Thin as Paper

The idea that thin-ness can be functional in any media is a bit trippy. To maintain a certain amount of strength required to hold stuff together, to produce energy, to be recognized and still allow a certain amount of light and translucence to be a quality is a real sneaker upper.

Weaving fabric loosely allows light and a special fragility that is unique to fibers. Non-directional fibers can accomplish this with fusion and adhesives. Capturing threads in a "sandwich" of structure creates the solid that defines "it".

My theme for the next few days.. produce a textile that is thin as paper. And maybe even use paper. And thread.

Yep. this should be fun. It's a test! This may be more line and texture than color. Like suminigashi with thread and stitches. 

New projects! PetMats

Sometimes I think I really shouldn't take on one-more-thing. And then when I do, it turns out to be fun fun fun.
Working in textiles, the path is more for fine craft and non-representational art. Shape and form without any direct link to a face, tree, whatever familiar objects. Threads in motion, color play and texture and, well...I'd forgotten how much I like painting.

So I bought some canvas, gessoed it up into rectangles and plopped some sketches on there.
I've always liked watercolor and dye, something that directly relates to my textile work. I use  Procion MX Dyes and ProChem Textile Pigments and transfer images with Bubble Jet Set. Sometimes I marble and batik.. all great fun.

MoonDoggies - my neighbor has a beagle and he sounds the alarm every time the breeze moves. It is what beagles do and I never worry about any creepy people coming to my house with this kind of safety! However, deer and groundhogs are not worthy of the alarm and overnight they clean out my garden! Not finished yet and still really fantasy and folky.

 We have always had fish, fish ponds, lakes and creeks nearby. I've always loved watching fish--tho these are totally fantasy fish. This one is not finished yet, either.

Minnie Evans artwork reminds me of things to draw and paint without hearing the voices of "proper" and "art school". Not that I am against art school but as a kid with pencils, dirt or whatever and some paper, I never worried about how my drawing would be received. Just put down line and color and somehow it worked out. THis reminds me of her work (she is much more accomplished!) and that freedom.

I am using acrylic and a few mediums to work on the gessoed canvas. Here are my starts for pet mats.. they have been fun. And I've spent much more time on them than I planned but i really didn't want cute with thick color so it takes as much time as it takes! I'll be glad to hear your thoughts on pricing.. but you know I'll come up with something. Maybe this will be my big Etsy motivator! And, maybe I'll take images and then have them reprinted.. something cost effective, like an edition of blockprints.

Does This Slide Make Me Look Fat?

CALL FOR ENTRY

Images for Call for Entries usually have specific stuff... for many online entries the image has a specific size, and the canvas size (o yeah, gotta learn that one too!) and a certain number of images. 

Well, as I work on stepping up my game on exhibits, shows and record keeping (another reason my smart phone is an investment in my business) collection of images becomes more and more important.

Things to consider:

Body of Work

You may be a very talented person, have a reasonable list of techniques, media, skills and yet.. a call for entry is not that. Choose images for a body of your work that applies to the specific exhibit/show.  Check out continuity.. and i realize i am pushing that one here. The first image is not connected to the other three.. it should not be part of the display. Remember, the jurors may not know you or any part of your work. so your best presentation is one where you can represent within 3-5 images a work that is relevant, connected and shows your best work.

 The colors, graphics and presentation of the last three images are more relevant to a body of work than adding the first, even tho i did this work and i do kinda like it!

I recently entered a few competitions (crossing my fingers!!!) that is not a weaving show, not a craft exhibit but a competition that will require strong graphic imagery and skills. The Mixed Media work i've been working on is a good fit, i think. I hope!
After sitting on a few juries, I have learned to accept rejection better (never my strong point! Afterall, I am a Capricorn!) Not all jurors have good insight, not all jurors are too critical. It is just the one moment for the one exhibit. There will be more opportunities, more artwork and other people that view my work.

Consider the show you are entering.

If the show is known for a particular style (beach folks often like beach themes... not exclusively but often) or you have juried in with a specific image, consider focusing on that image. 

entering a show in the Appalachian Mountains, I like to have scarves, wraps and such. The works above are not that.. below are my regular sale items...

Wraps, shawls and scarves seem to be a good choice for craft shows. and all of these weavings give me the chance to share color, composition and structure. These warps usually have the story of how they came to become fabric and it is a great experience to share those stories! 

If at all possible, get feedback on the show or shop. Go as a visitor and have a good time at the show. Join some craft groups- many are online now. Some of my best shows are outside, though i have sworn to never do outside shows almost every year. (yep, jurying again this year!). Weather is tricky, though when the weather is the "right kind" then it makes all the difference in sales and building a good customer base. Here's to a good spring, summer and fall!

T

Great Nuts

Scaly Bark Nut and glass beads

Yep. It's been pretty nutty lately. Been working on the stickiest warp ever (i think i shared that s and z twist scenario-- makes great cloth and always, without exception, raddle that sucker on!)
Grantville has become a bit overwhelming so at night, when i am listening to music and having purry time with the cats, it's time to drag out the stuff that i find when i am out walking.

Collecting rocks, stones and anything that is in my path has been an ongoing thing -- back from the days my Dad and I used to hang out in the Mojave Desert. We were pretty good rock hounds and were always picking up something that would fit in our pockets. And when I worked in WinstonSalem, there were several old buildings coming down that ejected some nice treasures out onto the sidewalk- especially that typewriter place! Got some nice letters there!

coconut and copper with glass beads

I have walnut trees, scaly bark trees, chinqua penn chestnut trees and have a collection of coconut chips. The occasional piece of rusty or melted metal and glass adds a nice weight and texture so it often gets in the mix

Walnut with glass beads, bronze beads
and semiprecious stone chips

I have some papers that i have treated with acrylic gel to add, too. These will be part of the mixed media found object jewelry workshop I'll be offering in April. Should be lots of fun and I expect some new sparkly and shiny things to sell and to wear!

MMM! More Mixed Media

Our next session begins on Monday, March 4! We are meeting for 8-weeks this time y'all! And our schedule of projects include (but are not limited to..)

Papermaking
We've been working toward this for a while. We are going to work with at least two pulps- recycled papers and either linen or abaca pulp- something that is strong and we can manipulate well. We will pull single sheets, layered sheets and try some other techniques to get used to how the pulp and pulling work. Then, we are going to try some casting.

After we get our papers, we will start manipulating them, adding materials, color perhaps some threads (gotta have threads!) and work on our composition.


Textile Composition 
Not the snappiest project title-- but I've been working on some pieces that are part of a path of pieces.... and I've been using several techniques that I like to combine to make fiber compositions (and I have a show coming up!!!)
Painting and printing with Textile Pigments on muslin
Image Transfer
Stitching as line
Wrapping and Weaving

And, if we have time, Found Object Jewelry.
I'm always collecting nuts, seeds, stones, bits of metal, shells, beads, beads, threads, beads, glass, papers and usually some beads.  I'm working on some prototypes over the week and will post them soon.

Hope you can make this class- So far it has been great fun with wonderful students (a treat to meet!). Please email Karen at Art Alliance of Greensboro, call 336.373.2725 and feel free to email me at kathryngauldin@gmail.com if you have questions or suggestions!

Mixed Media Class

Mixed Media is one of those terms that inspire the classic "What?".

Yep. It is all that and a bag o'chips. It is a way of expression that doesn't get itself tangled up too  much in technique, media, materials and academia. It is all about inspired composition. Mixed media is liberating in the way it works on an intuitive band of energy.

All those workshops, the "stuff" you collected, things that are in your mind and are demanding to be processed are the best materials for this project. Consider picking out a few things and spending some quality time moving them here, there, burn one, paint one blue... whatever.

I've had the most amazing time with the mixed media class I've been teaching with the Art Alliance in Greensboro. Best Students EVER. Fearless, imaginative, conversational and ready to go- my kind of girls!!!  We've worked on books (one of my favorite structures because of flexibility, inclusion of technique and bookbinding and assemblage doesn't need big tools!), paper techniques that are part of the books...marbling, paste paper, folding, tearing, cutting and handmade paper.  We made papier mache masks and collage. Now we are entering mosaic.

I love mosaic. it is a full-frontal texture quilt. All cultures embrace the technique.. African memory jugs, stone mosaics of ancient civilizations, complex ceramic stairways, never forget the assemblages of Mr. I, found object mosaic art... it goes on and on. Basically, one hoards a collection of items and decides how to create the composition.

WARNING: Hoarding stuff is frowned upon. The downside of mosaic is you can sell folks on this project!!! it is a chance to unload their stuff! And all of the bits and pieces have stories, a raison d'etre and your inspiration. Grab your boxes of goodies, some good glue.. maybe some grout and get going! I'll be posting some images soon... 

Meeting Art on the Internet- How Social Media Increases Your Artistic Opportunities

Mouthful of title, huh!
Several things inspire me to work on this entry.
I have several jobs and many parts have common threads that flow into a relatively unified and cohesive river of life! Some merge as SEO options for artists.

As I am working on grant proposals for two non-profit organizations I work with, RCAC and DADA,  I find that within the narrative I need to qualify the contribution of art to economic prosperity, the significance and existence of the creative workforce in the small towns I'm currently living and working in and ways that collaboration within groups achieve positive effects for social interaction, jobs and an enhanced quality of living. Needless to say, I rely on a thesaurus, urban dictionary and a few other special resources to give this type of narrative a vivid life on a page that easily reverts into a sea of words with too many adjectives.

Some of the common threads I work with are woven into the need to ignite financial rewards. While many artists are working to inspire society, share composition and color, present a personal view and release creative energy, another basic need is income; cash- sales- grant funding- money.

I find the most reward when I have funding for a work I created that someone loves and finds value within the piece's existence--- and they purchase it. I am not as thrilled when someone feels "this will be ok" or "will do" and I get the same price for the piece but there is a great value in the emotional sale of a piece of work. Enter the proper demographic information here.

Building an audience that views your work by choice and not by too-aggressive advertising (ever been trapped in a car with only commercial radio?!!) Blogging, social media and newsletters are a big part of finding that audience. Using Facebook, Twitter, LinkedIn, Google+, Pinterest and other social media can help people connect with you, your work, your exhibits, your sales and your colleagues that also share their work and professional information. With many of the apps that allow linked posts, sharing your info is simplified by cross-posting, scheduling release of posts and managing on your computer and smartphone (a great business investment for artists. I'll share some ways it simplifies your record keeping and more later.)

While I've always learned tons working in advertising jobs (radio, SEOHaus , ODesk  and other search engine optimization firms, realizing that funds keep your art alive, fresh and a productive part of everyday life as an artist connects these business approaches to realistically working as a productive artist. Whether you take this part of your art production on yourself (the whole concept is very visual and remains interesting to find out how online networking links to  the many ways art works in society) or find a professional in the area to maintain your connections, an audience may be waiting to find you. Throw them a bone!