TEXT Projected, Jenny Holzer

San Diego, Projection, Jenny Holzer LAST NIGHT: I  watched on Netflix an interesting documentary about conceptual text artist Jenny Holzer “About Jenny Holzer; Protect me from what I want”. She works (ed) with “truisms,” short statements from various perspectives that she may or may not personally agree with, but that are concise restatements of what she thinks is “in the air” in our Western culture. More about Jenny here.

Here use of text, messages and meaning is striking and ephermeral, the material is often projected LIGHT; her space, the architecture or natural environment. I highly reccommend the documentary.

Holzer's work made me open to looking for a "truism" in the text collages I had made recently as part of demos for teaching a Joggles on-line course. It was about finding a message that already existed in the text work that I had done, a kind of unconscious writing come to consciousness.

Here's the raw material: (text collages printed on fabric, erser stamps, paper cloth text collages, etc.)

And here's the process toward Art Quilt Complete:

 

 

 

 

 

 

 

 

 

I found: “Unseen messages never settle.” The cut letters are from fabric that was a direct print of a collage (now deconstructed into individual letters). a print of red “S”s from an eraser print and “NEVER SETTLE” from a paper cloth collage.


POETRY!

From my friend Jim LaVilla-Havelin

SLAM THE TOWN!!! National Poetry Month in San Antonio 2012 - March 10-May 13,2012

Wherever you are, on April 1 (and because April 1 is a Sunday, April 2, as well): Use this sheet  to type, hand-write, print – a poem you like (your own, someone else’s, famous, unknown). Make copies and get them out to everyone you know, and folks you don’t know, too.

Under windshield wipers, in work mailboxes, at restaurants, on chairs, on buses, to your email list. SLAM THE TOWN with poems, poems as gifts, poems as a way of letting everyone know how important poetry is in all of our lives.  (If you use a poem that is copyrighted, in a book, please note where the poem can be found, cite the source.)

Hold Everything Dear

as the brick of the afternoon stores the rose heat of the journey

as the rose buds a green room to breathe

and blossoms like the wind

as the thinning birches whisper their silver stories of the wind to the urgent

in the trucks

as the leaves of the hedge store the light

that the moment thought it had lost

as the nest of her wrist beats like the chest of a wren in the morning air

as the chorus of the earth find their eyes in the sky

and unwrap them to each other in the teeming dark

hold everything dear

the calligraphy of birds across the morning

the million hands of the axe, the soft hand of the earth

one step ahead of time

the broken teeth of tribes and their long place

steppe-scattered and together

clay’s small, surviving handle, the near ghost of a jug

carrying itself towards us through the soil

the pledge of offered arms, the single sheet that is our common walking

the map of the palm held

in a knot

but given as a torch

hold everything dear

the paths they make towards us and how far we open towards them

the justice of a grass than unravels palaces but shelters the songs of the searching

the vessel that names the waves, the jug of this life, as it fills with the days

as it sinks to become what it loves

memory that grows into a shape the tree always knew as a seed

the words

the bread

the child who reaches for the truths beyond the door

the yearning to begin again together

animals keen inside the parliament of the world

the people in the room the people in the street the people

hold everything dear

–Gareth Evans

I found the poem on this wonderful art blog by painter Deborah Barlow, http://slowmuse.wordpress.com/. She (and many others) have picked it up from painter, essayist, political activist, writer and Marxist John Berger's book of the same title. (The poem was written for Mr. Berger and before you slink away from the term Marxist, read his comments in Orion magazine here.)

I have not been able to exactly trace Mr. Evans, but he might also be a producer. Anyone who knows if there are more poems of his out there, let me know, as I would like to read them!

Traveling with Text

With my aquisition (thanks to birthday bonanza from Linda) of a NEW iPad with the camera, I am afire with digital imaginings. Here are some of my most recent experiments using several iPad apps one on top of another, as well as a few text-based Mixel collages.

The one above was a "physical" collage made with text cut from magazines (one of the exercises in my Text on Textiles courses, like that I am teaching on Joggles right -- and in the summer semester, too). I then photograhed it with the smart phone, sent it to the Cloud and my iPad and altered the colors with an app called PhotoPad (free, and a good photo editing tool). Then I drew on top of that saved image with some other tools and also erased part of the  image -- it looks to me like "Pollock takes on text."

Below is another physical collage that was altered, first with an iPad app called ArtistaHaikuHD that gives one a variety of watercolor effects/filters to use on photos.  Then I loaded that saved image into the PhotoPad App and played around with the colors. Que Cool!

Here's the watercolor versions in ArtistaHaikuHD:

How did I start? You can see the original here. 

 Or, rather the intermediate stage that was done on Mixel. The first product was actually this little 4 by 6 collage (shown here with two copies taped together):

WOW! It's amazing how these tools can morph one image SO MANY ways. I love to play with the possiblilities -- so the challenge is not in fluency, it's in when to quit and put my hands back on the wheel, so to speak. Where does what I can do only with hands happen?

Here's one way:

Print it with inkjet transfers on an old piece of tablelinen:

 

 

 

 

Archetypes and Artist Identity

Above: Photo of Suzanne Wright Crain's altar in progress.

Deep work and deep play took all of us into wonderful work this past weekend. Here are some photos of artists at work -- some made altered books, some altars. Everyone, including me, found some insights pertinant to our particular time, space and needs.

 

 

Robin Early and Suzanne Wright Crain and Martha Grant work on their Archetype projects.

As we looked at various approaches to exploring our "inner teams," I had found some work by creativity coach and author Eric Maisel that shed light on the ways identity as an artist (or should I say identities) can both help and complicate our work, identity and paths. Am I artist the beautifier, artist the visionary, artist the businesswomen, artist the  producer, artist the activist...??

Recently an infographic came across my path that also informed this pondering:

http://www.swiss-miss.com/2011/12/how-photographers-actually-spend-their-time.html

Certainly teaching a workshop such as this Archetype workshop calls on my skills as teacher and mentor, while I also try to do my own work ast least part of the time as a way of modeling and demonstrating the processes and products involved.

Then, as the weekend came to a close, a friend called and told me one of my large textile pieces was included in a "home" section report in the San Antonio Express News. I called the collector and thanked him (and his wife Suzi) for giving the reporter my name (read the story for more info!). Ah, another artist identity -- published and out there. 

The dining room in the home of Suzi and Dennis Strauch, near Pipe Creek, has a quilted piece of fabric art on one wall. Photo: BOB OWEN, San Antonio Express-News / © 2012 San Antonio Express-News

The dining room in the home of Suzi and Dennis Strauch, near Pipe Creek, has a quilted piece of fabric art on one wall.

Photo: BOB OWEN, San Antonio Express-News / © 2012 San Antonio Express-News

Read more: http://www.mysanantonio.com/real_estate/article/Spaces-A-global-chic-Pipe-Creek-home-with-more-3431078.php#ixzz1qLiJe3Zi

More Fun on Mixel

OK admission. I am addicted to Mixel now. It's totally taken up all my FB time (thank you). And the chitchat is minimal. Mostly you just make stuff sort of together. Now the warning. Anything you upload becomes public property. I am mostly just adding a few detail images and nonart snapshots to the process. But I love the cropping and layering soooomuch. And I am printing some of these on fabric, too.

I have figured out how to use the software to  make collages (fun-- crop with your finger or a sylus from any of your own photos or web images or images other Mixel users have contributed) without making images public or getting involved in the public arena of this software. You do have to have an account (no longer only possible with a FB account) but you do not have to post to "the world." After making a Mixel, just go to the upper left corner and take a photo -- saves to your ipad. Then DELETE the image. 

 

 

Explore Your Inner Team

A spot (or two) in my Archetypes workshop this coming weekend just opened up. Here's the scoop:

Calling All Archetypes

March 23-25 (Friday night optional)

Explore the inner team that keeps you going, makes a difference, inspires your best --- and sometimes holds you back. With journaling, fabric printing, collage and mixed media techniques galore, you'll explore the inside-operators that are part of your life story: empress, playful child, journeyer, pilgrim, maker... who knows who will come out to visit? Create a unique fiber art quilt altar to one of the archetypes. Learning fusing techniques and how to make a small art quilt "altar" stretched on a frame. Suitable for all levels.

 

Cost is $185, including $10 supply fee for altar frame. One private bedroom is still available, with two beds and private bath -- shared it's $15 each, single occupancy, $30. (Includes both nights.) Also a free sofa or sleeping porch bed is available. Most supplies are included.

We'll start on Friday night with optional journaling exercises, then begin at 9 am on Saturday. The workshop usually ends about 3 on Sunday.

Email me with the contact form on the sidebar if you are interested.

Below are two photos from previous workshop, the first is Julia's altar in progress, the second, Martha's.

 

Designing with Type Shapes

As part of my online Joggles course (get the full story here) I'll be doing an occassional post here that my online students can use for further ideas; maybe those of you reading along can pick up a tip or two as well.

I've been pondering collage design with type and "found letters," those cut from magazines and newspaper or even spit out in differing sizes from your computer font library. Putting them together quickly, then arranging, rearranging and copying out bits and pieces in differing sizes is how I like to work on these random text collages -- I am not necessarily going for a literal message, more just the feel of type as shape and form and texture. But there is also an interesting challenge in using the letters of a meaningful or intriguing word that you might want to have as a kind of hidden message in a piece.

For example, this piece, while primarily a strong and bold composition, with text that pops out -- mas (Spanish for more) and LIFE from the classic magazine title -- also includes the "hidden message" "music." Each horizontal pieced  band of fabric is a repetition of each letter M, U, S, I, C in order. 

Here are some tips that may help you make some interesting collages with your type collections:

1. Work with CONTRAST:

SIZE -- Use as wide a variety of sizes as you can. Collage the letters with varied sizes as neighbors to those of other size.

VALUE -- Use strong contrast in value for the best copies -- black on white, red on white, dark hues on light pastels (AND vice versa) Avoid type -- or limit it -- that is too close in value to the background. Yellow reads as white and pale blues disappear on almost all copy machines

DIRECTION -- GLue the letters down in different directions, try to make a "patchwork" of letters facing different ways, upside down, left to right, right to left.

2. PATTERNS

Try these different ideas as ways to glue down a text collection -- think of different rhythms and different patterns to develop collages that have different feelings and messages in their composition:

swirling letters

marching across the page letters

letters lined up and making another shape

a tornado, a wave, a spiral, a crawl, a race, a path, windows in a house, people in a crowd, letters arranged to make animal shapes or objects. (Like concrete poetry, but letters only) See the alphabet video here for examples:

Letters on stage performing for other letters

3. Follow the rule of 3s

Use similar elements or copies of the same letter forms in odd-number arrangements: 3s, 5s, 7s. For some reason odd numbers of related shapes (etc.) always seem to work better in compositions.

4. GROUPS not POLKA DOTS

Arrange letters and elements close enough together that your eye "reads" the design with continuity -- just enough space between the elements (shapes, lines, dots, stripes, letters, etc) that your eye can easily leap to the next element, especially if it is a repeated element. Also, try to vary elements spacially, paying attention that you don't set up too regular a pattern (like polka dots) unless that is the rhythm you are trying for.

 

 

 

 

Art on the iPad

These are a few of the art experiments I've made on the iPad this week, part of the iPad Art Studio online course that I am taking -- it's great and the tutorials that Jessica has included as the materials are so good -- she is really good at explaining technological steps and issues, and I'm learning a lot in that respect, too!

Meanwhile, these were made using iPastel and Doodle Buddy. I really love the stencil features in DoodleBuddy, worth exploring those for fiber application alone...

Susie Goes Live on Joggles

 

 

 It's here! This week I launch my first online (for real) course on Joggles, Text on Textiles.

I'll be teaching this on on the Joggles forum, and have been working on ways to provide meaningful help and feedback. I am considering adding some experimental videos (on the side, with links on the course materials) so this will be have a learning challenge and curve for me as well. The video's won't be part of lesson one, since it's less a technique than a getting-started design lesson, but I'll work on the videos for others of the 5 lessons. 

The workshop is only $45, so if you are interested, click over to the site and sign up now. The first of the lessons will be posted on Wednesday.

 

 

 

 

 

 

 

 

 

That link again: http://www.joggles.com/store/catalog/product_info.php?cPath=75_1235&products_id=23449

 

 

Exhibit at University Presby

I  have a small but, I think, quite nice, exhbit of work at University Presbyterian Church in the SOL Center. It will be up through Easter, and I will be doing an artist talk on the coming Sunday after services (noonish?).

The church is at Bushnell and Shook in San Antonio. And, as a born-amd-bred Presbyterian, it's an honor to be there -- there is something really satisfying about having more than one or two pieces of work in a public forum. It is a pleasure to see 15 or so pieces of work all on nice walls all in the same space. The work in the show is from 2009 to now, with quite a bit new work. I see it differently on a wall that is not my own.

I admit to having some misgivings about not being in a "proessional" venue with my work. There aren't many such available in this community; textile art is marginalized between art and craft. No excuses: I also am not the best at spending time and effort finding exhibit opportunities. Meanwhile, with the help of friends, this one came my way; the space is quite nice; I had lovely help hanging the show; it has an interesting and valued stream of people going through it for classes, events, church services and more. So if you get a chance, stop by. Ask at the church office if the Sol Center is locked. Ask for prices if you are interested in purchasing work -- 25% of purchase price goes to the church.

A Fine Time, with Mary Ruth Smith

The Texas Federation of Fiber Artists happened this end-of-February in Kerrville. I had a great time at the events in Kerrville that I attended. (And a wonderful time during the open studio at El Cielo on Friday, with special guest artists Robin Early, Sarah Burke and Mary Lance.)

Tops on the list: Mary Ruth Smith's stitching class. Just to hear her stories and her approach to her meticulous and amazing work was worth the price of admission to the entire conference. (Mary Ruth says take photos, but not of her face...)

Let the photos inspire:

 

 The piece above is layers of French knots -- Mary Ruth says it takes aabout 2 hours to stitch one square inch, about 200 hours in each of the pieces in this series (and she is FAST).

Mary Ruth says that she works with stitch in three ways: to construct fabric (as with the French knot piece above), to embellish and to draw. Some pieces use one approach, others several. She most often uses only one kind of stitch in a piece -- ie, thousands of seed stitches, thousands of cross stitches or thousands of those knots. Looking at her work, I noticed that quite a few also had maybe two different stitches -- one constructing the surface and one embellishing it.

I've been stitching (by hand) ever since the weekend, and have these observations:

Hand stitiching for me is quite meditative. I think I can give up yoga (no, not really... the shoulders say otherwise).

It takes a LONG TIME. Hand Stitch is the "slow craft" that calls to me. I get antsy with some tedious chores, but not hand-stitching.

I can travel with hand stitch projects -- even walking the Camino this summer, I should be able to carry along something!

I like black thread and the black lines that stitching with it makes. A lot. 

The overlay idea (putting a very sheer black fabric over ones first layer of stitch) is a novel and interesting way to play with value and to tie together bits of small appliqued fabrics -- it serves to hold down all the little threads and edges without fusing or satin stitching the entire edge. Mary Ruth used to buy her sheer Japanese made chiffon scarves at WalMart, but they no longer seem to carry them. She finds them now at (http://www.meinketoy.com/) Meinke Toy. HOWEVER, I think I found a substitute yesterday at the local wholesale florist -- in San Antonio at Travis Wholesale Florist. It's a very sheer, very transparent length of fabric sold as a decor sheer. $6 for a whole lot of cloth. I'm sending a piece to Mary Ruth immediately!

Another great source she shared for yarns, sari strips and paper yarn, perfect for couching: Darn Good Yarn.

She also likes to color her fabric before stitching sometimes with scraps of disperse dye painted papers. These dyes, for polyester and other synthetic fabrics only, are similar to the Crayola fabric iron on dye crayons. She now uses a product from ProChem called Prosperse Dyes. Here's a helpful YouTube with textile artist Mary Gamester that illustrates several ways to use this kind of product. And a helpful one-page sample from a book by Carolyn Dahl.

The picture directly below on the left shows at the bottom of the picture an interesting and simple way to mount these stitched and stretched art works. Mary Ruth stretches her muslin or other fabric around standard sized stretcher boards. When the work is finished, she may remove it and wrap it around another display board, then she nails a smaller by one inch covered stretcher bars onto the back of the piece with the art stretched around it. This gets the hanging hardware, (ie a 13" by 13" art piece is backed with a 12" by 12" stretcher boards stretched with plain muslin).

New Book: Texas Museum of Fiber Artists

 

And "I'm" on the cover. The agave detail (second row, third image from left) is from my FAITH IS A LAW art quilt that was part of the IQF exhibit last year on Text on Textiles. Then it was part of the Texas Fiber Art Exhibit last year, thus the inclusion in this catalog. I also have some other work in the book, compiled from the previous exhibits.

 

TMFA Fiber Arts Book Order Form


Name or company purchasing ________________________________________________________________________________

If gift: shipped to__________________________________________________________________________________________

Shipping address __________________________________________________________________________________________

City ____________________ State ___________ Zip___________

Quantity_________________ x $40.00 plus tax $3.30 plus shipping and handling $6.70 TOTAL

$50.00 per book

Multiple quantity sales and wholesale accounts invoiced with calculated shipping and handling.

 

And, speaking of which text-type topic,  brings us to my upcoming Joggles class on the same topic. You can get details HERE if you are interested in trying my very first "real" online class. I'm sure we will all learn a great deal!

 

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Working in a Series, Lisa Call

 

If you've been reading me regularly, you'll know my word for the year is COMMIT (even if I haven't written it out loud!) I try each day to commit to what is most important, at the top of the list, and I put making art on that list (and at the top) as often as possible. Now in mid-February, it is remarkable to note how quickly the calendars fill up, how loud the competing voices for attention become, and how the realities of money, time and space make themselves known. 

But, just as I get a bit discouraged a lagnaippe appears (you know lagnaippe, right -- the free, unexpected, pat-on-the-back bonus, extra-cookie-in-the- box kind of surprise). Lisa Call featured four of my current series on her blog post today, and paid me great compliments, too.

Head over and take a look; http: at Lisa's blog -- //blog.lisacall.com/2012/02/the-secret-to-committing-to-a-series/

Therapy Strips, Thanks to Rayna

Rayna Gillman's new(ish) book, Create your own Free-Form Quilts, has inspired me to try my very first all-pieced art quilt. Yay, Rayna. For an art quilter who has come to textile work from the art not the quilt world, this is a big and scary step for me.

But, thanks to Rayna, I now know: The 1/4" seam rule is not so set in stone. Sometimes crooked is good. A piece is a piece is a piece and it can always be cut and pieced again. 

That's just the start. Here are my "therapy strips" waiting to become something else. I also actually have a nice set of pomegranite "blocks" put together and am trying to decide if they are done or need to become my own version of a 9-patch. (And, they are very therapeutic, just the thing for me to do when I need studio time, but don't know exactly what to work on next -- or ever again).

 

Hurray for writers who take us out of our fears. Thanks, Rayna.

Textile/Art/Intensity/Focus

 

Trolling around, I found some wonderful textile art on the Internet today. I'm teaching a course at the Southwest School of Art the next couple of months -- Finding Your Path as an Artist -- and it's keeping me on my toes, looking for resources, finding interesting examples of artists' styles and series, and working with artists who work in a variety of media. However, these two (three) are working in cloth, in different ways, but with clarity, focus and commitment -- just what I am trying for in the studio.

First, A Bee, a collaboration - or collective, as they call themselves -- of two artists who work large, bold and beautifully: http://www.abeecd.com/index.html

And the artist who took me to them (a post on her blog about their exhibit at the San Jose Museum): Terry Jarrard-Dimond. Terry's is a name I had heard before -- I think we've even met here and there-- but somehow I had never before focused in on her stunning, disciplined, structural work. http://www.terryjarrarddimond.com/

 

 

Fiberart for a Cause, coming 2/15

FYI and fabulous art, too.

Foto/Fiber 2012
90 Photos AND 90 Fiber BONUSES 

Gold Donor Day - February 15, 2012
Make a minimum donation of $100, choose a photo by 
Virginia A. Spiegel, Karen Stiehl Osborn, or Cynthia Wenslow
and choose a Fiber BONUS by a specific artist
from the following list of fiber artists.


Regular Foto/Fiber - February 16, 2012
Make a minimum donation of $50 and choose a photo by 
Virginia A. Spiegel, Karen Stiehl Osborn, or Cynthia Wenslow.
Your Fiber BONUS will be chosen at random for you
from the following list of generous fiber artists.

Artists donating Fiber BONUS include: 
Natalya Aikens, 
Frances Holliday Alford, Pamela Allen, Liz Berg, Sue Bleiweiss, Nancy G. Cook, Jane Davila, Vivika DeNegre, Diane Rusin Doran, 
Jane Dunnewold, Jamie Fingal, 
Leonie Hartley Hoover, Leslie Tucker Jenison, Lyric Kinard, Susan Brubaker Knapp, Lynn Krawzcyk, Jane LaFazio, Susan Lenz, Jeanelle McCall
Linda Teddlie Minton, Karen Musgrave, Gail Myrhorodsky
Karen Stiehl Osborn, BJ Parady, Cate Coulacos Prato, Yvonne Porcella
Wen Redmond, Sue Reno, Lesley Riley, Cynthia St. Charles,
Susan Schrott, Suzanne Silk, Lura Schwarz Smith (with Kerby C. Smith),
Sarah Ann Smith, and Terri Stegmiller

Drawings for Fiber Art throughout the event.
All patrons of Foto/Fiber 2012 will also have multiple chances throughout Foto/Fiber to win fiber art donated by:

Leonie Hartley Hoover
Lyric Kinard
Lynn Krawczyk
Yvonne Porcella
Susan Schrott
Mary Ann Van Soest

More information on how Foto/Fiber 2012 works:
http://www.virginiaspiegel.com/FotoFiberHowItWorks.html

Our goal – Raise $7,000 for the American Cancer Society

Fiberart For A Cause has already donated over $215,000 to the American Cancer Society through the generosity of fiber artists and their patrons.
Contact
Virginia(at)VirginiaSpiegel.com
for more information.

Onward to Festival -- Save the Dates

I've received my contract for teaching at the International Quilt Festival in Houston in October, 2012. It's an honor to be among the 100 quilt/art/mixed media instructors selected to teach this year -- I've been off the roster for two years, and just squeeked in with my application this year!

So if you are planning to attend and want to take one of my workshops, here are the relevant dates:

Wednesday, October 31, full day workshop, Shaping Symbols into Art Quilts

"Master design skills with free-form patterns, cut-paper shapes, and original stamps as you explore personal imagery and iconic symbols. Simplify photos for original quilts, printing and more. Thermofax screen mailed later."   

I'll tell you more about this as the time approaches, but the picture above provides a bit of info, too. 

Sunday, November 4, Inspiration is in the Cards, half day workshop 9-noon.


"What inspires you? Create a one-of-a-kind card deck to spark creativity, take you out of your creative rut, move you into art-making and imagination. Collage and design your way to a new studio ritual with a variety of mixed media techniques."

This one is part of my annual agenda in the January Artist's Journey workshop (usually), but its a fun way to make a mixed media deck using collage, paint, paper and an inkjet copier.

In between, I'm on the circuit of the Mixed Media Miscellany, 2-4 on Thursday, the Friday Sampler, 10-noon and Saturday Sampler, 10-noon, with stamping and inkjet transfer demos.

Hope to see you there! And if you know someone who is planning on attending and taking classes this year, please reccommend these if you think they would suit. I'm looking forward to the wild, wacky, inspiring, overwhelming experience of festival, and I think everyone in our community of textile artists deserves the experience at least once in a lifetime. It's our tribe.


Copper Shade Tree Gallery Opening

Just a few photos from the jam-packed opening, and the  interesting and always inspiring art from other Texas artists who participated:

Houston artist Peggy Sexton next to one wall of art -- the turquoise and yellow cactus piece is mine.

 

A gloomy, but still not too cool afternoon. The weather did not keep the crowds away!

This one, Agave and Madrone Leaves, is the piece I have in the show catalog -- you can buy it from Gerald and Debbie on line at the gallery site.

My large piece about the summer's drought in the middle above.

The two two orange and magenta pieces on this wall are Lisa Kerpoe's work.