Five finished!

(Above:  Five Windows in various stages of being melted over the same five pieces finally finished!  Click on any image in this blog post for an enlargement.)

My last blog post showed five "Window" series pieces on their stretcher bars and in various stages of having holes melted through the layers of polyester stretch velvet on black, acrylic felt.  I couldn't finish any of them.  Why?  Because the tip of the miniature soldering iron broke.  It was the last one I had.  More were ordered and now ... Ta-da!  They are finished!  Each piece is then stitched to a a piece of Edelweiss linen mat board and put into linen liners and a frame with glass.  Before the framing was complete, I lay the five out in the same order and snapped the other photo.


(Above: Window XCIX, Inventory # 3143.  Framed:  17 3/4" x 15 3/4". $265.)

So ... here these pieces are one-at-a-time.  I'm still a little skirmish about listing the prices but most people say they don't mind.  I'd hate to have anyone think I blog in order to generate sales.  That's just not the case.  I've been blogging much longer than I've been selling art! LOL! 


(Above: Window C. Inventory # 3144.  Framed:  17 3/4" x 15 3/4". $265.)

To see how these pieces look framed, please CLICK HERE and scroll down.  This is my "sales blog".  At least that's what it is supposed to be.  All the "In Box" and "Stained Glass" fiber work currently available at Mouse House (my business) should be pictured.  I have other work in galleries ... for the exact same price.  I'm not the sort of artist who tries to cheat a gallery by selling work for less.  It's just not right.  I've had it happen to me ... had an artist sell work to someone else for less than I paid.  Yup!  I bought a piece from an exhibit in the same building where the artist's studio was located.  The artist sold it to me.  We put the "red dot" on it together.  The next month, after the show came down, she sold everything for less than half the price!  (The commission was only 20%!)  It didn't feel good.  It certainly wasn't professional.  I will absolutely never do anything like that to anyone!  I will also never buy anything else from this artist ever again!


(Above: Window CI. Inventory # 3145.  Framed:  17 3/4" x 15 3/4". $265.)

Once upon a time, my mentor Stephen Chesley told me how the relationship with a gallery ought to be.  He talked about how a gallery should be EARNING their commission through quality, loyal, representation ... knowing who their artists are, what they do, how they do it, and showing the work to the clientele they'd built through years of constant work.  He also said that if an artist couldn't live with the net price after commission, then that artist needed to work on their own quality and craftsmanship.  That's a tall order ... one on which I'm constantly working.  Stephen said that a customer should be able to buy with confidence at any gallery or directly from the artist because the prices should be consistent.  Prices should be based on the quality of the work ... not the time, materials, or commission ... just on the piece itself.  If a piece is worth $265; it should sell for $265.  Period.  What the artist retains of that amount will change with the commission or lack of commission but the price should be consistent.  Mine are.


(Above: Window CII.  Inventory # 3146.  Framed:  17 3/4" x 15 3/4". $265.)

I've already started a new batch of "Stained Glass" pieces.  Since I have plenty of new soldering iron tips, there will be no delay in finishing them.


(Above: Window CIII. Inventory # 3147.  Framed:  17 3/4" x 15 3/4". $265.)

Broken tips!

(Above:  Soldering irons ... including two miniature Antex soldering irons without tips!)

Some artists work on one piece at a time, only moving to the next work after completely finishing the one on which they are currently working.  Intellectually, I understand this approach.  Practically, I have no understanding of it at all.  I can't remember the last time I only had one piece in process.  Perhaps, never!

Generally, I have at least one "handwork only" piece going (some sort of art quilt); multiple wrapped-and-stitched wooden spools in various stages of development; an installation in progress (right now that means unraveling miles of old thread for Threads: Gathering My Thoughts' next incarnation in September); and several "machine stitching only" pieces under construction.  The machine work is most often work for my "In Box" and "Stained Glass" series.  I posted the last six, small In Boxes finished on Monday of this week.  CLICK HERE to see them.  Even then, I had several "Windows" started.


(Above:  Five "Windows" ... on stretcher bars ... in the garage ... in various stages of being melted with the soldering irons.)

The first five "Windows" made it onto stretcher bars and were in various stages of being melted with my soldering irons when DISASTER occurred.  The last tip of my miniature Antex soldering iron broke.  I knew I only had this one, last tip.  I should have ordered more long before last week.  So ... everything went "on hold".  (A free, on-line tutorial for how these pieces are made is available HERE.  It includes images of how I melt through the layers of synthetic fabric with soldering irons and then zap them with an industrial heat gun.)


(Above:  Two more "Windows" ... waiting to go onto stretcher bars to be melted.)

While waiting for M. M. Newman Corporation to send a dozen new tips, I constructed and stitched two more "Windows".  They will go onto the stretcher bars as soon as at least two of the earlier works are finished and taken off the stretcher bars.


(Above:  Soldering iron tips from M. M. Newman Corporation.)

Yesterday, the new tips arrived!  Thank goodness!  Work is waiting!  I'll be posting the finished "Windows" as soon as these new tips are in operation!  I'm also linking this post to Nina-Marie's "Off the Wall Fridays", a site for sharing fiber art work.

Six new "In Box" pieces and more thread!

(Above:  In Box CLII.  Inventory # 3137.  Unframed:  14" x 10"; Framed:  19 1/4" x 15 1/4". $225. Polyester stretch velvets, metallic foiling, previously painted heat-activated adhesive.  Self-guided free-motion machine embroidery and melting.  Click on any image in this post to enlarge.)

I spent Mother's Day doing exactly what I love best ... working all day in my studio making ART!  As a result, I've got plenty to share!  These six, small "In Box" series pieces will be added to my "sales blog" by the end of the day.  I'm also working on another batch of "Window Series" pieces which will be finished before the end of the week.  Love, love, love productivity!


(Above:  Donation of thread from Anne Larsen in Ithaca, NY.  Thank you, Anne!)

In the evening, I'm still unraveling miles of donated thread for my upcoming installation at Gallery 80808/Vista Studios.  Threads: Gathering My Thoughts will run from Sept. 18 - 30th and promises to be even bigger than it is right now (on view at Studio Cellar through June 1st.)  Obviously, I'm still accepting donations of thread at 2123 Park Street, Columbia, SC  29201.


(Above:  Donation of thread from Marilyn Davis on Plainville, Vermont.  Thank you, Marilyn!)

I'm also busy wrapping all the old wooden spools with wool and embellishing them with embroidered stitches.  I also have a plan for all the old plastic spools.  It is still in the "foggy vision" state.  This is a time of mental planning but I'm almost ready to attempt moving it into reality!


(Above:  In Box CLIII. Inventory # 3138.  Unframed:  14" x 10"; Framed:  19 1/4" x 15 1/4". $225.)

So ... here are the other "In Box" pieces!  I'm very happy with them but I need MORE!  This work has been accepted for a solo show in Durham this coming September.  I have my work cut out for me!


(Above:  In Box CLIV. Inventory # 3139.  Unframed:  14" x 10"; Framed:  19 1/4" x 15 1/4". $225.)


(Above:  In Box CLV. Inventory # 3140.  Unframed:  14" x 10"; Framed:  19 1/4" x 15 1/4". $225.)


(Above:  In Box CLVI. Inventory # 3141.  Unframed:  14" x 10"; Framed:  19 1/4" x 15 1/4". $225.)


(Above:  In Box CLVII. Inventory # 3142.  Unframed:  14" x 10"; Framed:  19 1/4" x 15 1/4". $225.)

 
(Above: A lovely card and note from Meridian Fibers in Charlotte!)

I have to thank Laura Sutthoff for this lovely card and note.  It was her way of thanking the members of Fiber Arts Options, an invitational fiber group in Charlotte, NC to which I belong.  We visited Laura's new fiber business Meridian Fibers.  I blogged about the experience ... and now she is thanking me.  I'm flattered beyond words ... because Laura blogged about us too ... including this post with a really nice photo of our group!  Thus ... this photo is my "thank you" for her "thank you" ... and we are all properly, politely, and in silly ways ... THANKED!  Thank goodness! LOL!

ArtFields 2014, The Verner Awards, and a new Lancet Window and more!

(Above:  Me ... being interviewed !!!  Click on any image in this blog post to enlarge.)

It's been a frightfully busy week!  Last Saturday Steve and I went to ArtFields, the 10-day epic art festival and competition in Lake City, South Carolina.  My piece, The Grid of Photos, was hanging at Olio Studio and I was scheduled to share an artists' talk with Lisa Puryear whose painting was also there.  Lots of people showed up ... including a videographer who came to interview me!  It was fun and exciting!


(Above:  ArtFields ...Steve voting ... for my piece, of course!)

With four hundred works of art displayed in over fifty venues, we found it impossible to see everything in a single day.  However, it was fun trying!  We saw so many incredible pieces, met so many nice people, and really enjoyed the day.  We both registered to vote.  One could vote for as many pieces as one really liked!  That was fun too!


(Above:  My artist's talk.)

Steve took the photos of me being interviewed and giving my artist's talk.  Unfortunately, the photos aren't the best.  It isn't even Steve's fault.  My camera is starting to fail.  I wasn't able to salvage many of the pictures I took last Saturday ... a little too blurry.  The camera's lens is no longer reliably focusing and I think there is some sort of light leaking into many of the images as well.  It is time for me to purchase a new digital camera.  I probably would have done it sooner but monetarily it is hard to justify this month.  Why?  Well, I am having to have some dental work done ... to the turn of thousands of dollars.  It is going well but it is costing plenty.  I should have bought the camera before Barcelona but I just couldn't do it until I started the payments for my teeth.  Oh well! Future images promise to be better! 


(Above:  Caroline Duncan, owner of Olio Studio ... in front of The Grid of Photos.)

The Grid of Photos has now been taken down ... but it is going to hang again soon!  Gallery 80808/Vista Studios is going to show the work of the resident artists who were accepted in ArtFields.  That show will run from May 22 through June 3rd.  I'm happy to have another location for this large piece!


(Above:  Local Matters, ArtFields.)

Caroline Duncan who a joy to work with ... young, excited, and happy to be participating as a venue for ArtFields.  ArtFields honored its venue owners with this public art project, Local Matters.  It is part of the larger, international photography exhibit, INSIDE OUT PROJECT, which is aimed at rallying local people around a singular theme that is meaningful to their community.  Brilliant idea!  Very positive!


(Above:  Neoclassic Female Tapestry by Jon Eric Riis.)

Talk about brilliant!  I nearly fainted when I saw Jon Eric Riis' Neoclassic Female Tapestry!  Just the idea of having a piece of my work in a juried exhibition along with one by this master is amazing!  I was not surprised when it won one of two $25,000 juror's awards.


(Above:  Detail of Neoclassic Female Tapestry by Jon Eric Riis.)

There's no way to show just how brilliant this work is ... even in a detail shot that shows the beading that mimics a modern tattoo on an otherwise very traditional face.  Brilliant!  I have several more images of work at ArtFields.  Just scroll down!  


(Above: Stained Glass XLIII.)

First, I have a few other things to share!  Stained Glass XLIII won an outstanding merit award in Palmetto Hands, the annual juried fine craft exhibition during the North Charleston Arts Festival!

(Above:  Cindi Boiter and her very deserved Elizabeth O'Neill Verner Award!)

My friend Cindi Boiter won this year's Verner Award!  This is South Carolina's highest award in the arts and given for significant contributions in the field.  Cindi is the founder and editor of Jasper Magazine and Muddy Ford Press ... all publications that support the arts in South Carolina's Midlands area.  I've personally benefited from her generous work ... both as an artist and as an audience for other arts disciplines.  I'm proud to know Cindi!

(Above:  Cindi and her husband Bob Jolley entering the South Carolina Arts Foundation's Gala and Art Sale at 701 Whaley Street.)

Part of the Verner Arts Awards include an evening gala and art sale.  I've had work in this annual event for several years.  Knowing one of the recipients, however, made the night that much more special.  Plus, at least one of two of my pieces sold during the evening!


(Above:  The Boiter-Jolley family in the balcony of the South Carolina House of Representatives ... waiting for Cindi to receive her award.)

On Thursday, guests were seated in the balcony of the South Carolina House of Representatives in order to cheer for the Verner Arts Award winners!  It was a great day for the arts in our state!


(Above:  Cindi Boiter receiving the Verner Award and accompanied by Rep. James Smith and Sen. Vicent Sheheen ... both of whom have aspirations to higher offices ... both of whom would be very, very good for the arts.)

 
 (Above:  Lancet Window XL.  Unframed: 27" x 7 1/2"; Framed: 31 1/4" x 11 1/4".)

I've also attended the 52 Windows Gala benefiting MIRCI (Mental Illness Recovery Center, Inc.) where I had two pieces that sold together.  (Click here to see a blog post that featured them.) Between the Verner Art Sale, the MIRCI fund-raiser, a day at ArtFields, and dental surgery, one might expect that I didn't get any art made this week.  That would be wrong!  Okay, I admit I wasn't as productive as normal but I did manage to finish Lancet Window XL.  It was made as a "first refusal" for a nice lady in the Philadelphia area who saw my work last year.  I've also got six, small "In Box" pieces under construction and am spending time every evening unraveling more thread for this coming September's installation, Threads: Gathering My Thoughts.  In fact, I've got good news about this installation.  I'm collaborating with Michael Krajewski, a local graffiti/mixed media artist.  I've collaborated with Michael before ... when creating my first performance piece, Ophelia.  (Click here to see that very successful piece!)

In the meantime, Threads: Gathering My Thoughts is currently at Studio Cellar.  That installation has been extended through June 1st!  The September incarnation will be much, much larger.  Also, the show at Gallery 80808/Vista Studios has been extended until next week.  That show includes my Wall of Ancestors.  (The link above shows both installations!)  Now ... scroll down of some of the art Steve and I saw at ArtFields.  I took plenty more photos ... but I need a new camera if I want to share better images! 

(Above: A Panting We Will Go by Curis Phillips of Meggett, SC.)

Some of the work at ArtFields were very, very serious.  Some were hilarious!

(Above: Best Friends Forever by JoAnn Camp of Greenville, GA.)

It was nice to see several art quilts including among the 400 accepted pieces ... especially since I'm learning the names of people in my region working in this medium.  I've known of JoAnn Camp's work because we are both members of SAQA ... Studio Art Quilt Associates.  Unfortunately, we don't know one another upon sight because we were both roaming Lake City last Saturday and didn't get to meet one another!


(Above: Cottonwood II by Beth Andrews.)

I would have recognized Beth Andrews.  We've met ... but she wasn't able to attend ArtFields.  Her work, however, did her proud!


(Above: Greiving, an Interactive Quilt by Meg Filiatrault.)

Maybe next year, I'll get to meet art quilter Meg Filiatrault.  Loved this piece!


(Above: Detail of Greiving, an Interactive Quilt by Meg Filiatrault.)

Meg is one of the SAQA regional representatives for my area.


(Above: Rainbow Abstract II by Karen Preston..)

I also adored Karen Preston's work and hope to meet her one day too!


(Above: Dream Boat by RG Brown III.)

The concept behind this piece is outstanding ... a boat with a collaged interior made from losing lottery tickets.  How appropriate!  Thought provoking.  Loved it!


(Above: Home Sweet Home by Melissa Bush of Florida.)

The juxtaposition of dainty crochet with serious text was quite powerful.  Great work!


(Above: Rockville Progression by Sarah Haynes of Charleston, SC.)

 Yet, I think my favorite use of thread was this large painting.  From a distance, the thread was so perfectly integrated into the brushwork that it wasn't even noticeable.


(Above: Detail of Rockville Progression by Sarah Haynes of Charleston, SC.)

The closer one got to the paint, the more dimensional it became.  The subtle depth was created by the long, thick, partially painting stitches.  It added to the vibrancy and impact.  The stitches helped define the foreground.  Brilliant!


(Above: Detail of Rockville Progression by Sarah Haynes of Charleston, SC.)


(Above: Family Dollar General Tree by Robert Snead of Charleston, SC.)

This installation won another $25,000 juror's award.  It was amazing.  Even the tiny bathroom and a ladder were made from discarded boxes.  It spoke volumes about mass production, consumerism, and creativity.


(Above: Detail of Family Dollar General Tree by Robert Snead of Charleston, SC.)

(Above: Golden Hand by Donna Hurt of Charleston, SC.)

This piece totally captured my attention.  For me, it was one of the best pieces I've ever seen that used a digitally printed photo on fabric.  It is part of a larger collection of images taken from vintage photos that show little white babies and only part of their African-American nannies.  By enlarging and digitally printing the photos onto fabric, the part of the original that was previously "less important" is able to be stitched and embellished to alter the focus.  Brilliant!  Thought provoking.  

(Above: Detail of Golden Hand by Donna Hurt of Charleston, SC.)

The original really isn't changed but the way it is viewed is entirely different.  This was made possible not by digital manipulation but through the beauty of fiber and stitch!  Love it! 

(Above: Peak by Connie Lippert of Seneca, SC.)

I always love Connie Lippert's weaving too!  This was no exception!

(Above: Taste & See Sweet Shoppe by Karen Deloach.)





Believe it or not, this is another installation!  It so perfectly blended into its venue that it first looked like a permanent part of the store in which it existed!  Yet, everything on display was art ... not real edibles!

(Above: Detail of Taste & See Sweet Shoppe by Karen Deloach.)

Everything here is porcelain!

(Above: Whitewashed by Zipporah Thompson of Charlotte, NC.)

Sure ... the large installation make a big impact but these tiny shoes made from brown paper bags were also quite impressive.  


 (Above: Thin Air, detail by Beth Melton.)

I'm also always impressed with Beth Melton's meticulous work!  I look forward to ArtFields 2015 and am mentally planning for it already!  Hope my work gets accepted again.  Hope I have the opportunity to meet some of these fabulous artists then!


(Above:  Thin Air by Beth Melton.)

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