Mark it up as Success/FUN/Beautiful

 

Last weekend's Markmaking Workshop at El Cielo took us all on a path to beautiful, deconstructed screen-printed fabrics. Each of the participants worked from a visual motif, developed in a half day of cut, paste and draw, then adapted it to different tool-making and technical processes.

And of course, we ate well, swam, set and looked, walked dogs (at least Linda and I did!) and talked and shared our lives. Thanks to Margaret, Heather, Mary and Ellen for all the creative energy flying through El Cielo. 

Here's just a few photos from the weekend. (Don't you love these panoramas, created by Linda with a new app on her iphone 4.)

 

 

 

 

From Photo to Fabric

Time is running out to register for the next Photo to Fabric workshop at the Southwest School of Art:

The workshop is Saturday and Sunday, June 18-19 from 10 am to 4 pm. We'll be working both with digital media and with photos as a design inspiration for paint, stamps, color palettes and composition.

Class Sessions: 2

Maximum: 10

Location: Surface Design Studio | Navarro

Take your favorite photos and use them in original fabric art - both directly printed on your own fabric and as inspiration for a fabric collage to stitch later. Bring an assortment of photos, print or digital (on disk or flash drive) to the first class in order to select those that work best with each technique. You'll learn to make two different kinds of photo prints on fabric using an inkjet printer, and also enlarge, simplify and transfer a photograph to a larger wall fabric art quilt format, for later quilting or stitch work at home. Please see SSA website for a materials list. Bring a lunch each day.

The Workshop of the Mind

How does your mind work? And what might it look like? Answering these two questions can give any (creative) person (and we are all creative) interesting insight into his or her process of invention, collection and creation.

 Led by my colleague, Dr. Cynthia Herbert, we traveled the road of looking at one's mind at a recent workshop at Ballet Austin. Attending were about 18 arts educators from diverse arts organizations (and/or interests) who took our New World Kids training. This exercise takes adult through a very personal image/collage/sculpture making process based on what currently is known about how the mind perceives, uses and stores information -- and how each of us differently uses that information to create new "products." Products can be as complex as full-blown works or art, as business plans, as research designs -- or as simple as a room arrangement, a lesson plan, a travel plan, a meal.

I'll be leading the same activity in my play and imagination workshop later this summer at El Cielo Studio, and also a parents' version at my weeklong course on creativity for your kids at the Southwest School in August. (There is also a Southwest School of Art weekend course there for teachers on teaching fiber arts, but we will start with this mind=picture activity.) 

PLAY, ART AND ATTENTION

July 29-31

Making time to play with odd-ball materials; learning to focus upon artful tasks at hand -- sounds like opposite sides of the coin? At this exploratory and full-of-play weekend, we’ll explore the relationship between the time, play, art and focus. Where does time management intersect with open-hearted fun? Expect bubbles, playdough, sparklers, jello, yoga and seeing the world from new angles and attitudes. Fee $165, including most supplies and meals. (For details, email me through the contact form on the sidebar).

 

special parent class
on raising creative kids
9-955|CREATIVITY & YOUR KIDS
Susie Monday
Mon – Fri, Aug 1 – 5 | 9:00am – 12:00pm 
Tuition: $140 (Members: $125) | 5 sessions
Discover more about your child’s learning. Explore their world of creativity, and find ways to stimulate and enhance it. With artist-educator Susie Monday, co-author of New World Kids: The Parent’s Guide to Creative Thinking as your guide, find out how to support, direct, and defend your child’s creative thinking at home and in their school setting. Hands-on activities, handouts, problem-solving, and an interdisciplinary approach characterize this invaluable class for the parents of creative kids.

sAug 1 – 5 | 9:00am – 12:00pm Tuition: $140 (Members: $125) | 5 sessions

 

But here's one little taste that might provide insight (this is actually the final part of the 2 hour experience).

Think of a metaphor or analogy for your mind at work on a creative project, big or small. For example -" my mind is like a bee hive with bees and different tasks buzzing and communicating," or My mind is an assembly line where sensory input goes in at one end, gets organized and reshaped and comes out the other," or "My mind is story telling stage with lots of storytellers taking turns."

Now create a model or drawing of that analogy or idea! This is even more fun in a group, because you will be amazed at the diversity of ideas and of their expresssion.

 

How to Make Your Mark in Your Work Work

What are the  marks you make with your work? Do you have symbols, shapes, lines or an approach with color and pattern that you integrate into your art, no matter the exact "content" or "theme" or story? Can your audience see your hand in your work? What a human thing to do. What a connection making such marks is to our amazing history of being human...

Markmaking is our language, private, personal, universal and iconic. The marks we make over and over in our work -- be it visual, kineasthetic, tactile, audible -- constitutes a piece of our personal unique style, and the more we work at those marks, finding mastery of our own special language, the more distinctive is our work, the more recognizable. 

Markmaking is part of style, part of voice, part of what makes my work, my work and yours, yours. Taking time to find, polish, elaborate upon, distill and play with our marks is an important aspect of finding our voice in the medium we choose to use to express our ideas.

The Mark-Making Workshop at El Cielo Studios is coming up in about a week and a half  (June 10, 11,12). I'm hoping to fill this little extra slot with a few folks who want to take the time to find and polish and master their own set of marks for fiber art prints, applique and other surface design. While the activities are designed with fiber artists in mind, they are also of value to any mixed media or visual medium who would like his or her work to become more distinctive and distinctly unique.

Markmaking is a distinctly human activity and one that we have been exploring as humans for millenia. Consider the new documentary by Wilhelm Herzog, Cave of the Forgotten Dreams.  We just saw the film (in 3-D) at Austin's Violet Crown Cinema, a new and snazzy space downtown on 2nd.  This adventure (part of Linda's and my CAMP AUSTIN this week) was stunningly beautiful, evocative and a powerful reminder of what it is to be human, to make marks and to leave our handprint behind.

The week in Austin is also work time for me. I'm part of the New World Kids' Training Team that is working at Ballet Austin with arts educators from three different arts organizations in the city. We, too, are looking at markmaking (among other expressive tools) as teachers move and paint and sound their way through the Sensory Alphabet. Seeing the differences in our minds at work as they play out on the page is just another dimension of this markmaking work. I'll share more about the workshops later this week on the blog, but meanwhile, here are a few playfull markmaking experiments to fool around with:

1. Look at how you doodle. What kinds of lines and shapes and symbols do you play with "when noone is looking?"

2. Take one kind of simple symbol and play it out across a wide variety of media -- paint it, draw it, make it in clay, look for and photograph it in nature and on the streets, sing it, rattle it, make it move. make it into a movie, write it into a story.

3. Carve or cut or otherwise create a stamp of a favorite mark of symbol. Experiment with it on fabric and paper, with repetition and size, change the scale and layer it one upon another. Repeat, repeat, repeat.

4. Look at a favorite artists' Insert Image work and see if you can find examples of marks made over and over. How are these distinctive marks part of the artist's "fingerprint?"

 

5. Make a slide show of images of a mark or symbol or sign or shape that is interesting to you. How many places can you find it? How many ways can you make it show up?

6. Try your mark in electronic media and on software apps that allow for special kinds of markmaking. Print out these marks and see how they could be used in your work.

Some to try: Zen Brush:

 

Also: Finger Sketch Paint

Express Sketchbook

OR, you can come out to El Cielo Studio next week and do these and many similar activities with the group!

CHANGE OF DATE

MARKMAKING,

MAKING YOUR MARK

June 10-12

Markmaking can be what distinguishes one person's

work on paper or fabric or any medai from another's -

their personal style. Using color, line, shape, rhythm

and textures, students will explore traditional and new

media as well as techniques for personal markmaking.

Techniques to be covered include deconstructed

screenprinting, stamping, using paint

sticks and monoprinting with gelatin plates. No matter

what your experience level, you'll gain confidence

in working with layered media and find your

strongest media for the marks that make your work

unmistakably your own.  

$160 plus accommodations, free to $30 for both nights, Friday night potluck is optional but encouraged!

 

 

Illustration Workshop with the Maestros

 

Today twenty Central American teachers are at El Cielo for the first of four design workshops. Today, we looked at several children's books (they will be making their own later in the summer), and at how the artist's had worked in different and varied styles. Like many adults some of the teachers are shy about their ability to draw --- though I think they have fewer reservations than most Norte Americanos I know!

 

One of the great books I shared was Faith Ringgold's Tar Beach, with illustrations similar to those that she used on her amazing and groundbreaking art quilt Tar Beach, made in 1988. The story combines autobiography and fictional narrative, and the pictures are delightful, as is the story. (Photo above from the Brooklyn Museum)

ANd here are my illustrators. Each teacher had to produce four versions of an illustration of an event from his or her childhood. THey worked in paper collage, magazine collage, ink and watercolor, crayon/oil pastel resist. We discussed their strongest style, what was most fun, most challenging. Next Friday we'll do a printmaking workshop that works with the same narrative images.

 

 

Count Down to UFO (unfinished fiber object) Workshop

 

The last UFO workshop was a blast. Unlike most of the workshops that I facilitate out here at El Cielo, this one is "user designed." Artists bring a project that needs the benefits of the studio, a weekend of work, technical advice and tutorials, space and time to spread out and work with concentration, a bit of peer critique to pull a piece (or two) together -- or all of the above. This was really fun last fall and I've offered it again at the request of several artists-in-arms -- but there is room for a few more RETREATEES. Dates: Friday night optional pot luck, June 3, work sessions with tailor-made tutorials, June 4-5. We usually wrap things up around 3:30 or 4.

Even if you aren't working on a fiber project -- it could be watercolor, collage, mixed media or any other art work that you feel needs a jump start or a jump to finish. Or maybe you just need some time to sit and think and look and listen to your artist's self. This weekend is your opportunity.

You are welcome to bring fabric to dye (with advice included!), designs for thermofaxes (at cost, $14 each), stamps to carve, fabric to print through the inkjet, stuff to sew (I have 3 machines or various vintages), canvases or watercolor pads to set up for plein aire work or any other activity that comes to mind.

(The deck is finished now! The pool is fabulous this time of year.)

The cost is $165, with a $15 discount if you sign up before the end of this week. Accommodations range from a private room with bath for $30 to shared room or sofa (comfy I promise) for free. ANd there are beds in the studio (with bathroom) if you are a night owl and want to work into the wee hours.

Call or email me through the contact form on the sidebar if you are interested, and I'll send more details. 

 

Art Play Day Number 1

 

Pat Schulz demonstrates the basics.

 

A small group of fiber artists and mixed media artists have committed to monthly (more or less) play dates, no end product in mind, but a time to explore different media that perhaps one or more of us has never explored. The first hands-on meeting was last week and we went head-to-head in Pat's Beacon Hill studio to experiment with tissue paper fabric (or is is fabric tissue?). The number has been limited to four, since that makes it possible for us to meet in each others' studios, most of which are fairly small and compact. We're taking turns organizing and teaching, and also play every fifth meeting to be a show and tell session where we each bring back one or more pieces of work that use one or more of the techniques explored in our sessions.

Whatever its name, this is a dry process (unlike the wet process using gel medium or glue that I was familiar with). Using Steam-a-Seam (best because it has a tackiness that holds the initial layer in place) or WonderUnder or another fusible webbing, ltissue papers and collage materials are layered between two fused web layers, then the top surface painted, then the whole sandwich of paper and fusible is ironed to a fabric "liner." One can make subtle and distinctive layered images that can be either treated like a paper collage, or if bound to fabric, stitched into other fiber media.

The end results (and some shots of the participating artists):

 

Beautiful experiments from Liz Napier

 

Pat Schulz's experiment with pattern paper and tissue...

 

Sue Cooke hard at work.

 A cactus from tissue and pattern paper, fused to a gallery canvas frame 12"by 12", one of my projects. Think there's a little series to be found, as I am fixated on my cacti these days. 

 

May is Artists Soul Retreat Month

Thanks to dear friends Robin and Emily for the color-coordinated orchid! In honor of the recovering Linda. And the current chief chef and bottlewasher. And to those looking for a little visual treat where ever you are.

Just a reminder to you, me and all of us. (As I post more than one blog entry today to try and "catch up," that impossible and daunting task.) Here's an excerpt and some links from the CREATIVITY PORTAL by artist and coach Chris Dunmire:

"Self-care coach Linda Dessau was the first on Creativity Portal to write about the Artist Retreat, a kind of vacation that helps artist's (of all kinds) to get outside of their usual routines, connect with other artists, and contemplate their creative dreams in a larger context. In her article 10 Signs You Might Need an Artist Retreat Day, Linda encouraged awareness for signs of creative burnout and showed how we can incorporate elements of a retreat into our daily lives.

"My first retreat came 20-some years into my working life and consisted of two weeks alone in a rented cottage in the Arizona mountains where I had no creative expectations and took replenishing daily walks and naps. I focused on being "unplugged" from work demands and spent important "me" time reconnecting with my body — and myself — under cool starry night skies. I did some creative things and read a lot, and discovered the new joy of snail-mail art. I came home to a full inbox and lots of work waiting for me, but that stuff is always there. The nourishing gift of a retreat, however, is not.

Some may call them retreats, vacations, or sabbaticals. I like the idea of combining the best of them all into an Artist's Soul Retreat (with emphasis on self-care of the soul). Let's celebrate May with creativity and self-care!

And, in the same vein, I have rescheduled the Markmaking Workshop to June 10-12, to accommodate home schedules - fortunately, those already signed up could make the switch, but there is still room for a few more participants -- as well as for the other summer El Cielo retreats. Here's the text version descriptions:

 

Sign up early (at least 30 days in advance with a $25 deposit) for a $15 discount on the $175 fee. Email me susiemonday@gmail.com for details. Workshops generally start with an optional Friday night potluck and fun activity or two, then continue through 3-4 pm on Sunday afternoon. Most supplies included.

UFO WORKSHOP June 3-5

UFO, “unfinished fiber object.” Bring along work that needs finishing, needs one more layer, needs some concentrated time and attention (or work that’s stuck for need of constructive critique). Enjoy the resources of the studio and the advice and support of peers. We’ll customize the techniques to the tasks at hand.

CHANGE OF DATE
MARKMAKING, MAKING YOUR MARK  June 10-12

Markmaking can be what distinguishes one person's work on paper or fabric or any medai from another's - their personal style. Using color, line, shape, rhythm and textures, students will explore traditional and new media as well as techniques for personal markmaking. Techniques to be covered include deconstructed screenprinting, stamping, using paint sticks and monoprinting with gelatin plates. No matter what your experience level, you'll gain confidence in working with layered media and find your strongest media for the marks that make your work unmistakably your own. 

PLAY, ART AND ATTENTION   July 29-31

Making time to play with odd-ball materials; learning to focus upon artful tasks at hand -- sounds like opposite sides of the coin? At this exploratory and full-of-play weekend, we’ll explore the relationship between the time, play, art and focus. Where does time management intersect with open-hearted fun? Expect bubbles, playdough, sparklers, jello, yoga and seeing the world from new angles and attitudes. 

BURNING WOMAN WORKSHOP  August 19-21

Embrace your inner goddess of summertime. Design and make a small art quilt “altar” for kitchen or dining room with tools and materials that depend on heat, sunlight and passionate delight: sun-printing, vegetable prints, fusing, hand and machine stitching and “found” fabrics from attic, thrift store or kitchen closet. We will recycle napkins, tea towels and other like objects and design a thermofax featuring a meaningful symbol, favorite fruit, icon, saint, culinary heroine, angel or other meaningful design as the centerpiece for the altar. (This workshop has an additional $12 fee per person for the altar boxes that the quilts are stretched upon.)

This spring and summer I also will be teaching occasionally at the Southwest School of Art: June 18-19 - From Photo to Fiber (using various techniques to design art quilts from photographs), August 1-5, mornings, New World Kids: for parents wishing to nurture creativity in their children.

OTHER POSSIBILITIES:

Flying or driving in from afar for one of these weekends? Or just want some solo supported work time in the studio? Add one or two days of instruction in the studio for learning techniques that you are interested in. Each custom designed workshop and night’s lodging and meals costs $225 per person. Limit, 2 artists per session Many of Susie’s workshops go on the road! Please write for available dates and fees.

WHAT PARTICIPANTS SAY: 

“A workshop at Susie’s is always money well spent.  I learned techniques I have read about but never tried ... I also now feel confident that I can make art quilts!”

“This workshop was a fabulous, uplifting, nurturing environment to create in. The journaling was particularly helpful, I would definitely recommend it to a friend.”

“This weekend was totally awesome! I am humbled by Susie’s talents, her teaching abilities and her hospitality. I will come back as often as possible.”

 

 

Cook Like an Artist, 1

At Linda's encouragement, I'm starting a new "collection" on this blog of posts about food and how I cook "like an artist." I've had lots of requests from those visiting El Cielo Studio for recipes for the food I serve at the artist retreats -- but, hey folks, I don't measure. So its had me stymied and seemed like way too much trouble to slow down and measure. 

But, as I thought about how I do cook, it occurred to me that I cook the same  way I make art, and I could describe some ideas, some techniques that might be fun for others who want to experiment with flavors. At the very least, I'll clarify to myself, how it is I am thinking when I am playing with food, creating new dishes or variations on old ones.

First, the ground rules. No exact measurements. I'll be general, but usually, the way I cook, you can do a bit more or a bit less. Its why I am NO BAKER. You will find no cakes in this collection. Baking is as much a science as an art, and it takes exact (or more exact) measurements.

Second, think of the color wheel. I cook with a mental "flavor wheel" in mind that kind-of is the taste/smell equivalent of the color wheel. I mix, match and come up with complementary flavors and textures and "notes" that are kind of like mixing and matching and using color in a piece of visual art. I'm not sure how well this analogy will carry throughout, but it's how I'm starting out. For example, an earthy ingredient always needs a spark of the opposite spicy or sour or fruity to bring out the flavor. I always try to have something light, intense and a high-note, with something rich or heavy and meaty. That's why barbeque sauce works.

Think of the "colors" on your flavor wheel as these broad categories of taste: salty, spicy, bitter, sour/acidic, sweet/fruity, earthy, meaty, grain/carbo -- yeah. there are a few more here than the "formal" ones of salty, sweet, bitter, sour, umami. And technically, earthy and meaty are probably both dimensions of umami -- but in my brain, they operate a bit differently. And grain/carbo is as much a texture as a dimension of flavor-- but I didn't promise scientific consistency here.

Texture operates in cooking a bit like value. Intensity exists in flavors, too. Color is color, both literal and flavorful. Let's see how this analogy plays out in the sauce and ravioli I made last night:

Red Ravioli for a Rushed Wednesday

This is a monochromatic sauce with various intensities all in the RED family, with little zaps of green herbs to complement and lift the flavors. 

Sauté in about 1-2 teaspoons good quality olive oil: (Whoops-- basic cooker techniques will slow me down, so look at this link if you don't know what saute means -- and go to this wikipedia outline to find out all you'll ever need to know about cookery techniques) the following in quantities that are interesting to you -- the amounts are just what I did last night, and I'll probably never repeat the dish. I

FROM MEATY RED: 1/2 large homestyle pork/beef smoked sausage, chopped

FROM SWEET/FRUITY RED: 1 large red bell pepper, chopped

and 6 or so chopped sun-dried tomatoes, (if not packed in oil, reconstitute first by soaking in warm water for 10 minutes) IF you only have fresh tomatoes, cut into eighths and add them the last 5 minutes of cooking.

FROM SPICY NEUTRAL/INTENSE: 2 cloves or more of garlic

and SPICY RED/INTENSE a sprinkle of red pepper flakes (or use a splash of Tabasco, black pepper, cayenne)

COMPLEMENTARY FLAVOR FROM GREEN: a handful of chopped herbs, nothing too noted intense or highnoted- -- I used Italian leaf parsley, a few sprigs of thyme, 2 small sprigs of basil (also all from the garden, easy to grow!)

a couple of green onions from the garden, sliced, including tender green tops

Sauté for about 15 minutes on medium heat, stirring occassionally so it doesn't burn, but browns a bit, crisping the herbs. Meanwhile, as the sauce sautes,  cook the ravioli according to the package in boiling water.

At the last 2 minutes of so of sauce cooking, throw on one more RED flavor, smoked paprika, about a tablespoon full, adding EARTHY RED.

Toss with your ravioli and serve with a complimentary green salad including some bitter-sweet-spicy spring greens like arugula or swiss chard or endive, a citrusy vinegar olive oil dressing (more on salad dressings later) 

Grate some fresh Parmesan cheese into large flakes or curls for a garnish, along with another couple of sprigs of parsley.

The way I see it, if you stayed with the basic idea of RED, with a bit of green to complement, you could do this same recipes with lots of different RED meats, different SWEET FRUITY REDS and SPICY reds and serve it on a wide range of carbo/grains.

You can substitute other meaty flavors, or serve it with a different kind of grain/carbo flavor, but I made the sauce to toss with frozen cheese ravioli (one of the freezer staples from Costco). Other ideas -- serve the same tossed with couscous or brown rice, or any other kind of pasta. Or top a big bowl of greens and beans with it.

If you are a vegetarian, leave out  the sausage or add in a red smoked type soy version, or use chicken thighs or  red spiced chicken or turkey sausage if you don't eat pork or red meat.

For example: next week I might try the same formula but using chopped chicken thighs with fresh tomatoes, red onion, earthy brown mushrooms, red peppers and the same spices and herbs. OR it might be interesting to try with sauteed plums instead of tomatoes. Since that's a real fruity flavor, it might need a bit of cinnamon or allspice, too. On couscous or egg noodles, or maybe on spaghetti squash!

 

 

 

 

 

Happy Birthday to Me ...and thanks to all who make it possible

Yes, you, my friends, my family and readers and supporters and sister/fellow artists. Without the support and encouragement of all of you, my life would be far less than what it is. I am fortunate to spend my time in work and play that I am passionate about, intrigued by, immersed in and always learning from. I am grateful for those who sign up and pay for workshops, who buy my art, who find and help me with other gainful employment, always creatively challenging. And for those who read and comment and make my day by passing along a blog post or two.

Today I am spending the day in my usual dance of work and play, making a few phone calls to set up projects (the latest non-art gig is to develop a curriculum for Villa Finale, a National Trust for Historic Preservation property), spending some in the world out there via internet and working on a new quilt design. It is incredibly difficult to realize that I have been on this earth for 63 years -- I still seem to spend most of the time looking out from a 7- or 12- or 28- or 35-year-old brain. Somehow I seem to be all those ages, plus more, all at once.

We spent the Easter weekend with family, my parents in their mid-80s, a whole raft of nieces, nephews and cousins of nieces and nephew, a feast of many hands, a spring (albeit too dry) afternoon with blessings for us all. 

Here's to staying healthy, happy, thankful and playful, and I hope you all join me in a toast to life today and every day. Poetry, welcome.

Between the Lines Artist Profile

My artist's interview profile was featured this past week on DINNER AT EIGHT, the blog for the curatorial team of Leslie Jenison and Jamie Fingal. I'll have a piece in their upcoming exhibit Between the Lines.

Here's a reprint of my profile -- but head over to the site to see the great write ups daily about each of the participating artists. It's been my daily blog reading lately! I'm honored to be in such great company.

1.  What do you call yourself - art wise?   Artist. Fiber Artist. Textile artist. Artist who makes quilts for the wall. Depending on who asks. 

 
2.  How do you jump start your creativity when you are in a slump?   Usually I wait it out for a while, believing in compassion for myself at this age, and with the experience of knowing that slumps really don't last forever. In those instances I try to feed my imagination with a trip to a thrift store to look for textiles, or a trip to the library for new books. Now that I have a computer-linked TV I might watch a documentary or film about an artist. But when a slump looks like it is taking serious hold I make myself pull out fabric and pile it on the design table, auditioning colors for something working out of one of my ongoing series.


 3.  If money wasn't an issue, what would you do with your art?   With just a bit more security in the financial realm I would enter more juried exhibitions -- especially non-art-quilt ones. And if money way REALLY no issue, I'd take on some giant-scaled art collaborative projects, pay a slew of assistants to do all the drudgery parts of the process, make some enormous art quilts/installations for non-profits or schools (with the participation of those within them) and see where that led us!


 4.  Do you keep a sketchbook, journal, etc.?   I do on-and-off. Right now is "sort of on," but not daily. I do use sketchbooks and journals to inspire new projects when I think I don't have any ideas. My piece for this exhibit was taken directly from a collage that I had tucked away in a sketchbook -- I rarely work from sketches or paper designs, but when I do, the work comes from an old sketchbook or journal, rarely a current one. 


 5.  Where can people see your other work this year?  shows, books, magazines, etc.  In my studio, at the Twig Bookstore in San Antonio (a small ongoing exhibit/sale). 


 6.  Do you teach?  where?   I teach weekend retreats at my home/studio, El Cielo, which is on the top of a ridge northwest of San Antonio in the Texas Hill Country. I also teach at the Southwest School of Art and around the country at conferences, guilds and shows, but I confess that this year I have been less active as a fiber arts teacher, since I have been working quite a bit for an international program based at Alamo Colleges. Through that program I teach creative workshops to Central American teachers who are the U.S. to add to their abilities to teach in their rural schools back home, as well as teaching art workshops to Central American Youth Ambassadors and their Texas hosts.


 7.  Is there a particular artist who had influenced you in your art life? and why?   I am still looking at Matisse. His paper cutouts, use of color, amazing spirit as a lifelong artist all inspire me, and have since I was in high school. 


 8. Where or what show do you hope your work will be in someday?  Quilt National. But I've never had the courage to enter! 


 9.  Describe your studio workspace.  I have the studio of my dreams. For years I worked in a dusty, un-air conditioned crumbling shed/garage. When we moved to the country about 5 years ago we landed in a big house with a separate studio/apartment and 2-car garage. It's large enough for me to use for teaching, but not so large that I don't have to keep it cleaned up. And there is a 20-mile view outside the doorway, and a 10 second commute to the kitchen.


10.  What 3 tools could you not live without?  The Bernina; cheap scissors that I don't have to worry about and toss when they get dull; fusible web.


11.  What drives you to make the work that you do?  A respect for creativity and our human right and responsibility to live in its realm. A profound love of color and texture and shape that is part of my birthright. The desire to tell stories about life and living my life through potent, powerful images.


12.  How do you balance your life?  On tip-toe. Teetering this way and that. With the support of my partner. By living away from a lot of distractions. 

 

Coming up next year: Copper Shade Tree Gallery

From Gerald:

Hope all of you are having a great Spring. The wildflowers are in full bloom in Round Top which means... tourism, thank goodness.

We are excited to announce the participants for The Art in Fiber 2012:

Connie M. Fahrion
Cindy Henneke
Lisa Kerpoe
Ginny Eckley
Suzan Engler
Liz Axford
Jo Sweet
Carolyn Dahl
Jack Brockette
Susie Monday
Jane Dunnewold
Mary Ruth Smith
Laura Ann Beehler
Diane Sandlin
Andrea Brokenshire
Linda Teddlie Minton
Martha Tsihlas
Susan King
Barbara Booth
Annie Smith

- Thank you all for joining us. We are truly excited about this upcoming show, and look forward to a great artistic relationship with you all. Each one of us has the responsibility to carry our art form to new levels... The Eyes of Texas are Upon Us, yes, we are being watched. Having said that, your creativity is extremely inspiring to others.


"Copper Shade Tree Expansion"

We finally made it happen. After discussions about a new expansion, Copper Shade Tree has just about doubled in size. We were given the opportunity to acquire additional space in The Stone Cellar, and we took their offer. The front room of The Stone Cellar was the wine room. They moved the wine to the cellar and it looks fantastic. 

The Art in Fiber 2011 show was the premier opening in the new room. Make plans for a visit to Round Top and stop by to see the new look. 

From Photo to Fabric -- Image Prep for Thermofax

Continuing the on-line investigations today (yes, I'm home and laying low with a spring cold, it seems), I've been looking for a good on-line photo editor that will take the place of PhotoShop for those of my students who don't own the software. 

 

The original photo

Since my knowledge of Photoshop can be contained in a thimble (I use it exclusively to resize photos and to turn photos into high contrast black and white images to use to make thermofaxes), it doesn't take too much to satisfy this tech need. And I found much more than needed with Pixlr. And even Pixlr Express will do what I need for converting to a thermofax-friendly image. Pixlr has been around for a while so it may be familiar to you -- best of all, of course, it's free and it takes up no room on your computer. You can save the images you create or alter into several different formats including jpeg and tiff files.

 The photos in this post show several different conversions using different tools in the software. Here are the tips I can share so far: use "desaturate" to convert from color to black-and-white. Up the contrast all the way, adjusting brightness as you see fit. These actions take place under the "Adjustments" tab at the top of the image editor. Then under "Filters" apply the "art poster" effect, moving the toggle switches to see what different effects you get. If you want a "noisy" print, use the NOISE filter before you play around with art poster.

Try your own combinations of actions and order of actions to vary the image. You'll find a rich field of image ideas to convert to thermofax screens, stencils, traditional screen-prints or even stamps with cut foam or surestamp.

 

Designing with Text, Up in the Cloud

In a nutshell, it's Wordle. 

http://www.wordle.net/

The graphic above is the word cloud generated by Wordle using the text in this blog site! You can use any site, any text block, anything you want to type into the program or copy and paste. It's fun to scroll through the gallery, too. Lots of design uses for this program!

This is a great word cloud design site, passed along to me from Caryl Gaubatz via Pat Schulz, who knows my interest in text on the surface. I'm posting it here, not only to share, but I find that it's helpful to use my blog as a kind of electonic filing cabinet of ideas I want to explore more!

MORE: the developer of Wordle referred me (via his posterous page) to another, newer word cloud design generator -- http://www.tagxedo.com/app.html 

With Tagxedo, you can also put the cloud into a specific design shape or form and manipulate more of the criteria for the design. 

Fabulous Earth, Air and Water T-Shirts

This is an activity that's become a standard activity with the groups of Central American Youth Ambassadors who visit Alamo Colleges each year. We just wrapped up a week with 23 ambassadors from four countries, paired with 20 or so host kids from San Antonio's Legacy High School and the International School of the Americas (housed at Lee High School).

We start with some cutting and collage activities, then a little design seminar based on the Sensory Alphabet and then each participant cuts and pastes a logo design. The kids are in teams -- Earth, Air and Water -- serving as the "voices for the voiceless" for a short presentation that wraps up the activities each week. 

I wanted to share their designs and a little of the work-in-progress, because I think this design technique has some fine applications for coming up with art quilt designs, as well as screen print or stamp and stencil images.

The "warmup" design activities include learning how to cut notan designs, as you can see. But the kids often take the technique into new directions -- or use a different technique as they design their logo. After collecting each groups designs, I photographed them, ran each design through the "stamp" filter in Photoshop (that took out any variation in contrast and made each design a high contrast black-and-white image, even though my photos had shadows and backgrounds. Then I cropped and arranged the design images into an 8.5" by 11" design, printed it on the laser printer and made thermofaxes for each group to print in black on t-shirts. After printing, the kids colored their designs with fabric markers, and, later at the event, each autographed and wrote messages to each other.

Cutting designs.

 

 

 

Monoprints on Fabric

 

Just a few photos today, from the recent Southwest School of Art weekend workshop. We'll be reprising a few of these techniques with some natural items (leaves, sticks and stones) added this weekend at the El Cielo workshop. I just had a last minute drop out, so if you are interested, email me.

 

The first and third pieces were done with layers of textile paint applied from plastic plates of various kinds, textured with rollers and fingers and brushes. The second was with rainbow printing techniques directly on a screen. (You'll find more on this blog under rainbow printing in the search field.) Here's the link to Rainbow Printing.

 

Spring and Summer Workshops at El Cielo Studios

Here is a link to a downloadable pdf brochure with the dates and topics for new workshops at El Cielo Studios.

files.me.com/susiemonday/rvq162

  It's my pleasure to share my home and studio and a nurturing environment for your creative journey -- and the  workshop is less than what you'd spend for a bed-and-breakfast weekend alone! I hope to see you sometime this spring or summer for a weekend of inspiring and creative work and play here in the beautiful Texas Hill Country.

Nurture your creativity as you come away from a weekend with renewed energy, new  materials and techniques in surface design applicable to fiber, ceramics, jewelry, painting and mixed media work. Susie Monday leads artists’ retreats and workshops throughout the year at her studio near Pipe Creek, Texas, about an hour from downtown San Antonio. 

El Cielo Studio workshops are designed with the needs of the participants in mind;  free time is scheduled throughout the weekend for reading, reflection and personal work in the studio. You are welcome to bring projects in process for Susie’s critique and for peer feedback in an environment of trust and respect. You’ll share meals, poetry and stories, music and advice for living an artist’s life. Enjoy the 25-mile vistas from the deck and strolls down the country roads. A spa and pool, and large screen media room are also available to participants. The fee for each workshop retreat is $175 for a 2-day event with discount for early enrollment. Comfortable accommodations (double and single rooms with baths and shared bath rooms) and meals are available from $15 - $30 per workshop. Most supplies included. Call 210-643-2128 or econtact me through the email form on the sidebar of this blog.

Sign up early (at least 30 days in advance with a $25 deposit) for a $15 ndiscount on the $175 fee. Workshops generally start with an optional Friday night potluck and fun activity or two, then continue through 3-4 pm on Sunday afternoon. Most supplies included.

MARKMAKING, MAKING YOUR MARK

May 13-15

Markmaking can be what distinguishes one person's work on paper or fabric from another's - their personal style. Using color, line, shape, rhythm and textures, students will explore traditional and new media as well as techniques for personal markmaking. Techniques to be covered include deconstructed screenprinting, stamping, using paint sticks and monoprinting with gelatin plates. No matter what your experience level, you'll gain confidence in working with layered media and find your strongest media for the marks that make your work unmistakably your own. 

UFO WORKSHOP

June 3-5

UFO, “unfinished fiber object.” Bring along work that needs finishing, needs one more layer, needs some concentrated time and attention (or work that’s stuck for need of constructive critique). Enjoy the resources of the studio and the advice and support of peers. We’ll customize the techniques to the tasks at hand.

PLAY, ART AND ATTENTION

July 29-31

Making time to play with odd-ball materials; learning to focus upon artful tasks at hand -- sounds like opposite sides of the coin? At this exploratory and full-of-play weekend, we’ll explore the relationship between the time, play, art and focus. Where does time management intersect with open-hearted fun? Expect bubbles, playdough, sparklers, jello, yoga and seeing the world from new angles and attitudes. 

BURNING WOMAN WORKSHOP

August 19-21

Embrace your inner goddess of summertime. Design and make a small art quilt “altar” for kitchen or dining room with tools and materials that depend on heat, sunlight and passionate delight: sun-printing, vegetable prints, fusing, hand and machine stitching and “found” fabrics from attic, thrift store or kitchen closet. We will recycle napkins, tea towels and other like objects and design a thermofax featuring a meaningful symbol, favorite fruit, icon, saint, culinary heroine, angel or other meaningful design as the centerpiece for the altar. (This workshop has an additional $12 fee per person for the altar boxes that the quilts are stretched upon.)

OTHER CLASSES 

This spring and summer I also will be teaching occasionally at the Southwest School of Art: June 18-19 - From Photo to Fiber (using various techniques to design art quilts from photographs), August 1-5, mornings, New World Kids: for parents wishing to nurture creativity in their children.

I am also teaching a course for teachers: Fiber Arts for the Classroom at Southwest School of Art on July 23-24 (The wrong date is in the SSA catalog, I had to change the date after it was printed.)

 OTHER POSSIBILITIES:

Flying or driving in from afar for one of these weekends? Or just want some solo supported work time in the studio? Add one or two days of instruction in the studio for learning techniques that you are interested in. Each custom designed workshop and night’s lodging and meals costs $225 per person. Limit, 2 artists per session Many of Susie’s workshops go on the road! Please write for available dates and fees.

WHAT PARTICIPANTS SAY: 

“A workshop at Susie’s is always money well spent.  I learned techniques I have read about but never tried ... I also now feel confident that I can make art quilts!”

“This workshop was a fabulous, uplifting, nurturing environment to create in. The journaling was particularly helpful, I would definitely recommend it to a friend.”

“This weekend was totally awesome! I am humbled by Susie’s talents, her teaching abilities and her hospitality. I will come back as often as possible.”

 


Artist in Residence: Jack Brockett

Jack Brockett, artist and storyteller extrodinaire visited El Cielo Studio for a couple of days while his wife Anne was in San Antonio to plan the 2013 Surface Design Association conference. (OK, get those dues paid San Antonians!) (And check out the new SDA website that Anne has worked on this past 6 months as interim director -- she's on for another year, too, so expect great energy and member-friendly services from SDA.)

Jack, as many of us know, is a one-of-a-kind vortex of energy, ideas and an eye for excellence --and it was a delight to have him visit (thanks to Mary Ruth Smith who suggested it). Jack just finished with a workshop at Round Top, his first teaching gig of 5 years after a health crisis. The fiber show at Copper Shade Tree features some of his work, and that of other fiber artists  in the annual juried exhibit.

Jack shared the work that he had with him for examples at the workshop -- spectacular pojagi seamed jackets, art quilts emboridered with dragon flies, and a new series started with red ants. I got a private pojagi seam lesson, the steps of which I hope I remember -- I'm headed out to try it a -- I need the required machine foot #10 for the 1/8" tiny seams -- but for now, I'll do a wider version and see how it looks.

 Jack's stories regailed us at table; we feasted. If you have an Texas storyteller in your clan, you'll know what that means -- howlingly good tales filled with cows, Neiman Marcus hats, old bats and hoop skirts. Jack sewed seams for a new piece, and toured the neighbor's house; Pat Schulz and Sue Cooke came out yesterday morning for an art date with destiny. I've been cleaning the the studio and finding things I didn't know I had. It's been lovely and inspiring. We all need artists-in-residence, tribal gatherings, support for our visions and food for the soul. Thanks, Jack, for all that and more!

Sitting and staring

Today, I'm reminded of the baseboall great Satchel Page's oft quoted," Sometimes I sits and thinks and sometimes I  just sits." An unexpected delay of a work-related appointment has given me the gift of a hitherto unplanned afternoon. Yes, the studio needs a good sort. The garden is (perhaps riskily) calling for seeds. I have really been planning to go through and file all the piles of receipts and GET MYSELF ORGANIZED for the new year (hardly new anymore, you might note). 

But I find myself sitting and looking out into damp, gray between-winter-and-spring air and light and I just sit.

Sometimes its good to sit.

The creative life is full of adventure (even if it only shows up on the inside of your eyeballs.) When one is a self-employed artist, there is the ever present tension between amking art and making a living and it takes a lot of juggling to keep it together sometimes. I, like many of us, simply like action, I live at full-speed-ahead.

And then I sit.

You (I) need both. You (I) must let minutes wash over us when we can. Remind ourselves that time is finite; in 100 years (unless Singularity DOES come to pass, or the Mayan calendar ends us all in a bang) everyone you know and everyone you don't know who is walking around here on earth will be gone. And so, no matter how important it all seems, it is just a drop in the bucket when you look at the big picture. So let the drops fall where they may for a few hours. Sit. think. or just sit.

One thing I am thinking about is some of the thought about romance that I am reading in Barbara Lazear Ascher's wonderful book Isn't it Romantic; Finding the magic in everyday life. Here's a quote to ponder as you sit today:

"The romantic has to believe the bread crumbs were left as a trail, that the dots will make a whole....Faith doesn't require answers but a trust that if we dare reach out a hand another one, unforeseen will receive it. That we will be made whole. The ulitmate romance. Exactly as Michelangelo painted it in the center of the Sistine Chapel ceiling."

And Yes. I am puttering around in the studio today and making some progress on the annual clean, sort and toss that I force myself to do in order to avoid a manditory appearance on some reality show or another devoted to hoarding. But I am doing so very, very softly. Like the air and the gray heavy skies. Like the seeds underground waiting for the next increment of warmth. Reminding myself to think a bit about the spiraling fossil of an ammonite once alive, then dead, buried turned to stone, washed up again on a different shore.

(P.S. Speaking of nature, the next El Cielo studio retreat/workshop is almost full-to-the-brim. If you are thinking about attending  send me an email through the contact form on the sidebar. $160 if you pay before March 1. Potluck on Friday night through Sunday afternoon, most supplies included.)

View from home and El Cielo Studio.

 

NATURE-INSPIRED SURFACE DESIGN

March 25-27

Find color, shape, form and inspired design for new surface design tools at this spring-is-sprung weekend in the blooming Texas Hill Country. We’ll do sun prints, leaf-inspired thermofaxes and screenprinting with dye, flour paste resist and more.

Pop-Up Adventure Playgrounds

Doesn't this just make you want to go and play?

"On October 3, 2010 as representatives of the New York Coalition for Play, we brought giant cardboard tubes, string, swaths of bright fabric, boxes, a broken set of blinds and lots more to host a Pop-Up Adventure Playground at The Ultimate Block Party in New York City’s Central Park.  Some of the adults who came were a little skeptical at what they saw as the mess and chaos of the place, but children immediately understood that it was for them.

“You can do anything you want with anything here,” we said.  They gave one businesslike nod, then set to making a series of dens, thrones, obstacle courses and musical instruments.  They made new friends, and there, in the middle of the city, they made a beautiful ruckus.

Over the day the crowds of children ebbed and flowed, cardboard cities rose and then were felled by play earthquakes.  Play was tidal, following its own rhythms and signals, producing eddies of deep and rich play.  Within the 17 x 81 ft. Pop-Up Adventure Playground, children created a thousand tiny worlds."

I've been trolling around as I work on a resource book and report for the International Program SEED that I work with at Palo Alto College. I want to have one of these at my house (for grownups!).

http://popupadventureplay.wordpress.com/example/