Archive for the ‘Art making’ Category

White Pines with Cat

Tuesday, March 4th, 2014

The light hearted couple who requested this commission already had three of my pieces and several of my husbands’. They’d just bought a property in cottage country, Ontario, and wanted a wall piece in their large dining room, where they entertain a lot. They had spent a lifetime canoeing and camping extensively in all parts of Ontario, so it was clear from the outset that the subject matter would be White Pines of Georgian Bay. However as animal lovers and devoted cat owners, they had another request: they would like birds, and a cat, somewhere in the picture.

WHITE PINES WITH CAT 2014S

White Pines with Cat 2014 24×48″
(can you spot the cat?)

I love animals as much as I love a challenge, and this was not the first time I’d been asked to incorporate wild creatures. For one large commission I made in 2008, the client wished for all the genera of creation: plants, fungi, bugs, birds, fish, amphibians, reptiles, and mammals. The toughest part was the mammals…. how to make it all work without looking like a Disney production? Plus the space was filling up! The solution?  To curl a sleeping chipmunk into a crevice underground. Everyone was happy:

7 Days of Creation 2008 sm jpeg

The Seven Days of Creation 2008 – Lots of animals here!

7 Days serpent and ants

Fish, ants, snake….

CHIPMUNK - 7 DAYS

…. and chipmunk, in hibernation

Taking a cue from that experience, I embraced my cat lovin’ side, and settled a sleeping feline at the foot of a White Pine in the piece:

The Cat

This cat is not worried about the weather.

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

 

 

On the Rock: Merging Art and Ecology – a new exhibition!

Monday, February 17th, 2014
THE OUTCROPPING 2014 24X48 copy

THE OUTCROPPING 2014 24X48

Hello everyone,

Thought I would post a short note while I wait for my very cold studio to warm up. For weeks, it’s been in the minus tens here in Southwestern Ontario. The hot summer and cozy fall feel like distant memories and we are all longing for a touch of spring. The snow on either side of our drive is neck deep.

Perfect time to give you the scoop on an upcoming group show, soon to open at our local Carnegie Gallery in Dundas.

Just in the past year, I’ve had the great pleasure of learning about an international Christian organization called A Rocha. Their mandate is to engage in scientific research, environmental education and community-based conservation projects, and they are open to all faiths and cultures. A new A Rocha centre is becoming established in Ontario, with a 95-acre rural property in Flamborough, just south of Freelton (a pleasant 20 minute drive from my home). Cedar Haven Farm has both wild and cultivated acreages, as well as a historic house, a pond, a few barns, and animal enclosures.

FENCEROW 1 2014 24X24 copy

FENCEROW 1 2014 24X24

What better way to promote this organization than with art? We decided to approach ten artists, all working in different mediums, with an invitation: to visit the property and create unique visual responses to the land, with the results to be shown in an exhibition. The artists were delighted with the idea, and Carnegie Gallery accepted our proposal with great enthusiasm. The exhibition runs from March 7 to 30, with an opening reception at 7:30 on March 7.

Of course, I am fully involved with the project, and so is my photographer husband. I will tell you more about the other artists in a future post, but for now I wanted to share my resulting work. On my many visits in three seasons, I was most taken with the way wild areas and fencerows contrasted with the cultivated fields. Bedrock and swampland prevented full use of all the property for agriculture, but a system of trails made all the land accessible. The photos in this post are of the three works I made for the exhibition. I am looking forward to seeing it all come together on March 7!

WILD APPLE 2014 24X36 copy
WILD APPLE 2014 24X36

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!

 

Origami

Friday, November 9th, 2012

Ucluelet, Vancouver Island. An overcast, occasionally rainy day. We find ourselves on an intermittently disrupted path leading to the Wild Pacific Trail along the west side of the Island. My husband and I are feeling disoriented and disappointed, having expected something “wilder” on that part of the walk (note: The Wild Pacific Trail itself was magnificent!). We skirt the edge of a hotel property and it’s clear that soon much of the land around it will be devoted to yet more development. It’s somewhat depressing, and we are thinking of getting back to the car.

Just ahead and walking toward us is an elderly Japanese man. As he reaches us, he briefly bows, presses something into my husband’s hand, then silently moves on. This is his gift:

Origami sun, only one inch in diameter!

 

As I examine this exquisite origami sun, I am filled with questions. I want to catch up to him and thank him, ask him why. But he is long gone, having disappeared around the next bend as if he was never there.

Whatever his intent, the effect on me is pure radiance. My moody day is suddenly more beautiful, the world more welcoming, my steps lighter. My mind is changed by this gracious gift. I’ve hung it on my office lamp and relive the moment every day. And he will never know. I believe this is the best part of the gift. He has shared his wisdom, how to be truly free.

SOUL

Tuesday, May 29th, 2012

During workshops, one complex topic that always arises is the issue of copyright, or, more specifically, the moral implications of imitating the teacher’s personal design and style. Takes on this issue vary wildly, so I am going to speak here about my philosophy about teaching and outreach. In a future blog post, I will talk about image theft and copyright, because that covers a slightly different aspect.

Years ago, I took a one-week papermaking workshop with Tootsie Pollard (now deceased) at Haliburton Summer School. She was a lively little lady (Tootsie comes from tout–p’tit, meaning tiny-little in French), as round as she was tall, and full of binnes (French Canadian for beans 😉 ). Over the years she had developed a method of pulling thread grids through paper mulch to make elegant lacy papers. She even used this technique to make installations, which, because of the size of elements involved, was a true tour-de-force. The real magic is that she unstintingly shared every detail about her own research and technique. For a full week she offered her personal from-scratch recipes and methods, with no worry that perhaps we might take this information and become better-known, better-paid, and better-equipped for her signature forms than her, the humble artist who inspired it. Feeling honoured but horrified on her behalf, we broached the subject. This is how she replied: “When I teach my technique, I want it to go out into the world because I know that somewhere, somehow, it will come back to me in a different form, and then I will learn from it.” What a wonderful way to be! I loved this lady and I have since used and taught her technique in her honour, but the most important result of the class is that it helped form my own ideas about teaching and outreach.

Lace Paper from recycled paper

Artists in all mediums face a difficult path – the balance between honest artmaking and income, especially in cultures that do not fully support it, is a challenge. Becoming established is the result of years of exploration, experimentation, and physical and financial investment, to build a unique style and process. This is why some artists jealously guard their secrets, even to the point of patenting certain techniques. The huge investment in time and energy is easily diminished in the wrong hands, or, at the other end of the scale, can be taken to broader commercial success that does not benefit the artist who did all the ground work. It would be painful to me if participants in workshops took to copying and selling my work and imagery as their own, without permission or acknowledgement.

So, it all boils down to trust. Like Tootsie, I don’t hold back in showing all I have learned so far. In 15 years of mining this technique, I am still finding new ways to use it! When I teach it, I know participants will eventually ‘branch’ out in their own way. One of the beauties of this technique is that it can be mastered with simple equipment and inexpensive materials, yet the results, like painting, are always innately beautiful and very much linked to the maker’s personal voice and imagery. Of course, at the start, samples and designs will to look like mine. In fact participants might wish to use my work as models for their own personal growth, or for their own homes and as gifts. Plus, they might even teach the technique to others. I encourage it! I learn from what participants are doing during and after workshops – new ways of juxtaposing colour, or modifications of stitching, design ideas, and so on. It’s like the flame from a candle, igniting an infinite line of new candles, so that the light is never extinguished.

Soul is not a ‘vapour’ that floats away from the body when we die: Soul is what we leave behind in our actions and in their tangible results, and in the memories of those whose lives we touched. The light from my candle was sparked from an infinite number of others who came before. I believe eternal life results from passing it on, while we are yet fully grounded on this earth.

So this is where I stand with teaching. I try to show everything I know so far. I encourage everyone to play with it, enjoy it, and take it to any level that provides excitement and accomplishment. I want them to pass it on, and feel the inner peace and joy that comes from letting go and trusting in the wisdom of the universe.

Lace papers from a workshop, with thanks to Tootsie!

Morning glory

Wednesday, May 9th, 2012

At the risk of sounding like I’m obsessing, this is one more post about my ailing industrial Bernina, aka Wild Thing. Wild Thing had been losing much of her old zip, to the point where I thought I may have to rename her, perhaps to Old Thing. Not that I don’t identify with the feeling. We all have our ups and downs. She’d been failing in areas of thread breakage and stitch timing. She emitted a funny shriek at the start of each session and her bran new belt was rubbing against the wood table groove, filling the air with the dark rubbery scent of poor health. How to bring back the happy hum of perfect gears and belts, that vitamin shot, that kick in the … pants?

Enter Ricardo! Ricardo is from Panama. A short stocky smiling Spanish gentleman bearing all the tools of his trade in a deceptively small red metal box. Ricardo, who called back yesterday within an hour, and asked if I was a morning person. Because he could drop by after taking his wife to work… at 7:30 am tomorrow morning. Now I didn’t tell him this, but I would gladly have got up at 4:00 am – heck, I would have stayed up all night – for the joy of having someone look at my baby.

To make a long story short, in his capable hands Ricardo had soon cracked open the long neglected motor, cleaned it up, checked under the hood, made various fine adjustments, liberated gears with generous dollops of oil, and walked away at half the price I would eagerly have paid for his services, all while laughing up a storm at his own stories. Perhaps I should hesitate to say this, seeing how easily one can get in trouble on blogs, but the depth of feeling a seamstress has for her machine repairman can not be underestimated. I have fallen in love. Let’s leave it at that.

Wild Thing awaits me now, as I gather my creative flow, in anticipation of trouble and interruption-free stitching. Now if only Ricardo could do computers too!

Window on the world

Monday, April 30th, 2012

You may know I make a living from my art. Have been now, for a good 20 years, with the odd few years between, working at ‘real jobs’.

It’s not always easy, as you can already imagine. NOT knowing when and where the next cheque is coming from is not for the faint of heart. My husband makes his living from fine art photography, so he’s in the same boat. The period between February to May is particularly slow for art sales.

Stop waiting for nothing - Sopiko Cherkezishvili

So I do other things. I teach, I do some public speaking, and I sit at this computer dreaming up creative ways to make sure I am not forgotten in the huge and competitive art market. It’s a balancing act. How to ‘keep it real’, and not fall into the commercial maelstrom that eventually sucks our creativity and will to live?

In this way I feel very lucky. I happen to love social media. If they could find a way to insert a chip to keep me eternally connected, I would probably go for it. This obsession for connection probably comes from my lifetime of moving around… most of my dearest friends live in other towns, some of them far away, and email and facebook are perfect for keeping in touch. But now it’s gone deeper – I have decided that it will be an extension of my creativity – so now, it’s not only a necessity… it’s actually fun. And it helps me put food on my table and gas in my car.

Outreach in all its forms is very important for a successful art career. I prefer to call it outreach, rather than promotion, because for me, it’s an extension of the communication that begins with my art. If art making was only about making money, I could think of 1,000 better ways to do it. Outreach is a way to make my art communicate to a larger audience. Reaching an audience – moving them, delighting them, helping make their lives more beautiful, more special, more meaningful – is the prime goal. It provides the most important currency for a true artist.

So a few months ago, my husband, after encountering arrogance and misrepresentation by Art Sales and Rental at Art Gallery of Hamilton (resulting in his asking to remove his exhibition from the community gallery), learned about the possibility of renting a large corner window. This enormous space just happens to be right across the driveway from the main AGH entrance. May was the perfect month to rent it, coinciding with the big Spring Art Gallery of Hamilton Sale, to which neither of us was invited this year. We felt this would be the right opportunity to make a statement about the AGH Art Sales and Rental’s current lack of support and respect for local artists.

Window at King St and Sunset in Hamilton, ON

Janusz set it all up… every inch of space was carefully and lovingly planned. Our contact information is there, including QR codes for the Smartphone set.   The photo on Facebook has so far generated nearly 40 likes and a dozen comments. We consider it our ‘outreach gallery’. Let’s see how it all plays out, around the AGH Art Sales and Rental Spring Sale. Our work will be there until the end of May.

So – for us – this is how we are ‘keeping it real’. Trying to accomplish a lot with a little, while not drifting into the dead zone of commercialism. It keeps us engaged and having some fun. And it plays in nicely with my firebrand husband’s political side… in a subtle and quiet way.

So what do YOU think? Sometimes I wonder if anyone reads these posts. Your comments will be much appreciated!

Positive thoughts about old machines.

Saturday, April 21st, 2012

My old sewing machine ‘miraculously’ recovered after a few hard pokes from an experienced hand (my husband’s) and I am back in business. One of the reasons I love these old machines is that they respond to old-fashioned tampering, like a hard knock or a tweak with a fork. Newer models are like hothouse orchids… they must be ‘sent away’, sometimes for weeks on end – devastating for someone who makes a living from them.

This situation reminds me of my current challenges with public speaking technology. In the past, I would bring along a carrousel of slides. We would put the carrousel at the top of a projector, and it would crank  down one slide at at time, sometimes two for an ‘interesting’ effect. If there was a problem you could always feed the slides in by hand, or change the bulb. Now, with Powerpoint and digital presentations, you need to make sure the host laptop has the same program. All the components must match. All the equipment must be in top form. And God help you if there’s a problem – your toolbox is useless in the face of this technology. Instead of a ‘possible save’, it becomes a ‘total loss’. Hey, not that I’m complaining… I love new technology! I love being able to label my images and add inserts.  I love those high-rez projectors and being able to add sound and video! But it’s always a balance, isn’t it?

Rosy Dawn #2 12×24″

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