Two installations up and one more to go!

(Above:  Cotton and Nails in a Coffin, two of three installations that I'll have in the upcoming Art from the Ashes exhibition at the Tapp's Art Center during February.)

Last night I put the finishing touches on the seventy-two strands of suspended cotton bolls that surround the circular desk at the Tapp's Art Center.  On each side, six strands have been pulled to the side ... allowing access to the desk and foot traffic in the area.  I'm very, very pleased with the work.  

(Above:  Nails in a Coffin seen through some of the strands of cotton.)

Behind the circular desk is a curved wall.  Last night Nails in a Coffin was hung in perfect quietness. I was completely alone in the space ... an awesome experience in and of itself.  This work is a collaboration with poet Al Black.  His three poems (which I might get his permission to include on my blog) are framed above three ledges.  Each ledge has a fiber vessel filled with wrapped, rusted nails.  There are also eight wall-mounted, white cubes.  On each cube is a shallow fiber vessel filled with more wrapped nails.  Above the cubes are framed fiber works.  Each includes the impressions of rusted nails on scraps of vintage napkins.  I'm very pleased with this work too!

The opening of Art from the Ashes is this coming Sunday, February the first from 5 - 7.  The accompanying literary volume (on which my work is featured!) will be available and several poets, including Al Black, will be reading.  On Thursday, February 5th from 7 - 9 is an artists' panel discussion.  I'll be there for that too! 

I'm very grateful to Cindi Boiter and her husband Dr. Bob Jolley for making this exhibition possible through their businesses Jasper Magazine and Muddy Ford Press.  Working toward this exhibition has proved to be one of the most inspired experiences in my artistic life.  The work is still pouring out of me and will continue even after the month.  Several months ago I would have doubted that the sesquicentennial of General William T. Sherman's burning of Columbia could provide such a powerful catalyst for making artwork ... but it has!

Generally, I like to include more writing with my blog posts ... but not today!  Why?  Well, I've got a third installation to hang for this show!  With any luck, I'll be blogging again ... more photos.  So ... just enjoy the images provided below!

A busy weekend

(Above:  Working with the 72 strands of cotton in my installation for the upcoming Art from the Ashes exhibition with Alejandro Garcia-Lemos nailing his work onto the wall behind me.)

This weekend was wonderful.  I'd been looking forward to it for months.  Why? Well, Sunday afternoon was the first opportunity to start installing work for the upcoming Art from the Ashes exhibition at the Tapps Art Center.  I'd made arrangements in advance.
 
 
(Above:  Daniel on the 12' ladder.)

Some of the artwork will be hung by the Tapps Art Center staff.  Some installations, like Alejandro Garcia-Lemos', was hung by the artist and his own assistant.  My cotton bolls, however, needed a little of both!  I couldn't have done this without the 6'3" Daniel who works at Tapps.  I handed up each strand of cotton.  He went to the very tippy-top of the ladder to hook them in place ... seventy-two times! 



In order to create this work, I'd consulted with Caitlin Bright, the Executive Director at Tapps.  We thought 16 - 18 feet would be the correct length because the ceiling is somewhere in the neighborhood of 20' in height. Caitlin's floorplan says that the dimension of the recessed circular dome is 47' 9".  I googled for the equation for finding the circumference.  The results indicated that we'd need to hang the strands of cotton every 24 1/2".  Well, something wasn't correct.  Perhaps I measured incorrectly in my living room and made each strand about a foot longer than needed.  Also, we had them closer together than 24".  Yet, both these things didn't matter at all.  Far better to be a bit long than too short.  Far better to have them closer together rather than looking too spartan in arrangement.

I'm now working with the strands ... shortening them by stitching some of the bolls together.  This actually looks even better ... a more creative sense of texture ... a more random appearance.  I'm halfway finished with this task.  I'll be returning to the Tapps Center soon.  Once these cotton bolls are perfect, I've got two other installations ready to hang!  Another blog post or two will be written before next Sunday's official opening from 5 - 7!  Can't wait!

(Above:  Me and my work, The Virgin of Gone and Forgotten, triptych, at Intertwined: The Southeastern Fiber Arts Alliance juried show at the Hudgen Art Center.)

On Saturday, Steve and I drove to Duluth, GA for the artist's reception of Intertwined.  I often can't attend shows in which my work appears due to distance and my unwillingness to give up precious studio hours.  Yet the stellar list of artists accepted into this show was too impressive to ignore.  Plus, Steve and I drove by the Cobb Galleria convention center, the site of the American Craft Council's Atlanta show in March.  It was nice to get a look at the loading dock, parking, and the basic "lay of the land" before pulling up in the rental cargo van!


(Above:  Me with Jim Arendt in front of his "Best of Show" sculptural fiber art work.)

The exhibit lived up to and beyond my expectations.  The Hudgens Art Center is a fabulous facility.  The staff and board of the Southeastern Fiber Arts Alliance are wonderful.  I met Leisa Rich, a talented artist who bought one of my pieces last year, and Dot Moye, of Davis-Moye art consultants.  Plus ... there were awards!  I'd totally forgotten about them until it was announced that there were prizes for three honorable mentions and a "Best of Show".  Unexpectedly, my piece won an honorable mention and another South Carolinian fiber artist, Jim Arendt, won the top award!  What a fantastic night!

(Above:  In Box CLXXII. Inventory # 3339. Framed:  33 3/4" x 21 3/4". $525 plus tax and shipping.  Click on image to enlarge.)

Now, please don't think I been flitting around the country and playing with cotton installations without also being busy making new work!  I'm still stitching ... trying to get ready for the upcoming ACC shows.  I'm in Baltimore next month and returning to Atlanta in March!  I've got to have work finished, framed, and ready to go.  Here are the two latest works!


(Above:  Detail of In Box CLXXII.)

(Above:  Lancet Window XLVIII. Inventory # 3340. Framed: 31 1/4" x 11 1/4". $375 plus tax and shipping.  Click on image to enlarge.)

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!

TEDxColumbiaSC

(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 TED.com, 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!

 

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".)

Drypoint workshop with Steven Chapp

 (Above:  Cotton, drypoint with Chine-collé. 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-collé.  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!

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.

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.)