Saturday, January 24, 2015

Cover Girl!

 (Above:  Art from the Ashes, a Jasper Magazine publication.)

This morning I opened an email that let me know Cindi Boiter, editor of Jasper Magazine, posted an image of the cover of the new book she edited, Art from the Ashes.  This was exciting news!  Why? Well, several months ago Cindi requested a CD of my images ... all the photos of the rusted and naturally stained vintage garments I was making for the upcoming art exhibit ... also called Art from the Ashes.  So, I knew one of my photos would be on the cover.  I didn't want to know which one. I wanted it to be a surprise, a chance to share the news on the appropriate day, not keep a secret for weeks on end. 

(Above:  The rusted and naturally stained vintage garment from which the cover image was shot.)

Quickly, I clicked to the link and saw the detail from this former sleeping gown.  Excellent!  It is quite an honor to have my work featured in this way.  Thank you, Cindi!

Later today, Steve and I are driving to Duluth, GA.  It is just outside Atlanta.  Tonight is the opening reception of Intertwined: Contemporary Southeast Fiber Art at the Hudgens Center for the Arts. This exhibit runs from January 13th through March 21 and then travels to the Unitarian Universalist Congregation of Atlanta, Atlanta, GA from Mar. 23 - Apr. 21; Lamar Arts, Barnesville, GA from May 1 - June 27; and finally to the Annette Howell Turner Center for the Arts, Valdosta, GA from Aug. 3 - Sept. 30. My piece, The Virgin of Gone and Forgotten Triptych, is included.

We return early on Sunday morning.  Why? Well, by 2 PM Sunday afternoon I'll be at the Tapps Art Center hanging three installations and two art quilts for Art from the Ashes.  That opening is the following Sunday, February the first from 5 - 7.  There's a panel discussion on Thursday, February 5th from 7 - 9.  This is quite an exciting time in Columbia!

Wednesday, January 21, 2015


(Above:  Me with the big X on the stage of the Midland's Technical College's Harbison Theater.  Click on any image in this blog post to enlarge.)

For the past few months I knew Monday, January 19th would eventually come.  For the past few weeks I really, really, really knew the days were ticking down!  Why?  Well, every day since late December, I spent at least an hour practicing my TEDxColumbiaSC presentation, trying to memorize my own words, struggling to remember the transitions from paragraph to paragraph, and working with Steve who would be advancing my  21 images for me.  Was I nervous?  You bet! People who know me well were surprised. I've never been even slightly nervous in front of a crowd.  This was different.  I've NEVER had to memorize ANYTHING.  I'm perfectly happy in an "improv" situation.  Talking about my work while showing pictures in a pre-arranged order isn't an issue either ... but ... sitting on that stage, facing video cameras and a standing-room-only crowd while hand stitching wrapped wooden spools and reciting my lines ... SCARY!

(Above:  VIP Reception at SOCO.)

There was a VIP Reception for TEDxColumbiaSC presenters, sponsors, and those who bought an "elite ticket" which included several "perks".  I had a chance to chat with several other speakers.  We were all a little nervous!

(Above:  Steve and me at the VIP reception.)

None the less, it was a great evening.  We went home and continued rehearsing!

(Above:  The TEDxColumbiaSC presenters ... all very happy ... on the stage after everyone was done speaking!)

Three days later ... it would be all smiles!  Everyone did a great job.  The audience was fantastic, responsive, and happy to applaud wildly.  There aren't words to describe the energy!  Being part of this event and numbered among these fine people is undoubtedly one of my proudest moments.

TEDx events happen globally.  They were created in the spirit of the international TED's mission ... "ideas worth spreading."  (If any reader hears about such an event in their area, PLEASE GO!  If seeking inspiration and/or positive energy ... this is it!)  From the TED website:

TED is a global community, welcoming people from every discipline and culture who seek a deeper understanding of the world. We believe passionately in the power of ideas to change attitudes, lives and, ultimately, the world. On, we're building a clearinghouse of free knowledge from the world's most inspired thinkers — and a community of curious souls to engage with ideas and each other, both online and at TED and TEDx events around the world, all year long.

(Above:  Back stage waiting area ... technically the set design shop.)

But ... I'd like to share a few more moments from Monday ... like the picture above.  This is the set design shop for the theater.  I put my purse down beside the miter saw which looks a lot like the one in my framing shop.  Volunteers had set up tables with goody-bags and a counter with snacks and beverages.

I tried to spend some time taking photos but this didn't calm my nerves.  (Yes, we had entertainment between several speakers ... including a contemporary bass player and two accomplished poets!)  I found a quiet place and continued rehearsing.

Other speakers played on their telephones ... in fidgety sorts of ways.  There was a lot of pacing.  Everyone seemed to be going over their lines ... lips silently moving ... shuffling scripts ... and one lady attempted to use a ball-point pen to write a few words on her palm.  That actually broke the tension!  Everyone laughed!  (She washed it all off! LOL!)  I knew I wasn't alone with my feelings!

Whenever I started to feel calm, I seemed to walk by the entrance to the stage.  Scary!  After looking at the bright lights and being fitted with a wireless mic, I returned to my quiet place to rehearse.  Over and over again ... my lines in my head.

What was my presentation about?  Precious! As a visual artist working with found objects, I am acutely aware that the old family photos, buttons, clock gears, crocheted doilies and vintage linens, and other objects I use were once someone else's precious possessions.  My presentation urged people to USE their precious things and MAKE A PLAN for the future of their precious things.

During the lunch break ... I actually walked out and faced the empty seats!

One of the official photographers volunteered to snap the photo above!  I was the second presentation after lunch!  This meant, I got to sit in the audience for the final group.

The last group of speakers included the only other visual artist, my friend Michaela Pilar Brown.  She talked about the "freedom to fail", an important topic for artists when facing new creative directions or receiving rejection notices.  Yet, on this day, no one failed!

After the program ended, all the presenters were invited up on stage.  Michaela and I took that opportunity to pose with Cindi Boiter, the editor of Jasper Magazine ... the sponsor of our "next big thing".  Michaela and I both have work in the upcoming Art from the Ashes exhibition at the Tapps Art Center!  We install on Sunday!

UPDATE:  My friend Doni Jordan was in the audience and took this photo!  Thanks, Doni! Plus, I'm linking this post to Nina-Marie's "Off the Wall Fridays", a site for sharing fiber arts ... which really was an important part of my TEDxColumbia presentation!


Thursday, January 15, 2015

War Map

(Above:  War Map, 26" x 26". Monogrammed, vintage damask dinner napkin, rusted and naturally stained with plant life from my own backyard.  Dense hand stitching.  Click on any image in this blog post for an enlargement.)

Last fall while experimenting with rusting and natural dyes made from magnolia leaves, rosemary sprigs, stems of oleander, and the ever obnoxious kudzu, I used an old wire to tie pebbles into the fabric of a vintage, damask dinner napkin.  At first, I didn't even notice that it was monogrammed with my initial, "L".  The distressed, ruinous looking results were, in my opinion, FABULOUS and encouraged me to try the same thing on a vintage garment.

(Above:  Vintage sleeping gown rusted and naturally stained.)

Most dyers aren't looking for this sort of effect but I've been working toward an installation that would evoke the fears on a particular night:  February 17, 1865.  This was when General William T. Sherman's troops (and likely many of the local citizens in an attempt to prevent their bales of cotton from falling into Sherman's hands) burned Columbia, South Carolina ... my city.  There are several exhibitions and events scheduled here to commemorate the sesquicentennial occasion.

(Above:  Stitching Together, sculptural art quilt.  For more on this piece, CLICK HERE.)

One show, Crafting Civil (War) Conversations, is being held at the McKissick Museum.  The slate of jurors was top-notch.  I can't wait to see the show.  I was fortunate to have my work, Stitching Together, accepted.  Yet, I have even more artwork in the Art from the Ashes show at the Tapps Art Center!  This opportunity has provided more inspiration that I ever would have imagined.  Work is still just pouring out of me.  War Map is the latest.  I've really enjoyed stitching on this piece.  It's been to London and Pennsylvania, my hand stitching project for traveling.  Eventually, I had to "call it done".

(Above:  Detail of War Map.)

Instead of traditional batting, this piece has recycled white acrylic felt for its middle layer.  The felt used to be the packaging material for a kayak or canoe being shipped from a North Carolina manufacturer to River Runner, my local outdoor shop.  (Thanks, Guy Jones!)

(Above:  Detail of War Map.)

To me, all the hand stitching resembles an aerial view of a military map, the plotting and planning for troop movements, cannons, conflict, and other things "blowing up" as well as the topography.  The rust and dirty, black streaks of natural plant life staining seem fitting for the ruin in the wake of a war.  

 (Above:  War Map, reverse.)

Most of the time I don't stitch through three layers of fabric.  Instead, I stitch through just the top and middle ... later attaching a backing to cover the mess of threads on the reverse.  This time, however, I "played it neatly".  The reverse was once a hand appliqued card table sized tablecloth.

(Above:  Detail of War Map.)

I'm not sure if this piece will hang in the upcoming Art from the Ashes exhibit or not.  I've already arranged for three installations.  I can't really expect more! LOL!  I'll be installing at least two of the three installations on Sunday, January 25th ... and blogging about the experience!  Can't wait to see my visions become a physical reality!

(Above:  Detail of War Map.)

I am linking this post to Nina-Marie's "Off the Wall Fridays", a site for sharing fiber artwork.

(Above:  Detail of War Map, including the original hand-stitching monogrammed "L".)

Monday, January 12, 2015

Drypoint workshop with Steven Chapp

 (Above:  Cotton, drypoint with Chine-collĂ©. Plate: 4" x 5".  This is one of three pieces that I'm considering "finished" and "good"!  Click on any image in this blog post to enlarge.)

On Saturday I took a one-day drypoint workshop with Steven Chapp.  It took place at if ART Gallery, just around the corner from my studio. I was a little worried.  I don't generally DRAW anything.  Each person was to come prepared with a design and ideas for shading/cross-hatching! There were about ten or eleven people enrolled.  Most were working, professional artists with at least some experience in print-making.  There were two architects and one guy who isn't an artist at all.  Fortunately, none of this mattered.  The workshop was great and everyone was both challenged and successful!

 (Above:  Steven Chapp demonstrating how to ink a plexiglass plate.)

I decided to attempt an image of a boll of cotton.  After all, I've picked three bags of them and recently finished stitching hundreds onto 16' lengths of waxed linen thread.  (These are headed to an upcoming installation.)  Thus, I really know what they look like ... even though I sort of "cheated" by drawing one from a photo found on-line! LOL!

(Above:  Steven Chapp giving feedback on the first pull of my cotton boll drypoint.)

The workshop was excellently prepared.  In front of each seat was a "kit" with everything needed, including a detailed hand-out, a gallon Ziploc bag of moistened printing paper neatly between plain piece of newsprint, a 4" x 5" piece of plexiglass, and other items.  First, we used metal rasps to bevel the edges of the Plexiglass.  This prevents the paper from tearing under the press' pressure.  Then, we used a variety of provided tools for scoring our Plexiglass plates ... drawing and cross-hatching into the surface ... transferring our image.  Soon, we were learning how to ink and wipe these plates and making a "first state".  In the photo above Steven Chapp talked about my cotton boll.  He recommended adding texture around the the edges ... increasing the contrast. There was a variety of sandpaper.  I used these.  He also recommended additional work in several areas ... to achieve a more balanced look and a better overall result.  Every idea improved the piece.

Finally, we were introduced to making a Chine-collĂ©.  This was awesome! Acid-free photo-mount was used to attach the cut piece of thin, tan paper to the surface.  I ended up with a nice edition of three prints.  One I'll keep.  One will be a gift for a special friend who is providing the opportunity for my Cotton Boll installation.  One ... well ... I don't know yet!  In any event, I also have several other, less successful pulls (including the one in the photo above).  My plan is to fuse fabric to the reverse and stitch on them.  Sounds like fun!

By the way, this workshop only cost $65.  It was very, very well worth every penny.  I highly recommend Steven Chapp for both experienced print-markers as well as total novices!

Friday, January 09, 2015

In Box CLXXI and getting ready for a sesquicentennial

(Above:  Detail of In Box CLXXI.  Click on any image to enlarge.)

The past month has been busy.  Steve and I went to London to watch our son Mathias Lenz Dingman guest dance as the Nutcracker prince for English National Ballet.  We both ended up sick with sinus issues and plenty of deep coughing that had us popping pills for over a week. We visited my parents in Slippery Rock, Pennsylvania for New Years.  Back home, our beloved cat Max ended up ill at the Cat Clinic.  Who knew cats could contract pancreatitis? While almost everyone I know gained weight over the holidays, Max lost TWO POUNDS, which is quite a lot for a cat.  He's now on the mend and has a check-up at the veterinarian's office today at 3 PM.  In the mean time, I had my annual mammogram and check-up, discovered I haven't had a bone density test in five years (one is scheduled for Monday), and donated platelets at the American Red Cross.  For me, this past month has included more medical attention than most any year in my past!  Yet, I'm still working!  In Box CLXXI was finished and will be headed to the ACC (American Craft Council) show next month!

(Above:  In Box CLXXI. Inventory # 3336. Framed: 33 1/2" x 21 1/2". $525.)

Truthfully, I've gotten a lot of other work finished but am simply not in a position to share it quite yet.  Why?  Well, the resident artists at Gallery 80808/Vista Studios are planning an unusual exhibition for the coming spring's Artista Vista gallery crawl.  It is called "The Gossip Game".  A curator at the Columbia Museum of Art selected an artwork for the permanent collection and showed it to the first artist on our list.  She created a work based on her impression of the museum's piece.  She passed her artwork to the next artist on the list.  No one gets to see anything except the art created by the person immediately ahead on the list.  December was "my month".  I receive a painting on paper from Laurie MacIntosh.  I made an art quilt ... which has just been passed on to my mentor, Stephen Chesley.  So ... stay tuned! 

(Above:  Detail of In Box CLXXI including my signature block.)

 (Above:  Twenty-four strands of waxed linen thread onto which bolls of cotton have been stitched ... suspended from the rafters in the atrium at Gallery 80808/Vista studio ... with the lower third being spray-painted black.)

I also finished stitching bolls of hand-picked cotton onto seventy-two, 16' in length, strands of waxed linen thread.  I picked the cotton last fall.  The bolls are stitched every eight to twelve inches apart.  Each strand took approximately a half-hour to stitch.  The storage and transportation system is unique, to say the least.  (Each length is carefully wrapped around 60" x 40", half-inch thick, foam-centered board.)  Bolls of cotton want to snag anything they come into contact with and tangle very easily.  Last Sunday I hung three groups of twenty-four strands from the rafters at Gallery 80808/Vista Studio and spray-painted the lower third black.  This is to resemble the "burning of Columbia".  The exercise of going up and down the ladder 144+ times proved that I am "old".  I felt it for two days! LOL!  Yet, it was important.  More than just coloring the lower third, the day taught me exactly how to work with these strings.  I feel ready to install them at the Tapps Art Center for next month's Art from the Ashes exhibition!  This is one of the city's events commemorating the sesquicentennial of William T. Sherman's Civil War burning of Columbia.  It is being sponsored by Jasper Magazine and Muddy Ford Press who are also publishing a literary volume with pieces by local poets and writers.   

I am linking this post to Nina-Marie's "Off the Wall Fridays", a site for sharing fiber art.

Monday, January 05, 2015

A New Year!

 (Above:  Detail from Stained Glass LXIX.  Click on any image to enlarge.)

After Steve and I almost caught up on things after our surprise trip to London, we headed north for a New Year celebration in Slippery Rock, Pennsylvania with my parents.  We had a great, long weekend.

 (Above:  Mom and Dad and Steve ... New Year's breakfast.)

Typically German, we had enough sauerkraut for an entire year! LOL!  Thankfully, we all really like it.  Yet, we also started the New Year off with homemade pancakes and other goodies ... courtesy of a holiday gift gift basket from Uncle Larry and Aunt Gloria.  Most importantly, we watched football ... including our beloved Ohio State Buckeyes!  Our team won and is now in the National Championship's final game!  Go Bucks!

(Above:  Stained Glass LXIX.  Inventory # 3335. Framed:  63" x 23". $1200.)

Before leaving, however, I finished two more pieces that will go with me to the ACC (American Craft Council) shows in Baltimore and Atlanta.  A three work is under way.

(Above: In Box CLXX. Inventory # 3334. Framed: 19 1/4" x 15 1/4". $225.)

Friday, December 26, 2014

Surprise trip to London!

(Above:  Curtain Call in London's Coliseum for English National Ballet's Nutcracker.)

When Steve and I are planning a big trip, I generally mention it on my blog ... before we leave.  This time, however, was different.  We decided to surprise our son Mathias Lenz Dingman who was guest dancing as the Nutcracker Prince for English National Ballet.  He had no idea we were in the audience when I (illegally) snapped the above photo.

(Above:  London's Coliseum before the Nutcracker curtain came up for the show!)

I wasn't supposed to snap this photo either but I certainly wasn't the only one doing it! LOL!  We surprised Mathias by the stage door after the sold-out audience departed.  He was only expecting to see his fiance Laura-Jane Gibson and her parents Jim and Jane.  (They didn't know we were coming either!)  It was wonderful ... and Mathias' performances were spectacular.  We were able to see two shows.  All the shows were sold out.  Mathias couldn't even get Laura-Jane a ticket for his final performance! 

(Above:  Mathias Lenz Dingman and Erina Takahashi.)

Now ... this blog is supposed to be fiber orientated.  It is generally written as a way to share my work and inspirations, focusing on the pieces I stitch.  I did have an art quilt with me but I'm not ready to share it.  Instead, I'd like to share one of the pages from English National Ballet's lovely program (paraphrased):

Facts and Figures
Some fascinating statistics from the Wardrobe Department

Each Sugar Plum Fairy top skirt takes one day to make. There are nine. Under the top skirt are sixteen layers of netting.

Over 3000 meters of fabric are used for Nutcracker costumes. 400 total costumes were made.

Each Flower Man's shirt takes sixteen hours to make and each waistcoat takes 34 hours.  There are twenty in the production.

Each Sugar Plum Fairy costume requires over 2000 British pounds worth of man hours and fabric, not including the cost of the donated Swarovski elements.

The value of the Swarovski elements used in the Nutcracker costuming is 10,000 British pounds.

Fabrics for the Nutcracker costuming includes German faux fur, American stretch faux fur, German lycra, brocade from India and France, and English moleskin.

There are 24 people working on costumes including three wig makers, a head dressmaker, a milliner, and two dyers/distressers.

I don't know how many Swarovski elements were on Mathias' costume but he certainly sparkled!

(Above:  Rochester Cathedral.  Click on any image in this blog post to enlarge.)

Of course we did a lot of sight-seeing while in London as well as in Rochester.  We stayed south of the city and took a train to nearby Rochester on our first day.  It is a charming city with a beautiful cathedral ...

(Above Rochester Castle.)

.... and a well maintained ruin of a castle.  A leisure day in Rochester was a perfect way to get over jet lag.

(Above:  Me on one of four bronze lions in Trafalgar Square.)

Before going to London, I told local friends that I was going to tick off one of the items on my "bucket list" ... and I did.  What?  Well, I was intent on riding one of Sir Edwin Landseer's twenty-foot bronze lions at the base of Nelson's Column in Trafalgar Square.  I've been told that this is actually against the law but the police can't possibly haul in all the tourists doing it.  Tourists must work together, however.  The back sides of these lions are quite slick and definitely polished from people mounting them.  I helped push a father and his children up.  Then, they pushed me up.  Steve took photos ... of me ... but also for the family!

Now ... I'm on a mission ... getting my picture made with other lion sculptures!  I found lions outside the British Museum and will have to visit Grant's Memorial in DC.  These lions are featured on the opening credits for Netflix's House of Cards.  This could be a new series!

(Above:  St. Paul's Cathedral and the Millennium Bridge.)

We had to plan our days carefully because it starts to get dark in London around 3:30 PM.  By 5:00, it's night.  One evening, however, we managed to get to St. Paul's in time for Benjamin Britten's A Ceremony of Carols. It was perfect!  A very special holiday treat.

(Above:  The German made harp used for Britten's A Ceremony of Carols.)

Almost every section of London has its own market but Notting Hill has "the best" with the weekly Portobello Market.

(Above:  Row house in the Notting Hill area near Portobello Market.)

We had such a great time looking at the make-shift street vendor stalls and browsing through the meandering antique dealer booths.  There was something for everyone!

Watching people from all across the globe trying to find special Christmas gifts and travel souvenirs was great fun.

The displays ranged from haphazard collections of silver ...

... to neatly organized vintage buttons at Rita Stephenson's corner enclosure in one of the sprawling antique malls.  (She was charming but I resisted!)

The colors, textures, and exotic nature of the Portobello Market was quite inspirational.

There were moments when I felt like I'd stepped back in time ... like watching this attractive, totally vintage clad but tattooed girl shop for letters from a block print dealer.

The street musicians were GREAT ... and also visually interesting!

I took hundreds of photos ... and then we went to other markets!

In the Southwark Market we drooled over fresh fruit and vegetables ...

... and sweets!

By the time we arrived at the Spitafield's Market it was late and we were hungry.  Our friend Molly Harrell clued us into the fact that Beigel's Bagels are "the best in the world" ... and now we agree!

Steve and I aren't much for shopping.  In fact, the only thing we bought was a refrigerator magnet for our friend Dolly Patton who watches Max the Cat when we are out of town.  (She collects these ... whether she knows it or not!  We get her one everywhere we go!)  Yet, I can easily see why people need to visit an ATM while shopping in such fabulous, original locations.  Old, iconic British telephone booths are now being "recycled" into ATMs!  Awesome!

(Above:  The Tate Modern seen through a beautiful stand of late autumn birch leaves.)

We had great weather the entire week but it was still "winter"!  As much as we might have liked staying outside in the markets, we had to go inside ... museums!  We've been to the Tate, but until this trip I hadn't been to the Tate Modern.

(Above:  Interior at the Tate Modern)

We saw several excellent exhibitions and each one stimulated an equally fascinating discussion.  The space is enormous.  I would go back in a second!

(Above:  The National Gallery)

We'd been to the National Gallery ... several years ago ... but it is always worth a repeat visit.  The building is as lovely as the artwork.

(Above:  The National Gallery ... people in front of the wall of Van Gogh's oil paintings.)

The only room that was crowded was the one with the wall of five Van Gogh's paintings.  We waited and stood in front of each masterpiece.

(Above:  Van Gogh's Sunflowers, 1888.)

Of course these are fabulous ... and very, very worthy of the crowds ... but ...

... as far as I'm concerned, this Botticelli takes my breathe away!  No one was elbowing me to get a better look and there was even a bench!

(Above:  The entrance to Highgate Cemetery.)

We nearly spent an entire day at Highgate Cemetery.  There are two sides to this amazing, mostly Victorian resting place.  The east side is open daily to the public for a small admission fee.  Karl Marx is buried there.  The west side, however, requires a tour-guide.  Tours are generally booked well in advance ... except for Saturdays.  On Saturdays, it is first-come/first-serve and tours depart every half-hour or so.  We went then and had a very, very well informed guide. 

He was full of good stories and included the Dickens family graves even though they generally aren't "on the tour".  He said, "It's Christmas! This is a gift!"  He knew his history backward and forward.  I was able to take lots of photos and still keep up with the group.

After touring the west side, we leisurely visited the east side.  It is an amazing jumble of new and old graves, profound epitaphs, and lots and lots of ivy.

These are only a few of the hundreds of photos I took between copying down personal epitaphs.

To visit all these place, Steve and I got our own "oyster cards".  These are the plastic passes swiped on London area trains and the underground.  No matter how many places we went, the system wouldn't charge us more than the "day rate".  It was definitely "the way to go"!

(Above:  Model of the British Museum.)

Another day was spent in the British Museum.  Both Steve and I have been there but it was years and years ago!  It is gigantic!  There's no way to see a measurable fraction of it but we managed to see Witches and Wicked Bodies, an exhibition of rare engravings from the Renaissance to the nineteenth century.  It was WILD ... a survey of witchcraft, the occult, harpies and hags by Albrecht Durer and Goya through the Pre-Raphelite Rossetti ... exploring everything from the vilest to the most profane as well as the exotic temptresses and the most grotesque beguilers. 

We also wandered around the "highlights" ... the Rosetta Stone and the architectural elements from Athens' Parthenon ...

... and through the vast collection of Egyptian artifacts and mummies.  These were the rooms that I remember best from a childhood visit.  We dragged my sister Wanda into the museum, kicking and screaming that she HATED all museum.  When the building closed, we dragged her out ... kicking and screaming that she wanted to see "just one more room". LOL!

(Above:  Gold oak wreathe from 350 - 300 BC.)

I found the British Museum as fascinating as I did then.  Now, however, I'm impressed by the sense of time.  This absolutely marvelous gold necklace looks like it might grace the red carpet at a high celebrity event ... and yet it dates to 350 - 300 BC. 

(Above:  Cradle to Grave by Pharmacopoeia.)

Not too far away, however, is Cradle to Grave by Pharmacopoeia.  This remarkable piece explores health issues, the way people deal with sickness and try to secure well-being.  It was created by Susie Freeman, a textile artist, David Critchley, a video artist, and Dr. Liz Lee, a general practitioner.  Each side of this long, Plexiglass enclosure displays a length of fiber netting, one for a woman and one for a man.  Each piece contains over 14,000 drugs, the estimated average prescribed to every person in Britain within their lifetime.  Photos and notes from the artist's family members (showing "life moments") were positioned at the edge of the netting.  It truly read like a "time line". 

We saw skeletal remains from 11,000 BC too!  
TIME ... it is always my strongest inspiration.  The trip to England reinforced this!

I am linking this post to Nina-Marie's "Off the Wall Fridays", a site for sharing fiber art ... even if I didn't show any of my own this week!