Category Archives: elements and design in art

Workshop Opportunity week of Oct 26-30

This notice is ONLY for people signed up at ArtWools.com to receive blog posts. It will not be shared to facebook community until after September 19. Hope you are interested in a session or several.

There are five instructors who have come together under In the Studio to offer a workshop each day/night the week of October 26-30.

All registered students will also be invited to participate in two bonus Workshop Week events:

Workshop Week Hook-In

Join all of the instructors and the other students for an online hook-in. It will be held on Wednesday, October 28th, 2020, at 6:30 pm EASTERN for 1.5 hours. The Zoom link will be sent the day before the hook-in to all students registered in at least one class.

Workshop Week Panel Discussion

Join us for a bonus episode of the series ‘In the Studio’ where the five instructors will engage in a panel discussion and will take your questions. It will be held on Friday, October 30th, 2020, at 6:30-7:30 pm EASTERN. The Zoom link will be sent the day before the panel discussion to all students registered in at least one class.

Here are the classes and intro featuring each instructor. Note in the descriptions the way to contact the teacher for registration links and payment. We all look forward to this exciting time getting “together” in 2020 and learning. Please note that by registering for any classes in Workshop Week your email address will be shared with each of the five instructors only for the purpose of organization and follow-up and to invite you to the above sessions. You will not be added to any mailing lists.

WORKSHOP OPTIONS

TRAVEL DESIGN: LET THE WORLD INSPIRE YOU
lead by Karen D. Miller

Monday, October 26th, 2020,
at 6:30 pm EASTERN – 9:00 pm EASTERN

Find inspiration for your art from your own travels! Using your memories, your photos or even just your dreams of where you would like to go once the pandemic is over, we will talk about how to find, capture and interpret your ideas. Travel does not have to be far from home so, even if you haven’t travelled to exotic locales, this class is still for you. The hands-on activities in this class will leave you feeling inspired and with a number of designs ready to turn into art, no matter what medium you use!

This class is inspired by Karen’s book Eyes Open to the World: Memories of Travel in Wool published in 2019 by Ampry Publishing. It is not necessary to purchase the book to take this class, but students may find it a useful supplement to the information in the workshop.

Materials Needed:

  A sketchbook (or a book with blank pages)

  Pencil, eraser and pencil sharpener

  Pencil crayons

  Photos from somewhere you have travelled (can be close to home or further afield, and can be printed out or on a device)

  A small watercolour set and brush(es) (does not need to be fancy- can be a set for kids) Class Fee: $45 US (Conversion will be made to CAD for Canadian students).

Payment can be made by e- transfer for Canadian students, or a PayPal invoice will be sent to students outside of Canada. For more information or to register please email Karen D. Miller at info@karendmillerstudio.com.
Karen D. Miller is a fibre artist living and working in Ottawa, Ontario. She has had her work exhibited across Canada and the United States, and in Canadian and American publications as well as those in Europe and Australia. Her work has been featured four times in Rug Hooking Magazine’s annual Celebration of Hand-Hooked Rugs, and in 2020 she was invited to be one of four judges for the publication. In addition, she is a frequent contributor to Rug Hooking Magazine. This past November, her first book, Eyes Open to the World: Memories of Travel in Wool, was published by Ampry Publishing. You can learn more about Karen and see her work at www.karendmillerstudio.com.

BASICS OF DESIGN: EXPLORE THE VOCABULARY FOR DESIGNING- ELEMENTS AND PRINCIPLES

with Susan L Feller

Tuesday, October 27, 2020, at 6:30 pm EASTERN – 9:00 pm EASTERN
Beginner or years into your fiber arts journey, this workshop will help to incorporate the building blocks (elements and principles of design) to create better compositions. Students will explore the concepts using small samples, and will become comfortable using design, materials and techniques.

In the 2.5 hour session we will define the Elements and Principles of Design and discuss the universal art vocabulary. Exercises included require pencil, paper, a selection of fabric in range from light to dark, and an open mind. YOU CAN DRAW. Participants will be invited to a private group for follow up discussion and more assignments over a three month period.

This class is based on Susan’s book Design Basics for Rug Hookers, published by Stackpole Books and available in an online search.

You will be contacted by the instructor before class to expand on materials and to allow for a discussion of one’s personal background in designing and expectations for the class.

Optional Materials:

For Canadian students: Wool kits and backing available by contacting Martina Lesar (studio@martinalesar.com); ask for Design Workshop Kit.

For US students: Wool kits and backing available by contacting Parris House Wool Works in Maine (parrishousewoolworks@gmail.com); ask for Design Workshop Kit.

 Please note that purchasing Susan’s book and/or the Design Workshop kit are not required, but both are beneficial to have for the class.

Class Fee: $45 US. An invoice will be sent electronically.
For more information or to register, please email Susan L. Feller at rugs2wv@gmail.com with “Design Class” in subject.

Susan L. Feller is an award winning fibre artist, author, and teacher. She is a frequent contributor to Rug Hooking Magazine and she has had her work featured in and been a judge for their publication Celebration of Hand-Hooked Rugs. Susan frequently exhibits her work across North America. You can learn more about Susan and see her work at www.artwools.com.

HERE AND NOW IN WORDS AND FIBER
with Elizabeth Miller from Parris House Woolworks

Wednesday, October 28, 2020, at 1:00 pm for approximately 2.5 to 3 hours in length.

“Creativity is always a leap of faith. You’re faced with a blank page, blank easel, or an empty stage.” – Julia Cameron

Beth says “In this workshop we explore the intersection of words, writing, visual images, and the emotions and responses they evoke through the medium of rug hooking. However, we are narrowing our context down to the here, the now, the present, the close at hand. In this time of COVID-19, I want to turn that feeling of restriction into an expressive opportunity through the use of visual design and accompanying poetry/prose. We will focus on our immediate environments. The purpose here is to expand your appreciation for the seemingly familiar and see it in new ways.

Through a series of wordplay and sketching exercises, we will come up with a short piece of original writing (think Haiku, single stanza poem, or ten line prose) that will form the foundation of your rug design.

While this workshop is not meant to be a traditional “how-to,” I am also happy to talk about how to apply materials other than wool or techniques beyond the basic loop to your individual design if you are inspired to do so. This differs from my telling or showing you “what to do” as this project is going to be deeply personal ,and you are the intuitive expert on its creation.

I will offer a closed Facebook group for workshop attendees who want to continue interacting as they finish their projects and can provide ongoing support and resources through completion.”

Materials needed:

  • Pencil and sharpener
  • Eraser
  • (Optional) Images you may want to work with/phone or tablet camera
  • Medium to large sketching paper – can be pieced together if needed
  • Notebook for writing
  • Fine tip Sharpie
  • Quilting square is helpful
  • Ruler, if no square
  • Hoop or frame
  • Rug hook

Snip scissors

Variety of colors and textures in wool and/or fiber

18” x 18” (suggested) or some other size serged/zigzagged/taped rug foundation

Cutter or some way to cut wool/fiber

(Optional) Calligraphy or art paper and pens Class Fee: $45 US
For more information or to register, please contact Elizabeth Miller at parrishousewoolworks@gmail.com.
Elizabeth Miller is the owner and artisan at the Parris House Wool Works in Paris, Maine. She has taught workshops at numerous locations, including at the Squam Art Workshops, and the Sabbathday Lake Shaker Village. Her work has been featured in Rug Hooking Magazine and Making Magazine, and she has a line of originally designed, hand-hooked, home decor items available through the Beekman 1802 Mercantile in Sharon Springs, NY. You can learn more about Elizabeth at her website www.parrishousewoolworks.com. Her upcoming book, Heritage Skills for Modern Living: Seasons at the Parris House is available for pre-order through her website as well as on Amazon.

INTUITIVE DESIGN with Meryl Cook
Thursday, October 29, 2020, at 1:00 pm-4:00 pm EASTERN

Join Meryl Cook as she shares her intuitive design process. In this class we will explore creative journaling (writing and sketching) as a means to create designs from within. This workshop will appeal to artists wanting to stretch their design muscles and to those wishing to explore a unique approach to journaling. You will learn: creative journaling methods for unblocking creativity and how to use your journal to create simple, intuitive designs.

These designs can be translated to your rug hooking or to any artistic medium. No need to be a rug hooker, all are welcome. Be prepared to have fun and leave with practical tools for journaling and an intuitive design.
Materials needed: a journal (or paper), pens or pencils and a sense of adventure. Highly recommended is Meryl’s second book, One Loop at a Time, The Creativity Workbook. Class fee: $45 US (approximately $59.14 Canadian as of September 9).

For more information or to register, please contact Meryl Cook at meryl@merylcook.ca. Payable by e- transfer within Canada to meryl@merylcook.ca or by PayPal if outside Canada. Class limit of 12 students.

Meryl Cook, artist, author, speaker and facilitator, specializes in connecting people with their creativity. Her corporate work focuses on engagement and well-being. Recent corporate clients include Nova Scotia Department of Environment Water Branch, Service Nova Scotia & Internal Services and Argyle Fine Art.

She is a sought after teacher in the journal writing and fibre arts communities. As an artist, colour, texture, joy and self-compassion are the key features of Meryl’s beautifully crafted hooked rugs and her books about her journey from homeopath to artist and journal writer. Meryl’s home studio is in Dartmouth, where she hooks and spins looking out at the Halifax Harbour.

Meryl is the author of One Loop at a Time, a story of rug hooking, healing and creativity and One Loop at a Time, the Creativity Workbook- both of which can be purchased from her website, www.merylcook.ca.

BUILD A BABY BOUCHEROUITE with Laura Salamy

Friday, October 30, 2020 at 1:00pm EASTERN for approximately 2.5-3 hours in length.

Boucherouites are having their day! They’re so trendy that you can’t look at a Better Home and Gardens magazine or watch an HGTV show without seeing them.

The Berber tribe of Morocco have been creating Boucherouites, one-of-a-kind, hand-knotted rugs, since the mid-20th century. Traditionally, they’re made using old clothes and other textile scraps. They’re a pretty freestyle form of expression often looking as if the weaver started with one color scheme and pattern, got bored, and moved onto something else. They’re fun in a colorful, spontaneous way and are easily adaptable to rug hooking.

In this workshop you’ll design your own “Baby Boucherouite” rug and start to hook it with textile scraps you have on hand be they cotton clothing, old bedsheets, and/or leftover wool noodles. The sky’s the limit! We’ll also discuss how to prepare, cut, and hook with non-wool materials.

This class is designed for a student proficient at rug hooking basics, particularly the mechanics of pulling loops through a backing. You need not own a cutter to participate (or even to hook rugs!).

Because this is an online workshop, students will supply their own materials.

Materials needed: Hooks; Backing of choice, enough to allow for a rectangular mat at least 12” by 6”;
A frame; A pencil (or “magic” pen) and Sharpie (we’ll draw rugs straight onto the backing); Fibers of choice (wool, yarn, old clothing/textiles, whatever); and

A mind and spirit open to experimenting and FUN. Class Fee: $45 US
For more information or to register please contact Laura Salamy at Laura@highonhooking.com. Class limit of 12 students.

Laura Salamy is the hooker behind High on Hooking. I’ve never been a “traditional” hooker, preferring to color outside of hooking’s more “typical lines.” Instead of limiting myself to wool, I prefer to use most any material I can get my hands on. Often that means cutting strips from old t-shirts and bed sheets. Up-cycling throw-aways to art is a priority for me. Our landfills are filling up. Or they’re already full. While certain projects benefit from virgin wools or other fibers, I like to do my little part to slow that process and make something lovely at the same time.

Laura’s work has been seen in various exhibits as well as Rug Hooking Magazine; ATHA Art of Rug Hooking magazine; Karen D. Miller’s book Eyes Open to the World: Memories of Travel in Wool; and Judy Taylor’s T-Shirt Treasures: Creating Heirloom Hooked Rugs from the Humble T-Shirt. She currently serves as President of the Adobe Wool Art’s Guild, New Mexico’s only rug hooking guild.
Learn more about her work at https://highonhooking.com.

We look forward to this exciting week filled with energy, experiments and experiences to share. Sessions are filling as each instructor has sent the information to their mailing lists.

Achieving goals by a different path

Challenging self is part of living. As the restrictions to travel developed in 2020 I took some time to evaluate my dreams. Hiking the full 2,190 miles of the Appalachian Trail topped the list. Time to observe nature, leave external voices behind, reflect and connect with self were elements the journey would offer. But for me I admitted thru hiking would not happen. In 2020, the system was closed due to the pandemic to many others who hoped to set out. I made my own trail.

I had wanted to connect the traditional random woven rag rugs we had from family members with rug hooking in a design and found a long narrow map of the Appalachian Trail which fit this concept. Two runners of linen each 59″ x 19″ were marked with the trail blazes, major river paths, and geographical sections. I pulled wools from inventory and sorted them into seasonal colored piles to become strips ready for the hook and finally 107,616 loops.

Over the next two months I hooked away in the studio, daily posting progress shots on my Instagram page ArtWools, Susan L Feller. The encouragement from followers included stories of their own experiences with the trail. Some lived close by. As I got to that spot I thought about them, even inserting a favorite color. As the seasons changed from cool colorful spring into warmer summer I switched piles of wool intermingling the colors as I imagined would be happening in the higher elevations and warmer valleys.

The typical 6 month journey on foot may have not been physically experienced but I have a visual personal reminder. The two rugs look complete individually and can join together seamlessly. They even look interesting side by side which has lead me to think of a seasonal rug perhaps 36 x 60. In the exhibit ‘Journeys’ at Beckley Art Center, the label reads commission work would be entertained. The New River would be an interesting subject exploring one season for each panel (smaller than the runners though). Endless ideas and still lots of time in the studio.

walking the trail

You want to exhibit -why,where,HOW

Just off a live talk In the Studio through Karen D Miller Studio where the topic of exhibiting fiber art was discussed. This post provides links for your own research and success.

Build a body of work by practicing, experimenting, critiquing and doing. Join arts organizations, regional museums, subscribe to trade media, and network with peers. FiberArtNow.net , Handweavers Guild WeaveSpinDye.org , RugHookingMagazine.com , SurfaceDesign.org . Participate in events, conferences, social media pages and groups created by fiber artists.

We select shows, events for a variety of reasons. The theme might interest you especially if it addresses the focus of your work. Who is the juror? Read their bio and the venue’s mission statement to identify the audience. How do you select what to submit? Excellent photos according to the specifics requested, the best work and, if multiple entries, be consistent in style the jurors and organization will recognize your work in the future. Location of the show might influence entry. Can you hand deliver a large piece? Is shipping an added expense? Will the work be insured on site? What is the sales commission? Is there a catalog in print and online? What are the events planned – reception, gallery talks, workshops, online exhibit, social media promotion?

Preparing work for public view and sale is different than showing to your local guild. Will the utilitarian rug be hung? What does the space require – sleeve and rod, wired to hang, professionally framed with closed back and wired to hang. Pricing should be researched and consistent. Your retail pricing must consider gallery commissions rather than adding the percentage when the piece is entered. Label the work including title, your name and contact, materials and techniques. A brief statement telling your story would be helpful for agents and the person who purchases your work. I include “Working with fibers connects me with the spirits from past generations of artisans. Due to the slow process of my craft, there is time to dwell on the natural subjects and materials I have selected. Now living in West Virginia, I have come full circle-back to the farm and rural lifestyle of my youth. I hope you think about your impact on the beauty conveyed in my art.”

Writing an Artist Statement is as important as making the work. There are several versions requested: short, a paragraph or two introducing the collection or work’s basic ideas and describing how they are addressed in the particular piece. In a larger version (under one page) your voice talks with the audience, how they should view the work, how it relates to overall direction, artists who influence you, the importance of a technique or material. This link gives more specifics and includes samples. Read other artist’s statements and juror’s reviews.

The entry and my statement for Iconic ERA:

Iconic ERA, Susan L Feller

STITCH, 2017 at Claypool-Young Art Gallery, Morehead State College, KY

Working with my hands, identifying the materials through touch, sight and sound centers me. Growing up in rural America in 1960-70’s make-do skills were daily lessons. Sewing, crochet, knitting and crafts were taught by my grandmother and mother. Girl Scouting broadened the life learning knowledge developing me into a caring individual.
Iconic ERA is autobiographical. A psychedelic hooked mat is the base for the 1970’s iconic ERA logo. I circled this with my own Girl Scout badges placing the gold edged ones so if connected in the center they would create a PEACE sign. The striped fabric honors acceptance of all people. I used thin lettering of embroidery for the message “We all can vote for equality” to offset the powerful design.
This is one in a series of three exploring equality. The others can be seen at ArtWools.com/Gallery

Did you get accepted or rejected? If the latter how do you react? I often enter knowing my work will at least be viewed by some new critics. If it is rejected I will attend if possible, buy the catalog or view the selections online evaluating the results and learning. Observations from people I interviewed for this talk mentioned more fiber art being entered in art shows than a decade ago. That is good for the field and should raise our efforts to continue innovations, developing style, materials and entering professional images. If the positive is yes how will you promote this opportunity? Update your website/resume with image of the work, links to the venue, local and professional media announcements, attend the opening, talk with artists and audience and follow up with those conversations. Follow the deadlines to deliver work, labeling and packing for shipment, include return shipping payment.

What type of shows are there? How do you find them? Besides actively searching listings for shows on CaFE – CallForEntry.org, FiberArtNow.net/Submissions, GlobalTextileHub.com/ , RugHookingMagazine’s Celebrations and being juried there are other opportunities. Invitational – a curator will work with a venue or develop a theme for traveling shows and invite a group of participants who fill the overall theme. It may be all fiber, or statewide artists, work fitting a theme or the space. This is where networking is important. I have been a resident of West Virginia for two decades, entering annual and bi-annual art shows, participating in arts organizations and received invite to a major exhibit just two years ago. The solo show at Beckley Art Center is a result of my showing with a WV Public Broadcasting program and having a unique technique. Online social media and print opportunities are also avenues to get exposure. Many publications have active media platforms including weekend take overs of their accounts. Check out Fiber Art Now

If you are coordinating an exhibit here is helpful ADA guidelines in creating labels that the viewer can see….. see specifically 703.5 Basically the lettering should be 5/8″ tall, san-serif with first line bold, and no italics

Thank you to the following artists whose experiences are reflected in the above advice: Meryl Cook, Linda Rae Coughlin, Cheryl Ryan Harshman, Tracy Jamar, Lori LaBerge, Kris McDermet , Robby Moore, Executive Director of Beckley Art Center, and a special thanks to Karen D Miller Studio for coordinating this series In the Studio. All the best to fiber artists submitting and spreading the visuals of our techniques.

Visit my work at Beckley Art Center August 7- October 17
And everyday at ArtWools.com

Journeys announcement
inspiration for hooked artwork

Inspired to Collaborate

A photo came on my screen and I thought…that would be interesting to interpret with my techniques. I reached out to West Virginia potter and Tamarack Foundation For the Arts Fellow Hannah Lenhart for permission. Her response was “I was flattered and very excited! The original image happened because I was sanding and washing pots and setting them out to dry. I found all the “butts” super pretty so I arranged them for a photo. It’s cool knowing that someone else found the image as interesting as I did.” (Hannah and I have both received fellowship grants from TFA, she in 2018 as an Emerging Artist and I as a Master in 2013).

One of her vases became the “pattern” for 4″ circular shapes on graph paper to space them in ordered randomness. When I drew out with pencil, sharpened the lines with magic marker it was ready to use the lightbox and transfer to linen backing as a 24 x 20 design. THEN bags of wools came out, organized in color families with patterns and solids abounding to cut into strips. The variety of black and white squiggles and lines Hannah incorporates in her work were fun to interpret with high contrasting tweeds, plaids and checks. To get the color playing with black I used a technique called “beading” where two high contrasting strips of wool travel along, each contributing a loop in an alternating fashion.

I looked back at the image only once for a reminder on how the bottoms (butts) were decorated. Each has the signature HL and often a pattern of lines with the coloring of the mug evident. How was I going to make my circles unique? Of course my upholstery samples pile served up a wonderful variety to be cut and applique’d. Most were embroidered using Wendy Clark’s thrums to attach the piece with abstract lines enhancing the fabric’s design.

Isolation and time to “visit” the internet has lead to many advertisements being deleted but one came along just at the right time from Renaissance Ribbons. I found a ribbon with squares that could be used as a border and ordered it right away. After stitching the finished work to black cotton and folding the edge as a plain border the ribbon was added and definitely pulled the piece together.

hooked fabric strips, embroidery on upholstery fabric, inspired by Hannah Lenhart’s pottery with ribbon border

When I sent this photo to Hannah she replied “Audible gasp! (haha).  I’m a lover of color and pattern and I love how you played around so much with both! Also there is so much detail. This piece must have taken so many hours! A labor of love, much like ceramics. “ It has been fun knowing I was creating work imagined by someone else yet ending up with a unique signature piece. Here are our monograms in the rug.

The last step will be to see this with some of Hannah’s mugs set on top. When we can get together again that image will happen. It has been interesting collaborating by internet, glad we each have also met in person. Check out Hannah’sClayCreations.com and enjoy a cup of joy with us.

If you are interested in collaborating consider GlobalTextileHub.com and their next exhibition Collaborate/Re-Imagine Call for Entry, one artist needs to work with fibers the other any media…. commitment due Sept 30 and work submitted online by April of 2021. Virtual exhibit premiers in August 2021. See the prospectus here

Recycling leads to Networking

My roots in Girl Scouting guides choices even in this decade of my life. Using scraps from another maker helps them clear space, lowers my expenses and increases a supply of materials but especially helps the earth … limiting landfill growth.  We recycled in the 1960’s now it is called up-cycling and the Girl Scout motto includes “Make new friends and keep the old”, I definitely have expanded the artist network with this quest.

Wendy Clark is a fiber artist, weaving her hand-dyed threads/yarns into scarves, shawls and baby wraps through her company Wenweave in the mountains of West Virginia. She collects thrums (warp threads tied off between pieces) for me into garbage sized bags and then we meet up for the exchange. I get her “rats nest“ and we some inspiring conversation. One visit the talking lead to collaborating on a project. Hours after I have organized the threads they are ready to be hooked and embroidered into what I call my Thread Collection.  Here are a couple from that series, the full collection will be available at Beckley Art Center during my exhibit August 7-October 17, 2020.

In future workshops bundles of these colorful threads will be shared with students and go out in the world of creatives spreading our mutual friendship and love for sharing.
I send off the snippets from my work to a spinner who incorporates them into colorful yarn. Zero Waste!

Visit Wendy’s site Wenweave.com and see her work in person at Tamarack, in Beckley, WV

Dec 4 was International Rug Hooking Day

Part 4 of 4: Have the urge to learn more and stay in touch with creatives? Cyberspace is another tool to add to the hook, needle, and fibers in our supply box. We just need to learn how to use it. Meet some admins of social media groups; trusted personalities with podcasts, internet camps, and blogs; and artist pages to learn their stories. Hope this will broaden your journey, see you along the way or here next year on IRHD-Dec 4, 2020.

Steps for our journey

Social media can be a time suck, emotional roller coaster or introduce you to new friends and a big library. When Lucy Richard in New Brunswick decided to set up The Wooly Mason Jar Rughooking group on Facebook she thought “I chose to put myself in the shoes of a new hooker when I began it. I wanted a safe place to come for advice and words of encouragement and a sense of community.” This group talks about the colourful wools that come out of their dyepots using the Wooly Mason Jar recipes. Martina Lesar saw a need for a group free of advertising, and focusing on Contemporary Rug Hooking. The description begins “This group was formed to encourage and inspire contemporary styles even traditional patterns that have been reworked with a contemporary twist or colour plan.” Her studio in Ontario is open for patterns, wool and supplies in person and on-line. Lori Brechlin of Notforgotten Farm in Virginia administers a private group called The Out of Hand Rug Hookers “our mission here is to share, educate and encourage…please post often about your projects-in-progress and your love for rug hooking & rug punching.” Loretta Scena in New York created a great service with Rug Hooking Camps, Shows, Workshops and Classes. Visit this to find exhibits, and learning opportunities. These are four of the dozens groups you can search out and join.

Hooking on a pin loom

Working with our hands leaves less time to type on keyboards, or read a book but podcasts and videos are good company in our studios. Gene Shepherd from California knows how to teach with videos. His beginning loop pulling video has given people in Australia, England and North America the confidence to build a stash of fabric and make rugs. The website GeneShepherd.com shows his store of patterns and supplies, workshops, and a subscription Internet Rug Camp where over 75 videos and daily blog posts are archived for members. Deanne Fitzpatrick from her Amherst, Nova Scotia studio has encouraged us to “Create Beauty Everyday”. Subscribe to the podcast of the same name, there will be conversations with interesting fiber artists. She has a way of chatting on videos on YouTube as Deanne Fitzpatrick and blogs as if you are right there pulling loops together. Groups make travel plans to Canada for themed workshops, or some tea, scones and conversation while shopping and online at HookingRugs.com And there is a FB group too – Wild with Wool. Rug Hooking Magazine shares several live stream sessions from their FB page including a series by Lisanne Miller of W. Cushing & Co in Maine. Global Textile Hub in Australia is creating videos, webinars and virtual on-line fiber art exhibits. These productions can be found on Kira Mead’s YouTube channel.

McDonald sisters historical display @ Sauder Village

Finally, meet some of my fiber friends. Check their calendars to see work in person. The21Collective is seven artists sharing experiences with each other in retreats and speaking louder together. We are currently on FB and Instagram as The21Collective with a website to be launched soon. The page gives links to each website and our artist statements. Liz Alpert Fay lives in Connecticut exhibiting mixed media work worldwide and sending a newsletter quarterly on LizAlpertFay.com . Michelle Sirois Silver‘s studio is in Vancouver, BC, Canada where she consciously works with recycled materials in consideration of the environment. Her gallery on the website MichelleSiroisSilver.com is filled with energy and variety. You might be lucky to get into a workshop or lecture sometime.

It is almost Dec 5 and I could go on and on suggesting connections for you but let me leave saying if you have been inspired to pull a loop and slow down to repeat, repeat until magic appears I have achieved my goal : TO GET YOU HOOKED ! Stay in touch through ArtWools.com/contact and say hello when we meet in person at a show.

Getting together for International Rug Hooking Day

Dec. 4 , part 3 – Connecting in person and on-line defines three words of our celebration – INTERNATIONAL, and RUG Hooking, prodding, punching, braiding tomorrow and everyday.

Thanks to the five years we have been promoting this day, Rug Hooking Magazine’s facebook event will be filled with photos from the celebrations held all week.

Traveling chronologically, Australia will bring in the day with end of year celebrations in New South Wales and Queensland, three time zones later in Western Australia. Follow these groups in 2020 by signing up on the Australian Rugmakers Guild’s blog. Then Japan and on to Abu Dhabi where Ti Seymour and the UAE Rugmakers are demonstrating punch and hooking at Costa Coffee Al Muneera Island. Håkon Grøn Hensvold, is in Skreia, Norway. His work is included in Rug Hooking Magazine and several books. The UK groups gather in London, the Yorkshires, Penzance and many villages in Great Britain, Scotland and Wales.

Friends getting together

Crossing the “pond” all of the Canadian provinces will have events. As we noted in a previous post, Newfoundland and Labrador have a long history of mat making. This is also the host region for TIGHR through 2021. In Nova Scotia and New Brunswick the many rug hooking businesses will be open for drop-ins. Lucy Richard told me she is going to visit Della Ackles Rug Hooking in Amherst for the first time. And looks forward to the colourful creativity at Deanne Fitzpatrick’s Studio on Church Street in Amherst. Richard has created a dyeing system with extensive formulas after a simple set-up called The Wooly Mason Jar. (I will mention another service of Lucy in part 4.) Carol Harvey-Clark, a founding member of TIGHR, has a shop listed as an EcoMuseum in Mahone Bay called Spruce Top Rug Hooking Studio. Christine Little’s Encompassing Designs is also in Mahone Bay, filled with rug patterns, beautiful dyed wools, and supplies. I am going to mention one more shop but you would be best planning a week or more exploring these provinces for rug making beauty. Jan Steele operates River House Rug Hooking Studio in Petite Rivière Bridge (just have to visit to see the village). A community project to experience is in the Eglise Historique de Barachois, New Brunswick where 200 hooked cushions were contributed from across Canada and abroad.

Quebec and Ontario chapters are part of the Ontario Hooking Craft Guild. On the 4th, Beaconsfield Hooking Crafters Guild and Marlintown Wild & Woolly Rug Hookers join together for their annual celebration in Williamstown, ON. Martina Lesar hosts a hook-in for the public in Brampton, ON. And with dozens of chapters around the province of Ontario I am sure there are other meetings. Crossing west through Canada there are many groups, with a concentration in British Columbia around Vancouver and Victoria.

Ruckman Mill Farm, now @ Green Mountain Hooked Rugs

Historically New England is the oldest rug hooking region of the United States. A trip to Vermont, New Hampshire and Maine for rughooking enthusiasts means meeting 5th generation pattern makers, (Green Mountain Hooked Rugs) second generation wool manufacturers,(Dorr Mill Store) and over a century old institution filled with patterns, wools and supplies (W. Cushing & Co).

Check out the events and advertisers at RugHookingMagazine.com if you are traveling. Or better yet subscribe to the only magazine dedicated to the range of techniques, styles and regions of the craft/art in 2019.

Tomorrow – December 4 will be the final post of this overview. Introducing readers to some of the networkers and the artists using these techniques in their unique styles.

International Rug Hooking Day means community

Part 2: Dec. 4 is celebrated globally to share the friendship, and publicize how contemporary rug makers use traditional tools and methods.

Antique Grenfell, owned by Kathy Wright

Over decades the economics of communities has benefited from rughooking. In the first half of the 20th Century Dr. Wilfred Grenfell established a cottage industry in Newfoundland and Labrador producing hooked mats using silk stockings donated by socialites along the East Coast of the US. He was a doctor providing health services by boat to the provincial communities and saw the technique of mat making – encouraging designs of polar bears, fishing and local living. Today the mats are treasured, valuable and documented by author Paula Laverty in Silk Stocking Mats. In Cape Breton, during the same time frame, American, Lillian Burke is credited with refining the Cheticamp rug tradition and showcasing it to the world, when she began designing rugs made with wool rather than rags and commissioning Cheticamp women to produce them in the 1920s. Burke, who had first come to Cape Breton while working as a tutor for the grandchildren of Alexander Graham Bell, then sold the rugs to an eager American market. (excerpt from post about contemporary rug maker Yvette Muise)  There is a book about Burke and this community: The Story of Lillian Burke, Dr. Edward Langille. Throughout the US cottage industries also supported regions during the depression years.

Today Guatemalans interpret their regional motifs into hooked rug designs sold as the Multicolores Collective, through Cultural Cloth, the Wisconsin coordinator. With Cultural Cloth, fiber artists can take a tour to work alongside the Mayans in their villages designing, sourcing materials and making their own rug. The book Rug Money by Mary Anne Wise and Cheryl Conway-Daly describes the development of the program and rewarding self-esteem benefits. On the African continent in Gambia, since 2007, Rug Aid empowers visually impaired students to make hooked mats which are sold to fund the project organized by Heather Ritchie from the UK.

Yarrabilba Community Centre in 2017. Australia

Many rug hooking groups meet regularly in public spaces inviting people to watch, and join in the work. In Western Australia the Wannaroo Rug Makers meet in the city library every Saturday morning over the past 10 years. There is a community rug on a frame each year. These have been donated to the children’s section of the library, and installed in other government buildings. Rug hooking has been recognized as a category in craft fairs and exhibited in other states. Groups in Queensland, New South Wales, South Australia and even Tasmania share the rugmaking traditions brought to Australia by immigrants from Canada, the US and UK. Wool is not easily available or any of the materials treasured by those countries so the innovative Australians source materials and tools to make unique work.

Gathered around the screen “talking” to Australia

International Rug Hooking Day exposes us all to the wide range of textures we create pulling, prodding, punching and braiding. Check out the facebook event Rug Hooking Magazine has created and look at the posts under discussion.

Of course there is an International Rug Hooking Day – Dec. 4

Part 1 leading up to Dec 4: the organizations

2019 has been a year of anniversaries in the world of rug making – hooking, punching, prodding, braiding, even felting, the techniques practiced for centuries in homes to warm floors, beds, walls and tabletops. Simple tools, treasured fibers, and time was all that was needed to produce the protection. Yet based on the skills of the makers it became decorative art. As the 20th century aged “store bought” goods replaced ‘home made” and the traditions faded.

hooking with wool strips,
Weeping Willow, Ruckman Mill Farm

Thankfully regions continued making and began to meet sharing the skills, educating young and exhibiting. Celebrating 40 years in 2019 is ATHA, the Association of Traditional Hooking Artists with membership at-large or in chapters, a general meeting bi-annually hosted by a region in North America, and regular newsletters. The youngest group is the Australian Rugmakers Guild, celebrating their 10th anniversary . Out of necessity they have used the internet since the beginning to network groups, exhibits and conferences across the South Pacific. . The Rug Hooking Guild of Nova Scotia also formed 40 years ago in 1979 to educate and preserve the craft and has branches in all parts of the Maritimes. 25 years ago the Rug Hooking Guild of Newfoundland and Labrador officially formed. The organization has funded and conducted an on-going rug registry totaling more than 1000 mats and their stories.

On December 4, 1994 eighteen people from several countries formed The International Guild of Handhooking Rugmakers -TIGHR, at the end of their conference in Ruislip, UK. Their mission was declared to spread friendships sharing the variety of rugmaking techniques enjoyed around the world, connecting members via hand typed newsletters and holding a general meeting every three years. Fast forward 25 years, TIGHR has met in 8 different countries and broadcasts news, videos and exhibits via the internet to millions – Happy Anniversaries to these groups and thank you to the many volunteers over the decades promoting the skills and social benefits.

Sauder Village Celebrations 27

Besides landmark anniversaries other long term groups include the annual conference of Ontario Hook Crafters Guild in different locations around the province for 53 years. The National Guild of Pearl K. McGown Hookrafters continues the teaching program begun in 1951. In Japan several teachers exhibit student work in department store galleries. Sauder Village in Archbold, OH is the mecca annually for a week of workshops, shopping, exhibits and networking during mid August at Rug Hooking Week, the 24th will be August 10-15, 2020.

Rug Hooking Magazine

And a big thank you to Ampry Publishing who continues the legacy of Joan Moshimer’s News and Views from 1972 now, since 1989 Rug Hooking Magazine, celebrating their 30th anniversary this year. The only magazine dedicated to all forms of rug hooking – traditional, folk art, realistic, contemporary for the floors to the walls.

Social Activists Use Yarns and Needles

There have been Marches for ….. media coverage under the banner BREAKING NEWS … and social media memes for and against every step leaders make these days. The constant onslaught on established programs is exhausting and many, myself included, have emotional burn out. Yet we can not stand by watching others march, protest, advocate, use their skills to speak out. Instead many have used traditional handcrafts to create visual messages. My reason is by threading a needle and making stitches, or pulling a loop of fabric repetitively I am channeling my thoughts and concerns, slowing down from the angst created by the first alarm and making a lasting visual to be shared in exhibits and online. This action is followed by many and even has a term “craftivism” – Interpretive activism using slow hand crafts. This is not new, think Betsy Ross stitching a flag, Colonial women weaving their cloth in place of purchasing from England, quilts made with symbolic motifs and fashions worn by the Suffragettes. The massive AIDS quilt project is 30 years old and recently the pink hats made and worn on the Women’s March in 2017.

Here are three fiber artists who have chosen issues to spend time with. Polly Webber, retired immigration judge from California created a series of hooked rugs portraying immigrant’s struggles. “Refugee Dilemma,” uses multiple rugs to tell a story about people fleeing from persecution to a safe haven. Indeed, it is a tribute to the thousands of people who seek refuge from their places of origin annually all over the world.


“Fleeing from Persecution:” The first rug pays homage to now extinct but iconic San Diego traffic signs and the fleeing refugees they sought to protect. The plea “Help us!” appears in Spanish, Mayan, Haitian, Arabic, Pashto, Somali, Sudanese, Russian, and English.

“Caught in the Covfefe:”
The second rug depicts a border patrol officer taking a young girl from her undocumented mother, who is pleading in Spanish, “Don’t take my daughter!” Covfefe is a made-up word tweeted by Donald Trump. I use it to describe the confusing, nonsensical, inhumane hell that Trump and Homeland Security’s Border Patrol put families, and especially children, through as they attempted to assert asylum eligibility at the border and secure a safe haven.

“Safe Haven:”
The third rug depicts two Central American women and their children, in a place of relative safety. For some, this is still aspirational, while others have succeeded. Their smiles are tired smiles, but full of hope. The pattern for this rug was developed from a rug that my aunt, Emma Webber (1917-2015), hooked decades ago from a 1950s UNICEF card. Knowing how much my aunt would have appreciated this group of rugs, I wanted to honor her as well.
Polly has created wearable art from these rugs providing the profits to a variety of immigrant rights groups.

Polly’s website is PollyWebber.com and the scarf, tie along with male and female styled t-shirts are described and available for purchase.

India Tresselt lives in Vermont working with needle and thread on issues of mindfulness, thoughtfulness and peace. Her website is YarnDanceVt.com and she has an active presence online in a variety of social outlets. Parallel to an ongoing resistance project since the US inauguration daily stitching “THIS IS NOT NORMAL” , she purposefully set out to make art weekly about PEACE.

Practice Empathy And Compassion Every day, India Tresselt 2019

Hold Your Peace, India Tresselt 2019
Give Peace a Chance, India Tresselt 2019

India says she wanted to structure her pieces around a governing theme, and so she decided to stitch 52 small meditations on peace. Peace can be global, local, and personal. She is exploring each of these kinds of peace in the 52 meditations.

I too have found the need to speak out on equality, human impact on the environment and the plight of refugees worldwide. A gallery of my work in this category can be found at ArtWools.com/gallery in Currrent Events and Human Impact.

Iconic ERA hooked, braided, embroidery, quilting, applique’ Girl Scout badges earned by Susan L Feller 1963-1973
Mountains of Energy, hooked, applique, paint with plastic straws Susan L Feller 2018 The piles of pipes appeared in a field along the highway in spring, by that fall the field was empty, ready to become hay for the cows the next year. The pipes were buried in straight lines scarring the forests and open fields of West Virginia.
Merging Paths, hand stitched depicting the “yellow brick road” to safety, freedom, peace which over 25,000,000 people are traveling around the world-refugees from their homes to new lands. There are an estimated 28,548 stitches. This piece will be part of the thousands of panels stitched by people thinking about these people. The collection is coordinated through the website 25millionstitches.com with first full installation at the
Verge Center for the Arts, 625 S Street, Sacramento
June 5, 2021-August 15

Working with a needle and thread or hook and strips of fabric hour after hour my mind reflects on the subject, at the end I have a “voice”. The featured artists are only a handful of makers around the world currently creating statements with our fiber arts. Suggested sites to investigate are 25millionStitches.com, Craftist-Collective.com, CulturalCloth.com and the book Rug Money describing the economic empowerment rughooking has made in Guatemala.