Tuesday, October 13, 2015
Surface Design Association conference 1
I spent the weekend at Arrowmont School of Arts and Crafts, in Gatlinburg TN, at the biennial conference of Surface Design Association. It's the first SDA conference I've attended so I have to take it on faith that it's a greatly different model than past conferences that have been held in big-city hotels. Instead, we met in the mountains, at a low-budget, low-amenities art/craft retreat center where we sat amid the looms and saws of artisans, an atmosphere that I found very comfortable. The amenities may have been sparse but the food was great and the company stimulating.
I attended the conference mainly as a patriotic duty; I serve on the SDA finance committee and know that making the gathering a success was important to our fiscal well-being. Had I read the agenda more closely I might not have come, because it was a highly focused conference about social engagement as part of an art practice. If you've been reading my blog this summer you know that I'm feeling a bit jaded about social engagement art (click here for my story) and I was purely an observer of these efforts, not a believer.
The presenter I most enjoyed and admired was Carole Francis Lung, an art professor who maintains a second persona as Frau Fiber, self-described as a former East German garment worker and illegal immigrant. Frau wears an attractive Eastern-bloc type of uniform and appears in character to raise awareness of injustices in textile manufacturing, and to help people learn to sew and fix their own garments instead of throwing them away. Her motto is "Stop Shopping, Start Sewing."
She calls this effort the Sewing Rebellion and travels around with a bicycle-cranked treadle sewing machine so she can set up shop in random neighborhoods and mend people's garments or teach them to make their own repairs.
After a wonderful presentation to the whole group, Frau (as she's familiarly known) led a breakout session in which she invited us to become "Faux Fraus," take the oath of solidarity and bring the Sewing Rebellion to our own communities.
I was sad that I was not able to swear this oath on my sewing machine as the other workshop participants did. I subscribe to all the principles of the Sewing Rebellion in my personal life -- you should see all the mended garments I proudly wear out in public, and one look at me will convince you that I have long ago Stopped Shopping.
But this is not my crusade. My crusade is to liberate every quilter from having to use other people's patterns and insofar as I have any energy or inclination to take on social awareness projects, that's what I'm going to work on. Nevertheless, I am in love with Frau and her cause. It was great to hear about her efforts, and I wish her all the success in the world.
More about other presenters in subsequent posts.
Sunday, October 11, 2015
Friday, October 9, 2015
"Xidi Village 1"
This is another large painting I did based on a reference photo I took at the Xidi village. I have extended my paintings from doorways to buildings, and from monochrome to color. I am really concerned that the painting will get muddy easily when I shift from mono to color. I have paid serious attention to the color harmony. Also I have realized that I may not want to paint this kind of archaic painting too large. I don't know exactly why. Some how I feel the history is too heavy on me. I feel pressured when I look at the aging texture of the ancient structures. I might have run into something in my previous life. Who knows.
I want to pause my Xidi series now. A new phase of my art starts soon. I will travel again and keep busy.
Thursday, October 8, 2015
Tuesday, October 6, 2015
“Xidi Doorway 4"
This is my fourth Xidi doorway painting. The difference between this one and the previous ones is the size. This one is a 18" x 24", while my first one was a 6" x 8". I hope you don't see too much difference from the photo images. It is easier to show painterly effect with small paintings. That is why I did this exercise. I want to make sure I can maintain the painterly look with my large paintings. I want to practice this style a little more to stabilize the approach. So I don't need too much warmup time in the future if I want to painting this kind of monochromatic works.
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