Designing for a Theme… Innovation – Part 1

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I’ve been thinking once again about designing with a specific theme in mind.  If you have entered into juried shows that have a theme, you know the dilemma.  How literal do I need to make this piece to fit the theme?  Or perhaps you’ve just skipped entering those shows.

Since my preferred style in which to make art is representational or pictorial, I don’t usually have a great difficulty with making something to fit a theme.  My struggle is more about whether I really want to make a piece or not for that show.
As an example, I’d like to share about the 50th Anniversary Celebration of the Seattle Center.  In 1962, Seattle was the home of the World’s Fair… the grounds on which the fair was held is the Seattle Center.  Most notably, Seattle’s best-known landmark, the Space Needle was built for this 6 month festival and exhibition.

Helen Remick’s “Spinning Out, Spinning In 1” (left)
and Margaret Liston’s “Save” (right)

Seattle Center put out a call to artists for large proposals to show during the 6 months of the Next 50 Celebration.  The theme of the overall exhibit and performances was “Illuminating Today’s Challenges, Imagining Tomorrow’s Possibilities.”  The call was set up as a two-tier process.  You sent in an extensive original proposal through Café (Call for Entry), including a series of images representative of your art.  


As I am the Exhibitions Co-Chair of the Contemporary QuiltArt Association, I prepared this proposal for our group.  The second tier was like a call-back for an audition.  Except now, you had to do an elaborate proposal, including budget, recommendations on where within the Seattle Center grounds that your exhibit would take place, showing how your art would benefit and reflect the theme of the Next Fifty, and finally a video to support your claims of your work.    

Melisse Laing’s “Sorok dva – Russian Collaboration II”


In the end, we did get chosen for an exhibition, but we did not receive any of the grant money… not a big problem as our group doesn’t typically get paid to exhibit.  But when it came down to the “theme”, they decided they wanted to be even more specific.  The dates chosen for our group’s exhibition were during September and October (2012).  Each month of the celebration had a focus… September’s theme was “Commerce and Innovation” and October’s was “Civic Action.”  So, the name given for our exhibit was “Possibilities: Fiber Artists Look at Innovation and Civic Action.”  Can you imagine trying to get a group of quilt artists to tackle that as a theme?  (Imagine a great big eye-rolling from me here.)

Artist and CQA President Marylee Drake with
her piece “Gearing Up for the Future”

But, somehow our artists always come through with a wonderful show as you can see from the photos above.  Tomorrow, I’ll talk about and share some photos of the process I went through to make my piece “Graphene – The Miracle Material.”

You might also be interested in:
Designing for a Theme
A Day of Art
Making Fabric





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Journeys show at Seatac International Airport

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Caverna Magica at SeaTac airport

We had a little snafu when we went to set up our “Journeys” CQA show at the SeaTac International Airport earlier this year.  The schematics for the cases which they had sent to us were wrong!  So, not all of the quilts our jury had picked out fit into the cases.  One of mine, Caverna Magica, was left out of the initial hanging and then switched in half-way through the show.

There are two areas in the airport with our displays.  The first is in a hallway leading from ticketing near the Southwest Airlines ticket counter to security and entrance to the gates.  This section has the large cases pictured here.  Each piece in this exhibit has an accompanying “educational display” which teaches something about either how the piece was made, inspiration, or materials.

The educational display for Caverna Magica reads as follows:

Caverna Magica Educational Display

“The Caves of Nerja (photo 1) are located in Andalusia, in Southern Spain.  Filled with impressive stalactites and stalagmites, these caves were discovered in the modern era in 1959 and stretch over 5 kilometers.  As a major tourist attraction, sections of the caves are lit with colored lights.  Having visited these magnificent caverns in 1996, I immediately thought of them when I completed the first dyeing of the fabric for this quilt.

Starting with a piece of 100% white cotton fabric, I poured several colors liquid Pro MX dyes onto the piece, which lay with numerous ridges and folds on a flat surface.  These folds created the interesting patterns which are reminiscent of stalactites (photo 2).    Much of the white fabric was still showing through, and I wanted to create more crystalline structures within the piece.  This was done with a second dye bath, using a snow-dyeing method. 
Close-up of some of the machine quilting on Caverna Magica
Snow-dyeing is basically like making a snow-cone… you crumble your fabric up in a container, pack snow on top of it, and then pour several colors of dyes over the snow.  As the dye trickles down through the snow, it hits the fabric and slowly starts the color transformation as the temperature rises.  Due to the unusual nature of this process, the results are one-of-a-kind and typically form beautiful crystal-like patterning in the color.  After 24 hours and the snow completely melting, you can wash out the excess dye.  The colors were intensified and additional details representing the rocky caverns came out through this additional dye process.
The final layer of this piece was to add more detail through densely quilting the fabric.  I do my quilting on my Bernina 730 home machine, free-hand guiding the fabric in the directions I want to go.  With this piece, I wanted to emphasize the feeling of stalactites and stalagmites with the stitching lines.  I continued using a wide array of colors of thread, to match the feeling of the wonderful lights shining on these incredible natural structures.
Part of the Contemporary QuiltArt Assocition’s
Journeys show at SeaTac
It’s always exciting to see your work on display.  Since I had to pick my husband up at the airport this week, I finally got to see my piece now included in the exhibit.  If you’d like to see some additional shots of this show, see my post “Designing for a Theme.”
Part of the Contemporary QuiltArt Assocition’s
Journeys show at SeaTac

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A Day of Art

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Great news!  Today at our Contemporary QuiltArt Association board meeting, I presented the information and ideas for the Mighty Tieton show coming up in May.  The board was very excited about the show and potential of concurrent events, and voted to accept Art-Cloth as entries, as well as quilts.  Next, I’m going to need to figure out the logistics of putting out a call to artists outside of our organization, for outdoor / installation pieces.

From Mandy Greer’s “The Silvering Path”

Our speaker today, Mandy Greer, makes incredible huge installation pieces, costumes and performance art, mainly crocheted.  She recently returned from an artist residency in Iceland and has created some incredible new work.  Mandy shared a look at sources of inspiration with us, as well as luscious rich photos of her pieces, such as these shown here.  She had to leave rather shortly after her presentation, but I plan to get in touch with her to find out about the possibility of her being interested in coming to Tieton.  
“Dare alla Luce”- Mandy Greer 2008 at Bellevue Arts Museum
After our meeting, I swung by Nancy’s Sewing Basket on Queen Anne hill in Seattle, which has an incredible supply of fine fabrics, mainly dressmaking/ tailoring types of collections.  I needed to pick up some wool felt for the Elizabethan Embroidery class I’m taking up at Gail Harker’s Center for Creative Arts next week.
Jessica Dodge at her studio
From there, I headed to West Seattle, to go to the Open Studio/Sale of an artist friend whom I’ve known for  almost 30 years, Jessica Dodge.  Jessica actually gave me art lessons when I was in my early 20’s, in drawing and painting.  Her incredible oils painted in reverse on window glass vibrantly engage the viewer.  
To complete an already full day, I’m working on dyeing and painting fabrics tonight for a Play-date with other CQA artists here at my home tomorrow.  Our organization has partnered with Stashfest, a fundraising effort for the LaConner Quilt and Textile Museum.  CQA artists are making hand-dyed, painted, printed, silk-screened or other specialty fabrics to see at Stashfest, with the proceeds of the sales being split between the museum and CQA.  So, back to the dye studio for a little more late night fun!
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Designing for a theme

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Do you shudder with fear or turn away with disdain when you see a show that has a theme?  It seems that many calls to artists request the artwork to meet an aspect of a theme, and some jurors are stricter than others about how closely a piece meets that criteria or not.

Moulin Rouge Deux (on right) at the Airport Appetizer show

As the Co-chair for Exhibitions for the Contemporary QuiltArt Association, I’ve seen both jurors who would drop a piece for not seeming to have anything to do with a theme, and others who were open to a very broad interpretation (such as the title had a word that related to the theme, but there was no other discernible connection.)

 Being more of a representational artist, working with a theme usually works well for me.  I like having a launching pad for my ideas.  For instance, at one show at the SeaTac international airport, my quilt “Moulin Rouge Deux” was displayed, along with other quilts with international elements.  You can clearly see the pyramids in the other quilt alongside mine.

Currently, SeaTac has another exhibit from CQA, this one with the name and theme of “Journeys.”  In this show, we had some fabulous entries which took many different interpretations of the theme.  I have two additional pieces in this show.  Here are some photos from this exhibit:

 Many interpretations of a broad theme.  After all, we can take literal journeys, by foot, car, horse, rail, air, boat, etc. or we can take spiritual journeys, journeys of the heart, or journeys of our imagination.

Rainier: Two Views by Colleen Wise

But what about when the theme is more difficult or restrictive?  I’ll go into that more tomorrow.  Pleasant dreams…yet another type of journey!

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The Art of Organization

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It’s funny, how you can be really organized in one area, yet swimming (or sinking) in disorganization in another.  Like many creative types, I struggle with organization.  At our local Surface Design Association meeting a few months ago, we had the topic of Time and Studio Management.  We all brought photos of our studio in its current condition.  We even had a $20 prize for the local Quiltworks store where we meet for the artist with the messiest studio, to encourage people to really not clean up before our session.  Well, since I offered the prize, I didn’t have to shell out any money when it was unanimously decided that my studio was the worst!  No, I’m not going to share those photos online at this time… maybe when I get to know you better.

On the other hand, I’m extremely organized in some areas… in setting and attaining goals; in developing organizational systems; in project management.  For instance, today I put together 3 different proposals for exhibition venues for the Contemporary QuiltArt Association (CQA.)  Two were for well-known musuems and the third for a city hall gallery.  Putting together proposals such as these requires a lot of organizational skill.  You need to find their requirements and do your best to follow them explicitly.  You need a personalized cover letter, artist statement, biography, artist resume, and images of your work.  The images needed to be picked and formatted to each venue’s specifications. I’ve been very successful with my exhibition proposals in the past and hope that I will be here again in the near future. (I’ll let you know where the museums/galleries are if we secure them.)

This year I’ve made slow incremental progress in gaining control over some areas of my life.  First and foremost, I lost 30 lbs that had been slowly creeping on over the last few years.  Next, I’ve been keeping up with putting all my clothes away (anyone else have oodles of laundry?) and making sure to keep my closet cleaned up.  Then, I moved towards keeping the corner of my bedroom clean, where my books, quilt magazines, art projects and miscellaneous junk pile up from whatever I’m working on or reading before bedtime.  And now, I’m working on the studio. 

Part of my problem is that I’m blessed with a large home.  So, whenever I run out of space, I just move on and work in another area. I also love to work in the evening in front of the t.v.  However, theis requires bringing a bunch of things from my studio into our “adventure” room (family/tv room.) I also am one of those people who just love to learn new things.  So I have supplies for all of them.  I’m working now at developing a place for each type of supply… a drawer of thermofaxes, a bin for stabilizers, all my scissors put away in the same place, so I always know where to find things. 

The outside of the old fruit processing plant

But, again, you can only do so much cleaning and organizing until you are cutting into your art time.  Today, I did some dyeing-the wool Viking tunic my son made.  Too much time has been spent in front of a computer screen.  I never did claim that I was great on the time management side, now did I?

I promised a few days ago that I’d post some photos from the Mighty Tieton gallery.  Enjoy!


You walk through part of the old warehouse…
… and open the huge Cold Storage door

To a beautiful gallery space

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Scope Creep

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Large Unfinished Feltwork at Tieton

Have you ever heard of scope creep?  Sounds like some kind of peeping tom that uses a periscope, doesn’t it?  Well, it’s actually where the intent and expectations of a project keeps increasing.  Perhaps I just have big ideas… but I’m finding myself being really excited about the prospects of the Tieton exhibition.  For instance, the large felted piece that I mentioned yesterday?  I started thinking about a documentary on Mongolia I’d seen and how they would felt large pieces by pulling the roll behind horses.  Here’s a link that has some info on the Mongolian felting tradition, as well as a YouTube video of the steps of the process.  Well, I’m a horsewoman… I recently sold my horse but still ride and know lots of people in the equestrian community.  One of my contacts has a Friesian farm in the Yakima area, not terribly far from Tieton, where they have big beautiful black horses that draw carriages.  Shouldn’t be too hard to drag a roll of felt, then, should it?


Will and Teresa Bron with two of their lovely Friesians

I also got to thinking about a fiber group whom I read about in Quilting Arts Magazine (June/July 2012).  They are from the Netherlands and create all sorts of outdoor installations.  You can see some of their work on their Windkracht 10 Blog.  We also have had a wonderfully colorful addition to many of our outdoor spaces here in the Seattle area… yarn bombing.  Just google yarn bomb Seattle images.  Here again, Tieton would be a perfect place to do all sorts of wonderful outdoor fiber art displays.  So, the scope of this exhibition may just be creeping up a bit more.

I’m thinking that it might be too much to ask of our CQA artists to also do the outdoors pieces, so perhaps I’ll just write an open call for artists in Washington… that shouldn’t be too much extra work, right? 

Tieton would also like to have lecturers and classes available from fiber artists during the show run.  So, I’ve opened this up to CQA artists as an opportunity, but I may need to open it further, if I don’t get enough response.  Well, I suppose I could pull a class together before next May….

Oh, and I’m thrilled that Mighty Tieton, having their own print studio, has offered to make a catalog of the exhibit!  All I need to do is provide high resolution images of all the artwork, artist statements, information on each piece, and write a curators statement.  No problem!

As you can see, it’s easy to commit and commit, and then not take time to do your art.  I’m committed to make a piece (or more) for this show.  But as artists we need to weigh out our commitments and look at our overall goals.  I do believe that putting this show on in style will be a positive experience for my artistic career.  But the major sticking point that I struggle with is in making enough art.  Making enough to be good.  Making enough to develop my artistic voice.  Making enough to feel fulfilled.  As I work through my goals for the coming year, I’m looking at committing to making a small art piece (5×7?) each week.  However, I struggle with whether that will stop me from making my larger pieces.  I have a partially-completed quilt (OK, who doesn’t) on my design wall that is about double-bed sized… I don’t want to stop making something just for the sake of some promise to do a small piece every week.  And I’m not sure I have time for both.  Well, I guess I will think it through some more before I write out my goals and plans for 2013!

Eastern Washington Seed Pods

Here’s my favorite inspiration from my day!  The sunshine and shadows on these seedpods was lovely with crisp air filled with the smells of all the dried grasses and grains. 

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Planning an Exhibition

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Entry to the old cold storage room now refurbished as a gallery

Mighty Tieton is an unique artist community 15 miles outside the city of Yakima, Washington. As the co-chair of Exhibitions for the Contemporary QuiltArt Association, I’ve scheduled an exhibition in their unique gallery space. Today I visited the space-a remarkable gallery created out of an old fruit processing warehouse. The space where our exhibit will hang was a large cold storage locker complete with huge refrigerator-like doors through which they probably drove forklifts filled with pallets of fresh Yakima valley produce.  Once you get through the door, however, the space is transformed into a wonderful gallery space with soaring ceilings, high-tech lighting and a wire hanging system which will allow us to hang quilts or art-cloth throughout the interior of the gallery, rather than just from the walls.

Currently, in a second “cold storage” space, they have set up an exhibit of Trimpin’s sound studio art. Originally from Bavaria, Trimpin’s now lives in Seattle. His artwork combines music and sculpture, often using computers to play the instruments. He has exhibited in numerous prestigious galleries and museums, including Seattle Art Museum, the Experience Music Project, Frye Art Museum and many more.

In yet another space in the warehouse, there was the start of a large (approximately 20′ x30′) felted piece, started when Janice Arnold had one of her incredible felted tents on display (still up in yet another gallery space!). We may even get the opportunity to work on felting this unfinished piece.

I took high-res photos of the space which I’ll post after I return home and am able to process them.

As one of my artist goals, I want to get to the place where I can have a solo exhibition of my art. I’m not there yet… but as one step towards this goal, I decided that volunteering as Exhibitions co-chair would help me gain valuable experience which I can use in my future solo shows. Since the time I started working on CQA’s exhibitions, I’ve learned a great deal. How to find potential venues; what to include in an information packet to the prospective gallery; talking with gallery representatives; working out exhibition details; how to publicize the show; hanging an exhibit; putting on an opening event; working with the gallery on sales; and finally, taking the show down.

More to come on the process of putting on exhibitions. Any secrets you have to share would be greatly appreciated!

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