Ka-Boom (sound of a failed experiment)

I am trying to remind myself, as Edison expressed,

that experimentation is always a success.

Even when the outcome falls short of the desired,

we simply celebrate finding one more way

NOT to do something!

Buoyed by delight in my "quilting with paint" trial (The Angel Tree) I got a little bolder and amped up the restrictions.  This time I wanted all my "fabric" to be cut in differing sizes of rectangles with one notable exception.  Again, the idea was to study the colors (mostly the contrasts) to see how I could manipulate the overall affect with very little detail.

Don't worry: I do not expect you to like this piece.  Just try to understand the intent.  The photo I based this on was relatively simple: sky, mountains, a barn and background, middle ground and foreground.  Easy enough.

Far and Away, detail

The photo above shows the gist of the "assignment." The mountains are the only curving pieces sewn with the paint.  

note chalk marks

How easy it is to get confused with so much going on!  At this stage I was trying hard to stick to the program I laid out but feeling a draw towards "pointillism".  So I made some chalk marks on the piece to keep me in line.  (And, truthfully, at this stage I did consider trashing the plan.)

Far and Away, final, 24 x 24, acrylic

hmmm,...not really how I had imagined it all coming together.  At this point I realized it could be an endless project of correction, more hours, more paint and it was not ever going to get much more attractive.  So I propped it up across the room to contemplate while I ate lunch.  

The lessons I learned are not really visible but had a lot to do with shape and contrast -  two of the basics I was "teaching" my young students recently.  I also learned how to dive into a piece that I intrinsically held no value other than educational (something the students taught me).  So I cleaned the brushes, took another gander at it all and decided to celebrate:

"Yippee!  I demonstrated yet one more 

way of how NOT to paint a piece based on contrast."  

view from a distance is better

Undaunted, undeterred.  Inspired, invigorated.  Ready to begin again.  KA-BOOM!  the sound you hear is just another experiment gone astray.  Only 9,998 more to go.

Exploding in Color,

Cindy

Cleansing Breath...

I am one painting away from finishing a 16 piece series, whew! and so badly feel the need for a change of pace...a cleansing breath, if you will.  How does an artist free the mind, change the challenge and get a second wind?  Well, I change media and do something totally different and only for my own pleasure.

The floor of my studio looks like this now: spread with bits and pieces of fabric and quilt squares I found some time ago in a junk shop.  The hand pieced squares intrigued as I wondered why he or she had done so many (I have 16) and then just quit; seems the hard part was completed.  I also wondered about the fabrics: they are a tad garish, very old and the backing is obviously recycled from...bags?  lining?  who knows?  So of course I bought them and brought them all home to sit in my closet.

These are harsh colors but when I got rid of the yellow they started looking better.  I have played with numerous ideas: a wall hanging, the trim on a quilted painting, doing something in each center....adding more applique in the center...lots of playful ways to combine the mysterious old pieces with the new and modern additions.  The colors are starting to grow on me a bit more as I arrange and rearrange some of the pieces.

I may get no further than this on the floor game of laying it all out.  The pieces may spend another long time back in the closet.  But they are doing their job nevertheless by providing a much-needed break from the easel and the palatte.  They are about as far away from the subject of stones as one can get!  Just playing with the pieces and wondering about the southern (I decided) gentlewoman (my guess) who died in childbirth (made up story) while piecing this quilt of her mother's old dresses and father's old shirts (who else would wear these prints) and topping them all off with the harsh garish yellow (because it was free at the church bazaar) has gotten my creative juices flowing again.  Ahhhh- that's what a deep, deep cleansing breath will do!

Art Quilts??

email recipient (comment here)

Ellen Lindner, Quilt as Art

Ellen Lindner is a talented fabric collage artist and teacher, who is passionate about making art.   Known for its strong contrasts and vivid colors, her work has been shown throughout the United States, and beyond, and has been published in several magazines.

Although Ellen primarily employs conventional fabrics, she also uses items like window screening and produce bags.  She works in a freeform collage style, while borrowing heavily from traditional quilt making techniques.

Ellen, you taught flying at the college level.  How did you segue into the quilting business?

It’s been a slow transition.  I started as a hobby quilter making traditional quilts, and eventually moved fully into the world of quilts as art.  When that happened, I began teaching my techniques to others.  I did this for several years while continuing to instruct part-time in the classroom.

Eventually, my flying skills became rusty and I needed to think about recurrent training.  At that time, I began to consider a career move away from aviation, and towards the art quilting that I loved so much.  The timing was right, and I made the transition to what has been a really fun and successful endeavor.

That begs the question:  how do you define success?

Success is meeting one’s goals.  Since those goals vary from person to person, the definition will, as well.  In my case, my art quilt goals were to make an income that matched the one I had in my aviation job, to achieve this with part-time effort, and to enjoy it.  Thankfully, I’ve achieved all three.

Do you call yourself a fiber artist?  I’ve seen that term used more these days.

The term fiber artist could apply, but it’s rather broad.  It includes basketry, weaving, fabric design, and what I do:  using fabric as my medium.  I call myself a fabric collage artist.  I shape and place fabric to create a composition, just like a painter places color with paint.  My work typically includes the additional element of stitching, which holds everything in place, and also provides wonderful texture.

So you don’t call yourself a quilter?

It depends on my audience.  People unfamiliar with quilts as art simply translate the word quilt as “bedspread.”  So an art quilt (or bedspread) makes no sense to them.  Therefore, I find the term fabric collage artist easier to understand.  However, since I use some quilt making techniques, I do consider myself a quilter. 

 So, “quilt” is a noun or a verb?

We’re back to that confusing terminology, aren’t we?  Quilt is both a noun and a verb.  A quilt is a fabric item consisting of several layers which are secured with stitching.  When that stitching is created, it’s called quilting, a verb.

 What are the challenges of introducing fabric work to the public as art?  Are collectors "getting it?"

 The first challenge is educating the public that not all quilts are meant for the bed.  Once this occurs, (usually when someone sees an art quilt for the first time,) viewers are typically very enthusiastic about the artwork.  That doesn’t necessarily translate to sales, however, since art quilts are generally priced higher than other artwork of the same size.  This is a reflection of the additional time involved.  However, several notable collectors have now seen the light, and many art museums are clamoring for art quilt exhibits.

 How do I care for a piece I buy? 

Fabric collages and other types of art quilts are very easy to care for.  All they need is to be dusted with a lint roller.  (No machine washing and drying, please!) 

I’m hooked, for more information what do you recommend? 

Studio Art Quilt Associates has an excellent website at www.saqa.com.  And, of course, I’d love to have your readers view more of my own pieces at www.adventurequilter.com . You may also contact Ellen through her website.

Second Verse Revealed

Sneak peek: this is what the entire piece "Second Verse, Same as the First" looks like!

Now, if you want to know more come on over to the Seaside Piecemakers Collaborations Carnival at the Melbourne Auditorium, Hibiscus Avenue, this weekend.  Admission is free and after a preview opening on March 10 from 6-8 pm, the doors are open all day on Friday, 3/11 and until noon on 3/12.  In addition to fiber art demos and classes there will be a huge exhibit of fiber art including over 25 vignettes displaying collaborative efforts by artists (potters, 2d, dolls etc) and quilters.  We are tasked with displaying our work in a setting that lends a little education as to why we did what we did....Andrea Luliak and I have a little handout that will take the mystery out of what we are showing (altho for some that spoils the fun of guessing) and we'll be on hand to oooh and ahhh at the other "reveals" we have only heard about thus far.

Collaboration (warning! fine print ahead, disclaimers included) does not always produce a final project that everyone can relate to.  But having done this several times I can attest that it always does bring out something new that the participants were not expecting...it is a great exercise in creativity that results in growth farther down the road. 

Out of town readers: sorry about the local invite...maybe I can provide a virtual tour?

Second Verse Same as the First

I know this is a bit unusual even for me....but somehow when I am involved in a specific project I just feel the need to go waaaaay outside my boundaries, sometimes it works, sometimes it does not.  Actually this is only  1/3 of the entire piece (stay tuned).  And it is for a show March 10 -12 (details to come).  That said, let me explain:

Given the opportunity to "collaborate" I usually jump so my hat was in the ring when the quilters called and asked me to work with a fiber artist from a theme of our choice.  Andrea Luliak and I decided, after a little mulling, to bounce off the Rhapsody in Blue piece composed by George Gershwin in 1924.  (Little did I suspect that Miss A was a former music major in college.  She definitely had the advantage.)  Anyway, we jointly decided to each produce a piece that had three segments, joined vertically, and inspired by the music.

This is the top of mine, you can tell that without a musical bone in my body I went full on for the historical aspect of the piece.  Meanwhile, seeing Andrea's for the first time yesterday I actually hear the music...and not a blue piece of fabric in it!  That's art for you.