The Welcome Return of the What-Ifs

After two sluggish days recovering from a flu shot, which I KNEW I didn't want to get (but yielded to the persuasiveness of my well-intentioned physician), I feel healthy and energetic again. It's great to be back working in my studio; that internal burner is heating up again as one what-if after another starts playing through my mind.

For my reentry warm up, I painted the 24" x 48" canvas frame above and laminated my silk composition to canvas to hold it flat. I'll add some machine stitched details to it, and if all goes well, can mount and complete the piece by Saturday.

I also just painted some silk screens, shown above on my work table along with the drying frame, to try out several what-ifs for layering new surfaces with language imagery. One screen has a light gray patterning on it for monoprinting, the other has dark gray marks and drizzles and lines that have a more painterly quality to them. I'm hoping the results will be helpful in developing some new ideas I have for building layers ; I'll print them when I return on Saturday.

Here's another what-if in process that may or may not prove successful -- painting and printing on lutrador. I want to see what happens as I layer and collage a variety of materials, from silk gauze to rice paper and gel medium transfers, to various surfaces. I have felt inspired to experiment more with mixed media collages recently. I had learned a number of collaging techniques from a wonderful area artist, Alice Gold, at the Memorial Art Gallery many years ago. It was rekindled when I taught next to Fran Skiles class at Fabrications last year-- I loved the results and realized how much more I can do with layers on fabric.

One last experiment is underway today that is a variation of the process that I learned from my first screen printing class with Jane Dunnewold.


Here's a fast print on cotton with aquarelle crayons and acrylic medium that Jane demonstrated in that screen printing class long ago. I'm also trying another screen using conte crayon and will trying overprinting this. I'll share the applications of these experiments with you soon, hopefully.

Of course the ideal outcome will be for each of these techniques to be successful as one layer on multi-layered surfaces and expand the types of marks I am able to make on fabric.

Soon January Endeth

One of the new monoprinted silk pieces that dyed black instead of soft gray.

I took a running leap into January 2009 armed with strong theme words to set my intentions -- "confidence" and "flourish." So of course immediately I plunged into a week or two of total lack of confidence and self-doubt. As Christine Kane says, when you're planting seeds of intention, the first thing you do is dig up some dirt!

Happily, my energetic, inspired self has returned, stronger for the bit of cultivating. If there are more big clumps and stones under the surface as the sowing and planting continue, I can deal with them confidently!

Right now I'm diving into new work in the studio that builds on the previous Parables pieces. The first variable for investigation is refining the ground fabrics on each piece to increase the sense of depth.

I monoprinted two new lengths of natural silk broadcloth this week. On the first I mixed a medium dye concentration to print light and medium grays and used resist to preserve large areas of white space. Alas, the dyes penetrated all the resist work and came out dark, almost black. Totally my fault for not testing the dye concentration or making sure the resist penetrated the fabric well enough. So, what to do?



I'm discharging the surfaces; this is the first one in progress and the ground fabric is beginning to have the softer, smoke-drawing feel to it that I'm envisioning as a first layer. Hints of color will come next.

While I'd rather not admit I ever make mistakes -- so you'll think beautiful art flows from me like water from a faucet whenever I turn the handle -- I made a commitment long ago to be honest about my artistic process. Some ideas don't work out the first time. Or ever.

Other times they work out almost effortlessly -- and beautifully -- but to me those pieces are gifts that result from working through challenges on the others.

Taking risks and pushing past comfort zones put excitement in the creative process. You'll be amazed at how the slightest variation in your routine can immediately put you on the "edge." A new tool, a new material or technique can throw you into that unsettling territory where mistakes happen.

But it's those very mistakes that can generate amazing new directions and insights.

So back to my vision for muted gray and cream surfaces that look like smoke drawings. There are options, like removing color, that can alter these current surfaces in interesting ways. Maybe removing the color from these pieces will work out better than the original idea. Maybe they both will end up relegated to sample status eventually as stronger ones emerge.

Tomorrow after I finish discharging these I'll start hand painting shades of grays and hints of color on two new pieces with acrylic paints rather than dyes. It's another idea I want to test to create the muted first layer that I'm envisioning for new work in this series.

Uncertain results, new risks and possible pitfalls lie ahead. Makes me feel like an Indiana Jones of artistic practice; but it's the exploration and adventure that ARE the treasure!

Exciting Gallery Opening

Last night I attended the opening of the Member Exhibition at Rochester Contemporary Art Center - http:www.rochestercontemporary.org -- called RoCo for short. Two hundred artists submitted work to the show, a record breaking number. The gallery is one of the most exciting venues for contemporary art in this area.

I had submitted my Seeds of Compassion piece and held my breath. Would they relegate the work to a dark corner because it was a textile wallhanging? Or would they appreciate a fiber arts piece on its conceptual and technical merit just as any other work of fine art? Would they be inclusive about textiles as a contemporary art medium and hang the work with respect?





They did! It hangs in the center of the second gallery space and looks spectacular there! The salon style hanging of the works created great contrasts and interplay among all of them; the staff and volunteers did a great job curating the hanging of such a diverse group of works.



I met my good friend and fellow artist Paloma there who also submitted a piece.It's the digitally manipulated red and golden yellow and black image that is one of her "she wolf" series. Visit Paloma's website -- http://palomaayala.info -- to see more.

The painting next to her piece, based on bone imagery, is wonderful as well. There were a number of pieces there I would love to own -- not surprisingly, among my top favorites were several subtle monoprints.

All in all, it was a good, validating evening for me as an artist. I hope the exhibition -- and my piece -- will attract lots of positive attention and recognition.