Samples for Casting – Preparing for the Aspen Adventure

While I focus on lace, I have incorporated felt into that lace, which will be a component of some of the tests I will do at The Anderson Ranch Arts Center. To find out more about my project to cast lace sculpture, please check out THE ASPEN ADVENTURE on Kickstarter.

An example of such felt lace can be see in Seeing the Signs. While it can appear opaque, a bit of back light proves otherwise.

I am certain this sheer play of felt, thread and color can go farther, so one of my samples that I have prepared for my time at The Anderson Ranch Arts Center includes this technique to test translucency in the casting process.

This sunshine yellow hand-dyed wool absolutely glows when back-lit.

But is a yummy sunshine yellow even when it’s not back lit! I included hints of melon and orange  wool for accents as well. Just for flavor.

If you haven’t seen my Kickstarter page to help fund my project at The Anderson Ranch Arts Center this summer, please check it out!

Just for kicks, here is where all that bright, colorful wool comes from!

Baaaaaaaaaa!

One State at a time: Unable to Divide Heads to Maryland

Unable to Divide, a lace work piece in red, orange, and yellow thread has been accepted into the national juried exhibition, Fiber Options: Material Explorations, hosted by the Maryland Federation of Art.

It will exhibit in Annapolis, MD from July 19 to August 11, 2012. I was one of 65 artists chosen from over 300 entries.

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This meaning of this work draws from some of my mental struggles with incorporating tenants of yogic philosophy (I’m a certified yoga teacher, btw). While I can intellectually understand certain contepts, the practice and experience of it can be quite another thing, especially with this over-chatty brain of mine. What can I say, I’m a work in progress. 🙂

First Ever Artwork Giveaway!

Yup. This lacework piece based on Can’t See the Forest for the Tress, (now on display at the Mulvane Art Museum in Topeka, KS), could be yours. For free. For real.

Tree of Mine / 100% cotton thread / 9 x 9″ / 2012

 You can enter the drawing by doing one or more of the following and posting what you did in the comments section :
  1. Subscribe to my blog via email (click Home & see right sidebar), RSS feed, or Google reader.
  2. Like my Facebook Artist Page (NOT my personal facebook page)
  3. Follow me on Twitter
You must make a separate comment below confirming each action you take. Pretty please. This is how I track your entries!

Each action counts as one entry, so do all three, and get three chances to win! Deadline for entries is May 31, 11:59pm, CST. Open to continental US only.

Mandala and The Chautauqua Institution (say that 5 times fast)

I recently learned that Revealing Cracks Mandala was accepted into the 55th Chautauqua Exhibition of Contemporary Art hosted by The Visual Arts at Chautauqua Institution. There were over 400 entries submitted and only 24 pieces were chosen by 17 artists.

The Visual Arts at Chautauqua Institution (VACI) includes the Chautauqua School of Art, the galleries of the Strohl Art Center, the Fowler-Kellogg Art Center, the Melvin Johnson Sculpture Garden and a visual arts lecture series.

The juror who selected my work is quite distinguished, so I’m honored to be a part of this show.

From http://www.ciweb.org:

“VACI, the Visual Arts at Chautauqua Institution, is pleased to announce that renowned critic, curator and author Kim Levin is the juror for Chautauqua’s 55th Annual Exhibition of Contemporary Art. Levin has organized numerous exhibitions in venues throughout the United States as well as in Denmark, Germany, Japan, Korea, Norway, and Poland. She has written frequently for publications including The New York Times, ArtNews , Art in America, Art Journal, Sculpture, Connoisseur, and many others. She was a regular contributor to The Village Voicefor more than twenty years and has been Contributing Editor ofArts Magazine and New York correspondent for Flash Art and Opus International.

President Honoraire of the International Association of Art Critics, Levin is author of Beyond Modernism: Essays on Art from the ‘70s and ‘80s (Harper Collins), and Editor of Beyond Walls and Wars: Art, Politics, and Multiculturalism (Midmarch Press) and she conceived and co-edited Art Planet: A Global View of Art Criticism (AICA Press). Among her many honors are the Art/World Award for Distinguished Newspaper Journalism and the SECA (Society for the Encouragement of Contemporary Art) fellowship for criticism presented by the San Francisco Museum of Modern Art. She was selected as a Fellow for the Annenberg/Getty Arts Journalism Program and has written catalogue texts for many museum exhibitions in the United States as well as exhibitions ranging from the Centre Georges Pompidou and Moderna Museet Stockholm to the Kunstmuseum Basel and the Yokohama Museum.”

Whew! So in June, Mandala will be off on its own to New York in time for the Opening Reception on June 24, 2012, 3-5 p.m., at the Strohl Art Center (show runs from June 24–July 12).

The Chautauqua Institution is really a unique and amazing place. Check out pics of their beautiful buildings & spaces here: http://www.ciweb.org/vaci-galleries/ and the video below.

Can’t See the Forest for the Trees

Woefully behind in blogging, yes. 2011 was a tumultuous year. But moving on, here’s the latest work: Can’t See the Forest for the Trees. 3×9′ (yes, feet) of cotton & polyester thread (Gütermann) and pins (but not as many pins as you’d think). From initial concept to finished work, this took about two months. I hope to post about the process within the week.

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Process is integral to my work and often becomes intertwined with concept as in Can’t See the Forest for the Trees. It is essentially about being lost, about losing perspective (literally or metaphysically) based on one’s position in time and space and how subjective clarity can be.

As such, every detail of the forest was meticulously drawn and stitched with varying degrees of density. Through a finishing process, details closest to the forest floor stay relatively clear. Moving upward, details become fuzzy until we reach the canopy where many details dissolve into abstraction.

A significant part of its making is the fact that part of the work itself was lost in its manifestation. Even the viewer’s interaction with the piece is determined by the viewer’s relative position to the work.

It is the constant play between being able to see the details and the (often elusive) big picture, whatever that picture may be.

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Seen individually, the thread structures form random shapes. Many details become visible up close, but the shapes have little meaning unless seen from a “big picture” perspective.

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My eyes go straight to the bunny in this image, though I had hoped to emphasize the frog at the very bottom. Ah well.