more of the photos into a thermofax screen, which could be used directly for printing.  (You can double-click on photos to see them larger.)




Another direction is to work from the lovely lines of the piece below, made by free-motion stitching with a variegated thread that changed in color from black to white--hence the "missing" spaces in the design.  This was a sample I did in a workshop with Paula Kovarik in early August. Which reminds me that I'm long overdue on a post about that workshop!  As soon as I got home from that, I had to set to work setting up my show, and forgot to get back to it.


And some other line drawings of elements that interest me.  

Stylized from a drawing of clover I did some years ago

I like drawing cups, which make me think of friends talking over cups of tea.



Drawn recently at a local park.  The top one was a line of very fuzzy strand-like blossoms on a branch.

And these are designs I sometimes use in quilting.  The second one from the right (squares) particularly interests me.


So, I think I'll have plenty to work with at the workshop. . .  

I will eventually be working in color rather than black and white.  Here are some sample colors I dyed up last week: