“Currents” exhibit open now!

Shagbark2500Shagbark 2

Currents, the sixth juried exhibition of the contemporary fiber group EDGE, is open now until June 5 at the Sunderland Gallery in Omaha. I’m a first-year member and was thrilled to have Shagbark 2 and Shagbark 7 included in this exhibit.

EDGE has 24 members, including painters, water colorists, graphic artists, photographers and sculptors. Eleven members had 17 artworks juried into the exhibit. The artists include Dora Agbas, Jette Clover, Eileen M.F. Doughty, Linda K. Filby-Fisher, Mary Kay Fosnacht (2 artworks), Karen Goetzinger (2 artworks), Mary B. Pal, Ruth Powers, Karen Stiehl Osborn (2 artworks), and Charlotte Ziebarth.

The juror, Gina Adams, commented that she looked at each piece entered into this exhibit to find the thread of difference and the vision of the artist to literally break new ground. Each one of the contemporary fiber pieces not only shows artistic merit but a strong vision…

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Shagbark 7

EDGE includes members in Nebraska, Missouri, Illinois, Colorado, Washington, Louisiana, Virginia, North Carolina, New Jersey, Pennsylvania, Canada and Belgium.

The exhibit touches on various topics including loss and the environment, said Sharon Bass, EDGE’s curator of exhibitions.

I think ‘Currents’ describes an internal and external view of contemporary life – the environment and the eddies within our cultures, the need to dig in and perhaps the greater need to get out of the box, she said. It’s grounded in contemplation and punctuated by a spirit that is ready to soar.

For more information about the exhibit, contact Sharon Bass at bass(at)ku.edu.

Sunderland Gallery hours are Tuesdays-Fridays, 11 a.m. to 4 p.m.; Saturdays, 10 a.m. to 3 p.m.; and third Sundays, 10:30 a.m. to 4 p.m.

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04 2016

“Rock” at International Quilt Festival – Chicago this week

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Rock

Rock will be at International Quilt Festival this week, April 7-9, as part of the Affinity exhibit.  The exhibit, part of the Dinner at Eight artists series, was juried and curated by Jamie Fingal and
Leslie Tucker Jenison.

Rock was, of course, inspired by photos taken in the Boundary Waters Canoe Area Wilderness. It is 40×40 inches.  Materials:  White cotton cloth, acrylic paint, duck cloth, felt, oil paint sticks, rayon and cotton thread. Techniques include machine piecing, appliqué, and stitching.

There is an excellent catalog that you can purchase online for only $15.

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04 2016

Rock, Sun, Three Birches

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Studio Art Quilt Associates is holding a silent Spotlight Benefit Auction at its Conference in Philadelphia March 31 to April 3.

Please look for my Rock, Sun, Three Birches and many additional small artworks at the Auction.  Thank you!

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03 2016

My Creative Process

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Sue Reno asked me last year to submit a short statement about my creative process to include in her conference presentation, Develop and Sustain Your Daily Artistic Practice. Since I’m almost ready to switch to my outdoor mode, I thought I would share it now:

Since my artwork is inspired by Nature, it is fitting that my studio practice follow the seasons. Almost all of my artwork is created during November – April which is late Fall/Winter/early Spring in northern Illinois. The Spring/Summer months find me traveling, working in my one-acre landscape garden, and painting/printing all the fabrics I use in my artwork. It is in the winter months when the studio is my refuge and I am thrilled to spend long and concentrated hours in its warmth and light.

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I find that towards the end of summer I can actually feel a frisson of excitement, a rising push of inspiration that compels my return to the studio. All summer long I have been living in/with Nature and traveling about seeing new things. There is an urgency when I return to my studio knowing that time is limited, time is passing. If I felt I had all the time in the world, my output would be much diminished.

I work in series and within those series in groups of artwork. With art quilts, this is due, in part, to the fact that the only fabrics available to me are those that I have already created. I have yet to be able to go back and “make” additional fabrics to continue a grouping or series of artwork. Use what I have and move on works best for me.

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In my daily studio practice I like variety and so I move between my textile/collage studio and my basement painting studio. I work on art quilts, junk mail paper collages, mixed-media collages, and paintings in rotation by spending approximately one-half day in each studio. I’m never bored and I find all artwork is improved by a little space and time. There is always something drying, always something in progress, always something about which I’m thinking.

Artwork shown are from the Clover and a Bee series.  Photos by Deidre Adams.

 

 

 

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03 2016

Gala of the Unexpected – I’m In!

MooseBay500Moose Bay
62 inches high by 60 inches wide
Disposable paint drop cloth, non-woven fabric,
two-layer disposable floor protector, Tyvek from disposable lab coats,
Lutradur, acrylic paint, miniature brads.
Photos by Deidre Adams

What an honor!  I’m so pleased that Moose Bay was chosen as one of the 25 artworks for the Gala of the Unexpected exhibit at the National Quilt Museum (NQM) in Paducah, KY.  The exhibit, celebrating the 25th Anniversary of the NQM, will open April 14 and continue until July 12.  It will then travel until December 31, 2017.

MooseBaydtl400Moose Bay – Detail 1

I was intrigued by the call for entries with this statement by Curator/Registar Judy Schwender:

Historically, quilts had a cloth top and back, some form of batting in the middle, and were stitched together with thread.  But, what actually is a quilt?  At its most basic, it is three layers held together by some means.  The layers may be of plastic or metal; the batting can be Styrofoam.  There really is no limit to what makes up a quilt as long as the above basic structure is adhered to.

Moose Bay was inspired by one of my favorite spots in the Boundary Waters Canoe Area Wilderness:  The shimmer of silver water sparkling in the sun.  The changing kaleidoscope of water lily pads flipping in the breeze.  A sure spot to see a moose, and perhaps her calf, tonight.

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Moose Bay – Detail 2

Techniques used in Moose Bay‘s creation: Paint, cut, collage. Paint, print, cut, punch, fasten. Paint, print.  Since I couldn’t attach a sleeve to the rug protector backing, the artwork is hung from two silver grommets.

 

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02 2016