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! )

Friday, March 16, 2018

Art on Paper, part 1

Art on Paper took place in New York last week, post nor'easter number 2. I was fortunate to be able to meet a couple of friends and hop the train into the city to experience this wonderful show.

I thought to share those works that caught my eye and demanded my attention. As often as possible, photos were taken of the information tags as well so that the pertinent info can be listed, however, in editing the photos, I realized that a few were missed. Also, where possible, the artist's name is a link to their website.

In hopes of not causing art on paper overload, I am going to share my favorites in a series of 5 posts. Please pardon the occasional reflection of light on a frame or odd angle. Much of the art (paintings, drawings, photographs, etc.) was framed and under glass so it was necessary to get creative with the shots. Enjoy!

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Michele Brody, Reflections in Tea, photo credit Jennifer Coyne Qudeen

Michele Brody, Reflections in Tea, detail photo credit Jennifer Coyne Qudeen


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Matthew Shlian, Unholy 48, photo credit Jennifer Coyne Qudeen

Matthew Shlian, Unholy 48 detail, photo credit Jennifer Coyne Qudeen

Unholy 48, 2016
Three-dimensional, five color monoprint collage
printed on white Rives BFK
60 x 60 x 5 inches

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Matthew Shlian, Unholy 85, photo credit Jennifer Coyne Qudeen

Matthew Shlian, Unholy 85 detail, photo credit Jennifer Coyne Qudeen

Unholy 85 (Go Down Moses/There's Fire in the Woods)

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Norma Marquez Orozco, Diary (in 4 parts), photo credit Jennifer Coyne Qudeen

Norma Marquez Orozco, Diary (in 4 parts) detail, photo credit Jennifer Coyne Qudeen

Diary (in 4 parts), 2018
20 x 20 x 1/4 inch (10 x 10 x 1/4 inch each)
paper, translucent paper, ink and gel medium

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Seckim Pirim, You, 2016, photo credit Jennifer Coyne Qudeen

Seckim Pirim, You detail, 2016, photo credit Jennifer Coyne Qudeen

You, 2016 
300 gr bristol paper cut out
47.24 x 35.63 x 2.56 inches
 
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Seckim Pirim, She, 2016, photo credit Jennifer Coyne Qudeen

Seckim Pirim, She detail, 2016, photo credit Jennifer Coyne Qudeen

She, 2016 
300 gr bristol paper cut out
47.24 x 35.63 x 2.56 inches
 
 

Thursday, March 1, 2018

At a crossroads...of the rusty kind

How do you know when it's time to let go?


How do you know for certain that it is time to move on?


These are a few of the questions that I've been pondering of late - 


most recently this morning as most all of my rusted cottons and organzas 


were transferred from 3 work drawers into 1 storage bin.


Discharged cottons


as well as a few that were eco printed found their way into a second bin.


When visions of pieces yearning to be created flit through my mind, these days they are not of the rusty kind.


So...how do you know when it's time to let go? And just what form does letting go take?

Do I put the bins in the basement where out of sight will equal out of mind, but where they will be accessible if some future day finds me dreaming rusty dreams again?

Or, and this is a bit scary even though it is what my brain says makes the most sense, do I truly let go and offer the lot for sale as yardage? Fat quarters or bags of...bags of what exactly? Bags of rusted cottons? Would it be priced by the piece or pound? Would anyone even want it?

In truth, I feel as if I already have moved on...to tea bags and other scrumptious papers. Did I just answer my own question? Probably. But will I listen to myself? Hmm...

I could really use your help on this one. What do you do with old materials when you move on?

Thanks in advance!



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