Friday, May 24, 2019

Cleveland 2019

Teaching commitments, exhibition deadlines, school and sports schedules as well as my husband's business travel all recently aligned and enabled me to spend a week visiting the absolutely amazing Christine Mauersberger in her home town of Cleveland, Ohio.

The last time I was in Cleveland was in 2014 to take a workshop given by Aimee Lee and Velma Bolyard at Morgan Conservatory (click here to see posts from previous visits to Cleveland). Actually, if you scroll back through that link far enough, you'll arrive at my posts about taking a class with India Flint in 2012. Oh! And getting to experience Martin Creed's Work No. 965: Half the air in a given space. Now that was the experience of a lifetime...especially for someone who is somewhat claustrophobic.

Back to present day! Well, a few weeks ago...

Christine has been spending time at Zygote Press printing tessellations and hand marks that echo hand stitches on paper. If you haven't seen them yet, stroll on over to Christine's Instagram page. Her artistry and creativity are exquisite.

As I've been printing on gel plates, we thought it would be fun to get together and spend a week working the presses. Thankfully, the good people at Zygote were kind and allowed me to rent work space/press time for the week.

Zygote Press 2019, photo by Jennifer Coyne Qudeen

The sentiment of the very top sign was cause for a big belly laugh at my own expense

printing plate, work in progress, Jennifer Coyne Qudeen, 2019

after I not only prepped, but printed this plate asking What does home mean to you?

In my excitement to see how my cursive writing would print, I totally forgot that all text must be laid out in reverse so that it prints correctly. The posted reminder had gone unnoticed until I, shaking my head at myself in disbelief after running the plate through the press, turned around and leaned against the work table. And there it was...right in front of me. I wanted to crawl under the table.

work in progress, monoprint on newsprint, Jennifer Coyne Qudeen, 2019

Instead, I decided to switch to asemic writing.

stencils cut on drafting velum, Jennifer Coyne Qudeen, 2019

After cutting a few new stencils,


it was time to get to work, bring out the Golden Opens and

work in progress, monoprint on recycled tea bags, Jennifer Coyne Qudeen, 2019

the tea bags to see how they would play with a printing press.

work in progress, monoprint on recycled tea bags, Jennifer Coyne Qudeen, 2019

Quite nicely, as it turns out.

printing plate, work in progress, Jennifer Coyne Qudeen, 2019

Toward the end of the week, I found my stride and simplified the images,

 work in progress, monoprint on recycled tea bags, Jennifer Coyne Qudeen, 2019

allowing the houses and asemic writing to be the focus.

Zygote Press 2019, photo by Jennifer Coyne Qudeen


printing plate, work in progress, Jennifer Coyne Qudeen, 2019

There were times when I wished it were possible to let the inks dry on the plate and have it be the finished piece. Has anyone done that? Anyone know how long it would take for the inks to dry thoroughly? If they will at all? Hmmm...sounds like a good experiment for another day.

work in progress, Jennifer Coyne Qudeen, 2019

At some point, I started getting monoprints of the stencils on other printmaking papers in order to clean the inks off. This was cause for another round of shaking my head at myself for not having done it sooner. This idea is getting filed under things to remember to do in the studio. Or perhaps I should print a sign to hang as a reminder...

Zygote Press 2019, photo by Jennifer Coyne Qudeen

The week at Zygote ended as all wonderful times do - way too soon. Many thanks go to Christine for not only being such a dear friend, but for wearing the hats of travel guide, chauffeur and dining companion during my visit. Thanks are due as well to all at Zygote who gave tutorials, accepted my intrusion and treated me as one of their own.

Wednesday, January 16, 2019

Wordless Wednesday - updated

Well...not truly Wordless Wednesday because I'm just too curious to see if you can figure out what this floor is constructed of.



Care to guess? 

If you happen to follow my Instagram feed, you've probably seen the answer to this question. The mystery material is actually thousands of sticks of chalk laid out in a herringbone pattern. It is part of the Objects Like Us exhibition at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut which ends today. 


Thursday, January 10, 2019

A new year

Why is it that a blank slate can be so darned intimidating? That first mark is so difficult to make? I've been sitting here, fingers poised on the keyboard, looking at the computer screen and trying in vain to figure out what to say in my first post...oh...for the past 10 minutes at least.

Lots of things have gone through my mind. Like I knew at 8 yrs old that my dream was to be an artist. That I grew up with a mom and grandmother who quilted, sewed, crocheted, cross stitched, etc. That I still have all the Barbi clothes that my mom and aunt sewed - including sequined gowns! That growing up surrounded by fiber, fabric, color, texture and craftsmanship ensured my love of craft and all that it entails. Is it any wonder that I became a fiber artist?

I currently find myself at a crossroads in my creative life. 

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That last line from my first ever blog post back on January 10, 2010 gave me a good chuckle this morning. Is there ever truly a time in an artist's life when we don't feel that at some sort of crossroads creatively? There may be moments of surity, yet how fleeting are they? Or is it only me? For 9 years later, that sentence still applies.

I've been absent from the blogging world most of the last 2 years. A bit of the sabbatical can be attributed to the ease of Instagram, but the real reason was a confluence of events and topography that left me in a deep depression beginning in October 2016.

Waiting = Stitching, red circle #7, 2017, Jennifer Coyne Qudeen
 
All I seemed capable of for months was sitting on the couch, watching tv and hand stitching red circles.

A black hole had engulfed me and it took a literal change of scenery -


a family vacation to Whistler, British Columbia - 


to jostle me out of the hole...or at least close enough to the rim that I could begin to figure out how to get out completely. 

I'm still a work in process...and most likely will be for quite a while. One realization has been that I am not only a person who loves open spaces and abundant sunlight, but am one who needs them to be happy and thrive.

 
So I get myself out of the house more often, taking this big guy for walks, 


enjoying the view at Wilton Library while doing administrative type work,


meeting friends for lunch or chatting on the phone,


and watching my daughters ski. Ellie took first place this past weekend in the first race of the season. She's the cutie on the left. We're looking forward to the day that both our girls are on the podium. There's another race this Sunday...

A new year brings new attitides, new beginnings, new plans and new possibilities.
Here's wishing you all a very creative, inspiring and joyful 2019.


Tuesday, October 23, 2018

Context: Language, Media and Meaning

I am honored to have work included in the exhibition Context: Language, Media and Meaning from the Surface Design Association opening this Saturday at the Fuller Craft Museum in Brookline, Massachusetts. The opening reception is 3:30 - 5 pm.

Tea Stories, Collection 1, ongoing series, Jennifer Coyne Qudeen

Bruce Hoffman, director of Gravers Lane Gallery in Philadelphia, was the juror for this exhibition of art from members of the Connecticut, Massachusetts and Rhode Island chapters of Surface Design Association (SDA).

Tea Stories, Collection 1 detail, ongoing series, Jennifer Coyne Qudeen

If you've yet to visit the Fuller, it is a jewel of a museum. You know the adage that good things come in small packages? That's the Fuller in a nutshell. Mix in fall in New England with a gathering of very talented artists and you've got the recipe for a grand weekend. For more info about the Saturday's activities, keep scrolling down for details from SDA.

Tea Stories, Collection 1 detail, ongoing series, Jennifer Coyne Qudeen

We hope you will join us for “Spend a Day With SDA” on October 27 at the Fuller Museum of Crafts in Brockton MA.  We are planning a full day of stimulating events for those who share a passion for fiber arts. Registration is now open. Beyond our core group of SDA members we are inviting interested non-members to join us. We are limiting participation to the first 100 registrants, so please reply soon to secure your spot. Feel free to spread the word to organizations and individuals who might have interest - all are welcome!
 
Our morning will be devoted to activities designed to help us get to know each other, offering opportunities to share our artistic passion and our actual work. The sharing and networking will continue as we enjoy our brown bag lunches with our new acquaintances.
 
After lunch we will have a chance to view the museum, which is the only museum devoted to craft in New England. The museum has multiple well-designed exhibition spaces and is known for its beautiful and cutting-edge exhibits. Seeing the exhibits at the Fuller is always a revelation and a treat!
 
Next up is a highlight of the day, Words Matter, a talk by Stuart Kestenbaum, which will address the connection between craft and the written word. Stu, who is currently the Poet Laureate of Maine, is the former long-term director of the Haystack Mountain School of Crafts. In addition to his prominence in the craft field, Stu is beloved for his warmth, passion, intelligence and humor. It is an honor and a thrill to have him as our day’s speaker!
 
To cap off the day, everyone is invited to the Fuller’s opening reception for the show Context: Language, Media, and Meaning from the Surface Design Association. This show, juried by Bruce Hoffman, includes work by MA, RI and CT SDA members who have of incorporated written language into their textile inspired artwork.
 
Registration for non-SDA members is now open at this link: https://www.surfacedesign.org/about/sda-at-fuller-craft-museum/. The Surface Design Association is an international organization focused on inspiring creativity, encouraging innovation, and advocating for artistic excellence as the global leader in textile-inspired art and design. We invite you join us for a day of inspiration, fun and beauty with people who share a passion for fiber art. For more information feel free to contact ellenschiffman@optonline.net.

Hope to see you on Saturday!
 

Thursday, March 22, 2018

Art on Paper, part 3

This is part 3 in my series of posts about Art on Paper that took place in New York at the beginning of March.

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Gregory Halili, Constellation series detail, photo credit Jennifer Coyne Qudeen

Gregory Halili, Constellation series detail, photo credit Jennifer Coyne Qudeen

Gregory Halili, Constellation series detail, photo credit Jennifer Coyne Qudeen

Constellation series, 2006
watercolor on paper
7 x 7 inches (image 1 3/4 x 1 1/2 inches) 

Gregory Halili's watercolors are truly stunning. The image is only 1 3/4" x 1 1/2" inches. The depth and quality of detail that he packs into such a small space is mind boggling.

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Megan Rye, Foundling, photo credit Jennifer Coyne Qudeen



Megan Rye, Foundling, photo credit Jennifer Coyne Qudeen

Foundling
 
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Jae Ko, FLOW, photo credit Jennifer Coyne Qudeen

Jae Ko, FLOW detail, photo credit Jennifer Coyne Qudeen

Force of Nature Series "FLOW" 

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Hideto Yagi, detail, photo credit Jennifer Coyne Qudeen

Hideto Yagi, detail, photo credit Jennifer Coyne Qudeen


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Sarah Irvin, Outbreak, photo credit Jennifer Coyne Qudeen

Outbreak, 2015
ink on yupo
26 x 40 inches

Monday, March 19, 2018

Art on Paper, part 2

This is part 2 in my series of posts featuring works from Art On Paper in New York at the beginning of March. As often as possible, I have linked the artist's web site to their name as well as provide the info about the art shown.

Much of the art was framed and under glass, so there are the occasional glimpses of light or reflections which I hope you'll pardon. Enjoy part 2!


Vasher Studio, Plumerai detail, 2017, photo credit Jennifer Coyne Qudeen

Vasher Studio, Plumerai detail, 2017, photo credit Jennifer Coyne Qudeen

Vasher Studio, Plumerai detail, 2017, photo credit Jennifer Coyne Qudeen

Vasher Studio, Plumerai, 2017, photo credit Jennifer Coyne Qudeen

Plumerai, 2017
laser-cut paper embedded in acrylic and hand grained aluminum
88 x 18 x 1 inches (each panel)

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Emi Ozawa, Yabane Daidai, photo credit Jennifer Coyne Qudeen

Emi Ozawa, Yabane Daidai detail, photo credit Jennifer Coyne Qudeen

Yabane Daidai
paper on board
14" x 14" x 3" frame

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Emi Ozawa, Five Red Circles detail, photo credit Jennifer Coyne Qudeen

Emi Ozawa
Five Red Circles
paper on Board
10" x 15' x 2.5" frame

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Metis Atash, Punk Buddha, photo credit Jennifer Coyne Qudeen

Metis Atash, Punk Buddha detail, photo credit Jennifer Coyne Qudeen

Punk Buddha, 2018
resin and Swarovski crystals
18 inches

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Inside 11, 2014
mixed media
25 x 28 inches

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Sipho Mabona, detail, photo credit Jennifer Coyne Qudeen

Sipho Mabona, detail, photo credit Jennifer Coyne Qudeen

Sipho Mabona, detail, photo credit Jennifer Coyne Qudeen


(While I took a photo of Sipho Mabona's bio, I seem to have neglected to get a shot of the info tag for this piece. My apologies! )

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