Pattern Vision and Kids' Minds

This week's post on BrainPickings today is wonderful -- Maria Popova does her review and reveal about kids and design mind!

Like Steve Jobs, who famously proclaimed that "creativity is just connecting things," and Paula Scher, who likens creativity to a slot machine, and like other theorists of creative problem-solving, Kinchin emphasized this inherent pattern-recognition gift of the child mind, also manifested in the most impactful design for children:

Designers, like children, find patterns and make connections. The importance of pattern making and creative play with material things, for children and adults, as a route to understanding spatial relations and problem-solving, as well as creating a sense of the individual in relation to larger cosmic harmonies, comes up again and again in the twentieth century.

 

 

This new book  and this thought particularly scaffold another piece of reinforcment for the ideas we talk about in our book The Missing Alphabet, The Parents' Guide to Developing Creative Thinking in Kids.

PS: Here's a wonderful site with work by artist/illustrator Gulia Orrachia shared by my friend (also a fiber artist) Diana: http://www.patternprintsjournal.com/2013/03/textures-and-patterns-into-lively.html

And another great page in that inspiring blog! http://www.patternprintsjournal.com/2012/07/patterns-and-decoration-in-amazing-book.html

Fearless Sketching

If you've been waiting for the right moment to take a "pain-free, no-critic-zone" drawing class, this might be the workshop for you. I've had a cancelation due to one participant's planned move (she was coming in from afar!) so there is space available for one fearless sketcher on April 12-14 (Friday night potluck optional).

We'll do big and little sketches, drawing from life, some invisible drawings, lots of fun exercises that get your hand and pen in action. Some participants will bring iPads and use those, but it's not necessary, just an option.

There is a catch -- the only bed available is either a cot sized (though comfortable) bed in the studio (includes private bathroom) or a spot on the sleeping porch. The fee includes all meals and most supplies -- you'll need to bring a large sized sketch pad or loose paper and your favorite drawing implements -- and food to share at one pot-luck meal. Generally folk arrive here on Friday about 4, the "formal" workshop runs from Saturday at 9 to Sunday at 3, with lots of fun, conversation, time in the hottub and pool, walking in the hills and stargazing in between. 

If you are interested, send me an email -- contact list on the sidebar -- or leave a comment so I can get back to you. These are pictures from the last Fearless Sketching workshop, and some of the results. My friend artist Sarah Jones will co-lead this one with me. 

The workshop fee is $185 -- views into the Hill Country, infinite and free!

Sketching on the sleeping porch.

Hand studies, two exercises



The sleeping porch.

 

Are You Antifragile?

From the Guardian's recent review:

The core idea behind this book is simple and quite enticing. Nassim Nicholas Taleb divides the world and all that's in it (people, things, institutions, ways of life) into three categories: the fragile, the robust and the antifragile. You are fragile if you avoid disorder and disruption for fear of the mess they might make of your life: you think you are keeping safe, but really you are making yourself vulnerable to the shock that will tear everything apart. You are robust if you can stand up to shocks without flinching and without changing who you are. But you are antifragile if shocks and disruptions make you stronger and more creative, better able to adapt to each new challenge you face. Taleb thinks we should all try to be antifragile.

Here's the video from RSA. it's dense. Really dense. I reccommend you just watch the short talk and not the economic panel after, unless of course, you are interested in economic systems. I've just ordered this book, and will give you a review later, but for now, I'll share a few ideas from the review that caught my eye. While the author is speaking as a philosopher, and looking at this idea as it applies to things like the bank and financial meltdown, there is plenty to think about on a personal/interpersonal level, too. Playing it safe if a really seductive idea, and a part of being an artist that keeps us locked in and locked up, imprisoned sometimes by our own success. It's a difficult tightrope -- keeping things fresh and, yet, staying intune with our "market," our hard-won and long-to-discover style of work.

 

 

From the NYTimes review: In Mr. Taleb’s view, “We have been fragilizing the economy, our health, political life, education, almost everything” by “suppressing randomness and volatility,” much the way that “systematically preventing forest fires from taking place ‘to be safe’ makes the big one much worse.” In fact, he says, top-down efforts to eliminate volatility (whether in the form of “neurotically overprotective parents” or the former Fed chairman Alan Greenspan’s trying to smooth out economic fluctuations by injecting cheap money into the system) end up making things more fragile, not less. Overtreatment of illness or physical problems, he suggests, can lead to medical error, much the way that American support of dictatorial regimes “for the sake of stability” abroad can lead to “chaos after a revolution.”

PS the Time's reviewer did not think much of the book, so for that view, see the review at this link.

Mission Accomplished

Pay attention, open new eyes. Spring is really here.Huisache and Mesquite have put on their golden fluffy finery; Mountain laurels are finishing their Koolaid burst of color and scent. Even in the midst of drought, green grasses are making an effort and a few bluebonnets show up in patches here and there along highways.

The San Antonio missions (San Antonio Missions National Historical Park) are some of my favorite places to visit and take photos. I love that the missions, while protected and under restoration and programming as federal parks, are also active parishes, with masses said each Sunday in Spanish and English. Mission Espada has an attached convent where brown-robed Franciscan brothers and priests live, surrounded by bird feeders and a jungle of geraniums and other blooming plants.

With family here this Spring Break, we took a wander down to south San Antonio. Here are a few of the images that inspired me -- wondrful space scapes of stone and sky, faint drawings that have been found during the last round of restorations, some artist's rendition of grand Spanish flare, no doubt an Indian hand at work, copying from a manuscript brought by one of the Franciscan priests. 

Did you see something wonderful this week? Close at hand or far from home... it's important to keep our artist eyes tuned in and turned on. 


Soy Batik Improvisation

Detail of Stop Fear. You can see the entire quilt at the International Quilt Festivals this year!

I've just been notified that my art quilt, Stop Fear (Homage to Sister Corita Kent) has made it into the juried SAQA exhibit, Text Messages. Yippee! This piece was principally designed using a large one-color soy wax batik that I made a few years ago -- and i've had such a good time working with it, that I'm itching to get back into the studio next week for a few day-long soy wax sessions. I am also sending out soy batik lessons this week on Joggles, part of my MORE TEXT ON TEXTILES online workshop. 

Sister Corita Kent has long been an inspiration to my work, and I can’t think of using text in art without thinking of her. This batik and, even more importantly, its message, speak of her influence on my life and in my work. I was first introduced to a version of traditional batik using beeswax and parafin mixture and inkodyes when I was in my 20s -- it must have been the first surface design technique I learned and the teachers were visiting Sister Corita students who worked with us in our creative arts for kids programs one summer -- maybe 1967 or '68?

Inkodyes are still around -- and they are VERY light and water fast -- but I had heard that their toxicity is higher than MX dyes, so I've left them alone in the past several decades -- the colors, too are hard to mix, since  -- kind of like ceramic glazes -- the color that goes onto the fabric is very different than the color that develops in sunlight as the dyes develop. However, this site with its app for making registered three color photo prints just might change my mind! This is what the site says about toxicity:

Our dyes and resist have been certified as having no chronic toxicity by an independent toxicologist. Our products conform to the Labeling of Hazardous Art Materials Act (Conforms with ASTM D-4236). We are committed to the health and safety of everyone who enjoys Inkodye, which is why we recommend using normal precaution to prevent unnecessary spilling, skin contact and ingestion. Children love to watch the magical color development, but should not use Inkodye unsupervised. Our dyes are water-based and only require household soap and water cleanup - we recommend that you wash your hands thoroughly after use and / or use gloves to prevent prolonged skin contact and staining! We recommend using the sun to develop your prints, but if you choose to iron wet Inkodye articles indoors please work in an environment with adequate ventilation! 

At any rate, if you do use inkodyes with soy batik, you can wash out the wax after the dyes develop without using an iron -- bound to be better for the lungs and environment. 

Basically, soy wax can be used as with traditional batik, but you can't immerse fabric without running the risk of it dissolving too much of your wax resist -- so the technique requires that you paint on your intense low-water type dye mix (including soda ash and urea to retard drying) and then batch under plastic, removing plastic to dry the fabric, then adding another layer of wax -- or you can wash out the soy wax between colors. -- hot water and detergent turns it into soy oil that washes down the drain. Alternatively use Inkodyes, according to directions.

(PS Thanks Nina-Marie for the invitation to add this link to your off-the-wall Friday posting!

Here are a few photos of the process:

You can also use an electric skillet. Be very careful with temperatures and keep a lid handy in case things get out of hand. Do not heat the wax so hot that it smokes. Fortunately soy wax fumes are not toxic or allergenic (as is the case with paraffin and bees wax fumes).

Another way to use soy wax is to use it with a thin paint, as I am doing here. Be sure the wax is hot enough that it makes the fabric a bit transparent looking-- the wax need to go all the way through the fabric.

You can take some of the wax out by ironing first -- if you use paint, you must iron it before you put it in the washer in order to set the paint, then put your fabric in hot soapy washer in the machine. Sometimes, with heavy wax applications, it may take two trips through the washer. 


Lights Above the City: Luminaria

San Antonio celebrated Luminaria this past Saturday night -- it's the annual free art free-for-all in the center of the city, taking up most of HemisFair Park with music, dance, visual arts installations and lots of illumination. The evening has its challenges and, inherent in the project, a sort of slap-dash feel to some of the offerings, but the 350,000 people who attended seemed pretty happy with the whole thing!

My favorite part of the evening is the lights, big theatrical gobos on many of the buildings, lit-up installations and illuminated window shows.  Here are a few photos from my iPad excursion:

 

 

Doerte Weber's Wonderful Weavings (recycled plastic bags).

 

Keeping Track of Art

OK, true confessions. I have never kept an inventory of my art work, submissions, sales or what is where. Never. This is pretty sad for an artist who has been making work, selling, showing and submitting (professionally) for the past 15 years.

Sure I have "sort of" records scattered about the internet and in my computer and photo files. But it certainly is not in one place. I even tried a few times to use some art inventory software and never found satisfaction. First of all, if you are an artist you don't want to use an ugly inventory. That's what I think anyway. If I can't stand the way it looks, I really have a hard time logging in to use it. That was the problem with several software packages I looked at, and even tried. Even my iPad app store couldn't come up with something I liked (if you must try one, the best seems to be Artwork Track -- it's ok but doesn't give you forms for all the data I wanted to include -- and you can only use it on the iPad, not on the desktop, and that much typing is not much fun for me on the tablet.)

Second, they never did everything I needed an inventory to do. Maybe you could add work and details and galleries and sales, but I never found one (until today) that would also track and integrate submissions to exhibits. Since much of the textile (art quilt, per se) world is visible and active through juried exhibits, submissions seemed to be a key need for me.

Third, some programs I tried crashed and burned, were painfully slow or over complicated in their entry formats, or seemed awfully expensive for what you got -- an ugly data base with either too little or too much customization necessary or available.

Thanks to artist friend Lisa Kerpoe, who posted a query on our Google Fiber Arts Community about needing such an inventory, and to my renewed sense of wanting to "get things done."  I reopened my search. First, the reviews I read,  (thanks, Lisa McShane) jived with my experiences. THEN, a link to a cloud based newish inventory system. http://www.artworkarchive.com/ (also on Lisa M's blog).

(Screen shot of an art piece page -- partial)

See the introductory video here

John Feustal was my guardian angel as I set up my site, and had prompt replies to my questions in an online chat. That was nice, too. 

We've had the site up and running for almost 2 years but have really seen a
lot growth in the past 6 months. The best thing our artists can do is to
tell others about Artwork Archive, so I really appreciate you writing a
blog post!

We try to keep things as simple and elegant as possible while still being
powerful enough to do everything our artists need. I think starting with
your most current work is a great approach, and just adding older pieces as
you get time.

There is a limited free trial, and two tiers of annual subscriptions. You can access on the web. Maybe next he'll make an iPad app!

 

Hoping for the Chance to Say THIS

 

Last month I submitted a piece for Lesley Riley's upcoming book of illustrated quotes. I was actually assigned a quotation from Lesley. That made it difficult to slack off and forget the assignment, let me tell you...

I ended up making two versions of my quote and sent them in. Sometime soon, we submittees will know the results, and sometime a little later, you'll have the opportunity to purchase the book, filled with ideas on how to use words of wisdom to inspire pictures worth those few words.

I've often said that my creative genius (P.S. that's NOT ME, see the TED TALK  below for what I mean) walks the tightrope between words and pictures. Both inform each other, and I'm not completely happy unless I am somehow honoring both in my creative life (waiting for said genius to blow through).

Lesley's newsletter is a great inspiration to my work, so if  you're not a subscriber, read this issue and see what you think!

And for more from TED on ideas, see this PLAY LIST at http://www.ted.com/playlists/20/where_do_ideas_come_from.html

Sun Prints Even in Winter?

My Joggles class this week features Sun Printing letters and text.  (Hint: use refrigerator magnets and foam letters) I love this process and often use the results in my work. This little altar piece above is part of a small series (so far) called Found Text. It's kind of a random improvisational way of working, where I find images and then words or words and then images in my stash, put them together almost like little visual poems. They aren't deep or profound, sometimes they are even whimsical, but they are works that make me happy -- not the least because I am making use of some fragments and bits and pieces that I  really like but that don't seem to fit into anything else I am doing!

But, I realized that for this online course, here I was suggesting sunprinting at a time when most of us can't use the sun for the results. Now, South Texas yesterday worked; it was about 85 in downtown San Antonio. But today, a Norther is upon us and the temps low, and more importantly, the wind is roaring, no way to keep shadows on a piece of fabric!

Here's what Pebeo, makers of Setacolor --one of the best  paints to use for this process -- recommends:

"If the sun is not reliable there are other options. Heat lamps such as those used by restautants", grow lights (I'm sure you have one) and I say, just use those metal work lamps mounted close to your fabric. Don't go off and leave these, any could cause a fire if the bulb fell on the fabric or it got too hot. But you will get the results if the humidity is low. High humidity, too? Better wait until August!

Some other tips gathered here and there for sunprints:

Sprinkle the surface with salt

Use complementary color washes of your thinned out paints

Rubber band fabric, spray with paints and leave in the sun for an interesting variation of tie dye

 

iPad Workshop at the Studio

 

Just a few pics!

Here are a few photos from the digital manipulations we made on the iPads. (I hope to have more from the participants to come later, these were my demos!)

All of the above were my quick demos using a variety (and combinations of) different apps for the iPad, using original photos (in most cases) for source materials. 

Here's another by artist/participant Zet Baer:

The Next Generation of Fiber Artists

I spent a few hours last night at Carnahan Elementary School's annual Art Fair. This was my third year to participate -- I think they keep asking me because I don't complain about being situated next to the very loud, and youthful, rock-n-roll band that takes up the last hour or so of the event!

Seriously, I like to participate because this gathering is such a hopeful and creative one -- lots of people there with kids, taking time to be with them with no screen in sight. And, this school is such a United Nations of diversity -- its good to see that our country is still one of great hope, of people here from around the world, of parents who care for their kids and who take time to visit the school, hold their hands, scoot up the jacket sleeves to keep the paint off, and who oohh and awww over even very simple things!

Artist Susan Oaks and helper get ready for the hoards.

Thom Ricks signs his new book and wonderful posters!

Small Works for a Big Cause

One of the FEW events I donate art to:

The Preview Night is Thursday.

It’s the “Sweeeet 16” for the annual fundraiser auction, Small Scale Work For a Larger Cause (SSWLC), and SAY Sí is ready to celebrate! Festivities begin on Thursday, February 28, 2013 at the2nd Annual Youth Arts Education Advocacy Awards and Small Scale Preview, where patrons can mingle with the artists while enjoying live music, quenching libations and delectable cuisine.

The SSWLC Silent Auction and exhibit culminates on Friday, March 22, 2013, with live music and inspiring cuisine from some of San Antonio’s top chefs, including Chad Carey of the Monterey, Jason Dady of Tre Trattoria, Johnny Hernandez of La Gloria, Stefan Bowers of Feast and Steve McHugh, formerly of Lüke, opening his new restaurant soon at the Pearl.

Small Scale Private Preview & Awards Ceremony
Thursday, February 28 | 7:30 – 9:30 p.m.
$40 Presale | $50 at the door
A limited number of $80 Presale tickets are available to attend both the preview and final auction events, but please note that option ends 11 p.m. Wednesday, February 27, 2013.

FREE public preview [part of First Friday]
Friday, March 1, 2013 | 6 – 9 p.m.
Open for public viewing until Thursday, March, 21, 2013
Gallery Hours: Mon.-Thu. 9 a.m. to 7 p.m., Fri. & Sat. 9 a.m. to 5 p.m.
“Buy it now” option ends 7 p.m. Wednesday, March 20

More Handmade Alphabets

 

Detail of printed text on textile using inkjet printer

Here are just a few links and cool sites that have some interesting ideas for handmadealphabets of different kinds (not just stamps). Since I'm teaching a lesson this week on Joggles that talks about my usual technique with tips and to-dos (using craft foam, like lots of others) to make alphabet stamps, I took a tour around the blogosphere and found these interesting sites. 

Crafting a Green World -- not stamps, but crafts, still fun...

Wooden Alphabet Beads -- how about these mounted to make stamps?

 Jumbo foam letters can be purchased here if you don't want to cut your own.

Really GOOD Alphabet Stencils

A template for cutting your own letters, in case you want something a little more regular than your own text. And more here.

Here is a great tutorial for making CORK alphabet stamps.

Linoleum Block stamp basics are here on this page.

And to go with them all: Dollar Store Stamp Pads!

And last of all, if you want a "real" inkable rubbler stamp (better for paper than for fabric) you can custom design online on several sites including this one.

I also set up a Pinterest Board devoted to More Text on Textiles! 

Any other ideas? Feel free to share -- and by the way, the Joggles workshop runs this and three more weeks, (and you can download last week's lesson any time) so if you are interested, sign up here.

Do you Know Ze?

Ze (pronounced zeh) Frank is an amazing man, magician, imagineer on the net. His work (conceptual, comical, social, compassionate) is that of a true original, out-of-the-box thinker. He uses social media, the internet, software games and interactions as his media, and comes up with kindness. 

This 2010 TED Talk is a great introduction to Ze if you have 20 minutes now - or later -- well worth the watch. (TED also has other talks by Ze, Chris likes him a lot!)

 

I've long used Scribbler, one of his online tools, to make interesting sketches, cards, and, lately I'm trying it out in a new-to-me version that includes color and more user controls than the original tool did. A collaborator Mario Klingemann, added the enhancements to the original, and looking at the website, I see that there are iPhone and iPad versions as well. 

Since I am working on my Joggles online class (an on an upcoming iPad online workshop series) I played around last night with Scribbler and text images. If you want to play, head over to this site. And take some time to explore the rest of Ze's site, too! You'll find answers to questions you never thought to ask. 

More Text on Textiles

 

 

Here are some details from a one of the pieces I am working on right now. I am hoping to finish this and a couple of others in time to submit them to the SAQA exhibit called "Text Messages"  -- submissions now online! Stay tuned for the finished work, which I will reveal AFTER I hear if and when any of these are accepted to the exhibit.

If you are taking my More Text on Textiles course on Joggles, you'll find out all the details on how these pieces are created, step by step -- especially this one featuring some of my soy batik work. You can see the obvious influence of Sister Corita (Corita Kent) one of my art heroes. Her work in the 1960s was such a revelation to me -- art that combined activism, pop culture, text as shape and form, messages to the world in a wide and wild variety of media. I was fortunate to work alongside some of Corita's students at Learning About Learning Educational Foundation and I learned to make serigraphs from them, as well as hand-cut letters, batik techniques, eraser stamp alphabets and more. They shared the work they were doing with Corita at Immaculate Heart College in California with us in San Antonio. I still use the ideas, approaches and techniques that her work and generous students inspired.

From the UCLA collection.

Again, to take the class, check this link.

More Text on the Surface -- Online!

 

 

My Joggles course MORE TEXT ON TEXTILES starts tomorrow. There is still time to get in on the fun, the supplies for the first class are things you will have at hand! And you can order the rest from Barbara at Joggles -- makes it easy! In addition to very specific instructions and pdfs of the lessons that you can download and keep on hand, there is an online forum during the course for questions and conversation. I will also bring up the various topics here on the blog, with some additional inspiration from other artists during the 4-weekly lesson series. Although this is a continuation of TEXT ON TEXTILES, this class does not require that as a prerequisite and you can take the two in any order. 

The tuition is only $45 and I think offers a really nice round up of creative approaches to getting text onto your art cloth or art quilt, with some interesting twists and turns. You can be upfront and obvious or subtle and secretive, posting your message in secret code or billboard boldness. Use a quote or just a fragment of your own journals or sketchbooks!

There is even a SAQA exhibit that you can enter with your text-centric work (if you make a quilt quickly) called TEXT MESSAGES, judged by Lesley Riley.

 

 

Here's the course outline from the Joggles catalog:







 
This class is scheduled to begin on February 19, 2013.

Add to your technique toolbox with interesting and “open-ended” ways to add words, letters and text designs to your art. 

This process-oriented course is organized around a set of exercises, rather than presenting one project -- you’ll be able to use these ideas and approaches in work for wall pieces, art-to-wear, art journals and other mixed media work.

Full of photos and examples, each weekly pdf workbook takes you through one or two new techniques, including making word stamps from craft foam, an easy way to cut original fabric letters to fuse or appliqué, sun-printed and mono-printed words and letters, and using soy wax with textile paint to add words to fabric. 

Susie will also offer a “bonus” fifth lesson that illustrates her process in making a small art quilt using the techniques taught in this course. This course is a continuation of Text on Textiles, but the lessons are not sequential and not dependent upon participation in the first course. 

Lesson 1 -- Learn to cut free-form fabric letters in a variety of styles, inspired by the work of Corita Kent. Start with paper (these can be used in mixed media and journal work) and move onto fused fabric, felt and other materials, too. 

Lesson 2 -- Make your own word and letter stamps from craft foam and recycled materials. Learn how to easily reverse your words and letters as you design, then make stamps with craft foam, string, cardboard scraps and other recycled materials. 

Lesson 3 -- Sun-printing with textile paints is a fun and easy way to make original fabrics for your art quilts, bed quilts, art-to-wear and other projects. And, given a hot sunny day, you’ll see how easy and versatile a technique it is. 

Lesson 4 -- Soy wax is a non-toxic, easy to wash out process that requires no solvents or special equipment other than a wax-dedicated electric fry pan (preferred) or a microwave oven. You’ll learn ways to make lovely fabrics that have a minimal change of hand when done, so they are great for all kinds of quilt and wearable applications. 

BONUS Lesson 5 -- See how Susie adds up some of these techniques to make a small art class. Use her approach and see what you can do! 

Curious to know how online classes work? Go here to read all of the details:

www.joggles.com/classdetails.htm 

The supply list will be sent to all students one week before the class starts. Once you buy this class you will receive an email order confirmation, but you will not hear from us again until the supply list is sent. 

A high speed connection to the internet is recommended for all students.

In order to participate in online classes at joggles you are expected to have basic computer and internet skills. You need to be able to browse the internet, know how to download and save a document to your computer's hard drive, and understand how to open and save email attachments. It is your responsibility to learn these skills before the class begins.

Please be certain you are comfortable with all of these skills. Class fees will not be refunded once the class has begun.

 

The Hearts Have It.

Wishing you a heartfelt season of love, warmth and friendship! I love hearts of all fashions and materials. Here are just a few I found in my image collections!

Desert Heart, small art quilt with a cactus heart photographed in Big Bend

Gini Garcia's glass hearts -- you can buy these at her studio and gallery in San Antonio.

 

A series of "accidental hearts" I made with some deconstructed printed fabric.

iPad art heart -- El Corazon

 

 

 

 

It's in the Bag: in*ter*face

Mandala made by Austin artist Virginia Fleck from recycled plastic bags; this design (as well as several others) is also a free ecard you can send!

 

SDA (Surface Design Conference) is holding its conference here in San Antonio. Find out more here. 

I hope you are planning to come to the conference this June. The lineup of speakers and workshops is fabulous. My pre-workshop study tour to see embellished Fiesta gowns -- and a stop by SDA president Jane Dunewold's new studio -- is already filled! But lots of fun is still to be had.

Meanwhile, start making an upcycled bag to share, trade and make famous. The whole upcycling by artist world is a rich one, and you can join in with this little collective -- and social -- project.

IT'S IN THE BAG! from SDA President Jane Dunnewold 
.....................................................................................................................................
Interface logo
WHAT IS SNAG-A-BAG? We're all very aware of waste in the studio. So I got the idea to take those bags we all have hanging around & up-cycle them to create
re-purposed conference totes. 

Cynics may say it's just a way to save SDA money. But my vision includes inviting you to exercise your talent while stimulating new contact between SDA members AND making every SDA dollar count - all at once.

HOW? Bring an upcycled carry-all to in*ter*face conference & exchange it for a new one. The conference won't even have started and you'll feel good. Feel even better when you see your bag across a crowded room (Some Enchanted Evening?) & slide on over there to talk it up & introduce yourself as The Artist Who Made the Bag. I can hardly wait to see this happening in San Antonio!

LOCAL BAG ACTION! We're already allover this in Texas. So why not PLAN A UPCYCLING EVENT for your local SDA friends & colleagues? SendSnag-A-Bag Conference Totes an invite. Pool your supplies. Rev up the sewing machines. This could be even bigger than the conference! Spend a morning transforming some bags then bring/send them to San Antonio. Your creativity will boost our collective economy. Bags not snapped up by conference attendees will be sold on SDA website - with proceeds going to support member programs. 

 

For some truely inspired plastic bag art (way past bags) take a look at the work of Virgina Fleck (photo above from her website). I'm hopeing it will inspire my attempts -- using bags collaged on bags!

From her website:

Since 2002, Virginia Fleck has been working exclusively with recycled plastic bags creating site specific, ecologically conscious art works that have been commissioned for several high profile, green building projects including the US Embassy in Rwanda, Whole Foods World Head Quarters in Austin TX, LeBonheur Children’s Hospital in Memphis TN and Dell Children’s Hospital in Austin TX -the first hospital in the world to attain LEED platinum certification. Fleck is a featured artist in the book, recently published by Random House:  Craft Activism: People, Ideas, and Projects from the New Community of Handmade and How You Can Join In.

 Fleck was born in New York City. She began making artwork in childhood and eventually studied at two art schools: Portland School of Art in Portland, Maine and at The School of the Museum of Fine Arts in Boston, Massachusetts.  In 1990 Fleck moved to Austin, Texas where she continues her work as a visual artist.

 

And for more amazing art made from recycled materials, close to home at the Southwest School of Art in San Antonio see Anita Valencia's installation inspired by West Texas, completely from recycled stuff. The show closes on Sunday, so hurry, hurry. (By the way, for any of you complaining about your age out there, Anita is 80.)

This week is the final week you can see Anita Valencia's Sun She Rise, Sun She Set & You Ain't Seen Texas Yet; Justin Boyd's Days & Days; and Juan de Dios Mora's Laters! at the Southwest School of Art.

The final day to see Mora's exhibition at the Ursuline Campus is Friday, Feb. 8. The gallery closes at 5pm. The final day to see Valencia and Boyd's exhibitions at the Navarro Campus is Sunday, Feb. 10. The galleries close at 4pm

 

PS If you are not going to the conference, you can also recycle unwanted conference bags here:

http://www.bagstoriches.org/#!individual

PPS: VIrginia Fleck has an opening in South Austin tonight: