Over the past 12 months I participated in a group of women committed to creating art in a 12′ x 12″ format and making at least 8 – 12 pieces during that time period. We met monthly at the Textile Dream Studio in Berkeley. We’re showing our work at Bay Quilts in Richmond from Dec 2, 2017 to Jan 2, 2018.
I played with some different media including encaustic photo collages and quilted collages and decided that the quilted work was what I like best. I finished all my pieces, but decided on a final 8 to include in the show; however, at this date, I’m not sure which pieces will be included.
Spinning Suns 1 & 2
Spinning Suns 1 and 2 started in Sue Benner’s class on mono printing on fabric. I created a composition much larger than 12″x12″, but set it aside not knowing what I wanted to do to turn it into a finished work. I came across the unfinished work while participating in the 12 x 12 challenge and decided to see if I could turn it into finished 12′ x 12″ composition(s). I added quilting and white fabric paint and was happy with the results.
Crow Canyon Collage Series
The Crow Canyon Collages have elements and inspirations from several sources and classes that I’ve taken over the past few years. First, I spent time drawing at Crow Canyon Gardens, a local community garden and park near where I live. The sketches became sourses for drawings on fabric and lino prints that I used in the collages. I created the images over a period of time in classes with Katie Gilmartin, Pamela Lanza, and Joan Schulze. I learned an interesting collage technique in a Tea and Ephemera class with Judy’s Coates Perez and used this method to make compositions larger than 12″ x 12″ in a scroll making class with Pamela Lanza. I wasn’t finished and wasn’t sure what to do to finish them, so I set it all aside for over a year. I decided to turn them into 12″ x 12″ pieces and added the machine quilting.
In Pamela Lanza’s Experimental Drawing class at UC Berkeley Extension, I started a series of charcoal drawings of American women I thought should be considered for the newly designed 20 dollar bill. Everyone in class was excited this became a big topic in the news while I was working on my series, culminating with the announcement of women for new designs by Jack Lew of the US Treasury. See each of my drawings here.
Here’s a photo of how my drawings looked on the wall for the final critique: I took Pam’s class Small Books UnBound: An inkwash/collage workshop last weekend in SF and decided to see if the drawings would work well as images on an unbound, accordion style book with the drawings superimposed over inkwashed and collaged pages.
I made each drawing into an acrylic gel medium transfer and adhered them to the pages with fabulous results!
In our most recent session of collage making with Michelle Wilson at UC Berkeley Extension, we learned to make a simple accordion book to use as a substrate for a collage. I decided to combine collage and paint across the entire eight span of pages. My goals were to explore using images as texture and as a way to add complexity to an overall image.
I started by gluing assorted black and white or other neutral papers across the entire surface. After the pages dried, I applied a couple layers of gesso with a brayer both to tone it all down, and to add texture. I added some torn pages from a magazine showing a woman wearing sunglasses. Stepping back at the resulting shapes, I decided to add layers of watercolor, acrylic and black Noodler’s Bulletproof ink to create a mountainous landscape.
Most of these papers are from a stash collected over the past couple years, the recognizable is a tattered Dürer print that I saved after using it for inspiration in a drawing class. Strangely, I’ve noticed that papers and images used in my collages, all seem to take on deep personal meaning as the collages come together. I say strangely, because the papers were selected randomly or chosen for value (meaning relative lightness or darkness) rather than content. And yet, it does mean something and expresses a search for meaning and solace in spiritual connection. In the days following the senseless shooting down of a passenger flight, nothing makes sense. How can people minding their own business and going about their lives, and suddenly be gone? How can I glue paper together when my heart is full of grief?
I’m taking a collage class at UC Berkeley Extension with papermaker, printmaker, book and installation artist Michelle Wilson. We’re about 6 weeks into the class and have explored various techniques and media for creating collages with found imagery.
One of my favorite assignments in the class so far was to create a piece of mail art inspired by fluxus artists, such as Ray Johnson, who included mail art in their work during the 1960’s and 70’s.
For my project I decided to continue with ideas from the previous week where we used chance to determine which images to use or where to place them in the collage. I thought it would be fun to send one to anyone in the class that wanted one.
I started by collecting interesting postcards that I found at various art locations, like the art store or the reception desk at art galleries. The postcards were of various sizes, so I cut them all down to 4″x6″ to make them all the same size and to keep postage to 34 cents each.
I painted both sides 12 cards by applying gesso with a bryer to both sides of the postcards. After letting them dry, I selected images that were either in my leftover pile from previous collages done in class or from junk mail received that week. I cut them to size and randomly adhered one to each card. After all 12 had one image, I added another and continued until I felt like they were done. I did this on both sides of the cards and decided which side was the front and which was the back.
On each postcard front, I added some black fluid acrylic, applied with the brayer. On the postcard backs, I gessoed these to give myself a textured, white writing surface for the address, stamp, and written message.
I’ll be mailing these out in the next day or two. It’ll be interesting to see what condition they’re in after working their way through the mail. Postcard back
In October I attended a two day workshop with Kerr Grabowski learning her deconstructed silk screen printing techniques. Her methods include creating designs and textures on fabric using thickened fiber reactive dyes, then printing the designs onto fabric. I created a good “stash” of fabric during the two days and some more when I got home, then spend some time considering how I could use the fabric in my current series, Life Forms. I created the following two pieces.
The first is an instillation piece with shards of the silkscreened fabric sewn onto three long sections of silk organza. I added additional stitching and text using oil pastel. This morning, I auditioned it in one the windows at the UC Berkeley Art and Design Center in San Francisco to see if I had achieved my desired effect. I was particularly pleased to see how striking it looked with a view of the Museum of the African Diaspora (MOAD) through the transparent pieces.
I am working on a second piece based on these fabrics. I plan to make three panels from whole cloth deconstructed prints. By whole cloth, I mean that the cloth is presented exactly as printed, without any piecing. I’ve completed two of the panels so far, and the third panel is still in progress. The circles on the fabric are echoed with machine stitching using contrasting thread.
ORIGINS, a group show featuring 6 Post Baccalaureate Certificate candidates at UC Berkeley Extension will be on view from 8/6 through 8/25 in the upstairs gallery area. Artists Reception Aug 19, 8 – 9:30 pm.
Views of the show
Left to Right: Andrew Somera, Tito Vandermeyden, Meghana Deodhar
Left to right: Sumiko Shimada, Priscilla Read, Andrew Somera
Continuing with my circle series, I patched together fabric monoprinted with my circle motif, then added hand stitched running stitches around some of the circles and vertical lines of machine stitching. After looking at the composition I decided to print onto fabric some of the images I photographed from the skeleton at the Art and Design Center. I didn’t think there was enough contrast, so I added contrast with ink, appliquéd some lace behind some of the bones and added some hand stitching.
I’ve continued on my series, but haven’t posted in a while, so here’s an update on my work in the Working in Series class at UC Berkeley Extension, Fall quarter.
Life Wheel – 37 1/2″ x 44″
I continued making pieces from the previous quarter with the goal of making a statement about the fragility and preciousness of the natural world around us and our need to protect it. As a retired RN who worked in labor and delivery and also an oncology unit, I have cared for people at both ends of the spectrum – alpha and omega – birth and death. These are the times when it is clear that every moment of life is precious. This, and the realization that all life on our planet is interrelated, is a source of inspiration for my work.
I started with some preliminary sketches, but first and foremost, kept my process improvisational. I used a variety of fabrics including silk dupioni, silk organza, lace, and cotton. Then I added text and image using a variety of techniques, such as silkscreen, photo transfer, and linoprinting. I combined these materials into a background layer juxtaposing straight lines and more organic shapes to suggest an interaction between the natural and manmade world. I allowed my work to evolve and morph as I refined my ideas. I add one or more layers using collage, printing or painting techniques, then add line and texture with machine or hand stitching. More here.
In the Working in Series class this quarter, I had several pieces in progress at once. One of my pieces began with a UFO (quilting term for UnFinished Object) that I found in my fabric stash. The UFO consisted of a number of randomly shaped blocks pieced together several years ago that didn’t seem to lead anywhere and were set aside in the UFO bin. I thought these could serve as a background for a piece for my series. I played with them on my design wall, then added strips and inserts of fabric including some that I screen printed with some of the words I planned to use in other parts of the series. I raw edge appliquéd some additional strips and some circles, then quilted the entire piece.
Endangered I, 31″ x 35 3/4 “
Endangered I, detail
While this piece was in progress, I started another related piece using the same techniques. I had none of the original UFO fabrics left, so started with other fabrics that I had on hand and using more of the fabric printed with words from my series.
For the past several weeks I’ve been in Pamela Lanza’s UC Berkeley Extension class, Working in Series. Here’s the course description:
The process of working in series is an effective vehicle to unlock creative potential, capitalize on unexpected discoveries and uncover new forms of self-expression. Illustrated lectures introduce you to contemporary artists who work in series and to the ideas behind this approach. Course assignments inspire innovative thinking and encourage you to delve into your own serial explorations.
Class exercise – Twig Drawings
We’re finalizing our projects and will be presenting them in class next week for critique and feedback on each piece individually and how they work as part of the series.
For my series, I continued with ideas started in theVoice and Visionat the San Francisco Art Institute. I expanded the work to consider need for care for the environment. I made a series of art quilts to make a statement about the fragility and preciousness of the natural world around us and our need to protect it.
Rather than working on one piece at a time, all pieces were in progress over the past several weeks. I’m putting finishing touches on most this week. I’ll be photographing my pieces as they are completed and posting more about it. For now, here’s a small piece.