Category Archives: Thinking out loud

PoliSci

Not much to post about here. I’m still making french knots on an Army Wife apron. I may have slipped into a bit of entropy. The apron is moving sloooooooowly, and so nothing else is moving either.

Nonentity WIP

Maybe I just need to take a break from the social media… which leads me to some things I’ve been thinking about.

A few weeks ago, I was privy to the tail end of a conversation about religion. Person One said that he believed everyone is entitled to their own beliefs and should practice whatever religion they want (so long as they don’t force it upon anyone else). Person Two said yes, she believes that God is the way and the love and that the bible is the truth, but she doesn’t hold anything against anyone who believes otherwise. I thought to myself, no these aren’t the same. One posits that each person may have their own truth, and that these different truths are nonetheless equal. The other posits that there is one truth and the others are wrong, though she’ll tolerate them.

I’d like to say that my beliefs are more in line with Person One. There are so many religions in the world, I find it impossible to believe that only one can be correct. I think that truth is relative to the needs of the believers. But then I got to thinking about other instances of truth and fiction, specifically the liberal and conservative schism in American politics. I am a liberal and tend to believe what the Democratic side is saying and trying to accomplish. I think that for the most part the conservatives have been misguided of late. Oops — now I’m thinking like Person Two. It is terribly wrong and unfair for me to think that my politics are right and those of my conservative friends and acquaintances are somehow wrong. Their beliefs are right for them. People have as much right to believe that Obama is a socialist as I have to believe that America is an oligarchy.

So here’s the hard part. It’s relatively easy for people in the USA to practice whatever religion they want in the privacy of their own home or place of worship. A pretty visible line can be drawn between not showing preference to one religion in public places like municipal government or public schools, yet allowing it in private places like homes, parochial schools, churches and temples. But how does a country deal with relative truths when it comes to providing for the society as a whole? Is it possible to draw lines between governing liberally here but conservatively there? How can federal government effectively meet the needs and desires of both Red states and Blue ones when they are nearly opposed? Is compromise possible when people are less willing to put up with less than getting their way?

Political scientists have my sympathy.

Catching Up

Sorta. The last self portrait I did was number 365:104, but I skipped days 100 to 103, and then I’ve done nothing since and it’s been about two weeks.
Untitled

My excuse is that I’ve been working on quilts, but really, I just spend too much time farting around and not focusing.

About the same time I decided to do the portraits, I also decided to see what I did with my time. That has turned out to be something I’ve kept up with.


I’m not marking how much time I spend doing each thing, but I do write what I do each day — including most of the mundane little things. I’ve found that taking a little time each morning to set out my goals does help the focus a bit, and keeps my to-do list realistic. I’m also really liking having one place to keep that list, rather than having separate papers all over the house.

Zeitgeist is at a bit of a standstill right now, but not for long! As I made it, I was pretty sure it would be most appropriate to have a long arm quilter quilt it. The person who came to mind was booked solid though, so I kinda resolved to quilt it myself on my home domestic machine. Friends came to the rescue with recommendations and I asked at the local quilt shop while browsing potential quilting threads, and, lucky me, a lady nearby will be able to fit me and my kitty into her schedule (I think the photo I sent convinced her that she couldn’t pass on this one — it’s probably the most fun quilt she’ll do ever!). I am relieved that I won’t have to cram that grumpy cat into my sewing machine, and I’m excited that I will probably be able to enter it into IQF Houston’s World of Beauty show. I know I’ve said that my work doesn’t fit into traditional “pole and drape” shows, but Zeitgeist isn’t my normal work, and I like the idea of it being seen by a large crowd. If it doesn’t get in, I’ll still have plenty of time to try the art quilt route with Art Quilt Elements too.

I’ve applied for several show dates at the MacGuffey art center for my Army Wife series. Now I just have to be patient and wait for the committee to sort out who will be showing and in what gallery in the next 12 months.

Which brings me to my other work in progress. With marriage equality in the news lately, one can’t escape the pink and red logo, which to me, looks like a quilt block! I whipped up a few blocks, liked them, and decided to make a marriage equality wedding quilt. As I work on this, I’ve been thinking of options for it.

Option 1: Take the finished quilt to my husband’s side of the family reunion this summer and have all the relatives sign it, then give it to his cousin and her wife as an anniversary present. Easy-peasy and a very nice gesture for two wonderful ladies, but kinda small thinking.

Option 2: Find photographers (because I’m no portraitist on canvas or film) who will photograph committed same sex couples across the country, with the quilt. Create a questionnaire to for them to fill in and present the photographic portraits, along with the stories (names, type of union, how long, is the union legally recognized, and what does marriage mean to you) on a dedicated blog. I like the larger statement of this, and I think working with a variety of photographers would be more practical and professional than trying to travel and take the photos myself. I’m just not sure I know enough of the right people, or have the resources to do this. I suspect some grant writing could and should be involved too. Thinking too big now?

Option 3: is really an extension of Option 2. A friend asked if she could make blocks too and what were the specs. I hadn’t considered making it a group project, but it does lend itself to such a thing. My fear is that I would end up not just with enough blocks to make the one queen sized quilt I envision, but enough for ten quilts! I’m not ready to finish ten quilts — and then what? But… I could finish my quilt and publish instructions so that other individuals and groups could make their own. They could send photos of the quilts with their recipients and stories to the dedicated blog. I’m not sure of the likelihood of pairing other quilt makers with professional photographers, but if I took it down a notch and the photos were snapshots from those involved, it could still be interesting, and potentially cover a lot more ground than I could alone.

Hmmmm, lots to ponder as I sew.

Fine Craft at ACC Baltimore

I keep forgetting to blog about the trip Deborah and I made to Baltimore a few weeks ago to visit the American Craft Council show. Deborah has written two posts worth checking out here and here. In fact, she pretty much said everything in the first post that I wanted to say here. So, I’ll focus more on my personal take-aways (and then show lots of work I like anyways — some of which is the same as Deborah chose).

IMG_6351
We gathered lots of business cards to help remember all the work we saw.

Overall, I was impressed with the consistency and quality of the work. I’m sure this is because one must be juried in to participate. I found myself, over and over, thinking “I am not worthy,” about my own work. I particularly enjoyed the booths where the artist had taken care to integrate a whole experience between the wares and their presentation. Speaking of wares, I overheard one person comment, somewhat disparagingly, that it was basically shopping. Yes, it was. This is no conceptual gallery show or museum setting. But, as artists and craftspeople, selling work is an effective way of sharing it with an audience as well as paying the bills, so I’m OK with that. That said, I came away from the show pretty sure that I do not want to do the craft fair circuit myself. It’s not that I think myself above that, it’s because I know it would mean drastically re-evaluating and changing my work to something more marketable, and I’m just not there right now or in the immediate future.

I really enjoyed the variety of work at the show. Like Deborah, I loved the wooden Jewelry of Gustav Reyes. It is a masterful blending of the technical with the organic, and we enjoyed learning about his technique. I would love to own one of his coil bracelets:

The jewelry ran the gamut from wooden, to felt, to ceramic, to assemblage, to precious metal, to stone (lots of stone!), to textile. I found myself attracted to a lot of the “creepy-cool” things, like Kest Schwartzman’s masks:

Brandon Holschuh had a wonderful booth filled with his organic metal and stone jewelry, each with their own little display stand so they were not only sculpture for the body, but sculptures in and of themselves as well. He was enthusiastic to talk to and his booth styling was classy and appropriate as well.

I saw lots of shibori, mostly amongst the clothing — but very little was traditional Japanese style, there was lots of variety and subtlety. While I admired the dyed fabrics, I ended up buying a patchwork dress from San Francisco designer, Anya. Mine is green and orange, of course.

If I had unlimited funds, I would have loved a repurposed cashmere dress from eko logic too (the style that enchanted me is unfortunately not on the website).

It wasn’t all about the wearables though. Glass and ceramic were prevalent. Bryan Hopkins was one of my favorites — mainly because of his clever tagline, “Functional and Dysfunctional Porcelain.” However, not all work was so contemporary looking. My mom would have liked the craftsman inspired ceramics and furniture like the vases of Jonathan White. There were some spikey ones that appealed to me with their slight dangerousness.

Michael Bauermeister‘s sculptural vessels had a warm presence despite their large scale. I’d love to have the space and the funds for one of his pieces.

We saw some enormous metal pieces too that would be great for an outdoor installation, but would never work for nomads like Deborah and I.

She mentioned in her second post that while the quilts and textiles at the show were high quality, and definitely beautiful, they just weren’t the things she gravitated to. I have to agree, and think she may be onto something with the idea of familiarity. However, I enjoyed Liz Alpert Fay’s rugs — some looked decidedly vintage quilt-like.

There were also a few floorcloths in Faith Wilson’s booth that definitely spoke to me. Something about “here” resonated.

There is something about practical things that we can use in our environments and on our bodies, that when made beautiful and intriguing as well as functional, which draws me in. I had a wonderful time at the Baltimore Convention Center soaking in all the fine craft and art. The experience was made all the better being there with a friend with whom I could share the wonder and appreciation and well as the questionable and humorous moments.

If you haven’t already, go check out Deborah’s posts. And, for another perspective, Lotta reported too.

I will not work on spec. I will not work on spec. I will not work on spec.

I am a content Active SAQA member. I see many benefits of membership in this professional organization. A Call for Entries today got me excited. An opportunity for me to try again at fabric design (the Hawaiian designs I shopped around a few years ago were flops)! I read the details with anticipation.

Andover Fabrics (formerly Concord) will print and market a collection of cotton fabrics branded with the Studio Art Quilt Associates (SAQA) name and logo – the SAQA Urban Textures fabric collection. A percentage of sales of the collection fabrics will go to support SAQA in our 25th Anniversary Year – 2014!

Until I got to this part…where my heart sank.

You will be asked to agree with these Terms and Conditions:
This set of designs is my original design. I understand that my designs may be altered in order to be successfully used for the SAQA Urban Textures fabric collection. I agree to give Studio Art Quilt Associates, Inc. copyright to these designs, including all rights, titles, and interest in and to the designs. If my design collection is selected, I will sign a transfer document transferring copyright to Studio Art Quilt Associates, Inc. I UNDERSTAND THAT I AM ENTERING THIS COMPETITION TO SUPPORT SAQA AND WILL NOT RECEIVE ANY MONETARY REMUNERATION.

Did you catch the part in all caps? Flashback to my graphic design days. AIGA’s position discourages the inherent discount of the most important element of most design project — the research, thoughtful consideration of alternatives, and creative contribution designers make toward client’s objectives that occurs when working without commitment or compensation from the client. I think the same concepts can be applied here. So I sent off an email to SAQA’s president, and the competition’s juror:

Dear Martha and Luana,

Wow, everywhere I turn, there’s a new line of fabric being promoted or created. The variety available to the consumer is amazing. So it pleases me to see SAQA approached as a possible source of unique designs. I am also in support of seeking out new and different ways to promote SAQA and art quilts in general. I appreciate SAQA and the opportunities I have found through the organization.

As a former graphic designer, a current art quilter, and an artist whose subject matter often includes villages and homes, I got excited reading the call for entries. Finally, here was a project that might actually be appropriate for me to pursue. However, when I worked as a graphic designer, we as a profession were always cautioned not to do work on spec. To develop sketches and ideas, the difficult intellectual and creative part of design, for free, with only a hope that it may be selected, devalues the work of the designer. So you can imagine my disappointment when I read the terms of Call for Entry. Not only would NONE of the competing artists get paid for their work, they would also have to pay their way into the competition. An artist paying to do work on spec?! What that shows me is that Andover and SAQA place absolutely no value on my, or any of the artists’ creativity — our strongest asset.

I can’t imagine that Kaffe Fasset, Jinny Beyer, Amy Butler, Thomas Knauer, Heather Bailey, Anna Maria Horner, or any of the myriad fabric designers whose collections are the billboards of the major fabric companies today are creating their designs without monetary compensation. Exposure is a canard as well. New lines of fabric are introduced and replaced at the speed of light and buzz for a few weeks at Quilt Market is hardly worth the devaluation of one’s artistic capability.

While I appreciate the effort to expand SAQA’s footprint into other aspects of the quilt world, I’m afraid that I cannot support this project. I will not enter any designs. In addition, I will encourage my colleagues not to submit as well.

Regretfully,

Kristin La Flamme

While I don’t expect the parameters of this particular project to be changed, I hope that SAQA will take into consideration the value of our intellect and creativity when the next opportunity arises. Perhaps a few potential applicants will re-think submitting and send emails themselves. Ideally, Andover will see a little more value in those with the potential to create the products upon which their business thrives, though I’m not holding my breath. Finally, I’m feeling deflated. Disappointed. Once again, a conviction of mine has closed a door on opportunity. I’m sorry it has to be this way.

What is it? And does it matter?

This is going to be quick and dirty and kinda rambly because I’ve already wasted enough time on the computer and MUST get back to my knitting. (No really, I’m totally obsessed with knitting a shawl because I’ve already finished knitting it, but knew I could do better so I frogged it and started over and now must play catch-up with myself.)

Portfolio Books
(My portfolio books, because even I can’t define what I do)

I’ve been following blogs, emails, and Facebook posts of reports from QuiltCon this last week and I’m trying to wrap my head around it. It seems that there was a lot of discussion over the definition of Modern Quilting. On the one side was talk about what it isn’t and on the other is very cogent thoughts on what it could be if we’d get beyond the defining. Then there’s reactions to what was shown there: all too similar? too quilt police-y? not enough quilt police? not appropriate for the context?

I wondered then, does all this questioning and defining happen at the “regular” quilt shows? I had to ponder for a moment because I’m closer to that world and therefore a bit immune to it. Yes, there is far too much defining going on at the usual quilt shows too. The big one is whether one came to see art quilts or bed quilts and why are there art quilts anyway? Then there’s the unending discussion online of what is and isn’t art when it comes to quilts. Are photos on fabric art? why isn’t pictorial more accepted in the art quilt world? why are viewers so attracted to the pictorial and don’t “get” the abstract quilts? can one make art quilts with commercial fabric?

I remembered when I followed the crafty blogs and how it seemed that there was a formula for that too (something involving toddlers, robin’s egg blue studios, and book contracts). Is all this defining, labeling, and putting in boxes a female thing? Maybe just a human thing.

Why do I even care? I care because it makes me think about my own work and how I fit in. I am inspired by traditional quilts — that’s where I started. I am inspired by “maverick” quilts (something along the lines of traditional, but wonkier in construction) — that’s where I jumped over to my art brain. I enjoy Modern Quilts — to me they are an extension of the previous two appealing to a different aesthetic. I am inspired by fine craft (I’ll need to post about the Craft Council show we went to) — I always bow down to superior quality. I get a kick out of bloggy craft — give me a good geeky, meme-inspired, pop culture reference and I’m hooked. I’m inspired by conceptual art — why can’t I think of stuff like that? I love textile art of all types. I will always refer back to my art school training — it’s my foundation.

Given all of these influences, I struggle with where to show my work, or even where to go with it. Crafty blogging didn’t go anywhere. My work looks drab and out of place at quilt shows like IQF Houston where it’s surrounded by jewel tones and sparkle. I’m not interested in having a booth and traveling to art fairs (I’d have to change my work drastically if I realistically expected anyone to buy it for over their sofa). Right now I’m trying the gallery route. I’m excited to see where that goes. So, I follow the conversations in these circles I’m tangentially attached to, looking for a deeper connection for myself. Hoping that somewhere the definitions will break down a little and instead of closing doors between them, we can open doors and appreciate things like the foundations of Modern Quilting being in traditional quilts and that art quilts CAN celebrate the fabric at their foundations.

I’d love to see a show that travels between Quilt Con, IQF and the Mancuso shows that includes Civil War era antique quilts, classic Amish quilts, Baltimore Album quilts, Anna Williams, Gees Bend, Gwen Marsten, Jean Wells, Tonya Ricucci, Bonnie Hunter, Luke Haynes, Nancy Crow, Diane Firth, Wendy Huhn, Pamela Allen, Carole Taylor, Joe Cunningham, Sherri-Lynn Woods, Chawne, Victoria Findlay-Wolf, Jaquie Gering, Thomas Knauer, Ashley Newcomb, and you get the idea… I can connect a thread between all of these quilts and quilters, and I’d love to see others make connections too.

A Rant (because I’m still trying to understand this)

Im trying to understand the current gun issue. People seem to be quite firmly entrenched in their opinions on one side or the other (myself included), and I think this is because it is so much more of an emotional issue than a logical one. No one wants to see innocent people die, but no one wants to feel powerless either. Kind of like the way I see a 28 year old me with makeup and good hair in my mind’s eye, even though when I actually look in the mirror I’m 47 and plain. I think many Americans see ourselves in our mind’s eyes as a ruggedly independent Clint Eastwood character, alone in the untamed wilderness, protecting and providing for our loved ones with our bare hands, when really, we live in pretty organized and interconnected communities.

Leaving aside the Second Amendment for a moment, why do most law abiding citizens want or need a gun?

We have my grandfather’s WWII service pistols gifted to my husband when he joined the army. They are sentimental and are used occasionally for sport target shooting. When we lived in Germany, the guns had to be registered, my husband had to be certified to use them, and they lived at the local gun club, which incidentally, was where they’d be used anyway. I was comfortable with this this arrangement. No guns in the house where curious hands could get to them, yet easily accessible for a few hours of target shooting with colleagues. Germany has similar laws for hunters: in addition to acquiring a license to hunt a deer, or boar or whatever, one must also check out their gun from the club. At a forest hotel once, I saw a man in lederhosen set off into the woods with his dog and rifle in search of game. I’m not sure if he shot anything that day, but it didn’t look like he was too put out by the process of gathering his gear and papers for his day outdoors. Unlike Germany, America has a lot more open land where one could shoot for sport, as opposed to tightly packed cities and regulated forests, so I accept that it would be harder to convince people to go to the gun club rather than out in their “back 40.” Personally, I like the idea of lethal weapons being kept at a gun club, but I understand that it is unlikely to be accepted or enforceable in the US. So, I’m not sure what is reasonable to expect on this front.

Guns are often cited as necessary for protection. If an intruder were to come into one’s house intending to do harm, one could just reach over to the nightstand, pull out that loaded gun, and stop the killer in his tracks. Right? Except the scenario would also leave that loaded gun easily accessible to the curious hands of small kids in the house or teens wanting to impress their friends, or perhaps a thief who could take it for later use on the homeowner, or in an entirely separate crime. Once a person has secured a weapon against these basic threats, then by the time he or she found the keys or code to the lock (stored in a completely separate place of course), retrieved the gun and loaded it, the intruder has either left or proceeded with the bodily harm he or she arrived intending to inflict. As one friend told me, ANYTHING can be used as an assault weapon. She meant it to question why we should regulate or ban guns at all, but I wonder if everything has lethal potential, then why would a gun be significantly better than a baseball bat, kitchen knife, a loud scream, or getting the hell out? It seems to me that the risks of a gun as self defense run higher than the rewards, whereas other forms of defense, while not perfect or certain, also don’t have as high a risk. I’m a pessimist though, and I suspect most people who would prefer to use a gun in self defense also believe themselves to be speed loaders and ace shots (and maybe they are). As something of an example, in our neighborhood, a man walked into a grocery store wearing a large gun. It was loaded, but not concealed. He had a legal right to own it and here in Virginia it’s fine to carry a weapon in public. I keep hearing that people wished they had their guns handy at mass shootings so that they could have stopped the perpetrator. So, one would think that the patrons of this grocery store would have all sighed in relief seeing that a “good guy” was on the premises with a gun to save them in case some “bad guy” came in on a violent rampage. Was this man thanked for his preparedness? No, people called the police and the man was banned from the store. Nope, I’m not buying the “we’re all safer when the good guys have guns” argument.

What about the non-law abiding citizens? Many argue that no amount of laws will stop gang bangers and criminals from acquiring guns and using them. OK, that may be right. I actually believe that humans are by nature violent and self serving and our first instinct is to get what we want by the most expedient manner possible. So yes, those who have decided to act criminally won’t worry too much about laws, strict or lax. But in our human desire to put out the least amount of effort possible, couldn’t it be, that as in Europe where guns are more tightly regulated and not often found in private homes, limited access might lessen the criminal use? A depressed and angry young man is less likely to go to the gun club and check out his father’s rifle to then go back to school and shoot his classmates than one who can roll out of bed, grab whatever is in the family gun safe and be on his way.

Now back to the Second Amendment and our right to bear arms. I suppose it made sense when our country was pursuing Manifest Destiny and forging ever westward, away from established societal infrastructure and it’s police protection. Away from colonial control and into lands inhabited by natives unfriendly to our greedy expansion. Running up against other powers as we established new borders. But the natives have been subdued, and our borders established. What oppressive government would we take up arms against now? Only 1% of our population volunteers to join our nation’s military to protect our lands from outside threats. Does the other 99% think that they are serving their country by having handguns at the ready to preserve our borders from an expansionist Mexico or Canada? I suspect not.

Or, is it that we feel safer with a gun to protect us from our own oppressive government? I suppose people like my husband and other service members could potentially come storming through one’s door and take over a home for use as a military HQ or whatever, but we have laws that prohibit that, and our military is pretty good at following rules. I’ve seen people compare the actions of our current president and many congresspeople to the likes of Hitler, Amin, and Stalin, in justification of keeping our access to guns as open as possible. In that vein, I find the discriminatory politics of conservatives against marriage equality, their forceful policies such as mandatory transvaginal ultrasounds, and insistence that rule of law be based on one religion to be just as oppressive. Does that mean I have a right to take up arms against those conservative politicians whom I did not vote for? Based on the legal consequences faced by others who have tried both successfully and unsuccessfully to shoot our elected officials, I think not.

If the constitution says that the right of the people to keep and bear arms shall not be infringed, then why have any regulation at all? Why can’t I have an Uzzi or a surface to air missile if I want? In that regard, which right would have precedence, the right to bear the arms of our choice, or the right to pursue happiness (without someone taking that happiness by gunpoint)? I suppose that is the balance we are trying to find today. Perhaps the amendment means that we as citizens are in effect a well regulated militia with it’s associated arms? But if my household has guns, and some of our neighbors have guns, yet we don’t know who and we haven’t formulated any sort of plan together, then can we call ourselves “well regulated?” Or is the regulation that which we are debating in politics now? In which case it’s not our government taking away our guns as a precursor to fascism, but our government trying to best allow us our fundamental right. Is a well regulated militia the citizen soldiers of the Reserves or each state’s National Guard units? If that were so, then most Americans would not be able to legally own guns if they were not enlisted. The KKK, Black Panthers, and Branch Davidians in Waco Texas could be seen as militias having the constitutional right to bear arms, yet our social contract as a nation seems to draw a line before deeming any of them as necessary to the security of our free state. My husband suggested that if our right to bear arms is so that we can be the militia necessary for our freedom, then perhaps we as neighborhoods, communities, cities, or states, must first certify ourselves as a well-regulated entity in order to secure the guns and other arms we desire. This actually makes some sense to me, just as churches must prove themselves to be a primarily religious organization in order to gain tax-free status, or as one must pass certain tests in order to be able to legally drive a car. Of course, churches and cars are not constitutional rights. It’s far too big of a stretch for our lawmakers to sell the idea of certifying a well regulated militia as precursor to constitutional gun ownership.

I have lots of questions and no practical answers. I’m afraid that our status with regards to guns is what it is. I suspect we as a nation have already reached the median where our right to bear arms meets our desire for safety. Every scenario I’ve contemplated here could be picked apart and an example found to contest it. I guess what I’ve concluded is that gun regulation is unlikely to change in any measurable way, and as long as we Americans wish to cling to our right to bear arms, WE MUST ACCEPT IT’S INHERENT RISKS. I might go so far as to say that the majority have determined that the perceived freedom protected by the Second Amendment is worth the lives of a relative handful of innocents.

Applying for Membership

We’re talking artist dates this month at The Sketchbook Challenge. My post is about the weekly life drawing group I attend, but there are other ideas as well, including ideas on how to get comfortable drawing in public.

On the personal front, I am applying to become an Associate member at the art center in town. It appears to be a well rounded organization housed in an old school. The classrooms are now artist studios, plus they have a small gift shop and a gallery which shows members’ work on a monthly basis. Members also offer classes, and there are three life drawing sessions that meet each week for a very reasonable drop-in fee. Overall I find the work to be high quality, and the artists to be friendly and supportive. I would like to be able to count myself amongst their ranks.

To become a Studio or Associate member, one must submit a resume, artist statement, and four to six works completed in the last three years. While all of these requirements were easy to fulfill, I learned some things about my work while determining which pieces to include.

I knew I wanted to focus on my Army Wife series because that is what excites me right now, but my small rooted house pieces are more appropriate for the gift shop so I thought it would be nice to include them as well. I could have pulled together a body of work based on my rooted houses and traditional quilts, but I didn’t think it would have as much impact as The Army Wife series. Besides, most of the house pieces are over three years old anyway.

I see my Army Wife quilts and aprons as one continuum, so in my mind if I am still working on the series then all the work is relatively new, right? Wrong of course. I’ve been working so slowly on this project that many of the pieces are now more than three years old. So, unfortunately, some of the pieces which would have made bridges or told a particular story are ineligible. War Sucks was out and so was Aquifer. Then there’s the work of selecting pieces which work cohesively. I would have loved to include The Other Woman, but not only does it require a bit of installation that was impractical at this point, it has a completely different color scheme. I auditioned several of my Twelve by Twelve pieces, but their story lines were muddled because of their provenance. My Maps piece worked well with The Other Woman, but they looked too aesthetically different from the aprons and large quilts I wanted to include. A Soldier Emerges didn’t add anything new to the grouping in terms of technique or visuals and Twelve Months is too old.

What did I ultimately choose? Apparently, I’ve only made two large art quilts in the past three years: Medallion for an Army Family, and Absence II. I thought I had been more productive than that (back to that timelessness continuum). I wanted to include these because quilting is the basis of my artwork. The Torn From The Roots apron was a definite because it references my rooted work and plays nicely with the two large quilts. I would have loved to include the Home Fires apron, but it is still on tour with SAQA’s Beyond Comfort show. I considered the War Sucks apron, now updated with a red slash instead of actual words, but chose instead to show other media and include Be Strong (felted and embroidered) and Unravelling (knit from uniform undershirts).

One of the art center members suggested that I include my life drawing sketchbooks to show that I have the traditional drawing skills as well and that I already utilize the art center’s offerings. Because I felt I had a cohesive grouping of fiber art, I included two sketchbooks instead of a sixth piece of finished art.

The procedure is to drop off one’s application and artwork on a designated day. There is a classroom holding area for all the applicants’ work. The lucky painter who was at the center the same time as I was, left his framed stack of work on a table — easy for the committee to pick up and look through. My work, on the other hand, does not invite viewing when left in a folded stack. I asked if I could hang work on the walls and set up my mannequin. The organizer said yes. I could even move things around in the classroom if I needed. I asked if I could make my own little gallery show in there and she said yes. Armed with my nifty new backdrop stand, mannequin, hammer and nails, and a chair nabbed from the room, I carved out a corner for my work. Now I wait two weeks for the committee to decide which applicants to admit this year. An Associate member who I know from drawing group responded very well to my work already. Since I don’t want a studio space, I feel pretty confident that I’ll be accepted.

I do need to get busy though and transform all those half finished ideas in my head and studio into real work because finishing two or three pieces a year just isn’t enough.

New Year, New Plans

In previous years, I’ve compiled a list or mosaic of projects completed, but I don’t feel like doing that this year. I know I have not made as much quilt art as I have ideas, but I haven’t been a complete slacker either. 2012 was a good year, with a lot going on outside of my creative endeavors. It was the first year in a very long time that my husband was home for every holiday and significant event. We said aloha to Hawaii and moved across the country to Virginia, taking a month-long road trip to do it. And we all are settling nicely in our new city. 2012 was a year of thinking about where I want to go with my art, and how it fits into a bigger picture. I’ve realized that primarily quilt shows are not the best light for my work, and that I don’t have the inclination to promote myself in the fabric design, pattern, or craft blog arena. The studio art world appears to be more my speed. I took an online class which exposed me to new media and ways of working, which has been an inspiration. And, I have committed to a weekly life drawing group that is a good part of my entrée into 2013.

So, what to I hope for in this new year?

On my birthday I started making a daily self portrait, which I will continue doing until December 2013. I hope this will engender at least some self reflection, create a bridge between how I see myself in my head and how I look in the mirror, and give me an excuse to practice drawing and other media.

At the beginning of the new Mayan cycle (the day after the end of the world in American interpretation) I decided to start my own record of time. Each day, as early as I can get to it, I write what I hope to accomplish. Throughout the day, I list what I actually do. Some times they match up well, some times they don’t. We’ve had house guests the last week so my tasks have been pretty easy — mostly sight seeing. What I have found so far is that by writing down what I’d like to do I can actually take account of what is has the most potential, rather than just having the hazy idea that I’d like to get to something on my large, amorphous, to-do list. What I need to be wary of is avoiding putting things on the list in the first place. I think it will be interesting to see what this project looks like at the end of the year (specifically December 22nd).

I will definitely continue attending the life drawing sessions. In addition to that, I’m applying to become an Associate member at the Art Center. I’ll blog about that later as it was an interesting experience putting together the work to show.

Three of my The Army Wife aprons are still traveling with SAQA’s Beyond Comfort exhibit. The last show will be at the Butler Institute of American Art in Youngstown, OH from January 13th (that’s next week!) until March 10, 2013.

The Other Woman has been included in the textile show Down to Sleep in the spring. This is still in the early phases, so I’ll share more later.

I’ve found (or maybe they found me) a lovely group of local textile artists called Fiber Transformed who I hope to spend more time with in 2013 sharing critiques and mutual support.

I’ve also been invited to join 8 That Create, an evolving group of fiber artists who also encourage and support each other and show together. I’m sure there will be more on that as things coalesce.

I post bout once a month now on the Sketchbook Challenge blog as a way to share my enthusiasm for drawing and keeping sketchbooks and to keep me on task actually using them!

I’m no longer participating in the Twelve by Twelve challenges, although work I have already completed will continue to show with the rest of the group. I consider all of the ladies dear friends who have shared a wonderful adventure which we will always carry with us. I just needed to focus on creating my own body of work without the distraction of divergent themes. It is my hope that the new groups I’m associated with will center around the artists’ established voices rather than an imposed structure. My fingers are crossed that my own vanity won’t bite me in the ass too hard!

2012 ended with much possibility and 2013 is keeping the momentum up so far. I’m excited to see where this all leads.