More Thoughts On Work From FiberArt International

Divide ¦ 2012

Barbara Murak

Knitted construction
7″ x 8″ x 8″
United States

I have continued to think about the work presented in FiberArt International.  The range of expressions was very impressive.

During the last few years my own personal work has moved from intense color to a very muted palette and I am thinking this may be a bit of a trend as that was the predominate palette in this show.  Work in 3-D was also a large part of this show.

Barbara Murak's Knitted construction is a little jewel.  On her website this piece is titled Divide.  I could not look at the piece without thinking of a tidy brain in all it's ruffled-bilateral glory.  It had a wonderful presence despite the small size and if it were living in my house I'm sure I'd give it a "people" name and speak to it as I passed by.

Untitled #3 ¦ 2010

Frank Connet
Copper with black patina
9″ x 7″ x 5″
United States

Frank Connet's Untitled #3 was another sculpture piece of a diminutive size with big appeal for me.  I love this artist's work and have seen various works previously but this was the first piece I've seen in person.  I can't really tell you what the material is used in this work.  While it looks like fabric and you can see the "thread" which pulls it into it's form, I think it is copper mesh and wire.  If you visit his website he refer's to similar work as being "electroformed" shibori.  I appreciate the organic appearance of this work contrasting with man-made materials.  I also was attracted by the very mysterious quality of the form and the construction.  Beautiful, yes, but somehow menacing.

Etude 36: Arabesque: Contemplation ¦ 2011

Jane Dunnewold
Mixed media, silk ground, tuxedo shirt, India Ink, black sand; hand painting, screen printing
11″ x 43″
United States

Two works which were just the opposite of sculptural were the pieces by Jane Dunnewold and Joan Schultz.  Each of these pieces had the neutral palette I spoke of but were very 2-D.  I could see each of these works in drawing, printmaking, or painting shows and no one would question their inclusion.  The use of textiles was there but not necessarily the most important element of the work.  This could be said about any number of the pieces in the show.

Etude 36: Arabesque: Contemplation by Jane was exquisite in technique.  Flat and perfect.  Jane has a very unique process/technique for construction of her work which you can read about on her website.  I was also attracted to the format of this work and of the work by Joan Schulze.  Each work was very wide in proportion to the height which invites the viewer to "read" the work in a very specific way.  Unfortunately, the proportion makes it difficult to show in a catalog.  Both works are pictured on the same page and each image crosses the center crease of the page so they aren't shown to their best advantage.

The Drawing Room ¦ 2011

Joan Schulze
Silk, paper, glue transfer, direct printing, painting, oil pastel; pieced
12″ x 50″

The Drawing Room by Joan Schulze is a multi-layered work incorporating all sorts of images, bits and pieces which she revealed were sometimes taken from her previous work.  Like many artists, she has a reservoir of older work from which she can draw.  How wonderful!  The images appear and disappear and you are left to ponder the sources.  The work has some simple, well placed stitching and while I know the work is very sturdy, it has a frail quality that old paper often has.  Very inviting.

Ahhhhhh.  Loved the show.

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FiberArt International Review

Vestiges of Emancipation - 2011

Sandra Jane Heard

Vintage woven steel tape measures

41" x 68" x 11"

United States

photo by TJD

I returned home Sunday from the opening activities for FiberArt International in Pittsburg, PA. tired but gratified for making the trip and for having been selected to be part of this exhibition.  The quality of the pieces in this show was one of the best and most uniform I've ever seen.  The jurors certainly put together a diverse exhibition showcasing the breadth and intelligence of approaches to work being created in the wide world of fiber.

Before I go any further I want to thank The Fiber Arts Guild of Pittsburgh not only for the fabulous work they did on the show but for the hospitality which was expressed through greetings, gatherings and discussions about the work.  There were smiling faces everywhere and their pride in this show was obvious.

The show is held in two venues, the Pittsburg Center for Art and the Society for Contemporary Craft.  The two locations are very different from one another but each show was beautifully installed and looked great.  My work was at the PCA in a very nice spot on the wall across from the entrance to one of the galleries. 

So here's a second link to the place where you can see ALL the work in the show as well as the prize winners: http://fiberartinternational.org/  but before you go I want to share some of my faves and a few quick notes.

The featured photograph for my post today is Vestiges of Emanipation by Sandra Jane Heard.  Those of you who have known my work for a long time can easily understand my attraction to this work through it's use of metal stripes. The original idea came to Sandra after her grandmother died and she found some tape measures among her grandmothers belongings.  The idea of using the tapes to construct forms which reference female figures beginning to burst free is intellectually solid and visually compelling.  This work received the 2013 Directors Award.

Disease Mapping - 2012

Julie Abijanac

Recycled copy paper, thread, glue

48" x 96" x 2.5"

United States

Photo by Artist

Disease Mapping by Julie Abijanac is installed at the SCC on a large wall in the back of the gallery.  As I approached the work I was totally mystified as to the materials used for the work and was surprised to find it to be constructed of copy paper, folded and stitched into "little sandwiches".

Disease Mapping - detail

photo by TJD

This is a detail shot I made which might help you understand what you are looking at. 

I spoke with Julie about the origin of this work and she shared that it began during her treatment for Hodgkin's Lymphoma which she has survived.  During her treatment she was shown field-stains which are records of a cancer's growth and she observed how beautiful the cell structures were.  She began to first draw them and later developed this method of constructing what she drew.   She is now mapping other cell structures related to cancers.

The piece is large and delicate and very complex.  I inquired as to how she ever communicated the method for installing the work and she revealed that she drove up and installed it herself.  Thank you Julie. 

Julie is young and vibrant and had the biggest smile on her face I've seen in a long time.  Congratulations Julie, you ARE a winner.

I may post more work and comments later as there are many works from this show I responded to but today I want to mention just one more.

Instructions for Living - 2012

Elizabeth Brandt

Cotton fabric, cotton and bamboo batting

80" x 77"

United States

Photo by Jim Gebben

This lively work is by artist Elizabeth Brandt.  Elizabeth has used some traditional techniques, applique and stitching, to create a very original work.  When I first looked at the work I had the impression that the top figures were being reflected across the bottom or perhaps the bottom figures were the shadows of the top figures but that is not the case. All of the creatures are unique, lively and beautifully constructed.  It has an ethnic look but to my knowledge not drawn directly from any specific culture.  The while background is stitched densely and has the feeling of drawing.  The stitching demonstrates excellent use of free-motion stitching by not only supporting the work but adding to the work.  Can't wait to see more Elizabeth!

I was very pleased to learn that this show will be traveling to South Carolina in 2014 to the Franklin G. Burroughs - Simeon B. Chapin Art Museum in Myrtle Beach.  The show will be there from January 19-April 24 and I will certainly be revisiting.

To read a review of the show in the Pittsburg Pop City visit HERE: http://www.popcitymedia.com/features/FiberPgh041713.aspx

One of Suzanne's Cats

Thank you Suzanne for being such a great hostess.

We had a wonderful time.

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How to "Finish" Your Work

                This photo shows two separate details of  Manuscript 1, which have been merge to show the surface stitching.  

Last week I posted about my work which was chosen to be included in the art collection of The Fine Arts Center in Greenville, SC.  One of my readers, Betsy, left the following comment:

Terry, I really like your "Manuscript one". It is hard for me to see whether you have chosen to forego the quilting...I am trying to wean myself from the need to cover everything I do with running stitch, and would love to hear your comments! 

Is the pieced composition not sufficently beautiful?!

Have you backed this piece? How have you treated the edges? 

First I want to thank Betsy and all those who take the time to leave comments.  Very helpful and much appreciated.

Well, as you can see from the detail shots this work has lots of surface stitching....more than I usually use and certainly more idiosyncratic.  The full image of the work doesn't show the stitching because (I think) of all the color variation and the surface texture/pattern of the black marks.  In addition to the loopy variety of line, I used several different thread colors and all were variegated.  I made these choices in response to the work.  The choice of thread and stitching  support the work and add to the work.  Most often this type of stitching would not be appropriate for what I make but here I think it worked.  Manuscript 1 has batting, a backing and a facing. A very traditional combination.

But here is the bigger issue, must we always finish work in this manner?  The answer is unequivocally no.  You are the artist and you can make your work as you choose.  I began working with fabric with the intention of making a traditional quilt.  I grew up with quilts and I learned the construction of a quilt using traditional techniques. Once I began to see that I was going to use the techniques I had learned to make art it was very hard for me to let go to be more free and spontaneous.  That began to kick in about 3 years ago although I still do most of the finishing in a traditional manner. There is however, a gorilla in the room.  The gorilla is what you want to "do" with the work you make and where do you want to show your work.  

I love the overall concept of the open fiber or textile shows.  I've only seen FiberArt International  once but there were things in that show that I couldn't tell where the fiber was.  I like that.  But if you are completely committed to the idea that you are making a "quilt" and you only enter quilt shows, then you will need to be aware of the various descriptions of what constitutes a quilt and follow the guidelines for any specific show.  You may need to have two or more layers, quilting stitches that show on the back of the work and perhaps a specific type of edge.  At the same time I've seen tea bags stitched together and exhibited in a major quilt exhibition.  It met the show criteria so there can be lots of wiggle room.  Many of the shows that focus more on "surface design" often feature work that is a single layer, no bindings or facings.  

We are not alone in needing to be aware of the guidelines for specific types of shows.  Examples are photography shows that specify how the work must be glazed, shows for painters that may  require the work be on stretchers, or the weight of a specific sculpture may be limited.  All of these considerations, and many others, have to do with the showing of the work but it does not define the work.

I hope you will follow your urge to experiment with finishing work in a new way.  You may find you don't like the results.  You may find that it is the perfect solution for your work.  You won't really know until you try. 

Please let me know if you do try a new finish and what your feelings are about the results.

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I'm getting excited about the opening of FiberArt International 2013!

If you are there please come by and see my work!

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Morpheous Accepted into FiberArt International

Morpheous

62.25" x 59.25"

Stained Cotton Fabric

Terry Jarrard-Dimond

I am excited to announce the acceptance of my work, Morpheous, into FiberArt International.  This show will open in April 2013 in Pittsburgh and is sponsored by the Fiberart Guild of Pittsburgh.

This exhibition features a wide range of approaches to working with textiles.  Work included in the show was selected from over 1,200 works by 525 artists from 36 countries.  There were 81 pieces selected and 64 artists will be represented.

The show will also travel to locations including the San Jose Museum of Quilts and Textiles.  Dates and other locations will be announced at a later date.

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Fiberart International 2010

I received the catalog for the Fiberart International 2010 last week. I knew I likely would not see the show in person so I decided to spring for the catalog.

I don't have permission to post any photos so this will be a rare photoless article.

There are some wonderful pieces and some not so wonderful pieces in the exhibition. It is because of the "not so wonderful" pieces that I am taking time to write about the show.

I appreciate the format of Fiberart International, a show that is broad in scope and seeks the new, the different, the conceptual, the out in left-field, the adventurous, the tour-de-force, the craftless, the elegant, the quirky, the sublime, the outstanding, the large and small, the enduring, the passing fancy, the local and the international etc. Each of these works has something to say even if we don't like the package.

Fiberart International opens the doors a little wider for all artists working with fiber and encourages us to breath deep and dig deep in our studios. It also gives us cause to believe that there is someone "out there" who will show work which is drawn outside the lines and that there is an audience for such work.

Congratulations to all the participants. Thank you for sharing.