Posts Tagged ‘inspiration for art’

Terra Silva: A Return to the Roots

Friday, February 7th, 2014

Hello all,

Last month, after a four month wait since applying, I was awarded a generous grant to pursue a project very dear to my heart. The grant is the Ontario Arts Council Franco-Ontarian Arts Grant for Established Artists, and it is meant to help artists set aside time and resources to creating a body of work.

snoopy

SNOOPY DOING LORRAINE’S HAPPY DANCE

For my project, I propose to create an exhibition inspired by the world beneath the earth’s surface, where roots meet the soil. Most of us are completely unaware of the millions of organisms that work the soil. In fact, soil life accounts for a much larger living mass than that which exists above ground, just as roots can outweigh and outsize the visible part of the tree. I have always been fascinated by the science of soil, and it has been the subject of much of my latest work.

In my search for inspiration, I recently became aware of the work of Prof Suzanne Simard of UBC. Dr Simard is studying how microscopic fungi act as a communication interface between one set of roots and another, creating bridges between various tree species to share resources. The network works much like the neural networks of our own brain. Through her work, we are learning that trees in a forest do not compete, but in fact cooperate with each other and share resources. This gives a forest more resilience and stability against adversity like disease or climate change. In every forest ecosystem, there are certain Mother trees – older, larger specimens – that serve as anchors for a large grouping of younger trees around them. When Mother trees die, they slowly release their stored nutrients and resources to all the trees in the network. Click on the image below for a wonderful video of Prof Simard, talking about Mother Trees.

simard photoProfessor Suzanne Simard explaining her research: click on image to see short video

This research is a rich source of inspiration, both visually and conceptually. Also, it will be relevant to all who love trees and nature, and who care about the environment. I have been in touch with Dr Simard – she is eager to share more information and is excited about the exhibition. In fact, she invites me to come and see first-hand what she and her students are up to in the lab and in the field. Of course, I am saying YES!

So, here I am right at the beginning. Dr Simard sent me half a dozen papers and articles to read up on, and I’ve acquired a textbook for which she is a contributor. Happy to share this journey with you, along with all the digressions and distractions along the way.

OAC 2014

The value of working in Series

Wednesday, December 12th, 2012
Escarpment #13 2009 24x24"

Escarpment #13 2009 24×24″

“The goal of life is to make your heartbeat match the beat of the universe, to match your nature with Nature.”
Joseph Campbell

Way at the start of my art life, all my passions were directed at exploring techniques and trying out new materials. I wondered how any artist could deliberately limit herself to one particular subject for two consecutive pieces, let alone an entire series! The infinite possibilities were too exciting. How could I possibly choose one over another? What if I missed out on something even better? And truly, the textile industry marketing machine is built on distraction, with new materials, techniques and equipment introduced every day. Overwhelmed and scattered, I began to realize there were fewer and fewer satisfying and tangible results for my constant industry. It was time to rethink the value of limits.

For me, this realization preceded a beautiful turning point. Now, I rarely do one-offs. Nearly all my new work somehow, either formally or loosely, fits into some kind of series. I want to write here about the value of working in series, not from a curator’s or collector’s point of view (because this is well covered in many excellent articles already), but from my own experience as an artist. How does it work, with respect to my creative path?

Perhaps I am predisposed to working in repetitive mode. At our family cottage, my favourite activity is to walk the very same 45 minute trail from our property to a rocky shore on the opposite side of the point. I do this at least once a day, at different times and in all weathers and seasons. While walking, I might mull over whatever is foremost in my mind, or just watch for butterflies. Each step is a rhythmic motion, a heartbeat, that carries me from one thought to the next. Invariably, by the time I reach the end of the point and back, some insight reveals itself that would not have come otherwise. For me, this trail provides a consistent platform from which to frame and recalibrate my inner world. Over and over, on the very same trail, I never fail to find something new.

As in life, so with art. A subject chooses me, and so the trail is set. When I first moved to the Niagara Escarpment area eight years ago, I found myself observing how the layers of unyielding rock supported certain vegetation and trees. What a rich vein of imagery and ideas to draw on! And so my Escarpment series was born:

Escarpment #1  2008 23x32"

Escarpment #1 2008 23×32″

The first pieces I produced really primed the pump. I loved working on the rock imagery in collage and appliqué, and I loved the results. Fresh ideas began to suggest themselves. With each new step, my thoughts turned to the metaphoric value of these images, like Triumph over Adversity:

Triumph  2011  30x40"

Triumph 2011 30×40″

No single piece in a series can possibly tell the whole story, and why should it? In this piece, I can tell the story of Courage:

Courage  2010  24x24"

Courage 2010 24×24″

In this one, I can talk about time and memory:

Between Now and Then  2009  36x48"

Between Now and Then 2009 36×48″

Or I can simply have some fun with colour and materials:

Escarpment #16  2009  24x24"

Escarpment #16 2009 24×24″

The possibilities are endless, series within series, and all kinds of spinoffs. Each piece is a step, like a sentence in a paragraph. It leads to the next, and so on, until the thought is complete. Sometimes it takes only two or three pieces. Other times, as with my ongoing Hawthorn series, the conversation continues intermittently for years and years.

Like all good things in life, the Escarpment series led to another, my Fertile Ground series. And I trust that eventually, by keeping to my trail, new ideas for series will grow, either building on the ones before, or shooting off on other tangents entirely. Working in series is a rhythmic, organic process that resonates with the pulse of nature. I feel the music of the Universe within me, with every step.

Do you like working in series? How did you start, and what are you working on now?

Fissure #5 2011  24x24" - another tangent!

Fissure #5 2011 24×24″ – another tangent!

 

Getting ready

Wednesday, April 25th, 2012

For the past few days, I’ve been preparing workshop materials for my two one-day classes in St Marys (for the Piecemakers Quilt Show) coming up on Friday and Saturday. I like to have fresh demonstrations ready for every workshop I teach… it keeps me challenged and allows me to try out new teaching techniques. My workshops have changed a lot over the years as a result of constant experimentation. I always tell the participants they are guinea pigs for all my crazy ideas.

For each workshop, there at least three hours of preparation, even if I’ve taught the subject dozens of times. I always have new samples to show and lots of finished work for people to see. I’m working on expanding my subject matter as well… more workshop options are coming up!

I have no idea what the facilities will be like at the Centre in St Marys… it’s always a creative challenge, setting up in new spaces…. let’s hope the lighting is great and the coffee is flowing!

This coming weekend I will also present a slide talk and trunk show, “The Sylvan Spirit: Trees as inspiration for textile art”. It will take place at the Pyramid Recreation Centre in St Marys at 7pm on Friday, April 27. The entry fee is $5, and everyone is welcome! I hope to see you there!

Workshop at Royal Botanical Gardens, 2010

Seminar at the Arboretum

Sunday, April 15th, 2012

Hello out there!

It’s a beautiful rainy day here in Dundas – a long awaited rainy day. My garden is breathing it all in, and the robins are on patrol.

At the moment I am enjoying a few days’ free time, which I have officially given myself as a reward. On Friday afternoon, I presented my talk “The Embroidered Tree: My journey with Science and Art” at the University of Guelph Arboretum Centre. Since this was to be part of the popular Plant Science Seminar Series, and open to all faculty and students as well as the public, it had to have a distinctly Science-based focus… which was a first for me. I have presented talks to quilters, artists of all media, naturalists, and even a spiritually-based audience, but not science. It’s not unfamiliar territory… I do have a BSc in Horticulture… but it was a challenge to make sure my words and images would be relevant to an audience that came from both disciplines of art and science. Well, with all the advertising by the amazing organizer (Fawn Turner) and all the help from a patient and dedicated Tech guy (Jim Hoare), and about 50 hours of prep time (me) we pulled it off – and ended up with at least 70 visitors. They were a wonderfully responsive audience. To see the recorded webinar, click HERE.

That’s Fawn on the left, and me in the middle.

Seminar at the Univ of Guelph Arboretum Centre - photo by Jim Hoare

 

Embracing imperfection

Monday, March 14th, 2011
CAN SPRING BE FAR AWAY?
First, the News of the Day: I’ve been asked by the Janome sewing machine company to be the Featured Artist for their booth at the upcoming International Quilt Festival in Long Beach, California slated for July 28-31, 2011. The theme this year is The Four Seasons – right up my alley! I will post more about this exciting event as the date approaches, and will let you know what I decide: should I go in person this time? It seems that my work shows up in many of these Quilt extravaganzas, but the maker (me) never seems to follow. Let’s just say, maybe it’s time.
On Perfection/Imperfection:
Many many times, viewers of my work make the comment that I must be a perfectionist. While I know this comes from a good place with the best of intentions, I find it incredibly puzzling. Without even looking hard, I see dozens if not hundreds of flaws: threads hanging, yarns in less-than-ideal positions, colours and contrasts that don’t work that well, stitching that could have been more in keeping with the lines…. not to mention lack of classic balance and ignoring the rules of design with predictable results. Just off the top of my head, I can think of all kinds of improvements to make in even the best of my pieces.
But I can let that be, and I’m not shy about it – I might even say that in some cases I allow these imperfections to flourish. Below is an excerpt from an interview I did a few years ago with Dr Bernie Herman, in answer to his question about how I feel about imperfection in my work:
“I humbly believe my art is a microcosm of what is happening each day on this Earth – that each piece I make captures (in the best way I can) one moment in a continuum of moments. It is not perfect but it buillds on previous experience, and is a step to the next level.
Just because one individual piece is not perfect does not mean it has less value. On the contrary, it has much to offer someone who is truly observing and searching – the mistakes, the inconsistencies, the omissions, the triumphs and failures – they are all there, plain to see. Each viewer enters it, contributes to it, and grows with it, in his own way. The viewer is a co-creator with the artist. This would not happen if the piece was perfect. The static state of Perfection is death for the soul.
Take the processes of Biology. A static grid could represent the orderly and mathematical process of cell division. But, during this process, even if everything proceeds as it should, surprises can happen at any point. How species adapt and evolve to deal with these surprises leads to their eventual wins and losses. Winners pass it on to the next generation. This is what drives evolution.”
Nothing moves without change.You could even say imperfection is BUILT IN to the DNA of life. And this fleeting moment is what I look for in other artwork too, not only in my own. The works I admire most contain within them a welcome mat, a place where I can cozy up and ride along with the maker. It is not about answers, but about intriguing questions that spur my imagination and challenge my preconceived notions.
So, no, I am absolutely NOT a perfectionist. Allowing and embracing imperfection and mistakes is how I evolve within my own work. This is what I want to pass on to viewers: I want to let them in, I want them to join me in my journey. I don’t have all the answers, but I believe that together we can explore those exciting questions, combine our strengths, and grow along together.
Till next time…. Lorraine

February 2011

Thursday, February 3rd, 2011

First, here’s a link to a nice interview with me on the World of Threads Festival website. This International festival is a bi-yearly event that happens in Oakville, a town not far from where I live. I’ve been participating in it for years as an exhibitor, speaker, and juror. Each year it gets better. I am getting harder and harder to please with textiles, and yet last year’s showing just blew me away!!! So if you are a textile artist I strongly recommend that you visit the event if you can, enter your work in Common Thread exhibition or keep an eye on what’s happening there (even if you’re from VERY far away)…. I have a strong feeling that this year’s festival is going to be a knockout.

Also, I will be teaching a 3-day workshop in London, Ontario this coming May, as part of the Gathering Threads conference organized by the Canadian Embroiderers’ Guild. I suggest booking early for any of their events and workshops – they are filling up fast!

OK! Down to the day’s discussion.

The Gathering Thread interview stirred up some great topics and got them buzzing around in my head. This is why I rarely turn down interviews, especially those that go beneath surface. First of all, it’s flattering that someone, anyone, might be interested in what I’ve got to say. Heck, how often does THAT happen? And the other thing is, especially with the written ones, they cause me to really think about the reasons why I feel as I feel. Most of the time, space constraints don’t allow me to put it all in the interview, so I’m going to make a list and do it here in my blog.

Why I love my technique

The most important quest for any artist is to find a medium that resonates with her vision, her abilities and her personality. I love my technique. I do.

And after a lot of thought, I believe this is why: from start to finish, there is a lot that ‘just happens’. That is to say, chance plays an important role in the finished product. For example, although I have a huge, and I mean huge, collection of fabrics, I rarely have ‘exactly’ the right colour envisioned for the piece. Or it’s there and can’t be found, in spite of the relative order of my storage system.

So what’s a girl to do? Go out and buy new materials each time? Not an option… the nearest fabric shop is a good 20 minutes’ drive and in the heat of the creative moment I am not a good risk behind the wheel. SO – I make do. Yes, I make do with what I have. And this just happens to be the most important and salient and exciting part for me: the medium itself, the fabrics I have now, become part of a ‘conversation’. I am no longer the dictator.

This way, my process begins to record where and how I am at the moment, with the materials I have, with the machines, studio and life that I’ve got. Me, and my life, not ‘just me’. By pushing it just a bit further, by using scraps that are just lying around, cutting them in a random way, throwing them on instead of carefully placing them, sewing over them in unplanned patterns and lines, letting the raw edges fray, going for BOLD rather than FUSSY… I live in the moment, turn the ego off and experience a direct connection with the muse, no longer getting in my own way.

Letting go is exhilarating. It means accepting the risk of failure. It means overcoming obstacles in new ways. It means learning to live with and embracing imperfection. It’s the ONLY way to exceed my own entrenched ideas. Plus, no problem worrying about running out of this or that. I KNOW nothing is going to impede my creative energy.

I think all life should be like that … as in art, so in life. Or so I hope. As I explore this idea in my art practice, every day, I hope snippets of ‘letting go’ will drift into my daily life. In that way, art is definitely my teacher.

I know there are all kinds of great new products out there, glues and sprays and sparkly things, tools and machines and threads and storage options… There are all kinds of ways I might be able to ‘improve’ how I work, do it better, faster, quieter, bigger…. but I resist, for all the reasons above: those ‘things’ will find their way to me if they are meant to. Otherwise, I am fine, content and free of want.

That’s all for now… It’s winter, the most beautiful of seasons. Stay warm and we’ll talk again soon.

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