Seriously About Series in 2017

Glancing back for the past year working in a series was once again the main thrust of most of the past year’s work:  Attributes of Form was a small format but refreshing body of small work for me to explore and could be the basis of more in this line of exploration. With architectural underpinnings, these were mostly funky jaunts of imagination.

On a larger and deeper scale, Liminal States and the Thresholds of Change took me on an important personal and professional journey, culminating in being the portfolio of work that gained my acceptence into the Juried Artist Member status in SAQA!

“What is a JAM? 
A JAM is a juried artist member of SAQA who has successfully presented a portfolio of professional quality images and documents to the JAM Review Panel (JRP).

The portfolio presents a body of work that represents a singular point of view or signature collection. The artist’s resume demonstrates a record of juried exhibitions beyond the local. Documentation and images are of high quality, as expected by gallery and museum personnel, as well as collectors and publishers.”                *

I feel some real job satsfaction from this reward and feel that SAQA is the most important organization one can join as a fledgling textile artist.  The connections I have made through this group and the information and feedback one gets as a membership benefit is invaluable.

My artist statements for the Liminal States and Thresholds of Change Series pretty much chronicle the discovering of foundlings that I bumped into between the spaces that I explored.

Some excerpts:

Liminal State: “…the sensory threshold is a transitional point where sensations are …”barely perceptible” … “transitional” or “intermediate,” as in “the liminal zone between sleep and wakefulness.”

Gestation:  “After the chaos? Shut down; then turning inward for reflection…barely perceptible shift of feelings begins to occur, not even thought yet…When I was a child, I remember hearing the birds sing as dawn approached – in that state of being barely nascent –  not entirely asleep but not at all awake. It’s a magical place where no effort is required for change to evolve, for ideas to throw out shooters to find fertile ground to root in.  You hardly even have to listen to hear the songs.”

For Senses of the Fertile Soil  (Dedicated to the Standing Rock Sioux Tribe)                              a poem emerged:

 Rocks In My Mouth                                                                                                                                                           by Janis Doucette                                                                                                                                                            
From this tribe springs a language                                                                                                                          that speaks to the water                                                                                                                                              and of the earth                                                                                                                                                              with words that roll around the rocks in my mouth.       

“If facts are the seeds that later produce knowledge and wisdom, then the emotions and the impressions of the senses are the fertile soil in which the seeds must grow.                                                                                                                                    Rachel Carson

Thank you so much for for reading and commenting on my blog this year!  I so appreciate having you as travel companions on my art journey.  It wouldn’t quite be the same without you!                      

October Transformations

October Transformations

I finally finished cleaning up and putting my outdoor studio to bed for the season yesterday. The main working table has a clean piece of cotton and a fresh plastic top stapled on and a new tablecloth covers that. One table was moved to make room for an outdoor Plastic “shed” that previoyusly held my gardening tools but mostly had a lot of junk in it.  It’s now filled to protect powdered dyes, mordants, silk screens and various tools.  Most of my pots and pans are in black plastic bags on a shelving unit that I brought inside as well. I left a couple large pots out so that I can make up a couple batches of tannins today with 2 good weather days forecast.  I’ll keep them in jars in the fridge, ready for next year.  I also have to make up a fresh pot of alum, then a batch of soymilk to mordant a bolt of fabric that will cure over the winter.

This week, I washed out the last of my cotton prints that were curing.  Here’s the last batch of rusted prints:

I love how the rust and iron oxidize and express the transformation of materials and things as they move toward detetiorization, still retaining their character and shape but adding texture and color as they age…just like us.

You’ll love Nina Marie’s post today!

And thanks for being there! Thanks for reading and joining in on the conversations!



I dyed this piece of cotton saxon blue but, not being familiar with this dye yet, I went too light on the amount of dye I used. So, I experimented a bit further cutting off two pieces of the fabric and dipping the first one in half vinegar and half ferrous sulfate; the second piece, I dipped in hot soda ash.  Pretty dramatic difference!


It’s that time of year now when my outdoor work comes to an end.  I have only a few more chores to do before I prepare it to winter over.  So this morning I’ll take a look back to days when I had a special visitor!Robin10 Only a few weeks ago did I realize that one of the trees on the slope beside Lake Quannapowett was a pear tree.  The leaves actually did print with some coaxing.Pear Tree2.D.