You know you want to see this one in person... Only 1 more week to catch it at Fleisher.
For the first time they're doing a viewer's choice award... I'm very curious who will win!!
I love this digital print and embroidery vein. I also recently discovered PIXLR, an online photo imaging tool similar to photoshop. Since I don't have photoshop on my laptop, it's a convenient way of altering my images. The one above is my latest mashup. I took the Queen Anne's lace from Brandywine and combined it with the decorative vent from Wyeth's studio repeated over and over. I like how the vent and flower forms echo each other. I have a few more images ready to be printed soon.
I've been very lazy this summer.. mostly spending time with family. We started playing tennis together. Went to the beach. Trying to figure out what's next.
I took my (somewhat) annual pilgrimage down to the Brandywine River museum along with my aunt and uncle visiting from Virginia. My aunt shares my love of Wyeth, and we very happily wandered the museum enjoying N.C, Andrew, and Jamie. Today this picture struck me:
It's a watercolor called "Black Water", and I love how the woman becomes part of the landscape, her inner self hidden from view- deep and unfathomable as the water behind her. Or perhaps that's just what I'd like to read into it.
After wandering the museum we took the shuttle over to Andrew Wyeth's studio. They opened it up last year to tours, and this was really the pilgrimage part of the day. It's amazing to see the place where all the magic happens. You enter near the kitchen and see the public space, then move through a corridor to a library, then the former living room where Jamie Wyeth claimed studio space at some point and where Andrew's huge collection of lead soldiers is displayed. I was enchanted by the view out the window up the hill. The window panes making a perfect graph, revealing proportions of space and color. (Oh how I love a grid) Finally they reveal his studio space.
A huge window looks out toward route 1 over fields. Light pours in and strikes bottles of dry pigment. An easel sits in the center of the room across from a cheval mirror. Photos and sketches are pinned around the room (no originals here sadly- the poor color photocopies of watercolors and sketches were a disappointment). The ceiling and walls are crumbled, spattered, chipped. (I couldn't resist a selfie in Wyeth's studio) They look just like the textures and colors of his paintings. I stroked the light switch on my way out, to touch something he'd touched. It's silly. My daughter teased me for "fan-girling". But despite the awkwardness of a tour guide telling stories,and roped cordons dictating one's movement, and the slight oddness of a curator's touch, I was enchanted to be in his space and feel his light and sense how he caught moments around him. I understand that.
I keep using the word "Monster" to describe my big embroideries. For so long I only made small pieces- less than 8x10. So anything bigger seems gigantic. The recently finished "Welcome" in my previous post and this one in the hoop are about 16x17. It took me about 5 months to finish the last one. This one was printed at the same time, and I started stitching it in April, but worked only briefly on it since I hadn't finished the other. Now that all those french knots are finished, I have time for this next digitally printed embroidery. There's a patch of torn wallpaper on the side of a recently demolished building. So far I've used backstitch, satin, and seeding. Hopefully this one won't take 5 months...
What have I been doing since February when last I posted? This monstrous big embroidery on digitally printed fabric. Entitled "Welcome", it is a blend of 2 photos taken from Fleisher Art Memorial: the sunset street scene superimposed with the Samuel Yellin gates to the sanctuary. I stitched the outlines of the gate pattern in backstitch and running stitch. The light shining through the trees are thousands of french knots in variegated perle cotton. I got the image digitally printed by Spoonflower.Believe it or not, it started off as a cell phone picture. It was a bit blurry, but that's where the stitching came in to make things crisper, leaving the background with an almost watercolor effect.
The piece was stretched on stretcher bars and framed.It's now hanging in te gallery at Fleisher for the annual faculty show. The reception will be Friday, July 18th from 6-8.
School is out. I have no summer plans. Just taking each day as it comes. Today was hammock-swinging, dappled light from treetops, and cloud-watching.
Oh.. and getting ready to move, preparing new exemplars for an upcoming Basic Design course, and other general busy-ness. I can't totally relax all day.
I'll try to post more often...
This blog will be an effort to document my thoughts and experiences in studio work, art criticism, and community education in the areas of fibers, color theory, screenprinting, and art education. Please respect my work and link back to me if you use any images and feel free to comment. I am a fiber artist from Philadelphia, teaching at Fleisher Art Memorial, and have recently completed my Masters of Art Education at Tyler School of Art, Temple University.