Educating about Craft

The responsibility of craftspeople is to pass on their skills. Educating is a goal of all rug hooking organizations. During the ATHA Bi-Ennial in Cleveland, OH a panel addressed opportunities for individual members and groups to EDUCATE. Representing the internationals I collected the following stories.

The Australian Rugmakers Guild connects their vast membership using cyberspace, local groups and conferences in different parts of the country. Click on the name of the guild and sign up for their posts. Bec Andersen conducted another community art project. This time with adults for a community center. Three panels were designed and punched then installed.

Yarrabilba Community Centre in 2017. The images of the panels were conceptualised by a group of children using stories of Yarrabilba past and present as inspiration.

Norma Hatchett worked with seniors, the blind and children, her projects are described and photographs in the Oct/Nov/Dec 2013 Newsletter of the Guild on pages 9 and 10 and featured in an article by Josephine Franco in Sept/Oct 2012 Rug Hooking Magazine

Cherished Memories, Childhood Dreams, 10′ x 4′, yarn hooked on hessian with a speed needle.  Designed by Norma Hatchett and created by residents at an Australian hostel for patients with dementia.

Sue Girak is currently coordinating a project to bring awareness of waste products to students. She and her partner are surveying participants through the process, documenting their reactions to materials selected (plastic grocery bags, t-shirts, recycled fabric), methods used to hooked/prod/punch these, personal feelings of waste. A public display of several 6 foot tall fiber footprints will culminate their research. Although this is based in Perth, West Australia our conversation opened an invitation for a US or Canadian group to participate. If seriously interested contact Sue for a survey and parameters (her email is in the attached description)  Walking Together with Pride, Perth, Australia. The Wanneroo Rugmakers have joined in and are using plastic bags and prodding them into two larger than life footprints.

Brightly coloured “toenails” on the right footprint have been hooked using department store coloured plastic bags. The skin is being hooked with plastic bread wrappers. The red/gold prodded flower decorates the strap of the thong sandal

Jo Franco, Editor of Australian Rugmakers Guild wrote about several of these projects in the J/J/A 2016 issue of Rug Hooking Magazine which focused on Education.

In Japan several individuals train generations in the fine techniques of rughooking. Noriko Manago is adept with three-dimensional creatures and children’s designs. She is often seen working with children and their mothers in her Instagram presence at @togemuse

Canadians have the history of working in our crafts with their grandmothers, mothers and siblings and pass this on to the next generation. Val Galvin of British Columbia can be found on Facebook at Renditions in Rags Hooked and Braided Rugs and is profiled on TIGHR.net as one of our Collector’s Cards.

In QuebecKathleen Menzies, is an art teacher. She incorporated a variety of learning elements into a semester long project. The students portraits were translated into values and digitalized for latch-hooking using a program called leftsource.com.  The students evaluated their experience, with one lesson being “do not procrastinate, you might run out of materials along with time.” Here are some more lessons What have we learned by working on this project

Latch Hooked Portraits

The Beaconsfield Rug Hooking Guild is in Montreal area. They coordinated with the Sherwood Elementary School a project to learn rughooking which was inspired by reading the ATHA article Gene Shepherd wrote on educating youth. Every age group reaped rewards from the intergenerational lessons. Check out the album of pictures at Children Rug Hooking .

What I learned from gathering these stories is that a few can inspire many. Working within a school system, creating lesson plans, coordinating funding, and the thrill of communicating with people outside of our comfort network is a more valuable reward than just seeing a completed project. The International Guild of Handhooking Rugmakers invites members for the cyberspace linking and a triennial general meeting in the host country.

Share your craft with people you do not know, someone will pass it on to others a few years down the road.

 

 

 

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Exhibiting near home

Jennifer Lockwood and Susan after hanging show

There is an arts community evolving at The River House in Capon Bridge, Hampshire County, WV. Monthly art exhibits feature one artist or a theme, September it is me! Meet and greet Friday Sept 1 4:30-5:30 followed by an open mic night. Fiber art is on display Thursday-Sundays through Sept 24 which is Capon Bridge’s Founder’s Day celebration also. Food, classes in art, music, craft, food, general living skills are conducted by members of the community. Come visit, we are one county into WV just west of Winchester, VA and 2 1/2 hours from Washington, DC on RT50W.

Track lights and a hanging system on white walls creates a gallery display for cafe goers and entertainment audiences as they listen/participate in staged shows.

I actually hung two shows, focusing on one theme for each display wall. What will catch the eye of visitors first I titled    “Observing while traveling through…”

mixed textile pieces depicting nature

The natural wonder of West Virginia is affected by humans exploring, encroaching and expecting the resources to make them happy. Voices both vocally and visually are used to bring awareness to the fragile environment. The latter method to communicate is my preference, believing the image of even a tourist’s visit captured using traditional crafts will encourage awareness and protection for the future.I encourage you to view my art for the moment of beauty I captured and shared with you.

The opposite wall presents the Iconic Series created over fifteen years.

Liberty, ERA, Voting by Susan L Feller

The pieces chronicle three generations of women. My grandmother came of age in the 1920’s working and supporting herself prior to marriage. That marital relationship from the stories I heard and witnessed was one of equal responsibilities as entrepreneurs. Iconic Liberty and women’s right to vote in 1920 symbolizes her powerful self-esteem.
My mother again worked before marrying going back to work when we were in grammar school because she had administrative skills to share. Volunteering as a Girl Scout leader her encouragement and example kept me involved through high school. The early 1970’s environmental awareness and the quest for establishment of the Equal Rights Amendment are represented by Iconic ERA. (A line from each yellow badge set to the center forms the PEACE symbol.)
I was raised to question, research and vote for candidates and principles I believe will benefit the community, country and global elements. Iconic Rights captures the 2016 election with an important message: “I voted…and You?”
The circle in each design is an ancient symbol for life. I used it because our lives are part of a continuum. We all have contributed.

There are four small pillows with hooked fronts and embroidered backs bringing attention to contemporary issues: Gender, Climate, Rights, and Persisting. Generations of artists used traditional crafts to communicate: reflecting, documenting events, opinions and the spoken word.

Perhaps it is my comfort with age, a realization that my voice is heard, or a confidence that others can be encouraged to think; whatever drives me the making of this body of work is cathartic.

It will be interesting to talk with visitors Friday and through the month sharing techniques, approaches to subject and issues raised by these visual objects. Except for the Iconic Series the works are for sale. There are also several images made into notecards. Can’t visit in person shop online at my store.

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Mountaineers talk about Passion-Rughooking

Susan Feller and June Myles presented gallery talks at Sauder Village Rug Hooking Week. As West Virginians each appreciate the heritage involved in rughooking and have been featured in WV Living Magazine with their work.

Discussing Marion Sachs’ interpretation of David Galchutt’s art

The topic of Susan’s talk was pointing out the elements and principles of design in the winning entries for Celebrations 27, published by Rug Hooking Magazine. She has been included in three Celebration of Hand-Hooked Rugs issues and a judge, her work has been juried into several contemporary Hooked Art collections. Author of Design Basics for Rug Hookers, Stackpole Books 2011, her advice has helped many create their own “Great rug.” Involved in promoting the traditions carried on by artistic contemporaries, Susan teaches and lectures worldwide, and is a member of TIGHR, McGown and Surface Design.

 

hooked with wool fabric or yarn juried work. Celebrations 27

June on right during talk

June has been hooking since 1988. She is a graduate of Hollins University in Virginia with a degree in physics, and spent her junior year abroad at the Sorbonne in Paris. She has maintained her interest in science as well as art, serving for three decades as a docent at the American Museum of Natural History. She is the artist and author of the Men Only book and hooked rug collection. The stories June shared about how she selected a newspaper clipping saved for decades, or woodblock from children’s book as subject were encouraging to the audience as resources. She described the variety of materials and techniques used to finish the edges from old chestnut frame by a friendly carpenter to the right beads accenting an Afghanistan fellow.

Attendees said participating in the gallery talks at Sauder Village adds to the learning process for the full exhibit. We encourage you all to take advantage of a docent lead discussion on your next museum visit.

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Made by Men theme at Rug Hooking Week

The coordinator of Rug Hooking Week at Sauder Village, Archbold, OH is Kathy Wright and her name describes the results every year. 2017 brings attention to the minority gender in the domestic traditional craft of rugmaking — MEN. Exhibits of hooked work by contemporary artists and historical gentlemen alongside of those who manufactured the tools and supplies, the collectors, tradesmen, promoters and restorers will be on display through Saturday August 19.

There are individual displays for each of the men  along with the full collection of over 600 pieces. A story behind each and every item, and I have met many of them in person this week. It has only just begun.

 

 

 

 

 

 

 

 

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Abstract Expression workshop

Broadway Restaurant, Grace Hartigan at Nelson-Atkins Museum, Kansas City MO

Last days of planning for Green Mountain Hooked Rugs School in Montpelier, VT took me to several museums, the most recent was Nelson-Atkins Art Museum in Kansas City, MO. Seeing work in person incorporates all your senses and emotions. To walk into a gallery and witness the curator’s selections enhanced by painted walls, lighting and spacing opens understanding and questions I want to ask of the artists. Their work speaks for them, to me and others. Conversations with fellow museum goers has expanded my appreciation and docents or labels add to the education.

Abstract Expressionists’ elements, interpreted in slow motion (the textile techniques of handwork), will be explored by students willingly reacting to music, verse, street scenes, and their own “homework” sketches. I experienced their unease while working through “Nesting Frenzy”. Illustrated are sketch #1 and mixed media versions #2 and #3. These are works in progress. Expect a final report to be published in the near future. It was an uncomfortable but rewarding experience.

catalog

Artists to explore include those in the traveling exhibit Women of Abstract Expressionism.

Grace Hartigan, Lee Krasner, Elaine de Kooning, Joan Mitchell, Perle Fine, Helen Frankenthaler, Mark Rothko, Jackson Pollock, Willem de Kooning, to begin the listing reacted to each others work, critiquing, responding to and were driven to express the environment (social and natural) around them at the time.

We continue to use our skills to exhale today’s bombardment of outside and internal influences. Our art speaks.

 

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Retreating and Sharing

Redbuds welcome visitors along RT50

Mid April is a bridge time between seasons; in nature and creativity. Redbuds and woodland flowers along with hardwood trees begin to clutter up the stark winter lines and palette in the woods in West Virginia. We focus on each new color enjoying how they jump out then merge into the greenery of spring/summer. The winter studio opens up to porches and traveling.

friends

I look forward to the reunion of friends during an annual retreat. We share and recharge our creativity with critiques and lessons. The 2017 session included walks along trails; singing; yoga in our seats; moving to music; reviewing finished work and critiquing work in progress; tips to finish, embellish, dye and explore new artists; watching TED talks and video panel discussions; and sharing opinions on world issues as we celebrated 10 years.

Here is a peek into our weekend showing different styles of working and results. Visit the postings of Lori LaBerge and Karen Larsen for more insights and the previous post here Many Hands Dyeing.

At the end of a day our workspaces cast personalities as much as meeting us in person.

And our work shows the variety of interests in the group and among individuals. This was a needed refueling of friendships, skills and passions. Get out and explore with your friends.

Beth Zerweck-Tembo’s originals

Brenda Reed’s work dog design by Lennie Feenan, taught by Judy Carter and pineapples by Searsport Rugs

Debra Smith’s two toned Old Tattered Flag coverlet, and scene by Neysa Russo

Elaine Montambeau’s fine cut work top Jane Halliwell Green design, bottom, crewel, right scrolls House of Price

top Bea Brock design, bottom Keri Sue Brunk original, right Elizabeth Black

Lori LaBerge’s hooked art

Myra Davis’ work designs by Deanne Fitzpatrick, top and bottom designs by Bev Conway

Resist rugs by Karen Larsen

Shirley Hairston’s designs in foreground of the throw down on porch

 

 

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Many Hands Dyeing

Terminology on labels include descriptive words which conjure up action. One we use in textiles is “hand-dyed”. Here are the visuals behind that phrase from a session lead by Nancy Parcels with wool fabric. She included several great team building exercises such as dividing us into three groups to sort the light, medium and dark values and then as we eagerly shared in the dye pot bounty.

wools drying from session by Nancy Parcels

Marrying colors in the dye pot create a palette to enhance strong colors as a background and secondary motifs. Sort and dye up a pot for your next project.

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Spring and nature’s marks

Winter weather has been good for working in the studio. Old techniques from my teens were at the center (literally in the circle hoop). I even got out in the community for a women’s group reading. All of these projects are different avenues for me but necessary in my growth. Cards depicting two of the pieces are in the shop now.

Spring arrived on the calendar, on the air with the sounds of migrating birds returning to establish territories, and on the branches of our trees. I like to follow these changes daily with camera and my eyes developing new designs. The slow stitching I explored through the winter and prep for abstract expressionism workshops have me looking at lines/marks within fields/shapes of color/value.   In the grouping below the snow on fence and maple flowers compositions interest me most. Will see how I interpret them.

Hope your creative juices are flowing too.

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Have you been to San Francisco?

I have and the experience is inspiring. Lines, light, shapes in buildings that remind me of trees, trees with different shapes, wide roads filled with cars and narrow ones surrounded by vineyards and GREEN. It rained and nature is responding with color and profusion.

Water and travel to places means bridges. I have made it across the Golden Gate Bridge and into Wine Country. Hills that are rounded but tall, rolling hills filled with the skeletons of spring vines, a rocky coastline and broiling waves are images I can conjure up from the past few days in Sebastopol and now Walnut Creek outside of San Francisco.

I was 3000 miles from home teaching an eager group mixed media techniques to incorporate into their rughooking designs. We explored the elements and principles of design, experimented with materials and techniques and shared ways we process, design and see. Here are some works in progress. The full class of 15 promised to send photos when completed. The workshop was sponsored by the Wine Country Rug Hookers an ATHA chapter. My compliments to everyone involved in setting up my contract, travel, definitely the evening dinners and enthusiastic participants.

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From making to exhibiting

I attended the opening of FABRICation at the WVU Art Museum in Morgantown, WV and was curious how the variety of display challenges were surmounted by the artists, curators and facility. Not a single item is hung by traditional wires.  Velcro, screws in the wall to mount a panel flush, grommets and 20 penny nails, wood blocks hiding screws, templates and detailed dimensions all were included by the artists in their packages along with the artwork.

Since 2014 FABRICation co-curators Reni Gower and Kristy Deetz have incorporated seven fiber artists’ organic creations into a successful traveling collection exhibited in thirteen public spaces. Through March 19 the WVU Art Museum in Morgantown, WV is hosting the works with informative lectures. On Feb 22 there is a lunchtime talk by preparator Michael Loop who will reveal tips of his job in bridging the studio art making and presenting the art in a public exhibition.

As makers of art, how our work is displayed often requires technical skills outside of those we used to create it. These artists considered presentation techniques to emphasize their message. The graceful drape of Susan Iverson’s woven panels encourage the public to look at the grouping, follow the designs rhythmically up and along to the next, enjoying the natural themes in the panels. Susan included a template to mount the velcro strips, numbered the panels and gave specific measurements for height.

Verdant 2010, Susan Iverson wool tapestry and glass

Verdant 2010, Susan Iverson wool tapestry and glass

Reni Gower’s three panels incorporate a multitude of strips spaced in layers to adding shadowed shapes on the patterns she has created. Her directions began with the height on the wall from floor to install a row of specifically spaced screws that allowed the three wooden rods with pre-drilled holes to be set onto. An easy job for the preparator because of the directions. For the viewer we are drawn close to examine the details and back out appreciating the cacophony of color and shapes.

Natalie Smith created boldly painted blocks as elements in her design and to hide the hanging nails. The minimalism of her work misleads us to think it is simplistic. She incorporates modern materials – plastic and permanent marker, with traditional draping cotton in a manner to suggest a fun, playful perhaps 1960’s era (an innocence).

Coming True, Natalie Smith, cotton, plastic, wood

Coming True, Natalie Smith, cotton, plastic, wood

The venue dictates how the twenty one pieces are displayed. The curators are pleasantly surprised visiting a new space seeing how the works are relating with each other. Rachel Hayes piece Sympathy Falls is 192″ x 102″ with grommets installed for hanging vertically or horizontally. WVU Art Museum had installed in the ceiling a method to suspend the work in the middle of the gallery. This allowed people to view crowds through the sheer weave, adding new changing shapes to the patchwork. The placement foreshortened the long gallery with another “wall”.

Sympathy Falls, Rachel Hayes patchwork

Sympathy Falls, Rachel Hayes patchwork

The digital prospectus prepared to solicit spaces includes sizes, descriptive labels, artist statements and outreach programming and costs. A variety of funding sources have assisted the facilities in funding the show. Ms. Gower listed FABRICations on Association of Academic Museums and Galleries (AAMG) website http://www.aamg-us.org/wp/ . An extensive catalog is available to order in print or as a digital version at FABRICation by Reni Gower. It includes artist statements, contacts, an art review and curators description and full color of each work.

The exhibit is scheduled through 2017. If people can visit in person the scale and close inspection of technique, materials and composition will be worth the trip at:
Academy Art Museum, Easton, MD; April 15 – Jul 9, 2017
Bowling Green State University, Fine Arts Center Gallery, Bowling Green, OH; Sep 1 – Oct 1, 2017

Textiles can often be folded or rolled up and usually ship without a FRAGILE label. These are positive selling points when a curator submits a proposal looking for exhibition space.  I encourage artists to create with their hearts, resolve presentation obstacles and submit their work to curators, juried opportunities or create relationships with venues and educate the public about traditional methods made by contemporary hands.

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