Showing posts with label other people's art. Show all posts
Showing posts with label other people's art. Show all posts

Friday, February 5, 2016

Modern Swatches


I've been trying for the past few weeks to figure out how I should start this post, but I've been having trouble, so I'm just going to come out with it:

I'm making a swatch book about the work of contemporary weavers.

This came about primarily though a discovery I made at my university library a few years ago - I found a copy of the Red book by Malin Selander, a Swedish weaver, who, after lecturing and teaching in America in the 1960s, returned home and spent nearly two decades producing four runs of books containing real handwoven swatches. It made so much sense - of course you would have a sample in the book, how else would a fellow craftsperson truly understand your work from flat, 2 dimensional words and photographs? Weaving cloth - and then experiencing the finished textile - is such a material, tactile experience, and the meat of your knowledge comes through direct contact, through your hands. 

So for the last few months I've been reaching out to some of the many weavers whose work I follow online and asking them if they'd like to participate by weaving a number of swatches. As these swatches come in over the next few months, I'll begin photographing and collating them into a book  - a limited number of books containing real swatches will be made for the participants, and then a small run of books will be produced that will contain photographs. 

Textiles tell so much about us – we make them to cover ourselves, keep warm, shroud our dead, soak up our tears, and tell others about who we are and where we are from. With this in mind, I’m curious about the why of modern textiles – what is it that draws us all to cloth making? This project, which I am calling Modern Swatches, will try to provide a glimpse into the way contemporary weavers practice and utilize cloth, and try to articulate this why in a form that needs no clicking or flicking - in something that you can hold in your hand.



In my next post I'll tell you more about the weavers who have been incredibly generous in agreeing to make swatches for this project. The support I've received from them alone is enough to tell me that there is interest in this sort of project, and so I am thrilled to be able to gather their cloth together and share with others their textile practices.

Thanks for reading - please let me know your thoughts if you have any!

Saturday, March 14, 2015


I'm really enjoying these works by Debbie Lyddon "Blue Salt Pots" - cloth, and yet pots, with a visceral experience of the sea.

I'm thinking about the ocean a lot, while looking at the melting lake.


Image from Debbie Lyddon's website.

Friday, January 30, 2015


I have been thinking a lot lately about weaving and making and the twin questions, or words really, of unique and inspiration. They're very difficult questions to answer - I think my problem is that these days they're used so often to describe all sorts of things that they've both become a bit trite.What is unique anyway?

I've seen the work of Catarina Riccabona over the internet before, but I came across this short interview with her a few months ago and I particularly liked her answer to "What is unique about what you make?"

"I don’t try to make my work very unique. That’s not super important to me. I think what’s typical for my work is that I have a strict eco-concept behind my work. I take care in what materials I use and what I don’t use. I think because of that very strict set of rules I’ve created for myself, a sort of style, or aesthetic evolves as well. I use a lot of undyed linen, and that’s a “color” or a non-color, but that comes through a lot and that’s just a given. There are certain factors in place, and then I have to work around them. 
...
I think my way of working is not something I set out and said, “Oh, I’m going to work like that.” It’s something that evolved as a result of certain thoughts or principles that I wanted to apply for my practice, for my business. Then I think it’s a lot of trying and seeing, okay, this works or this doesn’t work. For two years now I have been weaving a lot. I have just been making, making making and if you do a certain activity a lot, you have the ideas ready at hand... I don’t have a sketchbook for instance. It’s very spontaneous work. It works for me because I’m sort of in this rhythm of working very regularly. "

Or this answer to "What inspires you?"

"I’m interested in practically everything and then not for very long. It’s very eclectic. What I always enjoy looking at is African textiles or textiles from other parts of the world that were handmade and you can see that they were not a standardized product. Or, just going to a museum. It can be art, it can be a painting."


Right on!

(image from Catarina Riccabona's website)

Wednesday, January 21, 2015

Bonnie Kirkwood

BONNIE KIRKWOOD - WOVEN TEXTILE DESIGNER from BONNIE KIRKWOOD on Vimeo.



I love watching other weavers at work, even though after I finish typing this I'll go to my loom and do the exact same thing, and experience is much better than watching.

This is weaving by Bonnie Kirkwood, a London-based textile designer. I'm really enjoying the samples in the photograph...

Thursday, June 12, 2014


Yesterday: a dramatic road trip through thick fog to the Peterborough Art Gallery to see Dorothy Caldwell's exhibition Silent Ice/Deep Patience.

Wednesday, April 23, 2014




Spring.

Easter treat/trade from Patrice A - wonderful!!! Thank you!

Wednesday, December 4, 2013


A few months ago I was contacted by a women who had purchased two of my tea towels from Likely General. She got in touch again this past weekend with this wonderful image - it was included in a shoot for the January issue of Style at Home magazine!! It was so kind of her to pass it on, and of course I'm thrilled to see my towel again!

Thanks Claire!

Thursday, November 21, 2013

Friday, August 2, 2013

Soot drawings


Claudio Parmiggiani, Senza Titolo, 2008.

Thursday, July 4, 2013

On theme


Reading: Lucie Rie; Modernist Potter, by Emmanuel Cooper. The Guardian article about this book,  includes the amazingly sexist description by Adolf Loos of female artists in Vienna as "Frauleins who regard handicrafts as something one can earn pin money or while away one's spare time until one can walk up the aisle." Can't wait to delve into this!

Listening:  MoMA Talks; Women and the Bauhaus, Anni Albers. Available on iTunes. Nicholas Fox Weber speaks about his experiences with Albers & of her life and work. The series includes some other interesting lectures as well. Great to listen to while weaving!

Saturday, April 6, 2013

Spark Box


Until Monday I'm at Spark Box Studio in Picton Ontario on an artist residency. I just tap into my computer all day, but the two other residents here are working on very different projects. Carmen Neely has come all the way from North Carolina to work in the print shop, and Lisa Carrie Goldberg, who is also from Toronto, has been doing fun DIY science experiments, like separating the DNA from strawberries!

Saturday, March 16, 2013


Beautiful handweaving by Nao Fukumoto. (image from her website)

Friday, February 8, 2013



 This is the work of British sculptor Kate MccGwire - I saw an article on her work in the recent issue of Crafts magazine. She uses feathers to create her work - it's so beautiful!

Incidentally, I just finished reading this book on pigeons.



Tuesday, January 29, 2013

One of each, please. (Amy Revier's collection for the Dover Street Market)

Friday, January 18, 2013

Also super beautiful, from here.
The work of Taro Hamano Textile Studio is so beautiful! This photograph is from their website.

Monday, November 26, 2012

My pal SDR turned me a beautiful darning egg. Watch out holey socks!

Friday, October 5, 2012

Sharon Harper

Moon Studies and Star Scratches, No. 4
June - September 2004
Saratoga Springs, New York; Middlesex, Vermont; Johnson, Vermont;
Eden Mills, Vermont; Greensboro, North Carolina
Digital c print from 8x10 transparency, 40” x 50”

Saturday, August 25, 2012


Franz Erhard Walther
28 Standstellen Zeichnung, 1967 / Ort Zeit Innen Aussen, 1967
Kreuz Bewegungsraum, 1967 / Rahmen Wege, 1967


Thursday, August 16, 2012

Maren Hassinger, Veil. 1987. Fabric, branches, and wire rope. 14' x 12' x 10'. Installed at P.S. 1, room 209, Long Island City, NY.