Eight new "Window" pieces!

(Above:  Eight Windows ... ready for framing.  Top row, left to right:  Window LXIII, Window LXIX, Window LXX, Window LXXI.  Bottom row, left to right:  Window LXXII, Window LXXIII, Window LXXIV and Window LXXV.  Click on any image in this post to enlarge.)

Last weekend I worked "assembly line style" on eight window series pieces.  I don't really mean to suggest that this isn't a creative approach or that I'm working in some sort of "production mode".  I'm not.  In truth, I'm trying not to totally trash my studio.  By doing one step at a time, I can tidy up a bit before moving on.  This system is working.  So ... here it is:

 
(Above:  My polyester velvet palette!)

First I lay out my palette of polyester stretch velvets.  Each piece already has WonderUnder (Bond-a-Web) ironed onto the reverse.  I stood on my studio table and looked down at my floor for the photo above.  Isn't it pretty?  I am indebted to my new studio assistant for having so much of my stash ready to go!


(Above:  Eight windows.  Step one.)

The black acrylic felt background used to be the packaging material for a kayak or canoe being shipped from a North Carolina manufacturer to River Runner, my local outdoors shop.  Guy Jones, the owner, has been giving me this recycled felt for year.  I use it for EVERYTHING ... even in place of batting for my art quilts.

In the photo above, step one, I've cut pieces of polyester stretch velvet into the basic design for a piece measuring roughly 12" x 10".  Each piece is ironed in place.


(Above:  Eight Window series pieces.  Step Two.)

Next, each piece is covered with previously painted WonderUnder ... just a very watery mixture of acrylic paints and inks ... like "a wash" of faint color.  I iron the WonderUnder over the polyester velvet and add metallic foiling ... heat activated metallic foiling.  I get it from The Thread Studio ... which is also my source for the sheerest chiffon scarves in a multitude of colors.  


(Above:  Eight Window series pieces. Step Three.)

Polyester velvet shapes are cut and ironed onto the designs ... breaking up the surfaces into smaller patterns and geometric designs.


(Above:  Eight Window series pieces.  Step Four.)

I add more WonderUnder over the top ... iron it in place ... and then add roughly cut pieces of chiffon scarves over the entire surface.  I love the way the colors shift and change the rather garish polyester velvet.


(Above:  Eight Window series pieces.  Step Five.)

The layer of chiffon scarves is important.  It covers all the plastic/sticky WonderUnder and allows my Bernina's free-motion foot to glide over the surface.  I stitch with only 100% cotton thread ... black.  Why cotton?  Well, the next step is the melting!  Each piece is stapled to a stretcher bar.  I have two sizes of soldering irons and melt holes through the polyester stretch velvet and acrylic felt.  Finally, I use a heat gun (the type from a hardware store for stripping paint) to melt the work.  The thinnest layer (where there is not polyester velvet ... just the felt ... between the shaped show on step one) melts out quickly.  The shapes are held together, however, because cotton thread doesn't melt!  That leaves me with eight new Window Series pieces ... ready to frame!


(Above:  In Box CIX.)

The process of making one of these "windows" is a variation on my "In Box Series".  My last post included four small "In Box" pieces and two of the three larger ones I made last week.  I forgot to include In Box CIX at that time.  So, here it is now ... as well as a link to a step-by-step tutorial I wrote in 2007 called "How to Make an In Box".  Of course, I'm making bunches of this work now because I have two great upcoming opportunities:  The Washington Craft Show (Nov. 1 - 3) and the Philadelphia Museum of Art Craft Show (Nov. 7 - 10.)  There will be more coming!

I'm linking this post to Nina-Marie's "Off the Wall Fridays", a site to share fiber artworks.

"Under the Canopy" and a bunch of new "In Box" series pieces.

(Above:  Detail from Under the Canopy, my installation at 701 Center for Contemporary Arts's summer exhibition Interior Spaces.  Click on any image in this post to enlarge.)

There are plenty of people who ask me, "Susan, do you ever sleep?"  Of course I do ... generally eight hours or more per night, but last week I lost sleep.  I was worried, anxious, and excited by the unexpected opportunity to hoist The Canopy aloft at 701 CCA (Center for Contemporary Art) and create an related installation under it.  Rarely do local artists get invited to exhibit in this local venue.  Inclusion is considered a "really big deal".  Given a unique chance to expand my work was thrilling ... but also a bit risky.  Would the curator appreciate it?  Would it compliment the exhibition title and theme?  Would the installation go smoothly considering the ceiling is much higher than any of the other locations in which I've raised The Canopy?


(Above:  Under the Canopy at 701 CCA.)

Last Sunday afternoon was my scheduled time for installation.  Steve and I arrived precisely on time ... and had The Canopy up inside of a leisure hour-and-a-half.  We made the short trip back to our house, loaded the car with my mismatched furniture, tableware, and assorted found objects in various states of disrepair, and returned to 701 CCA where I truly enjoyed placing everything ... UNDER THE CANOPY ... which is now the new name of the piece.  This took less than an hour.  Steve and I then went for a late lunch and to laugh about how nervous I'd been ... for "nothing" ... since everything went so well.


(Above:  Under the Canopy at 701 CCA.)

This morning the show officially opened.  I went to snap photos of my piece and to admire all the wonderful work by so many talented artists surrounding it.  The show is called Interior Spaces and features the following artists:  Kent Ambler, Pam Bowers, Dylan Critchfield-Sales, Yvette Dede, Paul Flint, Meg Griffiths, Stephen Hayes, Susan Lenz, Frank McCauley, Glen Miller, Jaime Misenheimer, Frank Poor, Kristi Ryba & Christian Thee.


(Above:  Installing exhibition labels.  Cleo, a 701 CCA summer intern with Harriett Green, Visual Arts coordinator at the South Carolina Arts Commission and volunteer at 701 CCA, an institution that she helped found.)

Happily, there were other people admiring the work.  A family came through to look at art while Cleo and Harriett finished up installing the labels for the work on display.  The exhibition runs through August 18th.


(Above:  Under the Canopy ... as seen from the entrance to 701 CCA.)

Taking pictures was so much fun.  I hadn't been able to do this last Sunday because the nice, big windows face west.  The afternoon sun provides great natural lighting ... but it also makes taking photos difficult!

(Above:  Under the Canopy at 701 CCA.)

The reception is this coming Thursday.  I'm very excited.  My "statement" for this work was on last week's blog post.  CLICK HERE to read  ....just scroll down!

  

(Above:  Under the Canopy, assemblage of found objects.)

I'm particularly excited to see people's reactions to the collection of found objects ... mismatched furniture, symbols of passing time, assorted relics from yesteryear ... many of which include small additions of my work.


(Above:  Pedestal created from Swedish leather bound books and a cover from a late 19th c. book of chromolithographs ... with a vintage clock, a jar of buttons, etc.)

I loved making this pedestal ... drilling through mid-19th century leather bound books (all in terrible condition) and inserting a metal rod for support.



The top of the pedestal is the cover of a large, late 19th century book ... beautifully tooled with decorative gold leaving.  Between the covers I inserted copies of Harper's Bazar ... all mid-19th century.  This became the location for a hand embroidered doily, a jar of vintage buttons and other assorted items ...



... including a clock key.  I made a special "tag" ... The Key to Time.



On the nearby table I placed another key ... The Key to Family Heirlooms.  It sits with a vintage, homemade hour glass, a rosary, two embroidered handkerchiefs, and badly tarnished tea service piece with dried flowers from our garden.



One of my altered antique photo albums got to be part of the installation.  Instead of family pictures, I collaged various images of cemetery angels.  I've got something like seven of these altered albums. 



Near the Victorian chair is this basket with croquet balls and my tiniest, altered doll cradle filled with "ancestors".  These wrapped-and-embellished wooden spools are so much fun to make.



I put a pile into this covered porcelain dish on one side of the end table.



On the other side, I simply piled up about two dozen more "ancestors" in the folds of the damaged lace table cloth.



Looking closely ... There's my Aunt Gloria on her wedding day, two photos of my Grandma, Uncle Larry and Grandpa on a fishing trip, my Mom and Dad before they were married sitting with Grandma ... and even one with two of my younger sisters and me!  These truly are "ancestors"!  At the bottom of this post are even more photos of my work at Interior Spaces ... just scroll down.

Yet, this isn't the only thing I've done this past week!  Far from it!  After all, I have two major retail shows coming up in November:  The Washington Craft Show and the Philadelphia of Art Museum Craft Show.  I will be making LOTS of work in the coming weeks and months ... LOTS of "faux-stained glass" series and "In Box" series pieces.



(Above: In Box CVIII, detail of signature block.)

In the last week, with my studio assistant Jeana's help, three large "In Box" pieces and four small ones were totally created, melted, mounted, and framed!  Above is a detail of the signature block on one of the larger pieces. All these images can be enlarged though ... and more are coming.  I've already started working on eight "Window" pieces ... small ones that resemble "stained glass".  I'm planning on finishing them by Wednesday of next week. Thursday is the reception and hopefully I'll get a few good photos then.  Friday ... Steve and I head to Washington, DC to see The National Symphony Orchestra at Wolftrap ... playing Mussorgsky's Pictures at an Exhibition and my all-time favorite music:  Karl Orff's Carmina Burana.  Saturday will find me attending the artist reception of Sacred Threads exhibition in Herndon.  Work, work, work!  Play, play, play!


(Above: In Box CIV.)

So ... below is a mixed up collection of new work and Under the Canopy.  I'm also linking this post to Nina-Marie's "Off the Wall Fridays", a site to share fiber arts.


(Above:  Under the Canopy at 701 CCA.)

(Above:  Under the Canopy at 701 CCA.)

(Above:  Under the Canopy at 701 CCA.)


(Above:  Under the Canopy at 701 CCA.)


(Above:  Under the Canopy at 701 CCA.)


(Above:  Under the Canopy at 701 CCA.)



(Above: In Box CV.)


(Above: In Box CVI.)


(Above: In Box CVII.)


(Above: In Box CVIII.)


(Above: In Box CX.)


(Above:  Under the Canopy at 701 CCA.)


(Above:  Under the Canopy at 701 CCA.)

Good news and three different projects in the works!

 (Above:  Detail of Stained Glass XLII.  Click on any image in this post to enlarge.)

I've been busy and I have GOOD NEWS ...  really busy and some really exciting things coming up!

First, I've finished another, large Stained Glass fiber piece!  My last blog post included two others that were waiting for over-sized mat board for framing.  I was so happy when it arrived that I immediately completed the work ... forgetting to snap photos before the Plexi-Glas was installed.


(Above:  Stained Glass XL and XLI in frames, behind Plexi-Glas ... so there is a little glare ... but don't they look wonderful!)

So ... here they are in their frames.  The next piece is one that can hang either vertically or horizontally.


(Above:  Stained Glass XLII ... in a photo I took outside ... with too much bright sunshine that cast a shadow of the black linen liner at the top ... but ... you get the picture!)


(Above:  Lift and Tuck ... accepted into SAQA's Metaphors on Aging exhibit.)

My goal is to have two more of these large works finished before going to England for the annual Festival of Quilts in August. I'm thrilled to be going ... and seeing my piece, Lift and Tuck, in the debut of SAQA's (Studio Art Quilt Associates) Metaphors on Aging exhibit.  In addition to these large pieces, I plan on having lots of smaller ones done too.  I'm already working on two "In Box" series pieces.  I've consulted my calendar and written out a schedule to assure that I have enough work for both the Washington Craft Show and the Philadelphia Museum of Art Craft Show ... both in November.  I'm hoping to have enough work to fill the booth at least twice ... closer to three times.


(Above:  Detail of Stained Glass XLII.  Click on image to enlarge.)

 Now for some good news!


(Above:  The Canopy, as seen at Studios Midwest, an art residency program in Galesburg, Illinois ... where I made the piece.)

The Canopy has been invited to be part of a summer exhibition at 701 Center for Contemporary Art here in Columbia!  I'm very, very excited.  This is a top-notch exhibition space that always features fantastic work of regional, national, and international artists.


(Above:  The Canopy, detail from the Artfields 10-day festival earlier this year.)

The show is called Interior Spaces. Obviously, The Canopy creates its own space ... under it ... a place for a bed or a location for a wedding.  Yet, the best part of being in this show is that I was given a unique opportunity to expand the work by creating an installation.  Thus, the new name for the work is Under the Canopy.  (Or Under the Canopy, Where Heirlooms Sleep ... I left the choice of titles up to the curator.)  


(Above:  Two walnut Victorian side chairs recently purchases at auction.)

My statement is:
A bed is an iconic symbol from fairy-tales, dreams, childhood, romance novels, historical interiors, and personal furnishings.  It means different things to different people.  Despite modern technology and changes in advertisements and parenting practices, most little girls in America still dream of a canopy bed … like their mothers did, like their grandmothers did.  For some, a canopy bed represents the security of the womb.  For others, a canopy bed represents an ideal or a “Happily Ever After” promise for the future.  Canopies represent protection but also sexual fulfillment or marital bliss.

Canopy beds are frequently associated with the preciousness of feminine childhood, a concept largely manufactured by an adult society.  In it, the idealized girl carries all the dreams for her parents. So, is this magical sleeping arrangement really the child’s desire or is it projected by the hopes of adults?  So often, childhood memories are searched as an explanation of adult discontent.  How does the fantasy of a canopy bed figure into the loss of happiness?

Personally, I am interested in the concept of childhood memories, especially how the canopy bed seems to stay part of little girls’ collective desires through generations.  I am also interested in the notion of a perfect wedding, especially how the canopy's vintage needlework, lace, and frilly white fabrics seem to conjure up such a vision … across Judaic marital traditions and into female imagination at large.  Toys, playtime, hopes for the future, stereotypical gender roles, adult nostalgia and romance, a parent’s vision for an archetype child, and the threads that stitch together fairy-tales are woven into the fabric of The Canopy. 

The opportunity to create an interior grouping of found objects in support of my concept has been quite rewarding.  Mismatched tableware, discarded foreign books, symbols of passing time, and furnishings in various states of disrepair suggest the half forgotten dreams promised through fairy-tales, ethereally beautiful but bittersweet.  They pay homage to all the anonymous women who made countless doilies for their would-be perfect homes and as heirlooms for future generations that didn’t come to value them.

This installation is meant to stimulate conversation with regards to all possible associations.  Creating it was a labor of love and a conversation with myself.  Sharing it is simply a joy.   

So ... to create this assemblage of discarded tableware, neglected linens, and assorted furniture in various states of disrepair ... I went to my favorite auction house.  The first two pieces I bought are the gorgeous walnut Victorian chairs above.  I paid $10 a piece.  Sure I was thrilled at the price but also shocked and conflicted.  I just couldn't bring myself to rip off the upholstery, make them look old and distressed.  I want a "pretty scene" but one that shows the signs of age and abandonment.  I want something with a first glance of romance that bears unfortunate truths upon closer examination.  I'd have to "ruin" these chairs.  I couldn't do it.  I went back to the next auction. 

 (Above:  Staging my assemblage.)

Over the last few weeks I managed to buy a cast-off table, another chair, and a tarnished tea set.  Most of the rest, I already had ... from other auctions over the years.  I really enjoyed "staging" my little "tea party".

(Above:  The table with an open drawer and mismatched china, etc.)

There are two hand stitched handkerchiefs, a homemade hourglass, a rosary, assorted old bobbins and a well worn pin cushion.  It was great gathering all this "stuff".  On the floor there's an old piece of needlepoint ... once a seat cushion but now a make-shift rug. 


(Above:  A second chair will be placed nearby with a little foot stool.  The foot stool has no upholstery, just a few antique quilt blocks made from recycled silk ties.)


(Above:  Unique end table with clock).

I didn't just want to "hunt-and-gather" my assemblage.  I wanted to add subtle, creative touches ... like using a set of  mid-19th century Swedish books (in various states of disrepair) to make a unique end table.  The top of the table is the cover of late 19th century book of chromolithographs illustrating The Sermon on the Mount.  I drilled holes in all the books, inserted a metal rod, and used plenty of glue to make this piece.  I also created to special tagged keys ... one is a clock key tagged "Time" ... one is a very rusted large antique key tagged "Family Heirlooms".  I've packed all this up now.  This Sunday is "Installation Day" ... when I'll hoist The Canopy and arrange this special "interior" under it.  I can hardly wait!

NOW ... MORE GOOD NEWS:

My work has been accepted for the 701 Center for Contemporary Art's Biennial.  This two part exhibition will open in September and November.  I don't know which part I'll be in but I'm thrilled.  

Also, I learned today that I was named the South Carolina Art Commission's Fellowship Alternate for Crafts!  It's just a title; only the actual Fellowship winner gets a monetary award ... but I'm elated!  (Plus, I really admire Robert Lyon's work.  He's a full professor in the University of South Carolina's art department and has served as chairman of the department too ... also, he's really nice! Congrats Bob!)

 
 (Above:  Jeana gluing on thumbnails of my family photos onto wrapped and stitched wooden spools.)

So ... my third project for this week (actually there's another one ... I'll share it later!) is that a whole bunch more little wrapped and stitched wooden spools got done.  Jeana, my new studio assistant, was invaluable.  She cut and glued all the thumbnails of my family photos onto the spools.  It took hours ... and then I shared with her the fact that I've got two more gallon-sized Ziploc bags full of wooden spools that still need stitching!  Around here, there's always work to do!

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