I can’t even remember the last time I bought commercial fabric other than white, and still, in my effort to use what I have, I still have no trouble finding fabric that works for me. I dye, print or paint most of what I use but this one’s all commercial, except for the confetti pieces – who knows what’s in those! I’ve been making up sheets of those to cut out/up when needed.The sure do add significantly to the texture of a piece.
Unable to sustain funding, sadly, The American Textile Museum in Lowell has closed its doors. The bulk of their collections are transerred to Cornell University in Ithica, NY. Anyone travelling that way should think about a visit there. As a leading academic research library, they have an extensive collection of historical textile documents, photos, and ephemera.
I was lucky enough to have visited the Textile Museum while it was still open in 2014. So dense with history, I thought this was a great opportunity to share some of my photos of it.
Attributes of Form, has so far been a series of small format, 10 inch square pieces to explore architectural shapes and lines in fabric collage.
It incorporates photos that may only hint at or may clearly define a sense of place.
I’m enjoying the process and learning as I go with this series, learning about myself, actually – my strengths and weaknesses, tendencies and habits, but I’m also learning how to make critical and timely corrections in my work process.
I think I’m starting, after 6 of them, to get the hang of it. Even if they’re also trying to be somewhat formulaic, I’m aware of the tendency so I can catch it before I move on in that direction. This may be the consequence of thematic limitations – that once you develop a comfortable workflow, the details such as choice of fabrics and such take on a life of their own as the previously rejected materials become fodder for the next piece in line. In other words, the future piece begins to emerge during the work on the previous piece. So here, within the process, working in a series and its inherent limitations emerge as a real advantage to the artist.
Although I suspect that “voice” has primarily become a product of art gallery marketing ploys, something of one’s own genuine voice may become more defined, more genuine, perhaps, while working in this method.
There are 2 pieces missing from this slide show because I don’t like it or need to work on one more before I call it finished, so there are 6 pieces done so far and there will undoubtedly be more. Don’t forget to check out Nina Marie today!