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| Jennifer Coyne Qudeen, The Red Boat #2 ©2016 |
Showing posts with label the red boat. Show all posts
Showing posts with label the red boat. Show all posts
Saturday, October 1, 2016
On exhibit
My newest tea bag piece had been accepted into the Ridgefield Guild of Artists' Annual Juried Exhibition by juror Kathryn Markel, owner of the Kathryn Markel Fine Arts gallery in New York City.
The exhibition runs September 24 - October 23.
Friday, September 9, 2016
In the studio
Lots of this going on the studio this week.
How was your week?
(best to watch full screen)
How was your week?
(best to watch full screen)
Saturday, September 3, 2016
Picking up of the thread of the story
Have you ever begun working on a substantial piece only to find it necessary to set aside at some point?
When you were finally able to return,
had you left it sufficiently organized
to be able to just step in and pick up the thread of the story?
The second of my red boat series was begun in June while my
not-so-little urchins were in summer camp for two weeks. All the resizing, cropping, editing - and then doing it all again - were accomplished then as well as the ironing of at least 540 tea bags to freezer
paper which produced 45 pages (11 inches x 17 inches) to be run through
my faithful inkjet printer. And then the machine stitching began,
starting with the text layer.
Fast forward to this past Wednesday when the school bus pulled up at the end of our drive to take the urchins to school. Time for mom to get back in the studio. The text layer was easy to pick right up. It was the photo that gave me fits for about an hour. Thankfully, I had left the photo pages in the correct order...even though my eyes kept saying they weren't. Think the studio was having a bit of fun with me.
The photo above is my current view from my desk. What was planned a single piece seems to want to be a diptych...or does it? Is it merely trying out the idea of being two rather than one? And what about that third, yet to be started, layer? The back of the text layer is beautiful - all patched in places where I didn't quite get the tea bags joined just so.
We've a three day weekend here in the states, so, thankfully, there's plenty of time to mull it all over.
Tuesday, May 31, 2016
By A Thread , part 1
I have the great honor of being part of By A Thread, curated by Nancy Moore at the Ridgefield Guild of Artists, Ridgefield, Connecticut. It is an exquisite exhibition of fiber art. The show runs until June 19 with artist talks each Sunday 3-5 pm.
The gallery is comprised of 3 rooms so I am going to post the art in each room separately, beginning with the room 1. As usual, I will link to the artist's web site when possible and include a full and detail as well as the artist statement, if available.
Before you get started viewing all the luscious art, may I take a moment to say just how thrilled I am that my red boat is in such fantastic company? There's Ellen Schiffman (top left) Kari Lonning (middle) and Amy Bilden (right). Truth be told, I did a little happy dance right there in the gallery when I found out who my hanging mates were.
And now, enjoy!
For me, every sculpture becomes an improvisation in awkward beauty: clumpy fabric, rough and smooth textures, ragged edges. Because the loom I use has only two heddles, instead of keeping track of a pattern, I can focus on aesthetic decisions. My hands act as the shuttle, guiding the bobbin through the shed. My fingers beat the weft. Manipulated manually, the fabric becomes organic, fluid, personal. As if it has free will, the weft escapes from my fingers. I can't replicate a straight line. Luckily, I don't want to. Juliet Martin
This piece is part of a series of collage + thread works that I
created this past winter in Tucson. I decided to limit the palette to
red, black, gray, and white, which I've been doing for some time with my
larger stenciled pieces on paper.
The work poured out of me! Lo and behold, during the six weeks of my stay, I produced over twenty of them! Diane Pollack
Somewhat
paradoxically, my materials are delicate. Using string or thread, I
make a weaving on circular tubing. Then I dip the whole thing into paper
pulp, which, when dry and removed from the tubing, results in an open,
lacy form. I sewed Snowmoon's equal circles together, off-center, after painting some of the edges black to suggest the moon's shadow. Jennifer Davies
The political arena is not my usual focus in thinking about and
creating a new work, as I am more often moved by observed form that
seems to symbolically hold spiritual meaning.
VERY LOUD MESSAGE FROM FUKUSHIMA starts with the enormity of the catastrophic nuclear plant failure and its threatening implications for the non-survival of all living beings on earth; human folly at its most dangerous. I used ink cartridge rollers as beads in groups of four to symbolize the failed cooling towers. Arlé Sklar-Weinstein
As for most of my baskets, this one began with the colors I wanted to use, then the design unfolded as I worked. My brother had been taking about his love of the beach, the water, the sounds, and the peaceful solitude. His thoughts resonated, and I discovered that I was weaving them into this piece. As I added the orange, I was thinking of a sunset but I discovered that instead, I was adding shore birds... The setting sun was added to the "sky" in the deep blue band above the "beach."It's rare for me to be so literal or representational, but the more I wove, the more I was immersed in the idea. Kari Lonning
"Why Q-tips? you ask. "Why not?" is my response. As an observer of the world, I've seen that everything has beauty and that every material can be used to express ideas. It is my challenge as a mixed-media/fiber artist to unlock the secrets of the materials I'm working with. Q-tips, linen tape, ace bandages--these are what I'm currently using to create my pieces, and I'm fascinated by the myriad ways I can manipulate the same medium to express different things. I'm seduced by the way a material can be transformed from what we think it is into something quite different. The aim here is to give even the most mundane materials a voice. Part of my reward is the surprise people express when they realize what material I've used. I hope this inspires them to look at the world with fresh eyes and a more open mind.
The Majesty of the Slow White Crawl emerged as I planned a bucket-list trip to Patagonia. My mind was filled with thoughts and images of glaciers, snow-capped mountains, frigid temperatures--and great expanses of white beauty. Ellen Schiffman
The Red Boat makes physical my memory of standing by the River Tay in Newburgh, Scotland as the tide slowly flowed in, bringing with it the scent and feel of the nearby North Sea. A breeze carried sounds of Newburgh's residents waking and beginning their day. Shore birds called out their morning song while a moored red dingy rocked subtly on the river, mesmerizing me with its gentle rhythm.
My work with tea bags explored and expands on the concept of memories, whether real or imagined, through the use of marks--the tea's own as well as my handmade marks, direct rust prints, digital prints, and hand and machine stitching.
The translucent quality of the tea bag paper seems the perfect medium for expressing and storing memories, as with time they become ethereal. Jennifer Coyne Qudeen
I printed the image on abaca tissue, then sewed the tissue to a
thin backing paper using a stitch to give the piece its border. I pulled
pieces of burlap and thread through the stitch and tied the threads to
create the tassels.
Working from a photograph I took of a tree, a design took shape that evoked memories of an old oriental rug belonging to my godfather, Uncle Burr. As I worked on this piece, the emerging design conjured up early memories of that wonderful man. I had a sense of Uncle Burr whispering familiar words to me: "Awful nice job, Nancy Carol." He was the only person who used my middle name as a term of endearment. Throughout this process, I felt his kindness and support. Nancy C Woodward
*All photos were taken by me with permission from the Ridgefield Guild of Artists and curator Nancy Moore. If you
happen to re-post these photos elsewhere, please give appropriate credit not only to myself as photographer, but, most importantly, to artist whose work you are re-posting.
Thank you!
The gallery is comprised of 3 rooms so I am going to post the art in each room separately, beginning with the room 1. As usual, I will link to the artist's web site when possible and include a full and detail as well as the artist statement, if available.
Before you get started viewing all the luscious art, may I take a moment to say just how thrilled I am that my red boat is in such fantastic company? There's Ellen Schiffman (top left) Kari Lonning (middle) and Amy Bilden (right). Truth be told, I did a little happy dance right there in the gallery when I found out who my hanging mates were.
And now, enjoy!
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Stockings
nylon stockings,
concrete, cable
Stockings, detail
Stockings, detail
Stockings, detail
---------
Men I Have Known: Bad Boy (2013)
yarn, fabric, safety pins
Men I Have Known: Bad Boy (2013), detail
Men I Have Known: Bad Boy (2013), detail
For me, every sculpture becomes an improvisation in awkward beauty: clumpy fabric, rough and smooth textures, ragged edges. Because the loom I use has only two heddles, instead of keeping track of a pattern, I can focus on aesthetic decisions. My hands act as the shuttle, guiding the bobbin through the shed. My fingers beat the weft. Manipulated manually, the fabric becomes organic, fluid, personal. As if it has free will, the weft escapes from my fingers. I can't replicate a straight line. Luckily, I don't want to. Juliet Martin
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Cast Rocks
pigment on cast handmade paper
Cast Rocks, detail
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Mount Koyasan: Ancestors
photomontage, glass beads,
sequins, cotton, thread
Mount Koyasan: Ancestors, detail
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Diane Pollack (top)
Whimsy 6
collage, thread
Whimsy 6, detail
The work poured out of me! Lo and behold, during the six weeks of my stay, I produced over twenty of them! Diane Pollack
---------
Fruma Markowitz
A Little (American-Jewish) Princess
linen, photo transfer,
pearl beads, embroidery thread
This work is from a series called "Daddy's Girl," about my relationship with my father, who died in 2012 at the age of 95. By creating these pieces, I found a way to process my grief by physically associating some mundane objects he kept close at hand every day of his life--his handkerchiefs--with the photographs he took of me as a young girl, an only child who often felt lonely, uneasy, and awkward, yet anxious to please and succeed. Each piece portrays an emotionally charged moment in my early childhood when my father was especially present and influential concerning my awareness of myself as a girl, and at times when I may have subconsciously internalized his silent, but palpable, hopes, dreams, and expectations of me.
In the photograph I'm dressed to go to synagogue on a spring day. I'm wearing Jackie Kennedy-like white gloves, a decidedly patriotic-colored dress, my best shoes. And I seem uncomfortable, perhaps because the dress is scratchy, or maybe it's the entire outfit that labels me as more American than I felt at that moment. It's a feeling that quite honestly has followed me throughout my life. That as a Jew, I will always be an outsider, vulnerable, and never 100 percent American.
Fruma Markowitz
Fruma Markowitz
---------
Snowmoon
string, ink, handmade paper
Snowmoon, detail
Snowmoon, detail
Although
willing to depart from my original idea as a work progresses, I usually
start with a very clear image from nature. So it was with Snowmoon. My
unobstructed view of the night sky has allowed me much study of the moon
making its arc to the horizon. Always partial to the circle, I often
make work that refers to the moon and the darkened edges that so
reliably creep across the brilliant sphere.
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Kabu 2000/104 (2000), front
paper, thread
Kabu 2000/104 (2000), front detail
Kabu 2000/104 (2000), back
Kabu 2000/104 (2000), back detail
Kobayashi studied at the Musashino Art University of Toyko, between 1965
and 1969, specializing in textile printing and weaving. Since 1981, she
has had many solo exhibitions in Japan and has participated in numerous
international group shows. The artist has recently collaborated with
her husband, artist Masakazu Kobayashi. They live and work in Toyko.
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Kimono Form 1: VERY LOUD MESSAGE FROM FUKUSHIMA
vinyl tape, cotton, thread, ceramic beads, in cartridge rollers
Kimono Form 1: VERY LOUD MESSAGE FROM FUKUSHIMA, detail
VERY LOUD MESSAGE FROM FUKUSHIMA starts with the enormity of the catastrophic nuclear plant failure and its threatening implications for the non-survival of all living beings on earth; human folly at its most dangerous. I used ink cartridge rollers as beads in groups of four to symbolize the failed cooling towers. Arlé Sklar-Weinstein
---------
Where Sky Meets Water
dyed rattan reed, encaustic medium
(bee's wax and demar resin)
As for most of my baskets, this one began with the colors I wanted to use, then the design unfolded as I worked. My brother had been taking about his love of the beach, the water, the sounds, and the peaceful solitude. His thoughts resonated, and I discovered that I was weaving them into this piece. As I added the orange, I was thinking of a sunset but I discovered that instead, I was adding shore birds... The setting sun was added to the "sky" in the deep blue band above the "beach."It's rare for me to be so literal or representational, but the more I wove, the more I was immersed in the idea. Kari Lonning
---------
Majesty of the Slow White Crawl
Q-tips
Majesty of the Slow White Crawl, detail
The Majesty of the Slow White Crawl emerged as I planned a bucket-list trip to Patagonia. My mind was filled with thoughts and images of glaciers, snow-capped mountains, frigid temperatures--and great expanses of white beauty. Ellen Schiffman
---------
Jennifer Coyne Qudeen
The Red Boat
tea bags, digital print of photo taken by the artist, thread
My work with tea bags explored and expands on the concept of memories, whether real or imagined, through the use of marks--the tea's own as well as my handmade marks, direct rust prints, digital prints, and hand and machine stitching.
The translucent quality of the tea bag paper seems the perfect medium for expressing and storing memories, as with time they become ethereal. Jennifer Coyne Qudeen
---------
Zen Altar
metal, stone, bone, twine
Zen Altar, detail
I created this sculpture as a place of peace and calm. It is meant to be a Zen oasis of offering and tranquility.
The twine is used to embrace the altar and also to dangle a stone that represents balance and serenity. Lucy M Krupenye
---------
Nancy C Woodward
Blue Heirloom
ink, abaca tissue, thread, burlap
Nancy C Woodward
Blue Heirloom, detail
Working from a photograph I took of a tree, a design took shape that evoked memories of an old oriental rug belonging to my godfather, Uncle Burr. As I worked on this piece, the emerging design conjured up early memories of that wonderful man. I had a sense of Uncle Burr whispering familiar words to me: "Awful nice job, Nancy Carol." He was the only person who used my middle name as a term of endearment. Throughout this process, I felt his kindness and support. Nancy C Woodward
---------
Save The Planet
linen, wool, ribbon, twine, silk, crocheted flowers,
beads, bells,buttons, plastic bags,
needle-felted bird's nest (courtesy of Liz Alpert Fay)
Save The Planet, detail
---------
Totem
hand-dyed Finn wool,
yarn, thread
Totem, detail
---------
Wednesday, May 11, 2016
On Exhibit - BY A THREAD
I am honored to have work included in BY A THREAD curated by Nancy Moore.
The opening is this Saturday at the Ridgefield Guild of Artists.
An amazing artist and curator, Nancy is also one of my tea bag suppliers. Many of her donations went into creating
The Red Boat, which is the piece she chose for the exhibition.
The Red Boat, 2016
72" x 54"
I installed my piece on Monday and so was able to get a sneak peak of sorts at this exquisite exhibition of fiber art. It is very humbling to have been included. If you're in the area, stop by the opening on Saturday. This one is too good to miss!
Friday, April 1, 2016
The Red Boat - in progress #3
There's been a whole lot of piecing materials together,
stepping back to look,
noticing little details and, of course,
sewing.
There's even been a curator's visit and selection for an upcoming exhibition so, while the full piece can't be shared yet, The Red Boat is complete. Well, as complete as a work is sans hanging device. Does that count?
My mind is now contemplating what to make of the remnants...
stepping back to look,
noticing little details and, of course,
sewing.
There's even been a curator's visit and selection for an upcoming exhibition so, while the full piece can't be shared yet, The Red Boat is complete. Well, as complete as a work is sans hanging device. Does that count?
My mind is now contemplating what to make of the remnants...
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