Posts Tagged ‘wall hangings’

Winter Apple

Thursday, December 22nd, 2016

I’m looking out our back window as we speak. A drift of snow fell overnight and the world looks magical. Our old apple tree came with the property and we expect it’s as old as the house itself which was built in 1956, which makes it exactly my age. When we moved here the tree was in dire condition, with branches to the ground and a forest of suckers. It took a few years to get it back into shape and we now enjoy its beauty in all seasons. It even gives us a few delicious, crispy apples every now and then (not a given, given our ‘organic’ practices!).

Our old Apple Tree

I love the shape of this tree. Hawthorns and apples, and indeed many fruit trees, evolved to this wide low shape so that their spring blossoms are easily available to bees. Their graceful horizontal form is also restful to the eye, and I’ve created many pieces with this in mind. Each year provides a fresh take on it.

I will leave you with a bunch of images of my work, some quilts, some framed, in no particular order, relating to the apple and hawthorn, and wish you a beautiful, FRUITFUL New Year!

Apple Seeds 2001 27×31″ Quilted wall hanging

Blue Moon #4 2014 12×24″ framed textile

Faith 2010 30×40″ framed textile

Hawthorn – Red Sky 2003 27×31″ quilted wall hanging

 

Hawthorn 2014 8×16″ framed textile

Hawthorn with blue memory 2000 14×24 quilted wall hanging

Lifeline #1 2013 10×30″ framed textile

 

Little Apple #4 2016 6×12″ framed textlle

 

Little Green 2011 6×6″ framed textile

 

Mystic Apple 2014 12×24″ framed textile

 

Small Orchard #1 2016 10×30″ framed textile

 

Tenacity 2010 16×22″ framed textile

Triumph 2011 30×40″ framed textile

 

Tree House #3 2016 18×36″ framed textile

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On a Wing and a Prayer

Monday, December 5th, 2016

Earlier this year in mid-May, I received an invitation from Evan Mitchell, the Musical Director of the Kingston Symphony Orchestra, to create a small suite of works inspired by a special performance of classical music compositions, all of which incorporate birdsong. The three pieces to be performed are: Jennifer Butler’s “And Birds do Sing”, Mozart’s Piano Concerto No. 17, and Beethoven’s Symphony No. 6 ‘Pastoral’.

The concert hall is the Isabel Bader Centre for the Performing Arts in Kingston, and the lobby is large, beautiful, open, and enclosed by floor-to-ceiling glass overlooking Lake Ontario. The performance is scheduled for March 5, 2017.

Isabel Bader Centre for the Performing Arts’ lobby

Isabel Bader Centre for the Performing Arts’ lobby

I know NOTHING about classical music (picture inner struggle here), but YES struck me as the more interesting option in this case… a new experience! So much to gain, so little to lose! I love birds! So I said YES.

And the invitation gave me plenty of time – an eternity, it seemed! The director provided links to the music, and programme notes to explain the composers’ creative inspiration for each piece. I listened to them while working on other projects, read the back stories, and then hoped something magical would happen.

Time passed…… and passed…

 

When all else fails, I think the greatest motivation possible is a deadline. Having lots of time to do something doesn’t necessarily make the result any better – in fact, it can have quite the opposite effect. So, eager to quit procrastinating, I gave myself a two week time window in November 2016 and trusted I would get there somehow.

leap

Leap of faith

 

How to begin? Obviously, listening (with intent) felt like the best first step. I recorded my main impressions as they progressed: which colours came to mind? how did the music fit the background story? How did I feel along the way? what might all those instrument sounds LOOK like?

I started thinking about the physical form of the pieces. How on earth to capture the various movements and the passage of time? After all, music moves through time but visual imagery needs to encompass everything in one shot. What about this: because a musical piece builds on itself while it plays, and previous sounds lodge in our memory even as we hear the new ones, perhaps the pieces should be tall and vertical, and read from the bottom up!

It didn’t feel right to use representational imagery alone – I wanted to show the feeling and colour of the sounds and didn’t want to limit my visualization. Abstracts they must be! As I began the drawings, I also realized they must be quilted wall panels, as the designs resisted being hemmed in by frames. And technique? It felt most logical to plan for a loose (might we say, imperfect?) form of fabric collage that would allow plenty of freedom of shape and background changes.

It takes hundreds of small decisions like this just to get to first base with any new project. Sometimes I think this is why we tend to procrastinate – it’s hard work and it’s scary! At times, the answers are easy and obvious, but other times we must make a leap of faith, hoping experience and wisdom will serve well.

Mozart Piano Concerto No. 17

I decided to begin with the Mozart which was the most accessible to me: a rich melodic piano piece. It had a charming story to match: Mozart tried to teach the theme to his starling, but the bird couldn’t get it quite right. Mozart was so tickled he wrote the bird’s mistake into his journal.

img_2193

Click on the starling to hear the Concerto

In the design of this wall panel, the starling became the central motif, with the three movements of the concerto settling around him in swirls and swoops of colour.

the-mozart-2016-42x20s

The Mozart 2016 42×20” Fabric Wall Panel

 

Jennifer Butler “And Birds do Sing”
https://soundcloud.com/jaebutler/and-birds-do-sing-2010

The second, by Canadian composer Jennifer Butler, is a modern piece written in 2010, and is the most abstract of the three compositions. The sounds begin with drums in cool waves, dark and tumbling and pierced with high flutes, eventually resolving into a lullaby composed for the composer’s daughter. What does a drum sound look like? Maybe circles… oblong circles? And flutes…. might rise up in long strands? The overall feel of the piece was cool and spring-like, hence I stayed with blues and cooler tones. The panel begins at the base with the rhythm of the drums, then another layer, upon layer until the clear notes of birdsong and lullaby surface.

the-jen-butler-2016-42x20s

The Jen Butler 2016 42×20” Fabric Wall Panel

 

Beethoven’s Symphony No. 6 ‘Pastoral’
https://www.youtube.com/watch?v=iQGm0H9l9I4

The Beethoven piece was the most complex. Although I incorporated elements of the movements, like a walk by a stream, a storm, birds, and a reference to folk art to represent a peasant dance, I was more interested in the smoother cadence and feeling of the performance, the melodic swings and eddies. The sounds were less emotional than the previous two pieces, so I used a more sophisticated colour palette.

the-beethoven-2016-45x21s

The Beethoven 2016 42×20” Fabric Wall Panel

 

Each of these pieces grew and evolved completely differently. In focusing on and working with them, I learned something intriguing about classical music: that, just like visual art, it begins with a personal story – now I will listen for it. And perhaps when the music lovers at the concert see my interpretations, they might learn something about abstract visual art. My fondest hope is that the music provides an entry point for understanding the abstract imagery, and in return the visual art enriches the appreciation of the music. As with many other occasions when I took the leap, I enjoyed every single minute, and the effects will last a life time!

For purchasing information, please click HERE. All the photography of my work is done by my very talented and dedicated husband, Janusz Wrobel.

starling-1

European starling from frasersbirdingblog.blogspot.co.uk

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Heart on my sleeve

Saturday, February 14th, 2015

I spent a good part of my youth and young adulthood in constant inner and outer turmoil. Great leaps of faith and trust routinely led to an array of unfortunate experiences. But, being young and having the energy for it, I pulled it all together, time after time, and somehow, with great luck and support, came out stronger and better. Though I am grateful for those rash decisions because they led to where I am now, experience showed me that my life is connected to many others, and there is no such thing as a solo jump into the abyss. Everyone comes along for the ride. A sobering thought for this mature, yet still adventurous, spirit.

It’s not this:

SYLVAN SPIRIT #11  2005 16x15"

SYLVAN SPIRIT #11 2005 16×15″  Just me.

It’s more like this:

BURNING BUSH #11 2009 30X10" A dangerous solo leap.

BURNING BUSH #11 2009 30X10″
A dangerous solo leap, don’t know where to.

Enter ART….

And this is how I can officially say: I have not said goodbye to adventure each and every day, and I still wear my heart on my sleeve. Every morning, I get a chance to leap before I think, with the only negative consequence my own disappointment, and perhaps the odd *sometimes* relevant zinger from an itinerant critic. Just last week, I took apart an entire large abstract piece THREE TIMES, frustrated and crying, dumped it all, began again.

LIGHT RAIL 2015 12X36"

LIGHT RAIL 2015 12X36″   Okay, so this is the piece I took apart three times.

No one was hurt, and I didn’t end up on the street! Yet if and when the effort leads to success, there is learning, there is growth, there is enormous satisfaction and pleasure, and there is the chance to share what is in my heart. ART is the WAY. Therefore, on this day devoted to LOVE, I share with you a range of works I made over the years, which were either leaps of faith, or that speak of love in various forms.

I love what I do, I love where it has taken me, and I love sharing it with you. Happy Valentine’s Day!

Below are trees with their seeds, and tree seeds: Seeds are the product of tree love, yes?

RED HUCKLEBERRY 2012 16X8"

RED HUCKLEBERRY and SEED and LEAVES 2012 16X8″

CASUARINA SEED 2008 24X12" From my Seed and Earth series

CASUARINA SEEDS 2008 24X12″ From my Seed and Earth series

CASUARINA DETAIL

CASUARINA DETAIL – Machine embroidery

Who says a heart must be red? Trees see it all so differently.

VERDANT HEART 2013 12X6"

VERDANT HEART 2013 12X6″

Love bridges divides,

SECRET HEART #5 2014 8X8"

SECRET HEART #5 2014 8X8″

… and occasionally goes into dormancy

SECRET HEART #3 2013 6X6"

SECRET HEART #3 2013 6X6″

It’s intensely biological

Ovulation Series #1 2007

Ovulation Series #1 2007

The result of opposing, but complementary forces

COUNTERPOINT DIPTYCH #9 2003  Quilted wall piece

COUNTERPOINT DIPTYCH #9 2003
Quilted wall piece

No container can hold it…. well, maybe this one can?

People always asked me, So what are these for??? Sigh.

Box #6   6x10x6″ People always asked me, So what are these for??? Sigh.

It can be somewhat undecipherable….

LOVE LETTER 2000 43X24" Quilted wall hanging

LOVE LETTER 2000 43X24″ Quilted wall hanging

Or delicate and ephemeral….

BOUQUET #9 2004 37X18"

BOUQUET #9 2004 37X18″

Or very very risky. I made the wall piece below as a gift for a couple who married in a beautiful quarry. I wish I could say that it safeguarded them both as they took their leap, but it did not. Art can’t do everything.

WEDDING IN THE QUARRY 2008 Quilted wall piece, commissioned.

WEDDING IN THE QUARRY 2008 Quilted wall piece

But there is safety in numbers

FISSURE #4 2011 15X30"

FISSURE #4 2011 15X30″

And the solace of a box of bonbons, no matter how things turn out.

BONBONS 1 2008 28X28" Who doesn't love a boxful of bonbons?

BONBONS 1 2008 28X28″
Who doesn’t love a boxful of bonbons?

I invite you to subscribe to my blog… there’s a box up on the right sidebar where you can enter your email address. You won’t get deluged with posts, I promise!

Heart of Cold: Ten reasons to embrace winter without Irony

Saturday, January 31st, 2015

I was born in what is lovingly nicknamed the Banana Belt of Ontario. This flat, intensely agricultural area is nestled in by three lakes: Lake Huron, Lake Erie, and Lake St Clair. Despite the relatively warm climate, serious snowfalls were common, and I grew up loving the endless white expanses and tall accumulations against our farm buildings in winter. It was childhood heaven.

FENCEROW 1 2014 24X24  A country drive in winter

FENCEROW 1 2014 24X24: Collage
A country drive in winter

Each year I reconnect and fall in love again with winter’s stark beauty. Today I share ten good reasons, none of them cliché, to embrace winter’s cold cold heart. Here goes:

1. Contrast – what is life without it? We would never appreciate light if we didn’t know darkness. Or heat, without frozen fingers. I love black and white compositions.

Winter Woods #1 I made this sketch right after that walk – I used big markers because that’s all I could see

Winter Woods #1
I made this sketch right after a local hike, using big markers to keep from getting too fussy.

2. Nature has fun with it – brilliant splashes of colour are more intense against a snowy backdrop.

Red Maple 2008 28X32 Wall mounted quilt

Red Maple    2008   28X32″  Net collage, machine embroidery, appliqué and quilting.

3. Native plants go to bed until spring – they need rest. Good example for all of us.

DARK WOODS 10 2005 28X15

Dark Woods #10   2005   28X15″  Phototransfer of a tree, net collage and machine embroidery.

4.  There’s more going on than the eye can see – stuff is happening under there.

FISSURE 3 2011 16X20

Fissure #3   2011   16X20″  Seeds, fungal spores, insects and other soil organisms burrow down, some die, some hibernate. Roots keep working.

5. You can see farther, especially if you are already short.

DEEP SNOW 5 2004 19X19

Deep Snow #5   2004   19X19″   Phototransfer of treetops, net collage and machine embroidery.

6. You don’t have to worry about deer eating your apples before you do.

The view out my back window after an early snow.

The view out my back window after an early snow.

7. Conifers are still working. They are at the helm!

WINTER MOON #1 2010 12X9"

WINTER MOON #1  2010  12X9″ Conifer leaves are resistant to cold and moisture loss. On cold dry days, their needles curve in to reduce their exposed surface. They continue to photosynthesize, only more slowly, as long as they get enough water.

8. Night skies are enchanting.

TREES I HAVE SEEN 1 2009 2 24X24

Trees I have Seen    2009   24X24″   Net collage, appliqué, machine embroidery.

9. Whether you love pruning or not, there’s no need to do it in February. You can, but you don’t have to.

DARK WOODS 7 2004 28X17

Old Apples #7   2004   28X17″ Phototransfer of trees, net collage, machine embroidery.

10. And we all know: spring will follow in due course ……

To the Light #2  Stitchery on photographic print

To the Light #2  8×4″
Machine stitchery on photographic print, watercolour, fabric collage

 

Small is beautiful

Friday, January 23rd, 2015

(This post is the third installment of a creative journey inspired by research on tree root communication. For a bit more background, go to Going Somewhere? Start with a map, and The Mother Tree.)

Trees can’t chase their food, so they must count on resources harvested from their immediate area. Through the process of photosynthesis, they can feed themselves directly from the atmosphere using sunlight and carbon dioxide. But this chemical process also requires plenty of water … and for many trees, a consistent source is not always a given.

Cedar Grove by Janusz Wrobel

Cedar Grove by Janusz Wrobel

From the fungal point of view, water is not a problem. Fungi have the ability to draw water from the most grudging of sources, even from the air itself. They also break down molecules into simpler nutrients that can be absorbed by tree roots. But they are not capable of creating their own food because they do not photosynthesize. Trees and fungi are meant for each other!

Secret Heart #7  6x6"

Secret Heart #7 6×6″

It’s a lovely, romantic idea. But how exactly do these two very different species get together? How does the two-way transfer of water and nutrients work?

In my last post, we saw that a fresh seed root soon introduces itself to the massive fungal network in the top layer of the forest floor. The root tip exudes a natural hormone that awakens fungal spores or strands nearby. In a process called colonization, the alerted fungal strands pierce their way through the epidermis (skin) of the roots. (If this sounds like a terrifying Body Snatcher situation, remember that our own bodies are walking zoos: we have at least ten times as many bacteria, not including yeasts and fungi, as we have human cells.)

Once inside, the fungal strands colonize the root in one of two ways, depending on the species:

Cross section of root tip showing two different types of mycorrhizal colonization. Photo courtesy of the Botany Department at West Virginia University

Cross section of root tip showing two different types of mycorrhizal colonization.
Photo courtesy of the Botany Department at West Virginia University

1) Arbuscular fungi start growing INSIDE root cells along the central core of the root. They are called Arbuscular because once inside the cells, they form tiny tree-like structures: trees inside trees! The large surface area created by their dense canopies is an efficient way to transfer water and nutrients.

2) Ectomycorrhizal fungi spread their strands AROUND root cells, forming a 3-D spongy structure called the Hartig net. The tip of the root becomes enveloped with a pale mantle, easily seen with the naked eye.

Some fungi are specific to particular trees – for example, Arbutus and Maple trees have their own favourite fungal species. But many fungi are non-specific and will colonize trees, grasses and many other plant species. Also, one tree may host several types of fungi at once. The established fungi maintain the flow of water and nutrients through fungal strands that connect their specialized inner root structures with the outer soil network, visible to us in the form of mushrooms and truffles.

A pale swollen mantle is a sure sign of ectomycorrhizal activity on tree roots. From “Relationships between Plants and Fungi”

A pale swollen mantle is a sure sign of ectomycorrhizal activity on tree roots.
From “Relationships between Plants and Fungi”

But the best view of all is under the microscope. When tree rootlets are thinly sliced, treated with special dyes and magnified, it becomes possible to see exactly where and how the two species, tree and fungus, meet and mate.  Electron microscope photographs are bizarre and beautiful, and these are no exception: a gold mine of ideas and eye candy. Below is one of many that drew my attention.

Arbuscular colonization

Electron microscopic image. Arbuscular mycorrhizae are in fuschia. See how they’ve expanded like blobs inside the root cells? Photo by Marc Perkins.

And the quilted panel that it inspired:

ROOT XS 1 2014 22X22S

Root XS #1 2014 22×22″ Quilted wall panel

In this piece my intention was to stay true to the photo so I could learn to manipulate line and shape, but while working on it I began to see great potential for design and content. More adventures ahead in future posts!

ROOT XS 1 2014 DET copy

Detail from my quilted wall panel inspired by a cross section from a tree root with arbuscular mycorrrhizal fungi. I used many kinds of materials, and the technique is machine collage, embroidery and quilting. Note the little trees!

The Courage to be Blue

Saturday, March 22nd, 2014

I have used trees as inspiration for my art for a very very long time. It’s a tremendously engaging subject for many reasons, but the tree is also incredibly flexible as a motif. Many designs require a great deal of research, but I must admit, on many occasions, I just sit with a glass of wine and a pencil, start to doodle, and voila, without really much thought, out comes something new.

My blue trees are a case in point. The first one appeared years and years ago. Since then, the ‘collection’ grew whenever I felt the need to ‘get off script’…. Hey, when you make a blue tree, you don’t need to worry about the practical stuff … no holds barred.

So today I will show you a bunch of them, most of which are not on my website, and hope you enjoy!

BLUE ASH  2002  22x41

Blue Ash 2002 22×41″ Wall hanging
This was part of a touring exhibition inspired by rare and endangered trees of Ontario. There were 17 in the collection… and this one was stolen at one of the venues. I made another one to replace it…. but sadly, the first was never recovered.

BLUE TREE 2000 28X30

BLUE TREE 2000 28X30 Wall hanging
This may be my first blue tree, made when I was living in Quebec City, and it’s still there, somewhere….

LITTLE BLUE 3 2010 8X8

LITTLE BLUE #3 2010 8X8″
A blue tree just belongs in the snow at night.

FERTILE GROUND 2 2011 6X6

FERTILE GROUND #2 2011 6X6″
One of the first from a very long Fertile Ground series. I can still remember my excitement at this new direction in my work!

JAP MAPLE 17 2002 13X13

JAPANESE MAPLE #17 2002 13X13″ Wall hanging
From a grouping of ten, all the same size, but all different colours.

BLUE GROVE 2009 24X12

BLUE GROVE 2009 24X12″
Another night sky.

BLUE ROOTS 2009 30X10

BLUE ROOTS 2009 30X10″
An early version from my Fertile Ground series.

COURAGE 2010 24X24

COURAGE 2010 24X24″
The courage to be blue.

What are they about? What can they mean? Do we really need to know? One of the perks of being an artist is the freedom to create your own world. Mine has blue trees in it. What colour are yours?

LITTLE BLUE 2010 12X12

LITTLE BLUE 2010 12X12″
Oh little blue tree! Doesn’t need a thing more to be happy.

 

 

The Mighty Mitochondria

Saturday, February 22nd, 2014
Detail of Microcosm

Detail of Microcosm

I get all kinds of commissions, from very large (17 feet), to very small (6×12”). Sometimes a client simply wants a piece that ‘looks like’ one I’ve already made, but most projects are far more complicated. I rarely turn one down though. Thinking back, some of the most memorable, cherished and not, moments of my art career came to me via commissions.

So, just before Christmas 2013, I got a call from the wife of a retired Professor of Biochemistry who was about to enjoy his 80th birthday. Knowing of my interest in the sciences, she wondered if I might create a wall piece to celebrate her husband’s research in mitochondrial biogenesis. Now I had heard of mitochondria in my Science courses, ummmm…. literally back in the last century, but couldn’t, at that moment, recall a single thing about them. My right brain raced as we discussed practical matters like size, shape and timing.

Then I thought, what the heck… that’s what Google is for, right? And I love abstracts. Thus began the steep learning curve from mitochondrially-challenged to mitochondrially-knows-just-enough-to-make-a-wall-hanging.

Just so all that knowledge doesn’t go to waste, let’s get up to speed on mitos. They are small, really small: less than 1 micrometer in size. They live inside most of the cells of living organisms. They are often described as “cellular power plants” because they generate most of the cell’s supply of energy. Electron micrograph photos show globular forms filled with parallel strands (threads! Yes!), and either alone or nestled amongst others of their kind. They can both divide and recombine. The reasons scientists are interested in them are many – with implications for health, aging, growth and even memory.

Some of this was coming back to me. Could it be my own mitochondria were dancing?

Here is a single mitochondrion.

I’ve always trusted in my ability to rise up to the occasion, however happy or dire. For this project, as with most others, there was research – reading, gathering images, making rough sketches, pondering techniques. I drifted off at night thinking about possible layouts.  After a few weeks, it was time to commit to paper. With a few attempts and some tweaking, this was the result:

A coloured pencil sketch of Microcosm

A coloured pencil sketch of Microcosm

The colours came from electron micrograph images of the interiors of cells. I wanted to show all the energy at the moment of division, so one of the mitos broke out from the border. The dark background provided an atmosphere of mystery while also creating a foil for the bright neon colours.

I sent the drawing off to the client with bated breath. Normally after viewing a first attempt, the client comes back to me with all kinds of suggestions and changes, but not this lady! … It was a solid ” GO FOR IT!”

The next challenge was technique. This design was quite different from recent work and would require more attention to the strong clean lines, to stand clear from all the background details. For the solution, I harkened back to 2002 and 2009, recalling two series of Seed designs I’d made with the same sharp edges (image below). Great! A precedent!

SEED - KENTUCKY COFFEE 2003 17X25

Kentucky Coffee Seed 2003 17×25″
Here I used a collage technique that provided a nice crisp contrast with the background

I cut the globe shapes in fabric, leaving the edges bare and crisp, filling in the centres with other fabrics and clippings. Once the globe shapes were done, I added the interior strands using strips of a semi-transparent print. They looked good but a bit washed out. Would couching a contrasting yarn around them create more contrast? Oh yeah! And it was pleasant, meditative work, not at all the chore I had anticipated. The design did change somewhat – it always does as I’m working on the real thing. That bottom mito needed to be whole, not cut off.

A real closeup

A real closeup, since you asked….

Then came the finishing: backing, batting, quilting, sleeve…. Ta-da!!! Six weeks after that first call, “Microcosm” was delivered, rolled up in a cardboard box we hoped would escape detection until Presentation Day, in early February.  The final word?  Instant recognition, and very well received.

MICROCOSM 2014 36X19S

Microcosm 2014 36×19″ Fabric wall hanging by Lorraine Roy

 

 

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!

 

December 2011

Wednesday, November 30th, 2011
PAWPAW TREE   29X31″

Hello friends!

So much happened since my last post, I can’t begin to cover it all, so let’s go right to the topical stuff.

This post is going to be short because I just wanted to tell you one interesting thing. I am pleased to say I now have on hand not one but TWO original wall hangings from my 2002 Saving Paradise collection, recovered from an Estate Sale in the US. They are Ohio Buckeye and Pawpaw Tree, and they are in pristine condition. They are pictured here with titles and sizes, and they are both $1600, available directly from my studio. As always I can ship anywhere, and they are fully guaranteed.

I know there are a few of you out there who would want to know. So, if you are interested, do get in touch with me.

For more details about this series, go to: Saving Paradise Collection

OHIO BUCKEYE   27X32″
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