Jan, you have been creating torsos for awhile and mentioned that each figure has a heart, soul and spirit. Do you also imagine that each one has a very particular feel/theme or story behind her?

28"x14"x9", 2008, grapefruit peel, waxed linen, Alaskan yellow cedar bark and lotus pod tops and sharlyn melon peels, photo credit Ken RoweYes, most of my pieces are narrative. The torsos remained basketry sculptures to symbolically “contain” the heart, soul and spirit of each piece. My latest series of torsos are the most narrative in nature, celebrating women icons, such as Marilyn Monroe, Gertrude Stein, Helen Keller, etc. I research each person that I have admired and design the sculpture to portray the person that I am honoring. Often times I use their own words/quotes to capture their essence.

Because of your materials and forms, your work is easily identified. Do you feel pressure to continue with similar forms and materials, since that's what people know you for?

I am known for the torso forms and there is pressure because of the demand, but I have also made baskets, shoes and chicken and duck teapots to give my mind some time to be inspired for the next torso. Most of my work is to honor women, so I have to feel the inspiration to feel motivated. Sometimes I feel pressure because of a looming deadline, but I feel very fortunate that people like my work.

Dried lunariaThere is no pressure when it comes to finding new materials…I have a fascination with materials that aren’t traditionally used. It is really why I continue to make art. Experimenting and using materials that are thought of as mundane and unusable is an adventure that I am addicted to.

What captures your community the most? Do you think it is the unique materials, your forms, or do you have a backstory to the pieces that attracts people?

I am not sure, I feel as though it may be a little of all of those elements. I know on my end, every step I take toward making art whether, gathering, processing or designing and creating a piece is equally important. I have always thought of my work as       3-dimensional illustrations. There is always a story behind each piece. My initial thought isn’t to make a piece to sell, it is to enjoy every step of the process that also satisfies and calms my obsessive nature.

Tell us a story about when you have created, sold or showed a piece when something completely surprising happened.

Sure! One day, I received a box in the mail. It was from a gallery that was representing me. I opened it and I saw a basket that looked like someone very angry had gotten it and tried to rip it to shreds. There was no explanation from the gallery enclosed in the box. I sat for two days wondering what happened. I finally mustered up the courage to call the Gallery to find out what had happened.

57-1/2”x12-1/2”x8”,2009, melon rind, weathered hydrangea leaves, silver dollar pods and yellow cedar bark, photo credit: Ken RoweThey were very apologetic and said that they had forgotten to send me a note to let me know that while the collector was away, a pack rat had gotten into their home and dragged my piece and a very expensive scarf to its nest. Apparently, the rat was trying to get to the inner sculpture that was made of bull kelp. I was able to repair it and sent it back to the collector. I saw her years later and we laughed about it and decided that it was nice that the rodent had good taste in apparel and in baskets (...liked the taste of baskets)!!!

What a great story, Jan!  Thanks for your time. Keep up with Jan and her work at http://hopkinsfamilyart.blogspot.com. 

 Dimensions 7”x10”x4” each shoe, Date 2011, Material: Lunaria seed pod centers, weathered hydrangea petals, melon peel, yellow cedar bark and waxed linen 

If you are a quilter, you have likely heard of “Stitched,” a recently-released documentary that chronicles three quilting hopefuls leading up to the International Quilt Show in Houston. It is informative, interesting, but what is most compelling is that it succeeds in capturing the essence of “quilting culture.”

You may assume that the director, Jenalia Moreno, is a seasoned quilter who has attended the famous IQS show numerous times, spends her weekends building up a delicious fabric stash, trying new techniques or even sitting up at night browsing quilt images on flickr.com. (Oh, wait, that last one was just me.) Regardless, you would be wrong.

Stitched director, Jenalia, MorenoSurprisingly, Jenalia is neither a quilter nor a fiber artist. A long-time reporter for the Houston Chronicle newspaper, Jen got drawn into this subject matter quite by accident. She and her husband, director of photography and editor, Tom Gandy, had been considering a film project together for awhile, but hadn’t found the right fit. At last they stumbled across quilting, right in their own neighborhood.

Filming Caryl Bryer FallertIn Jena’s words, “We decided on this project because it was literally in our backyard. I live and work within two miles of the convention center where the International Quilt Show is held. I thought it would make a good subject for a documentary because I could tell quilters were really dedicated to their craft. Ironically, we thought we would end up featuring Texas quilters, but we didn't. We followed the compelling stories, which went in another direction.”

Jena and Tom followed three well-known characters in today’s quilting landscape; Caryl Bryer Fallert, Randall Cook and Hollis Chatelin. Through the film, we learn their personal story, how it intertwines with quilt making and then track their preparations up to the IQS show. Just to give you a sense of scale, the IQS exhibition location occupies 11 football fields of quilts and quilt-related classes, products, and performances. Whether you are a diehard traditional hand-quilter or you find yourself tying doll heads to your wall quilts, the Houston show is the Quilt Center of the Universe. 

Ricky Timms InterviewOne surprising element in this movie is the humor that bubbles to the surface. Jena interspersed the (sometimes horrified) sentiments of a traditional hand quilting group regarding the rise of the art quilt movement. These scenes were priceless. For example, the story of Randall Cook’s first entry in the show, which featured a nude figure scandalized the quilting world and, if mentioned today, still causes uncomfortable chair shifting. The staunch traditionalists in Stitched practically feigned averting their eyes, even when just talking about Randall’s revolutionary quilt!

Here’s Jena’s take on the spontaneous humor: “I didn't know it would be funny. I figured it would be a little quirky because every subculture has its quirkiness and characters. There was some truly hysterical footage, too. Our first edit was four hours long. For example, one of the funniest scenes was when Randy recorded his acceptance and rejection letters. It gets so many laughs, because of his expressions. Tom, the crew and I found the whole movie hilarious at times and I was overjoyed when people in the theatre laughed, too.  It’s been really satisfying to realize that it wasn’t just a reflection on our exhaustion in the editing room! This movie really strikes a genuine and comic tone with everyone who sees it.”

Randall Cook & Hollis Chatelain on the setJena and her crew originally met the quilters at the 2009 IQS show, and subsequently did photo shoots in their studios, met them at the Paducah quilt show and also sent them each a flip camera in hopes that they would each capture part of their quilting life in a casual, authentic setting.  And what did Jena expect when she sent out those flip cams? "I didn't know what to expect, but the results were amazing. In all, we had 250 hours of footage when we began the editing process!”

The thread that connects the three featured quilters in Stitched is that they all mentor the other. Caryl taught Hollis. Hollis teaches Randall. This trifecta creates another compelling sub-story to the film. 

Jena (director) & Tom (director of photography)And last words from Jena?  “What surprised me most was that I thought I would find bed quilts, elderly women, very patriotic quilts, and the like. I had all the same preconceptions that most people have.  I was surprised that I was so “wowed” by the artwork.  Moreover, the quilters are so sweet.  When you go to their’ houses, they make you cookies, tell you anything you want to know, and are so warm. I was really happy with how nice everyone is, and how supportive they are, even when competing with each other.”

What’s next for the Stitched crew?  Jena and Tom are planning to start a movie on mariachi bands next year. Meanwhile, they’ll be speaking to quilters across the US, and selling the DVD at quilt shows. Luckily, you don’t have to attend a particular event to get your hands on your own copy. Simply go to stitchedfilm.com and you can have it in your hands within a few days!

Growing up with a Love for Fiber Arts

Since early childhood, I have been surrounded by fiber arts and I have truly developed a passion for everything fiber. Here are ways that I was able to develop my interest and skills, which inspired my own creative growth. The fiber community has consistently supported me, and I want to share ways that everyone can foster the next generation of fiber artists.

Generous spinners offered to share their supplies. Our mother wanted us all to get involved in fiber arts as a family, so she took us to festivals near and far to get us “addicted” to fiber. She gave each of us an allowance to pick out our very own fiber. Over time, I've made lasting friendships with many vendors.

One of these friendships is with Greta Dise of Persimmon Tree Farm, who traveled to festivals to sell her beautiful hand dyed Border Leicester/Mohair blend roving and yarns. She made sure that we left her booth with plenty of fiber, even though we each had a limited budget. By providing us with great starter supplies, this helped us get enthusiastic, we learned to spin, grew to appreciate her fiber blends, and we became long-term customers for her. When our resources improved, so did the size of our purchases, which was a great return on Greta’s investment. I will always be thankful to Greta for teaching me how to love fiber and for showing me to allow my artistic passion run free!  

When fellow spinners allowed me to test-drive their equipment, I was able to hone my skills and learn about new materials. When I was eight years old, my sister and I asked for a spinning wheel for our birthdays. After persistent urging, our parents finally consented. They took us to the local spinning shop to test drive wheels. When we arrived, shop workers did not want us to touch the wheels. This was disappointing. We truly did want to learn about our options and had the resources to make a purchase.

Alternatively, at the Black Sheep Gathering of 2010, Hansen Crafts welcomed everyone into their booth to try spinning on their minispinners (electric wheels). Not only was this a wonderful advertisement, but it also allowed people to try something they might never have experienced. Eventually we ended up mail ordering Lendrum wheels from the Woolery. These are just two instances (of many) where people allowed us to touch their equipment and learn from the experience. These experiences have made me and my family loyal to these vendors.  

Getting involved in spinning guilds and contests taught me sportsmanship, leadership and unity. Participating in hands on activities certainly builds interest and expands ideas. The Maryland Sheep and Wool Jr. Spinning Contest has been a wonderful opportunity for friendly competition with other kids from across the country. I’ve also had the opportunity to take part in the Lebanon (Pennsylvania) fiber 4-H club, where I polished my skills in spinning, weaving, dying, knitting, and crocheting. Actually, some of my fondest memories came from participating with my 4-H club and teaching others fiber arts.

Being able to attend festivals opened my eyes to the people and cultures involved in this art. Our family had the experience of hosting a farm day in April 2007. Millennial Way Farm’s fiber day offered sheep and alpaca shearing, spinning demos, food, children’s crafts and shopping at our studio. How exciting to see other kids learn weaving, drop spindling and knitting!

Because adults promoted fiber art education to younger fiber enthusiasts, I was able to learn a variety of skills from professional artists. A friend from my spinning group taught classes in her local area. Kids who learn about spinning, weaving, dying and other fiber arts, are given a powerful gift that they can take with them into adulthood.

Another wonderful experience was when we attended The Mannings Annual Spinning Seminar, where they thought anyone who wanted to learn to knit. Since I already knew how to knit, I was able to teach others and improve my skills at the same time!

All of these opportunities and experiences, along with the encouragement of my mentor, Sherry Healey, all resulted in my goal of becoming a master spinner. I’m currently enrolled in the Master Spinner program offered by Olds College in Ontario, Canada. The donations of time and supplies from many fiber artists and businesses helped make my education in this program possible, and I will always be grateful for their unfailing support. Click here to keep up with the ongoing challenges and triumphs of my quest.  

I hope that those who read this will make the effort to reach out to the kids around them, and continue to share their passion for this art.  –Pass it on!

Learn more about Millennial Way Farm at http://millennialwayfarm.com/ or their etsy shop, Celestial Studio. Click here to keep up with Mallory's quest of becoming a Master Spinner.  The fiber arts community is rooting for you, Mallory!

DELS headquarters and workshopsI recently discovered an amazing and unique locus of fiber arts, right in my own neighborhood. It is DELS, the world’s main supplier of materials and resources for Nantucket basketry. The workshop, classrooms, woodworking studio, scrimshaw carver, mail order business and retail shop all reside in this unsuspecting building, about 10 minutes up the road from my house!

Nested Nantucket basketsThe morning I spent last week at DELS was amazing in so many ways, but before I go on, let's review Nantucket basketry and its history.

These unique baskets have cane or wooden staves (these run vertically) and cane weavers (these run horizontally). Cane was introduced as a basket making material from the whaling industry’s excursions to the Far East.  The baskets are made on a wooden mold and the staves are fitted into a slotted wooden base. Rims are pinned and lashed with cane.  The bases are made of Mahogany and pine, and the basket handles, clasps and ornamentation are often made of scrimshaw, which was originally carved from whale bone.     

Nested baskets in productionImagine, when the Nantucket basket originated in the 19th Century on Nantucket island in Massachusetts, it was a bustling whaling center and seaport. Sailors spent years at sea, and often passed their extra time by scrimshawing and producing baskets.

DELS is located about 20 minutes from Fairhaven, one of the biggest working seaports in the US.  DELS is both a family and international business, supplying basket making resources to craftspeople worldwide. This includes the basket forms, reed, handles, hand-carved scrimshaw, and any other related materials. 

Scrimshaw artist at workThe forms are created in the woodshop. The handles are created in an adjacent shop where they are steamed and formed. Scrimshaw was originally made from whale bone and ivory. Of course ivory is no longer used, so DELS procures mammoth tusks, which are sliced and shaped right in their workshop and are hand-carved by the on-site scrimshaw artist.  I have to admit that I was shocked to see actual mammoth tusks, and I even held one myself.  It was dense, heavy, and it had an “earthy” smell. I imagined 20,000 years of history resting in my hands.  Amazing.  

Handles in the steam bathThe baskets that result from the exacting forms and technique are exquisite. The store, office, classrooms and workshop buzz with activity as some of the craftsmen shape scrimshaw on lathes,  others busily steam the wood strips that are pressed against forms to create handles, the scrimshaw artist creates customized plates for baskets, and the office staff packs and ships out orders. 

Cross-section of a mammoth tusk!DELS is a remarkable place, and I have a new found respect for this traditional form of basketry.  Visit the DELS website to find out more.

You never know where you might find a special place that piques your interest and inspires creativity.  DELS happens to be on a road that I use every day.  My curiosity forced me to investigate, and before I knew it I was holding mammoth tusks in my own hands, learning about the whaling trade and the Nantucket baskets that accompanied it.  What an opportunity! Is there a place like this in your neighborhood?  I encourage you to investigate.  You never know what you'll find!

Sylvie Boyer is a weaver with an unassuming workshop down a quaint side street in the Lot Valley (Penne d'Agenais), France.  She has spent many years as a successful weaver. Within the her weaving life, her trajectory was forever changed by a craft exchange with a weaver from Mali, over 20 years ago.

The weavers had the chance to try out each other’s looms, and as Sylvie puts it, “I was at once taken under the spell of the Dogon loom. Luckily for me, I was able to trade my own loom for a Dogon loom right then and there. For eight years after that, I kept it on display, as though it was in a museum. Can you imagine?  Only a stack of major life changes got me to rethink the Dogon’s place. I decided to take it off the pedestal and give it a try again.  We instantly fell back in love with each other!” 

During that time, she worked with a group of friends to develop an exhibition titled “Three Views of Africa.” This gave her the opportunity to pursue weaving on the Dogon loom even further. Sylvie says, “It seemed like serendipity, but I know it was fate. With the work I did for this show, I weaved my own story and my family history at the same time. I took up with my African roots, both symbolically and tangibly.”

What materials does Sylvie use? The base of the band is often cotton or mixed cotton/acrylic for the warp and cotton or fine wool for the weft. But that is only the beginning.  That’s where Sylvie starts to add the textures and treasures that make her work so special.

“I choose materials according to the people I meet. I know many creative craftsmen of many practices and their materials inspire me. I shape my textures and items in clay, metal, and wood, which transform in terra-cotta; I cut, engrave, burn, according to my inspiration. My work speaks about meetings, about separations, about life and about the journey of people who have died.”

This artist, her story, and her work all inspire me. The next time I walk on the beach, I’ll be picking up items for Sylvie.

"There is no research for the beautiful, just a quest for sense." ~Sylvie Boyer

Learn more about Sylvie Boyer and her work on her website.

What a great response, when I invited my colleagues, my friends, artists I admired,  some I never met before, to take on the theme of Parallax View, where an object or concept is viewed with more than one perspective, and present work to meet my challenge.

The result was moving, but then I should have expected that.

Dorothy Caldwell: An Island/A pondFor me seeing in parallax means to see something, anything, from a viewpoint different than a normal perspective. In my own work – using the quilt medium to make abstract art – I am familiar with the tradition of quilting, while also aware of contemporary art media. I combine these disciplines to produce work that speaks to both worlds.  There is a large culture of textile artists who are so comfortable in their own skin, so confident in their abilities, that they can overlook convention and bring new perspectives to contemporary art quilts.

Kathy Loomis: Crazed 11: Marching OnAlluding to typographic maps, Canadian artist Dorothy Caldwell, with her work An Island / A Pond splits the canvas in half, bifurcating the plane with shapes that reflect her vision of Lake Ontario. Kathy Loomis takes on the American Civil War, an inspiration for illustrating two viewpoints in direct conflict in her work Crazed 11: Marching On. Soul of an Iris III, rendered by Judith Plotner, presents two distinct views of an iris in abstraction with stabbing threadwork and collage-like vigor.  Sylvia Einstein’s Fools and Followers depicts myriad profiles, each perspective layering another, mixing view upon view.

Judith Plotner: Soul of an Iris III

 Sylvia Einstein: Fools and Followers

Terry Jarrard-Dimond: EvidenceTerry Jarrard-Dimond’s monoprinted work Evidence shows the strength in form and shape that is her hallmark. Shelley Brenner Baird attacks the cloth full force in her work Coincidence Theory with direct dying and monoprinting.  Jette Clover, from Belgium, evokes the papered signage found plastered on walls in the inner city by using layered images printed on fabric. 

Shelley Brenner Baird: Coincidence TheoryThis collection of works, some made specifically for this exhibition, cements my belief that the artist presents her unique story, in her own voice and medium.  Jette Clover: White Wall 7The works come from multiple perspectives, and speak in many voices. In addition, these fiber works yield nothing to other art forms for richness of expression, variation of context, and the ability to redefine and stretch beyond traditional roots. 

To be an admirer of these artists is one thing. To have them graciously accept my offer, to define a parallax view, and provide a fresh perspective through their work for this exhibition is another.  

~Pat Pauly

[Organizer and contributing artist]

Thank you Pat, for this great article.  What a creative challenge you took on! Do any of you have a personal story about a creative group challenge? Pat has been very modest about her own work, choosing to only showcase some of the other contributing artists from the show.  Click here for a glimpse into Pat Pauly's work or stop by her website.

What is it? Parallax / Views of Contemporary Quilt Artists

An exhibition of nineteen contemporary art quilters whose work embodies the concept of parallax, presenting images and ideas from multiple perspectives.

When & Where can you see it?

Kunstler Gallery, Booksmart Studio

250 North Goodman Street, Rochester, NY 14607

May 31 – June 25, 2011

Opening Reception Friday, June 3, 2011 6 – 9pm

Whose art can you see there? 

Contributing Artists: Pamela Allen, Shelley Brenner Baird, Linda Bachman, Jette Clover, Dorothy Caldwell, Marcia DeCamp, Terry Jarrard-Dimond, Sandra Townsend Donabed, Sylvia H. Einstein, Priscilla Kibbee, Beverly Kondolf, Paula Kovarik, Kathleen Loomis, Jeannette DeNicolis Meyer, Dominie Nash, Pat Pauly, Judith Plotner, Jeanne Simpson, Nelda Warkentin

Oh, and remember: This exhibition runs concurrently with Fiber Art International 2011 on view at the Memorial Art Gallery of the University of Rochester in Rochester, New York. -Don't miss it! 

How do you choose a photographer for your work? Why should you be concerned about the images of your work? After all, viewers, judges and others should be able to see past the photographs (even if they're lousy) to appreciate your work, right? Wrong. Here is an interview with experienced art photographer, John Polak. In a recent interview, we were able to learn about him, and how he addresses fiber arts photography.

How did you develop from an environmental design major to a professional art photographer?

I was studying landscape architecture at the University of Massachusetts and struggling with my drawing, when I picked up a camera for the first time. This one action altered the trajectory of my life and career. Although I completed my degree, my heart was in photography from that point on. I began working in various aspects of professional and commercial photography, which lasted for ten years. During this time I honed my skills in the technical aspects of photography, particularly studying lighting. Concurrently, I co-founded an artist run art center (called the ZONE) that lasted from 1980 to 1995.

With my involvement at the center, I realized how much artists rely on photography to market their work, and that many artists were trying to do their own photography. Thus, I discovered the niche that I’m in now, producing fine photographic images for artists, craftspeople, museums, galleries, and publishers.

I’ve been photographing primarily artwork for twenty years, and the one constant is that every piece presents its own set of challenges. In the end, I’m photographing Light and Composition and to that end, I’m using light to create the texture and the color to produce an image which represents the "message" intended by the artist.

When I shoot for an artist I much prefer that the artist is there with me, so we can collaborate and get that message across in the photo. With 2-D work many times we are just trying to make an accurate representation, but with 3-D work the photograph is much more of an interpretation of the actual artwork.

Tell me about a particularly interesting shoot or challenge that you have taken on, in photographing fiber arts/textiles.

A new release this Spring titled "The Fleece and Fiber Sourcebook" authored by Deborah Robson & Carol Ekarius, from Story Publishing is a 448 page photographic encyclopedia featuring more than 200 animals and the fibers they produce. It covers almost every breed of sheep in the world. The process of shooting that book with the author and the art director, here in my studio, and keeping all these fibers organized and labeled was immense. But the result is probably the most beautiful book I’ve ever worked on.

Every artist comes to me with expectations. And whether they are a self-taught, novice or internationally known, I treat them with the same respect. They come to me with their latest creations and I want them to leave with an image that they will be proud to distribute through books, magazines, or their website.

If you could tell artists (and fiber artists) anything about the business of photographing their work (anything you'd like to share or let people know) that they are unclear about, what would it be? What should they look for when trying to find the right person to photograph their work?

Good or bad, our society is image based, and with the rise of the internet, in many cases, we only have a few seconds to get our message across. It’s more important than ever, that the image is spectacular. Look for a photographer with experience and one who takes the time to understand what your work is all about. Also, both the artist and the photographer should participate in making that image, it really should be a collaboration, and you both should be satisfied in the end.

What do you love most about your work? Your life?

I am very happy that I found a profession that continually challenges me and allows me to work with a great variety of talented and creative people. It’s not always easy but I can’t imagine myself doing anything else!

Please visit johnpolakphotography.com for samples of images produced for artists from across the Northeast.

Like the development of any media or technique, Jane's route has been circuitous and each stage has built on the previous one. She holds a degree in psychology and amongst other undertakings, she also co-owned a restaurant!

Eventually she turned her creative life into a career by becoming chair of the surface design department at the Southwest School of Craft and Art. This grew into a decade-long position in a department that she developed herself! Surface design was virtually unknown at that point.

As Jane says, “When I started teaching in 1990, all of the processes were still very new to people, even though many of them were drawn from century old techniques for patterning cloth. We were in the infancy of the movement. A few artists were established, but most of the interest was in art quilts – and most of those used commercial fabrics. Surface design wasn’t too big a deal yet.” 

Interest began to burgeon, and along with her own teaching, new conference and workshop offerings by QSDS, Empty Spools, Split Rock Arts Program, Art Quilt Tahoe and the Surface Design Association she continued to show artists how they could master basic techniques and incorporate their into their work.   

Fast forward almost 20 years (and two watershed books later), and Jane feels that now we are in a “post-adolescent” phase of surface design.

 “Lots of artists have developed technical skills, so there is a need for mid- to advanced-level workshops, with a focus on meaning, personal vision and voice, and also on how to push the techniques we have mastered.”

Jane is still dedicated to the beginning students, and the pure joy of watching them pull their first fabrics out of the dye bath as well as the mid-level learner who is striving to hone their craft and seek meaning in their art.    

After all these years, Jane continues to seek an authentic voice in her work.  When asked if she is ever overwhelmed by becoming a figurehead for the surface design world, she replies, “I have cultivated the belief that there is enough to go around. I have also established a pace and discipline that allows me to experiment in an effort to keep my work unique and different from others. I try to stay open-minded and before I go to sleep at night I invite the Universe to send me new ideas.” 

A self-confessed silk broad cloth addict, Jane just finished 48 pieces that were all done in versions of gray, white and black.  And what’s next? Color! Stop by Complex Cloth to see Jane’s latest work and be sure to return often so you can see those new pieces that will be, above all else, colorful.

It’s safe to say that Jane Dunnewold has furthered the world of fiber arts and textiles; we are all grateful for her artistic influence, techniques, workshops, and marvelous books that keep us learning. 

Jane Dunnewold's titles include: Complex Cloth (Martingdale Press, 2000) and Art Cloth (Interweave Press, 2010).