Our exhibition for the Gail Harker Center for Creative Arts for Level 3 Advanced Experimental Stitch is now complete. I say this with a sigh of relief twinged with a bit of sadness. We’ve been in this course for the last 2 1/2 years… meeting every three months and working on homework just about daily during that time. My friends in the class and I have grown artistically through the process that our mentors, Gail Harker and Penny Peters, have instilled as a way of working, applying design and testing to our artwork.
As part of the exhibition, each of the graduates had to give a talk and answer questions on some aspect of their studies or artwork. I spent the majority of my time explaining my process for making my large-scale Stumpwork (or 3D embroidery) heron.
A second assessment piece was a 3D project (the wall piece wasn’t required to be 3D, I decided to stretch my artistic abilities and make it Stumpwork). My vessel based on a wave went through numerous renditions. Perfecting the shape through making models from paper, then from the heavy duty interfacing that stiffens the vessel took much more time than one would imagine. Not to mention all the hours of beading and hand stitching!
We also had two historical projects for the class. One focused on Native American stitchwork and the other on a study of Stitchwork brought to the US from European immigrants. We made artwork based on pieces we found in our research, including some stitched samples.
I’m so appreciative of our tutors/mentors Gail and Penny, who led us on this journey. As I have witnessed from their other class exhibitions, each of us as students were given the same guidelines but have developed our artwork into something uniquely our own. I look forward to continuing on in class at the next level, when it’s offered… but I also look forward to catching my breathe after such a big push to put on an exhibition of this magnitude! Here are some more photos of my work at the show (wish I could fit it all in!):
Last night I attended the preview party for the 2018 Quilt and Fiber Art Festival in Everett, WA. With all the wonderful entries in this large International show, I’m awestruck and so humbly honored… I won 4 awards!
A Best of Show-Mixed Techniques Award Of Excellence for the show, “In Klimt’s Corral”
3rd place for Fiber Art- Mixed Media, “In Klimt’s Corral”
2nd place for Fiber Art- 3D/Sculptural, “Bullkelp Vessel”
2nd place for Fiber Art- Needlework, “Crested Serpent Eagle”
“In Klimt’s Corral” will be included in the “Award Winners: Quilt and Fiber Arts Festival 2018” exhibit at the Pacific Northwest Quilt & Fiber Art Museum from October 17 – November 18, 2018.
Meanwhile, I’ll be scooping up the Bullkelp Vessel and Crested Serpent Eagle pieces to include in my exhibition later this month at the La Conner Country Inn. I’m still working feverishly to finish up all my pieces for that exhibit. I haven’t even taken time to count them all up, but I think I have about 30 pieces. I’ve continued to work many of my pieces to my theme of “the Water’s Edge”, coinciding with all the work I did on seaweeds during my 2 year Level 3 Art & Design class.
I want to thank my family for all the support they’ve given me as I continue on my fiber artist journey. I was so happy have my Mom, husband Randy, and daughter-in-law Zeyneb with me at the preview party last night, and I look forward to our other kids coming to my Advanced Stitch Exhibition. I have to give extra acknowledgement to Randy for putting up with my constant stitching or other work while we spend time together as well as having my art supplies stretching into all corners of our house! I appreciate all the support from both family and friends.
UK Textile Tour Day 9: Audrey Walker at the Ruthin Craft Centre – Wales
One week before I was scheduled to leave on my trip, I received my “Embroidery” magazine, the publication from the UK’s Embroiderers’ Guild. To my surprise, an article highlighted an upcoming exhibition at the Ruthin Craft Centre in Northern Wales of Audrey Walker’s amazing embroideries. And it was opening one day after I was scheduled to drive North through Wales up to Scotland!
As an artist who does a lot of pictorial work, I’ve been a fan of Audrey Walker’s work ever since my mentor and tutor, Gail Harker, introduced me to Audrey’s intricate stitched portraits. So, without much hesitation, I worked out a change in my itinerary to stay an extra day in Wales, so I could see the exhibition on its opening day.
Audrey Walker’s six-decade long career in embroidery has influenced many contemporary embroiderers. Not only is she an amazing artist in her own right, she succeeded Constance Howard as the head of the Goldsmith’s College Embroidery & Textiles Department (1975-88) guiding another generation of makers. She focused on teaching her students to seek out and explore their ideas first, then to study the history and techniques to realize their artistic vision. Her first textile associate was Jan Beaney, who went
on to become internationally renowned for her stitchwork, as well as being one of the Cities and Guilds tutors and evaluators who taught Gail Harker. So, I guess I can claim Audrey is my embroidery great-grandmother!
This exhibition, in Audrey’s 90th year, is a retrospective of her work, with pieces coming from as far away as the U.S. (owned by private collectors) brought together at the Ruthin Craft Centre, the location of Audrey’s first solo exhibition 18 years ago.
Audrey’s start in textiles began ten years after completing her degree in fine art (mainly portrait painting), after seeing an exhibit of fabric collages by Margaret Kaye (1912-2002). Prior to that , Audrey associated embroidery with the domestic textiles of her youth. Rather than continuing on as a painter, textiles became Audrey’s medium of choice. She even incorporated some of her family’s domestic textiles into her artwork, giving a nod of recognition to the historic roots of embroidery.
Topics that have figured prominently in Audrey’s work include “momentary glances, encounters, inward smiles, the power of a gaze, vulnerability and the simple pleasures of life”. Some of her figures have a wistful, enigmatic look or smile, reminiscent of the Mona Lisa. Audrey’s process includes drawing portraits prior to her stitching and even drawing at the end of a day of stitching as a critique of her work or to an express an idea to develop in the future.
It’s remarkable to see the incredible detail that has gone into each of these large pieces. The images are created through color blending with the threads.
“There is no doubt that building up an image with absolutely separate lines of colour – the threads – is an endlessly fascinating and pleasurable activity. But it can be infuriatingly slow and it has all kinds of hazards! …However, the very slowness of the process can be productive. It allows a longer encounter with the idea and therefore the chance to explore it more fully and critically. It offers opportunities for valuable interludes – for instance setting a large piece on one side for a time in order to work through related thoughts on a smaller scale or in a different medium. The prooblems in the larger piece are often solved through side-stepping into related work.” (Audrey Walker ‘Insights’, 1999.)
Audrey was a regular participant in the “62 Group” exhibitions from 1966 – 1981. Starting in 1962, the 62 Group of Textile Artists was created as support for serious professional textile artists. Audrey joined in 1964 and remains an Honorary Exhibiting member.
Inspired by a tiny embroidery fragment less than 2″ high at the Victoria and Albert Museum, Audrey created “Observed Incident.” The 14th Century inspiration had 3 knights in full armor with a watching figure. She wished to salute the unknown embroiderer’s imagination with a large scale version of the topic.
The Big Blue Bowl is part of Audrey’s recent body of work where she is experimenting with a single line of stitch, rather than overlapping stitches.
Once in a while you need to give in to temptation… as I did by going out of my way to make it to this exhibition. I’m so glad I did!
UK Tour Day 1- Royal School of Needlework Curator’s Tour
I’m a great admirer of England’s RSN and the incredible embroidery pieces produced by their students and tutors. I’ve had the great fortune to visit them twice in the past, most recently in 2016 for theor Stumpwork and Raised Work exhibit. So when planning my current tour, I looked up what is available and found their current exhibit is “Animals in Embroidery”- one of my favorite things to create! Only problem was that the curator’s tour this month occured only at 11 am on the day I arrive from Seattle at 7 am! I thought about it for several weeks and then decided I’d take the risk and sign up, even if timing was tight and I might miss it. Luckily the stars must have been aligned because our flight arrived on time, we were successful with our train connections, and we met the RSN volunteers at the front ‘moat’ gate of Hampton Court Palace at 10:45 am.
The Royal School of Needlework (RSN) started in the late 1800’s with Queen Victoria as their first patron. Their mission has been to keep the art and techniques of hand embroidery alive and thriving, as well as helping train women (now men too) for employment so they can support themselves and not become destitute They have classes at Hampton Court Palace and other International locations lasting from 1 day to several year programs. They also have rotating exhibitions at their on site location, which can be viewed with a curator’s tour. Book a tour at the Royal School of Needlework here!
According to our presenter who is inher second year of the RSN teacher certification program, animals (including birds) are the second most common subject for embroidery (flowers are the most popular.) The display of both student and tutor work includes all sorts of techniques, tied together by the common theme of animals. The techniques include blackwork, needlelace, goldwork, canvas, Jacobean crewel embroidery, whitework, applique, and silk shading.
One piece that caught my eye was a blackwork race horse and rider. The stitches were so tiny- about 3 mm at the longest. To create the shading/shadows, the density of stitch is increased, often by increasing the thread weight. The jockey was done in blackwork techniques, but using colored threads to create contrast. This exquisite piece was given to Her Majesty Queen Elizabeth II, on the occasion of her Diamond Jubilee in 2012.
Silk-shading works beautifully as a technique for animals and birds, as you can make extremely realistic hair/fur and feathers with gradually blending the colors of very fine silk threads. There are many true to life creatures in the exhibit using this technique including rabbits, leopards, chickens, badgers, yaks, flamingos, bats, owls and more! Some might call this a photo- realistic style, but I think it’s so much more than a simple 2D picture. You can’t get the range of texture in photography that you can in stitch.
The tour moved then to their workroom where RSN trained embroiderers are working on commission projects. These include both conservation work (repairing historic embroidery to stop the ravages of time) and new bespoke pieces.
As a final treat, we got to the RSN giftshop, where I picked up a few goodies. After flying 9 hours and staying awake through planes, trains and automobiles, we headed back to our hotel in London, to get a well-deserved rest before a late dinner.
If you’re planning a trip to London, make sure to look up the RSN and see if you can take a class or tour. You’ll be glad you did!