A Unique Exhibition

In Their Own Right, opening night. Several of my artworks are in the background.

Last night was the opening of a  summer exhibition at The Beth K. Stocker Art Center. This fiber exhibition, In Their Own Right, presents the work of the four women who have curated The Artist as Quiltmaker exhibition: Ricky Clark, (the founder), Sue Copeland Jones, Ruta Butkus Marino, (the currt curator), and me, Gayle Pritchard.



Sue Copeland Jones, Ruta Butkus Marino and Gayle Pritchard at the
opening of In Their Own Right. My work is in the background on either side
one of Ruta's pieces, the lovely blue composition in the center.



The exhibit presents a wide range of styles, and includes artwork created over a period of twenty years or more. Surprisingly, the broad range of work fits together fabulously, creating a resoundingly beautiful visual experience. Though not intended to be a retrospective, I will tell you from an artist's perspective, it is really fun to be able to show work from various stages of your career. It allows the viewer to get to know you a bit better, and to see your work in a new context. Luckily, I was able to borrow some of my artwork from the owners to include in the show.



On loan from the owner, this piece is Masks II: The Joybringer. It was fun to
see it again, and to be able to hang it for In Their Own Right. On the pedestal
to the left is my assemblage, Love Voodoo, which sold at the opening.
Ricky's Amish-style house quilt is in the background.



All the artwork fits together so beautifully, as here: Sue's work at far left and right
(far right is April Harvest beside Tuesday Dreamings), and Ruta's amusing
piece, Birth of Bob, on the left

Ruta's work, Grandifloragargantua, greets visitors to the gallery.

If you're visiting the North Coast this summer, please stop by In Their Own Right, The Artist as Quiltmaker XV, or any of the other many related exhibits and events. For all details, please click on this QuiltConnection link.

Discoveries

With Ann Rebele in front of her piece at Quilt National

It's been more than a week since I returned from Quilt National's opening weekend in Athens. As always, it was fun to see old friends, and meet some artists whose work I know, but whom I had never never met in person. Over the years serving as curator for the Firelands Association for the Visual Art's The Artist as Quiltmaker, I had the chance to see so much beautiful artwork, and to correspond with hundreds of artists. I made new friends over the years at the openings, such as meeting Terry Jarrard Dimond, Ann Rebele, Nancy Condon, or Denise Mucci Furnish, among many others. I had yet to meet Wen Redmond, however, and have followed her work through the years. At Quilt National this year, Wen's piece was a show-stopper, so I was especially pleased to finally meet her.

Gillian greeted us like queens

We arrived, and were met by our hostess with a spread fit for queens, homemade scones and tea. We had the strawberry-rhubarb pie I had brought along for breakfast on Saturday morning, then headed over to the Quilt National artist's preview and gallery talk.

Nancy Condon with her Quilt National piece in the background

We met our hosts for lunch on Saturday, then went to see Quiltzilla, a fun store front at the mall promoting art in public places. We met up there with our tArts (a Cleveland area textile group) friend Christy, who was in town for the weekend.


tArt friends Po and Razzy in front of the Quiltzilla dinosaur

 On the way home Sunday morning, we stopped in Lancaster to visit Michael Mrowka and Debra Lunn at Lunn Fabrics. Although they were packing for return to the Kaufman fabric offices in Indonesia, there was still plenty of unbelievably beautiful fabric out on the shelves. They had also recently redone their floors using their fabrics. Wow, what a creative solution!

Michael shows off the new floors at Lunn Fabrics

Wearables for Spring

 I finished this jacket recently for a client, so thought I would show it to you. It is custom made completely: she picked the design, shape, sleeve length, and the colors she wanted from a selection of fabrics. I did the rest, and it came out beautifully.

The jacket is assembled in my personal collage style. I create my art quilts, Magic Baby clothing and wearables for adults in the same way: put bits and pieces of this and that together to create a quirky, fun and beautiful finished design. Hope you like it!


Detail of closures, jacket front



Jacket back in beautiful batik

Next up: a busy week ahead. I am giving a lecture and book signing for my book Thursday evening at the Medina Public Library. On Friday, I need to pick up my work from the exhibition Piecing it All Together: The Art of Collage. That means also either rehanging it or preparing it for storage once I get it home. I really need to schedule an appointment for professional photography of the pieces I finished for the show at the last minute, too!

Speaking of exhibitions, my friend Terry Jarrard Dimond is participating in an art quilt exhibition at BookSmart Studios. I received her invitation this week. I also received the Call to Entry information for The Artist as Quiltmaker XV from the new curator, Ruta Marino. The entry deadline has been pushed back from September to January 23, 2012, so get busy with your entries now.

Hanging a Rug and other stuff to figure out

Magic Baby booth at a recent event.

Now that the Artist as Quiltmaker exhibition I curate has opened, and my daughter's wedding is over (I know, I never finished posting the pictures of the dress and jacket made for her...soon, soon, I promise!), I am back at work on my Magic Baby line and other artwork on my etsy store. I recently finished up several things I had cut out before the wedding. (Have you noticed my life has been defined by "pre-wedding" and "post-wedding?")

Although I had made several prototypes of this adorable little jacket for my granddaughters, I wanted to make one for little boys. This one is made out of snuggly flannel, is hooded, has adjustable sleeve lengths, and is completely reversible, part of my signature style. The first picture shows both sides of the jacket completed and ready to be measured for buttons before sewing it together.

One new thing I wanted to do on this jacket was to perfect my previous attempts to make completely handmade and baby-soft buttons. I have tried several different ideas previously, but wasn't completely happy with the results. This time, I used recycled plastic bottle cap rings covered with layers of quilt batting and flannel to create matching buttons. They turned out wonderfully!


I used the same style of handmade buttons on the inside. Since they are soft, they won't chafe the skin!



I also just finished a prototype for a new design, but will post about the separately. Suffice it to say that, each time I create a new pattern prototype, the goals are to a) have fun with it b) to solve some new problems and c) to try something new.


More on that later.



The other project that came my way in the past few weeks was designing a hanging sleeve. Because I have made art quilts for exhibition for the past 25 years, making a hanging sleeve isn't anything new. The twist for this project was that I needed to create an appropriate hanging sleeve for a very large needlepoint rug. Not only is the rug heavier than a quilt of the same size would be, but there is not backing layer of fabric to stitch into, and the entire large piece is stiff. I couldn't exactly curl up with it on my couch to work.



So, here you see my tools gathered, and the top sleeve pinned in place. Because of the weight of the rug, I opted to use unprimed, pre-washed and pre-shrunk canvas for the sleeves, both top and bottom. I needed very long, thin pins to be able to just graze the needlepoint canvas to hold the sleeves in place while stitching. I used glazed quilting thread that matches the canvas in a single strand to attach the sleeves.

In my next post, I will detail the logistics!

Busy is good, right?

Color me! Artist as Quiltmaker entrant Susan Shie brings smiles and happiness everywhere she goes. She added this to the back of her entry envelope.

My busy week began last Saturday in Oberlin, Ohio. I arrived at the Firelands Association for the Visual Arts to meet the Artist as Quiltmaker XIV juror, Carolyn Mazloomi, and the generous volunteers who came to help me, the curator, with the image jury for the exhibition.

Some of the Artist as Quiltmaker XIV entries, organized for the Image Jury.

After a nice lunch with my friend and colleague Mary Ann Tipple, I drove home, showered and dressed for a fun evening out at my local arts facility, BayArts. A local writer friend, Kristen Hampshire, hosted a book signing in the gallery of the art center, and my husband's band, Back Bay (aka 'The Lads') performed. There was a great crowd, as Kristen signed several of her books, and people crowded into the gallery to hear the music and talk. I have never seen so many local writers in one room at one time. What a blast!

Kristen (center) with a fan, and her editor from Quarry Books, Mary Ann (left)

After the show, recording artist Cletus Black stopped by the house to drink some beer and gab with us. It was fun getting to know him better, and, for me, to learn more about being an artist from a singer/songwriter's viewpoint. I have learned over the years that the creative process is the same in many ways, only differing somewhat as the approach takes on different guises. If an artist is a songwriter, musician, actor, poet, writer or visual artist, there is a common experience to be shared. Creative inspiration is universal, yet simultaneously unique to the creator. We stayed up talking way too late. I was invited to join Cletus on Tuesday, when Back Bay went into the recording studio to add some kick-ass guitar and back up vocals for his new album.

Sunday morning, I slept in, and aaahhh, what a luxurious indulgence. I worked on getting the Artist as Quiltmaker jury notification letters prepared, and drank way too many cups of coffee. I like to respond to the artists who enter the show as soon as possible, so that they can either enter their work into another show, or prepare to ship it to FAVA for the Object Jury in November, when the juror selects the final work that will be exhibited next May, and awards the prize money.

On Monday, I began to prepare for my contribution to an artist's group project, Compositional Conversations. This is a cool project started by my colleague Terry Jarrard Dimond. I have blogged about this project before, and encourage you to check out Terry's link to see more. I have now sent the piece to the next artist, and will be writing more about my thought processes concerning this collaborative project later this week.

Back Bay at the Dave's studio (center); David Speaker and Chris Pritchard discuss the microphone set-up with Dave.

Tuesday evening finally arrived, and it promised to be a fun night. I was not disappointed. Chris added a cool rhythm guitar track, then he and David laid down vocal tracks to Cletus' song Drew Us Kings. The album will probably be out in the spring.

Cletus arrived, and he and I sat in the upstairs "crow's nest" listening to the vocal tracks, and talking about art.

Dave's cool board...

Since this was the first time I had been in a recording studio, I was fascinated by every aspect of it. The digital technology is simply amazing. Study and talent in special combinations are required for all: the artists recording, playing music, and singing, and the engineering on the board. Oh, and Dave is also an amazing musician with a great ear!

After David needed to take off to take his dogs home, Cletus invited Chris to stay. He recorded a demo of his version of another of Cletus' songs, Road to Nowhere, from his Down Those Tracks cd. Of the thirty plus years I have been lucky enough to be surrounded by Chris' music, this little demo recording, with his heartfelt vocals and simple acoustic guitar, is one of my all-time favorites. Not to mention, it's a fabulous song, with lyrics that will bring tears to your eyes.

The Taylor or the Fender? The Taylor or the Fender? Chris and Dave test out guitar sounds to see which one will be right for the recording. Just like visual artists, using the right tools for the desired effect is crucial.

After Road to Nowhere, Dave recorded while Cletus and Chris played a rousing Cletus Black version of Kansas City. By the time they were done, it was after midnight (the hour, not the song!), and we had stayed up past out bedtime again. What a fun night!

Did I mention it was only Tuesday? More of the busy week's events to come. Happy October!

More Experiments and Preparing for The Artist as Quiltmaker IV

Unopened piles of entries for The Artist as Quiltmaker IV

This week, my role as curator of The Artist as Quiltmaker exhibition kicked into high gear. The second oldest, longest running venue for viewing art quilts in the world, this exhibition was conceived of in 1979 by quilt historian Ricky Clark. She had gone to see the very first Quilt National in Athens, Ohio, and was inspired by what she saw. As one of a group of people working to create an arts center in Oberlin, Ohio, Ricky knew immediately that she wanted to create a high quality exhibition that would occur in the off-years of Quilt National. Thus, both the Firelands Association for the Visual Arts (FAVA) and The Artist as Quiltmaker were born, and the first exhibition opened in 1981. Since that time, every year a major art quilt exhibition is on view in Ohio.

It was in creating a symposium to celebrate the 20th anniversary of the exhibition that I was inspired to write my book, Uncommon Threads: Ohio's Art Quilt Revolution, to outline the untold story of Ohio's role in the now worldwide art quilt movement. We are now in our 28th year, and The Artist as Quiltmaker IV exhibition that opens next spring promises to be another wonderful exhibition. This year's juror, Carolyn Mazloomi, arrives next Saturday to view the entries, and make her initial selections. I'll keep you posted!

In a brief aside, I mentioned in my last blog posting, at the end, that I would be writing next about my participation in Compositional Conversation, an artists project conceived by Terry Jarrard Dimond. I had my weeks mixed up, so will be working on the project now in my possession, and writing about it in the weeks to come. Check out the video of the project thus far, and feel free to add your comments at the link above.

As time presses in around me, I continue to experiment with my Magic Baby reversible overalls design. I finished my second prototype this week. This time I altered a pattern that had no separate bodice, so I was able to applique my desired designs directly onto the body of the overalls. For the outside, I used a brightly colored denim twill with some cotton scraps in soft colors, and for the reverse, a matching and very soft cotton knit.

Other than applying one section of the snap tape backwards, this cute prototype was fun to make. I tried a different solution for the shoulder closures than I have used for my Magic Baby Dresses, because I want to come up with a closure that will work for little boys.

Using twill tape covered with stitched ribbon, I altered the shape of the shoulder pieces, and inserted the strap into the top front. I made it long enough to loop through the back strap, added two button holes to the twill tape, and sewed four buttons in place, two on the front and two on the reverse.

I was worried that the snap tape would not reverse properly. That did not end up being my problem, backward snap tape aside. The thickness of the doubled twill tape gave good body, but there are two things I don't like about the button closure. Number one, I don't like the buttons. The whole design is so soft and cuddly, that I don't like the idea of a hard button on the inside up against a baby or toddler. Secondly, by sewing two buttons in essentially the same location, one on the outside and one on the inside, it is very hard to button the strap in place. Yes, I considered adding some space under the button by either wrapping cording to raise it off the surface, or by using a shank button. Neither of these solve the problem, and, if anything, would exacerbate the problem by making the buttons even more prominently sticking out. I could use my "soft" button idea, but two together is too think. So, for now, it's back to the drawing board.

Fiber Art Exhibits Gearing Up for Fall, Part 1

One of the joys of looking through the mail is receiving invitations from artist friends and colleagues for their upcoming exhibitions. This is the season for new fiber art exhibitions, and this fall will be no exception. Visiting art exhibits is self-stimulating. It is also a fact that, especially in our field, other fiber artists eschew petty jealousies and competitiveness, instead appearing at openings from near and far to see other fellow artists, and to be supportive of those whose work is on exhibit.

Conversation in Fabric at the Ohio Craft Museum in Columbus. The fabulous work of artist Susan Shie graces the exhibition postcard.

The exhibition I curate, The Artist as Quiltmaker, juries in the fall, but hangs in the late spring, a time when the school year is coming to an end and we all dream of the coming summer. The biennial exhibition, the second oldest, longest-running venue for viewing art quilts in the world (second only to Quilt National) carries the pulse of the art quilt movement, both through the jurors and the exhibitors throughout the history of the show. This year's juror, Carolyn Mazloomi, will bring her own sensibility to the entries, one of the exciting things about utilizing a single juror. The entry guidelines are left purposefully flexible. We do not limit the size or offer a definition of a quilt, for example. As a result, we really receive, and exhibit, very cutting edge work. If any of you are planning to enter, click on the link to the show above, and download the pdf entry form. The entry deadline is September 29, 2009.

Opening on September 13, Conversations in Fabric at the Ohio Craft Museum was curated by Tracy Rieger and Linda Fowler of Quilt Surface Design Symposium fame. The work of twenty-five artists will be on exhibit through November 1st in Columbus, Ohio. The exhibiting artists include longtime friends Susan Shie, Sandy Shelenberger, Deborah Anderson and Barbara Lind, new acquaintance Sue Cavanaugh, as well as the wonderful work of artists such as Dorothy Caldwell, Patricia Larson, and Catherine Jeffers. Because of the incredible depth of Ohio's art quilt scene, (successfully documented in my book), there is always something wonderful to see in Columbus. Don't miss this one.

Corner Office by Terry Jarrard-Dimond, from her solo exhibit, Textile Constructions

I am currently participating in an online artist dialogue started by South Carolina fiber artist Terry Jarrard-Dimond and called Compositional Conversation. It is the second such virtual artist project I have participated in, and it promises to be a very stimulating experience. I first became familiar with Terry's work when several of her art quilts were juried into The Artist as Quiltmaker a few years ago. A stunning, process oriented artist and craftswoman, Dimond's solo exhibition at the Goodall Gallery at Columbia College, South Carolina promises to be fabulous. Textile Constructions opens September 1, so check it out if you're in the area.

My husband had surgery on both feet earlier this week. As a result of caring for him until he can walk again, my focus is elsewhere this week, and likely in the coming weeks. Look for more information on upcoming exhibitions to see in the coming days. And enjoy your feet, and your hands! I have gained a new appreciation for these taken-for-granted body parts this week.

What's in Your House?

One of Gayle's TagTalk greeting cards, made from recycled clothing tags.

Being with a group of artists on Middle Bass Island means a lot of show and tell. It's a chance to share in the enthusiasm of artwork in progress, newly finished works, the bantering about of ideas. It's a lot of fun!

Our hostess, Mary, is working on a bar stool benefit auction to be held on Middle Bass July 25 at her shop, My Aunt Irma's. She had several of the artist-embellished stools in the shop, and another one at her house. Old friend and transplanted weaver Kathie Roig regaled us with the story of the beer bottle cap covered one she brought up to the island from North Carolina. I laughed so hard I forgot to take pictures. She shared that she is about to start a large commissioned piece. Some of her smaller works are online in her etsy shop, KMRhandwoven.

Jan Gibson showed some felted pieces she has been working on, including one of a set of large dolls with handmade ceramic heads. Leslie Organ talked about her success selling Upcycled clothing at a local outdoor market once a month.

Lois Carroll, my energetic artist playmate, showed a funky knitted round handbag made with brightly colored Turkish designs. Because she is not computer savvy, I share my etsy store with her. Lois is known for her wonderful wearable clothing and accessories, many of which are available online under her Glad Rags moniker.

One of Lois' stylish tote bagsKathleen Van Meter showed some of the pieces she had exhibited at this summer's Threads of Inspiration exhibit in Vermilion at the Maritime Museum. I love layers, and Kathleen's work uses them to perfection. Her work is rich and subtle at the same time, layered sometimes with created grids, often with screening material. Her pieces are gentle and beautiful.

June by Kathleen van Meter, installed at the Artist as Quiltmaker XIII, juried by David Walker and curated by Gayle Pritchard.

Oberlin, Ohio artist and owner of Ginko Studio & Gallery, Liz Burgess showed a piece from her recent silkworm collaborations. Over the years, Liz has tried different materials, but this year she mounted casts of her own hands in various positions, indigo dyed. The silkworms were released onto the sculptural forms, fed their requisitie mulberry leaves, and left to spin their silk cocoons. It's worth a trip to the gallery just to see the installations in action. Fascinating!

Photographer Linda Grashoff, one of Ginko's studio artists, is busy working on a manuscript. When she works in fiber, she utilizes her photographs on cloth to present in-depth scientific studies, such as in her river series. Her work has been featured several times in Fiberarts Magazine.

JoAnn Giordano is a well-established and highly regarded artist, who also teaches in the area universities. She brought pictures of her work for this year's Parade the Circle event at the Cleveland Museum of Art. You can see one of her art quilts online at the Olin Art Gallery link for Kenyon College. She and I, along with Susan Shie, Clare Murray and a small group of Ohio artists exhibited there in Innovation and Tradition: Contemporary Art Quilting in Ohio.

Ruta Marino doesn't look like she's obsessed with food, but her longtime series of wall pieces made with "food" fabrics would suggest otherwise! In addition to the Gauguin inspired finished piece, she showed two delightfully fruity Marilyn Monroe pieces inspired by Andy Warhol's graphic work. While clever and amusing, the pieces, to me, are also a smirky commentary on our contemporary culture, and deftly presented.

But, to the heart of the matter, and my original question: What's in your house? Is it full, top to bottom and side to side, inside and outside with artwork? Well, Mary's house was one huge show and tell, from the quirky and elegantly painted bathroom to the upstairs landing. I am showing you just a few examples. The vignettes in her house could fill a book!

A painted hat on the wall serves as a colorful painting.

En route to the fun bathroom was Mary's kitchen art pantry. Instead of spice bottles, cans of soup and the bags of rice and noodles I see in my pantry, Mary's is full of multicolored delights, some functional, some just fun to look at.

Upstairs, a graphic painting of large bathing suits sits on the wall, while a Clown / Circus shelf welcomes visitors.

So I ask you again, what is in your house? Be sure to fill it with your personality, and may your home always be filled with joy. And don't forget the art.

PS: Here is the aforementioned beer bottle cap barstool. Yes, each cap is unique! Thanks for sending this, Kathie.