Saturday, November 14, 2009

Collage exchange

I recently participated in a private collage exchange and here is one of the collages I submitted. It is 9" x 7" and mounted to an 10" x 8" piece of watercolor paper. Part of the image was a collage that was scanned and printed on W/C paper, then additional imagery was added.

Saturday, August 29, 2009

New felt artwork

A few weeks ago, I posted a blog with new spinal drawings here. Although I don't work directly from my drawings, I do use them to map out where the major elements fall on the page as I want to get proportion right. I saw a post about Rapid Resizer, a software program that allows you to enlarge your drawings that I had heard about some time ago but had never tried. I downloaded a trial of the product and found it very easy to use. Here is an enlargement of one of my drawings:

resizedsampleAs you can see, it turns your drawings/sketches into line drawings that can be used for patterns or for placement. Below is my latest felt artwork derived from the line drawing.


Density; 24" x 24"; industrial felt, paper, thread; 2009


Density (detail)

Saturday, August 22, 2009

Artist Recommendation – Marilyn Pappas

Marilyn Pappas has been included in exhibits at the Snyderman-Works Galleries in Philadelphia and had a solo exhibit at the Nancy Margolis Gallery in NYC. She taught for many years at the Maryland College of Art and Design. Marilyn will be exhibiting her work and speaking at SOFA Chicago in November.

I'm particularly drawn to her new work titled "The Life of Beauty." Marilyn says about this work that they are "meditations on Western concepts of beauty throughout time." She also states that she is interested in the "imperfection of beauty and the beauty of imperfection." She also talks about the comfort of hand work, the meditative quality and the slow development of her work. You can read more of Marilyn's statements here.

Here are some examples from The Life of Beauty series:

pappasnike pappasnikedet

Nike and the Life of Beauty (left and detail, right); 2006; 102" x 59"; cotton, linen, gold

IMG_0449 marylin002

Left: Nike with Broken Wings (detail); 2002-2008; 68" x 33"; cotton, linen, gold. Right: Venus, Marilyn and the Life of Beauty (detail); 2009; 70" x 52"; cotton, linen

13aAFrWounded 16AFrKallim

And from the Fragments Series: left: Fragment of a Wounded Amazon; 2000; 32" x 23"; cotton, linen. Right: Fragment of Killimachos Aphrodite; 1995; 36" x 15" x 2"; cotton, linen

Monday, August 17, 2009


I am participating in a project called Compositional Conversations. This was conceived by Terry Jarrad-Dimond. There are 14 artists in the group and my contribution will be featured today. Terry will be posting updates once a week, so check in on Mondays to see the progress and please join in on the conversation. All input is welcome!

As part of the process, I made full size patterns to test how they worked before making any fabric choices. Below is the composition with the paper pattern after I had made my final shape choice. Read the full story here.


Tuesday, July 7, 2009

New collage, sketchbook and tiny painting

This is a small (6" x 6") collage of two kinds of handmade paper stitched onto watercolor paper. It is fascinating to me how the holes in the paper become such a strong design element:


And here are two pages from my just completed sketchbook and a tiny painting of my funny spine "forests." The sketchbook pages are 9" x 12" and the small painting is about 6" x 6". The sketchbook pages are done with graphite and the painting is Pitt pen, gouache and pencil.




Saturday, June 27, 2009

Recommendation – Eleanore Mikus

Here is an example of Eleanore Mikus' artwork with her lines caused by the folding and re-folding of paper. Images from her website below:


Three Horizontals, folded nacre paper, 1968, 13.625"x10.5"


Architectural White Paperfold, 2000, 5"x14.5"

White Nacre Handfolded Paper, 1980, 33.5"x23.25"

and from her Black Paperfold series:

Ate, Ink on Handfolded Paper, 2002, 30 1/2"x23"

and from her Colored Paperfold series:

Red Ink and Oil Crayon on Handfolded Paper, 2005, 7" x 7 1/8"

I have her book, there is also a catalog from The Drawing Center on her work as well. The book information: Eleanore Mikus: Shadows of the Real by Robert Hobbs and Judith Bernstock; Ithaca: Groton House, 1991. Amazon link here.

Tuesday, June 23, 2009

Alyson Stanfield and basketry

Alyson Stanfield writes a newsletter weekly and I enjoyed this one - "Listen, read, act, repeat." Alyson discusses how we automatically respond to people "I already know that" when just stopping and listening may open yourself to new experiences. Scroll down to check out this good read.

This title was followed up yesterday by her newest newsletter topic "Stop, and then get to work." This topic refers to falling into the trap of doing endless research or endless searching as opposed to just doing. Alyson writes, "Stop! Stop gathering information, stop looking for something that doesn’t exist, and start doing." Good advice.

You can sign up for her free newsletter to be delivered once a week via email. Highly recommended.

I love this basket by Japanese bamboo artist, Fujitsuka Shosei. See more images at Tai Gallery here.

fujitsuka_shosei_basketryAnd a sketch from my journal based on the image and my fascination with boxes:


Thursday, June 18, 2009

Tuesday, June 16, 2009

Life, vision, clarity

A few days ago, an article came into my inbox from Mark Forster, the Time Freedom Coach. I have no affiliation with Mr. Forster – a few months back I signed up to receive email updates from several coaches as part of a group offer. His was among them. Forster is the author of the Autofocus System, a system which is a framework to allow your intellect and intuition work in balance.

In the email, Forster talks about how he is experimenting to develop a system even better than Autofocus – even though he is committed to his original product. He hopes that Autofocus will help him to:

1. Get the simple business of running his daily life back on track.
2. Avoid taking on commitments without a positive vision of what they are for.
3. Get a vision of what he is doing in his life.

No. 3 interested me a lot. In the discussion, Forster talks about "hovering around" being one thing, yet wanting another. He wants to have clear focus.


Blue pants collage, found papers, paste paper, print, oil pastels, 5" x 7", 2009

Little City, Pitt pen, pencil, gouache on watercolor paper, 4" x 6", 2009

Friday, June 12, 2009

Top Artists Since 1900 – Eva Hesse (no. 61)

In my opinion, no female artist has had the impact on art that Eva Hesse had in her short life. (1936-1970). I am particularly enamored of her drawings and her sculpture. Her drawings have a child-like feel to them and she was a master at using color. From the Estate of Eva Hesse site:

Untitled; 1963-64; Collage with ink, gouache and watercolor on paper; 22 x 30"

Untitled; 1963; gouache, watercolor, pencil on paper; 22 x 30"

Untitled, 1963; oilstick, ink and pencil on paper; 8.5 x 11"

Untitled; 1963; collage with gouache, ink and watercolor on paper; 36 1/4 x 27 3/4"

This book on her drawings is worth checking out if available in your area.


Recently, I got the Quilt National catalog for 2009. There is some very strong artwork in this exhibit, in my opinion. I hope to see the exhibit in person in September and will wait to review the show until then. However, on the QN site is a page of the award winners. I'm very impressed with many; particularly the work of Jen Swearington, Sandra Woock, Judy Rush and Anne Smith. Go to the above link and scroll down & look at Sandra Woock's piece. I see the X's, circles and strong vertical lines that reminds me so much of Hesse's drawings.

Wednesday, June 10, 2009

Top 200 Artists since 1900

The Times (U.K.) ran a poll asking readers to vote on the top artists of the 20th century. 1.4 million people voted and the results were published Monday (6-8-2009) here. (be sure and click on the artist name for a link to artwork) As I think happens in a public poll, artists who were good at publicity and whose estates keep that publicity going come out on top (e.g. Picasso is #1 and Frida Kahlo is #19). Predictably, women are in short supply in this list. Kahlo is the first woman on the list ahead of Louise Bourgeois (#70) and Louise Nevelson, whose sculpture makes me weak in the knees, is nowhere to be found. (see examples of her sculpture here and here on the Pace Wildenstein site).

imageDawn's Wedding Chapel IV, 1959-60; wood painted white;  9' 1" x 7' 3" x 1' 1-1/2"


Bride and Disk and Groom and Disk, 1959-67, from America-Dawn, 1962, originally from Dawn's Wedding Feast, 1959, painted wood

Next post will be on one of my all time favorite artists, Eva Hesse.

Monday, June 8, 2009

SDA Member's Show (cont.)

All artwork is 18" x 18":

Nest; cotton, silk; technique: digital print, painted, dyed, machine and hand stitched; © Jessica Jones

Nine; linen, mx dye, discharge paste; technique: screen printed, discharged, machine stitched; © Judy Langille

Net work: thin slice; repurposed wool, polyester, thread, stabilizer; technique: free motion stitched; © Susan Lasch Krevitt

wonder; cotton; technique: dyed, crocheted, knitted, sewn; © Janet Lipkin

Was; cotton, organza, commercial felt, artist's photograph; technique: blueprinted, piece, machine & hand stitch; © Patricia Malarcher

Lace; bristol board, polyester thread; technique: machine embroidered; © Clay McLaurin

Stone Silence; cotton flour sack dishtowels; technique: digitally printed, collaged, layered, stitched; © Luanne Rimel

Off the Rack; fabric, thread, dye, paint; technique: machine stitched, crazy patchwork, hand back stitched; © Mary Ruth Smith

Safety Measures; wool felt, birch plywood; technique: screen printed, heat transfer, burned wool; © Claire Verstegen

Damaged Morphology; satin, DVD; technique: airbrushed, screen printed, embroidery; © Kathy Weaver

This list is by no means comprehensive – there were so many that were fantastic – these are just the highlights for me. If you have a chance to see the show, it is up at the Belger Arts Center through August 15, 2009, I highly recommend it.

Sunday, June 7, 2009

SDA member show

I had been told prior to my first SDA conference, that the Member Show would be a highlight of the artwork I would see while in Kansas City. As usual, my astute friend was right, it was beautiful with some amazingly innovative and, beautiful, artwork. All artwork was 18" x 18" as stipulated by the requirements. Here are a sampling of my favorites:

natalya_aikensPiter, fabric, digital photo, techniques: printed, transferred, hand stitched, © Natalya Aikens

judy_balesSummer Grass, pipe cleaners, wire mesh, technique: pierced, bent © Judy Bales

peggy_brownFragments V, cotton, flannel, paper, watercolor, techniques: painted, cut, torn, fused, re-painted, quilted © Peggy Brown

sue_cavanaughOri-kumo #5, cotton sateen, procion dye, floss, techniques: makume and ori-nui stitch resisted shibori, dyed, over-dyed, layered, hand stitched, © Sue Cavanaugh


Comfort and Peace; hemp (traditional funeral fabric), perle cotton & synthetic thread; technique: rust dyed, hand stitched, French knots, © Shin-Hee Chin


Sunset Composition; cotton, silk, perle cotton; technique: hand dyed, screen printing, discharged, hand & machine stitched; © Gerrie Congdon

Cycle; buckram, silk organza LED lights; technique:stitched, burned incense; © Xia Gao

This old shirt; canvas, acrylic, waxed linen, found fabric; technique: painted, stitched; © Jane Herrick

The sense of mind; cotton, synthetic fiber; technique: Jacquard woven; © Ji Yeon Hwang

O.K., it looks like I have quite a few more favorites than I thought, so I'll stop here and pick up the rest in a later post. Enjoy!