Fibre Quarterly 2005 Anthology - Velvet Highway...Fibre Quarterly 2005 Anthology 25 BLUE, Jacquard...

Fibre Quarterly 2005 Anthology

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BLUE, Jacquard weaving, 2003, white cotton warp, blue cotton and metallic weft, 101 X 68cm

Jacquard Journey, by Joe Lewis I am in love with cloth. Especially old, experienced cloth — paint rags, pieces of tarp or clothing found on the side of the road — which are fragments that show their own history. Stains, tears and mends are like scar tissue on the surface of skin that tells the story of a life lived.

Originally starting out as a painter/collage artist, I began working exclusively with textiles in the mid-90s after observing a friend who had transferred a photographic image onto cloth using a blender marker. The ensuing acrid odour evoked the notion of childhood and the joy of play. Using this basic technique of transferring images with a sense of play, I embarked on what has become my major passion as an artist.

An image in the fall 2000 issue of Fiberarts Magazine spoke to me. A black and white photograph of a family holding a small child with pink shoes, entitled “Miss Pink Shoes Returns to America by Lisa Lee and Skif Peterson, was identified as a work made from cotton, linen and rayon, measuring 30” x 40”. This piece had been made on a computerized jacquard loom.

Intrigued by the thought of making a photographic image that could be woven into the structure of cloth, rather than just on its surface, I did some research on the internet. Through AVL’s Web site featuring the Compu-jac loom, contained a link to the Montreal Centre for Contemporary Textiles, http://www.textiles-mtl.com, advertising workshops and services related to Pointcarré software and jacquard weaving. With the idea in mind of developing multi-textured surfaces and images, I signed up for the primarily computer-based “Black and White jacquard workshop” held in January 2003 at the centre. After having designed and produced a “sampler” where the student combines specific simple and complex weave structures using a limited colour palette, the participant is encouraged to create a finished piece freely playing with and exploring Pointcarré software.

The workshop, in short, unfolds as follows: Participants scan an image of their choice using Adobe Photoshop as a translation tool to insert the scanned image into a template generated in Pointcarré. A grayscale version of the image is edited down to seven shades. Then, an overall design is created, incorporating the image into the Pointcarré template through the use of colour, shape and line. At this


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point, the student is taught three basic weaving structures: twill, broken twill and satin weave within the context of learning how Pointcarré software functions. The resulting design includes a number of colours added to the limited grayscale used to translate the original scanned image. Through Pointcarré, the student assigns a weave structure to each colour in the design, and checks the stability of how individual structures work together (industrial standards exist for good reason).With structures assigned, the design is corrected for tension, a selvedge is added and the digital file is translated out of Pointcarré into the software used to drive the loom on which the piece will be woven.

In all, there were eight participants in the session, five were professional weavers and/or teachers, including Lisa Lee Peterson, the weaver whose work had inspired me to embark on this jacquard weaving journey. Three of us were artists coming from a variety of media and disciplines. Our workshop instructor, Louise Lemieux Bérubé, is a “master” in her field, as well as a very skilled teacher. The background and interests of the participants made for an interesting two weeks of interaction. Through conversation, observing, listening and accepting the concepts of the very complex instruction/software, the workshop was intense, enlightening and fun. I have since begun to look at the work that I have produced, and will produce, with new eyes. As an artist whose work has been produced first with concept in mind, image second and medium last, I now find myself in a position where the medium is driving the concepts, which brings me back to the notion of “skin:’

After removing my “sampler” from the loom, I finally had the opportunity to handle it, which is a major part of the joy of working with cloth. Having the “map” or design (cloth draft) to compare alongside the actual woven textile, I was able to see the results of the decisions that I had made on the piece’s design. By placing one weave structure against another, I was intrigued by the ways in which warp and weft tension affected and created the appearance of texture.

Skin, like cloth, is a surface that is created by its structure, one that is neither cohesive nor stagnant. Fat, moles, hair, deposits of pigment, scrapes and bruises all occur. These traces of living become mapped out on the body. To be able to affect this surface through its structure at the beginning point of creation answers one of the challenges I have faced on my journey in recent years.

I look forward to using what I’ve learned at the Montreal Centre for Contemporary Textiles to further my attempts to realize what colleagues in the textile arts call “the perfect piece of cloth”

RED, Jacquard weaving, 2003, white cotton warp, blue cotton and metallic weft, 101 X 68cm.


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Around town…

Around town was a component of the e-newsletter I was doing for the membership of Textile Artist Designer Association was has continued as part of Fibre Quarterly. My intentions where to get as much preview information and present mini reviews of what was happening in and around Toronto in terms of Fibre and Textile arts. There is a constant appeal to the membership and my developing audience to submit information from other parts of the country for publication. While Surfacing Journal was the official Voice of small but dedicated community promotional material trickled in but it was always a major hunting expedition. Now that Surfacing Journal no longer exists the art and artist seemed to have moved deeper into the camouflage. It is time for a major show and tell and that can’t happen with out you. It appears to be a new world if you are a Canadian fibre or textile artist who has discovered the world of Blogging please fell free to submit you link to Fibre Quarterly for inclusion in the revamp Around town webpage… Submit your link to [email protected] or directly through the website.

Jennifer Angus: A Terrible Beauty Textile Museum Centre St. Toronto, On Jan – May 2006 If you didn't go to the Textile Museum for Jennifer Angus' opening this past Saturday make plans to go soon, you'll go more then once. Jennifer Angus' A Terrible Beauty is at least fascinating if not mesmerizing. She has pinned 15,000 insects to the walls of the Textile Museum in patterns reminisce of wall paper. What you may ask is this about; let your imagination carry you. In the tradition of the Victorian Curio Collector/Collection with a bit of P.T. Barnum thrown in for good measure she has evoked an era in which Collections and Museums where in transitions from private to public, in which the natural sciences where presented in exhibition lecture and book form.

details of “Japan Room” images provided by TMC

Jennifer Angus who's grounding in Textile work is well established as both an artist and educator has been exploring this arena of discourse for the past few years. The questions that arise from this and the past few insect installations cover concepts of Design and pattern


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in terms of the traditional domestic product (wallpaper and or printed cloth) modern question about the environment and the loss of habitat. Her exploration of modes of presentation from a the creating and installation of a hoax " Goliathus Hercules" in a Victorian Curio Cabinet in a small room with in a larger exhibition space for which people had to line up to view to this current selection of four rooms in which to wonder, she has created a Victorian explorer complete with personality, history and his own lifestyle. This is a must see exhibition. You are the judge of its validity and its intrinsic place in the Textile Museum Exhibition roster and if you’re not convinced make sure you visit the companion exhibition to see where nature (bugs), design and textiles meet along with "Dance of Pattern" on the floor above. If you have questions about Jennifer Angus’ ethical use of insects go to her website and learn what her feelings are www.jenniferangus.com . For a more in depth look at Jennifer Angus and her insect work take a look at this on-line page at Fiberarts Magazine's website http://www.fiberartsmagazine.com/back_issues/11_05/angus.asp

Anna Torma Spin Gallery, Queen St. West, Toronto September 2005 I had intended to leave this page set when I posted it, but since some had said it read like a blog I am using it as one. While I had been busy with other things two exhibitions slipped under my radar. While doing the “Queen West Art Walk” this past week end I went into Spin Gallery. The last time I was there was in August to see their summer group show, at that time there was no invitation or other promotional material for the upcoming “Embroidered Quilt” exhibition by Anna Torma. This exhibition will be on until September 25 go and see it if you can. I first saw a collection of her work at the Wynick/Tuck Gallery in 401 Richmond and was charmed by her ironic story telling, images and text rendered in a sketch book quality. Multi coloured thread like so many pencil crayons gives a quick commentary on the human condition, these works were handkerchief size up to four times that size, they had a light quick touch fill with a variety of reference. This current body of work is of a relative large scale, overloaded with images and text each piece requires as much study as time allows while at the same time presenting a graphic impact that is instant.

Nieves Carrasco Thread Sketches Art Square Gallery/ Restaurant, Dundas St. West. Toronto Oct- Nov. 2005

While on the subject of being out and about, last Thursday a few hours after announcing the Fibre Quarterly update to you I did go off to Nieves Carrasco opening for her Thread Sketches at the Art Square Gallery/ restaurant. Nieves Carrasco presents a cohesive body of around thirty small works on cotton flannel and linen that have been died using a variety of resist, shibori or clamp methods and stitched. While referencing the work of Dorothy Caldwell these works are far from derivative. Nieves told me that Dorothy had given her (in a workshop setting during Caldwell’s 2004 exhibition “In Good Repair” at the Textile Museum) the stitch, which she has applied in tight defined areas on each piece. The subtle colour of the thread mixing with the soft muted colours of died cloth or standing out sharply against the original white or lightly stained cloth depicts a recognizable atmospheric condition without the


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need of the specific title of each piece. The pieces died using clothes pins as claps are particularly hypnotic the “grid” created in this way is slightly off, the patterning is fluid yet the stitch anchors each piece.

Sunset 1, thread on shibori died cotton 2005, 8” X 8” image provide by Artist

Sunset 2, thread on shibori died cotton 2005, 8” X 8” image provide by Artist

The work of both these artist, while grounded in traditional textile embellishments they are using printmaking and painting techniques. Cy Twombly and Jean-Michel Basquiat are an easy fit with Anna Torma, while Nieves Carrasco fits in with colourist movement that came out of the Abstract Expressionist movement, Rothko, or Frankenthaler but each brings these ideas forward to a newer more intense exploration by rendering them in fibre. The blurring of the lines between fine art and craft is not new. The site of presentation (Torma in a Contemporary Gallery and Carrasco in a Gallery/restaurant) restricted traditionally to Textiles are opening up and seeing Fibre on display along with painting, photography, sculpture and installation is becoming the norm

The Knot Show Lonsdale Gallery, Spadina rd., Toronto September 15 /05 There should be a review of the Knot Show that was on in August at the Lonsdale Gallery a group show featuring Kia Chan, Trudie Cheng, Vessna Perunovich and Kathryn Walter plus several others in the upstairs gallery. Revisiting a show after a good opening is always a good thing to do but somehow I just didn't make it. I also didn't manage to get another look at Thirty Stories... which has just come down at the Textile Museum. Well lets see, Saturday Cabbage Town Festival, didn't get to Saskia Wassing-Shepherd's opening at *NEW* Gallery . Did a quick drive up to Waterloo on Sunday to check out a group exhibition of the Connections Fibre Artist Group at the Homer Watson Museum and Gallery interesting ideas and work only spent an hour there then back home, I need to go back. This week is busy. If you are interested in Wood Block Printing, George A. Walker print and Book maker will be launching am new book this week George A. Walker is an award winning wood


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engraver, book artist and illustrator who has been creating artwork and publishing books at his private press since 1984. Check out Biting Dogs Press. "the Woodcut Artist's Handbook" published by Firefly Books at David Mirvish Books,596 Markham street in Toronto on Wednesday September 14th 6-9 pm ( my first Guild meeting of the season is also that night. What would you do? Toronto Out Doors Art Show Nathan Phillips Square, Toronto, July 05 This past weekend July 7-10th was The Annual Toronto Out Doors Art Show it was hot and I don’t mean fabulously good I just mean hot unbearably hot. That is to be expected of course. I tried to do a quick tour on Sunday morning trying to avoid both heat and crowds, it didn’t work. There were several fibre artists I have met and/or read about in the pages of Surfacing Journal and young new artist whose work was just too interesting to not talk to them. 2D and 3D Art, Fashion and Interior accessories were all represented. She is a hooker (rugs) a quilter, installation and performance event creator who makes dolls. With a background in fashion from Ryerson University, Heather Goodchild’s explorations of the Gothic Victorian sensibilities and paraphernalia could not be well present in the context of the outdoor show. The setting was wrong but what was on display stopped me in my tracks. A circular hooked rug portrait of a woman and reminiscent of a suffrage banner and a richly coloured octagonal honey comb patchwork quilt top in velvets and satins made me ask her if she was making her trousseau. She said no and we started talking about quilting traditions, I told her about Lynne Heller’s show 115 unused Quilts Heather’s website gives a sample of how this emerging artist uses traditional textile recycling practices, rag hooking and patchwork as installation props to explore themes of violence against women and the rituals and myths around death and dying. http://www.heathergoodchild.com/index.htm Future along the path I come across Mary Kim and her “Soft Uglys” viewed as either sculpture or stuffed toys they have a demented joy. She is one of many soft sculptors or doll/toy makers whose work was on display. Her work can be seen in two exhibitions this summer in the Queen Street West area of Toronto, “strait” is a window exhibition at the art knit café 1050 Queen West from July 14 until August 14, and in Square Foot at AWOL Gallery 76/78 Ossington Avenue, August 5 – 28 an exhibition with over 500 artist from Europe, Australia and the US. This show opens Friday August 5 at noon. Across the way from Mary was Andréa Vander Kooij from Montreal. A recent graduate of Concordia her work was shown on the cover of the April/ May 05 issue of Fiberarts Magazine along with four other students. Her use of vintage bedding finely embroider with images and/or collaged with other pieces of cloth creates a sleek contemporary picture plain that is a nostalgic and thoughtful look at man, nature and the cycle of life. You will be reading more about Andréa in the near future. In the meantime give her name a Google and find Britney done in fake fingernails, nail polish, and metal rings on cotton, among other things.

OCAD Open House Ontario College of Art and Design, McCaul St. Toronto, June/05 It is spring now really, well maybe not weather wise but the calendar never lies. Things are blooming everywhere Quilt and Fibre Festivals and Conferences, Touring Exhibitions, Major retrospectives and maybe what could become a Block Buster. That is not counting the numerous Craft Shows that occur every summer.


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OK here goes... in the middle of May I went to the OCAD open house to see what was happening in the Fibrearts department and saw some fun stuff. Fortunately the grad students have a show on right now at the ARTA GALLERY in the Distillery District, “undefined” showcases Fibre along with ceramics and glass. The show runs until June 11 so hurry down and see it and while your there go the *new* GALLERY 416 304 0726 in the Artscape Studio Building and see Dorrie Millerson’s attachments. I went to the opening and was impressed by the way these delicate small needlepoint lace pieces where presented. These evocative works bring the act of remembering and memory to the fore front in a charming and sentimental way that is sincere and non apoplectic. The very physical endurance involved in the creation of the needlepoint lace, like most fibre work can not be brushed aside or separated from the meaning of this intensely personal work. Ownership of ones personal story is as important as making something beautiful and both are acts of defiance in our REALITY TV world.

http://www.fiberartinternational.com/


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Canadian Textiles Studies Fibre Quarterly has compiled a Bibliography of published books since 2000, covering Canadian Textile Arts, Craft, Apparel and Costume history and conservation. We have also included a list of Exhibition Catalogues presenting Canadian fibre and textile artist.

Books CRAFTING IDENTITY: the development of professional fine craft in Canada Sandra Alfody, McGill-Queens University Press, 2005. 300p. ISBN 00773528601. http://www.mqup.mcgill.ca/book.php?bookid=1779 Fashion a Canadian Perspective Edited by Alexandra Palmer University of Toronto Press Incorporation 2004 ISBN 0-8020-8809-0 (CLOTH) ISBN 0-8020-8590-3 (PAPER) http://www.utppublishing.com/pubstore/merchant.ihtml?pid=8049&step=4 Jessie Luther at the Grenfell Mission Edited by Ronald Rompkey McGill Queen's University Press 2004 ISBN 0773521763 (Cloth) http://www.mqup.mcgill.ca/book.php?bookid=767 Silk Stocking Mats: Hooked Mats of the Grenfell Mission Paula Laverty McGill Queen's University Press 2004 Paper 0773525068 http://www.mqup.mcgill.ca/book.php?bookid=1819 Irene Avaalaaqiaq: Myth and Reality Judith Nasby McGill Queen's University Press, 2002 ISBN Paper 0773524401 US rights held by: University of Washington Press http://www.mqup.mcgill.ca/book.php?bookid=742 Nuvisavik: The Place Where We Weave Edited and with a preface by Maria von Finckenstein McGill Queen's University Press 2002 ISNB 0773523359 (paper) US rights held by: University of Washington Press http://www.mqup.mcgill.ca/book.php?bookid=1013 THE UNIVERSITY OF ALBERTA CLOTHING AND TEXTILE COLLECTION DISASTER CONTINGENCY PLAN Alyssa Becker, Shirley Ellis, Elizabeth Richards, Edmonton: University of Alberta, 2002. . ISBN 1551051584.


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CHINESE EMBROIDERY FROM THE COLLECTION OF THE TEXTILE MUSEUM OF CANADA Margaret Vant Erve, Textile Museum of Canada. Toronto: The Canada, 2001, 21 p. THE GUIDE TO ASIAN TEXTILE COLLECTIONS Winnie Nelon, --2nd ed. --Hong Kong: Textile Society of Hong Kong, 2000.310 p. Directories.. ISBN 9628607715.

Exhibition catalogues ISAACS SEEN : 50 years on the art front; a gallery scrapbook Donnalu Wigmore, Hart House, University of Toronto; University of Toronto Art Centre; Textile Museum of Canada; Art Gallery of Ontario, 2005. 168 p. Exhibition in four locations in Toronto, ON, 2005. ISBN 0969438265 THOR HANSEN : crafting a Canadian style Gottlieb, Rachel. Textile Museum of Canada, 2005. 35 p. Exhibition held at the Textile Museum of Canada, Toronto, ON (January- April, 2005). ISBN 0973665610 OVER HERE : Women, work and WWII Maddison, Jolinnene. Gallery Lambton, 2004. Exhibition held at Gallery Lambton Sarnia, London, Chatham, September 4/04 to July 24/.05 ISBN 0771425082. TOUCHED BY INDIGO : Chinese blue-and-white textiles and embroidery / Tsang, Ka Bo. -- Toronto, ON: Royal Ontario Museum, 2004. 83 p. Exhibition catalogues. Exhibition, Royal Ontario Museum, October 2004-February 2005.

HUMAN/NATURE: Contemporary Canadian installation Amy Gogarty, -- Edmonton, Alberta: Visual Arts Alberta Association, 2004. 48 p. Exhibition catalogues. 1. Catalogue for an exhibition shown in Shanghai, Hong Kong, Edmonton, and Saskatoon. Exhibited from April 30, 2004 - February 26,2005

THE GRAND NATIONAL : reflections of Canada Burke, Susan.- Kitchener, ON: Kitchener-Waterloo Art Gallery,2003.60.p Exhibition catalogues. Exhibition held at Kitchener-Waterloo Art Gallery, Kitchener, ON (May -June, 2003) ISBN 0973192615. FIGMENT: fictional realities in the work of Tania Kitchell, Alison Norlen and Minh Nguyen / Harris, George. Two Rivers Gallery, 2002. 20 p. Exhibition catalogues. Exhibition, Two Rivers Gallery, Prince George, BC, (November 22, 2002 - February 9, 2003). ISBN 0969546629


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THE OTHERS: ASINGIT Mathis-Moser, Ursula; Moser, Sybille-Karin. Leopold-Franzens Universitat, 2002. 80 p. First exhibition of Canadian Inuit art in Austria - Innsbruck (May 2002) and Vienna (July-August 2002). Text in English and Austrian. ISBN 3901249567 THE UNDERSIDE OF CLOTHING 7 / Lord, Danielle. – Musee Marsil, 2002.32 p. Exhibition held at Musee Marsil, Saint-Lambert, Quebec (January-April 2002). Text in English and French. ISBN 0921557213 WORKS ON CLOTH: imagery by artists of Baker Lake, Nunavit Judy Kardosh, Robert Kardosh, - Vancouver, BC: Marion Scott Gallery, 2002. 61 p. Exhibition catalogues. Exhibition held at the Marion Scott Gallery, Vancouver, BC (July - August, 2002). ISBN 0921634366 JANICE WRIGHT CHENEY : disorderly creatures;CREATURES DESORDONNEES Lianne McTavish, Rodman Hall Arts Centre, 2001. 28 p. Exhibition catalogues. Exhibition, Rodman Hall, June 24-September 9, 2001. Text in English and French. ISBN 0968892507. GILLIAN COLLYER: Cozy Robin Metcalfe, --London, ON: Museum London, 2001. 16 p. Exhibition catalogues. Exhibition held at Museum London in London, ON (September - November 2001.) Includes bibliographical references. ISBN 1895800552 LOOKING FORWARD new views of the craft object Susan Warner Keene, - Toronto: Ontario Crafts Council, 2000. 55 p. Exhibition catalogues. Exhibition held at the National Trade Centre, Toronto, November December, 2000. ISBN 0921059434 FELT Walker, Kathryn; Hayes, Kenneth. / Museum for Textiles. 2000. 84 p. Exhibition catalogue Exhibition held at the Museum for Textiles (October, 1999 to January, 2000). ISBN 0968441149 HAND AND SPIRIT : an exhibition of works by craftsperson of the Ontario / Crafts Council Northern Region L /Huffitan, Bill. Art Gallery of Sudbury, 2000. 28 p. Exhibition catalogues. Exhibition held at the Art Gallery of Sudbury, Sudbury, ON (June-July 2000).


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Publisher Joe Lewis very hard at work on his computer. Photo by Pete Gaffney

Afterward It is simple really; I have started a journey and found company along the way. I have rambled in a slightly unfocused way, simply because there is so much to look at, talk about. The work that has been done is being done by a large diverse group of creative people will remain inaccessible and unnoticed without a venue of discussion and critic. The Textile Museum in Toronto is a small bit of heaven on earth for those of us that know about it and comes as a pleasant surprise when accidentally found. The ROM, AGO and even the Science Centre are on the radar of the larger public just as paintings are art and crafts are something you make yourself, or are “handmade” at least and can be bought at craft fairs and Antique Malls. Weaving is not knitting and what is the difference between a shawl imported from Indian by Wallmart and one you can by at the art gallery gift shop?


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