Are you currently having a passionate love affair with a particular medium or technique or concept, and would you care to share all the steamy details?
For
me, fabric is a sensual and easily manipulated ground. It can be made
to have weight, mass and texture. It is less constraining than stretched
canvas. It can be dyed, painted, folded, cut, stitched and embroidered
at will. I see this fabric less as cloth and more as un-primed,
un-stretched ground. The processes that I use allow me to build in
texture and layered meaning into my work.
I
am also drawn to the liveliness of the stitch when working with
textiles. The stitch is an entirely different mark-making tool than a
pencil or brush. I don't aim for perfect form when stitching or a
perfect length of stitches - either by hand or machine. I want my
stitches to speak, to add texture, and to sparkle if necessary. I want
my stitching to be individual, a personal expression and not regulated
in any way, not dissimilar from a drawing.
The
other aspect I love about stitching is the ability to create texture.
Texture adds interest to the surface and is something that other
materials do not accomplish to the same extent. I can make the texture
even; make it with slight variations; or create variegated textured
surfaces. The unstitched spaces are as interesting as the stitched
areas. I can also create line with stitch, an important element of
design. Then there is thread colour; I can make that line speak even
more within the work. I think of stitching as an endless opportunity to
create impact.
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| Wild I, 51x45”, hand-dyed, discharged silks and cottons, fabric collage, machine quilted and embroidered |
Describe your sketchbook (or other Vital Idea Capturing Apparatus). Do you work in such a way that there is a great
distance between sketches and finished projects, or are you more likely
to incorporate your sketches directly into your final work?
I
have several sketchbooks on the go at any one time (almost one in every
room – even the car). I also dabble with acrylic painting and
collage. However, when designing with fabric on the wall, I tend not to
use my original ink sketches or acrylic collages as templates for these
larger pieces. Instead they serve as departure points. As I progress, I
become obsessed with every coloured shape of dyed cloth and how it
looks next to its neighbour. I am also careful when sewing a flat,
sometimes curved seam, which unites these shapes and introduces an added
line to the overall composition. The original sketch may sit close by
for a while, but I will progressively move away from it, as I build up
this larger work.
Once
assembled, I then introduce additional line-work and texture to this
new surface using free-motion machine embroidery. At that point, I will
sometimes return to my original sketch for hints as to texture and other
insights that propelled the composition in the first place. This
process allows me to build up these compositions in a personal way. I
want the techniques I use to enhance my subject.
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| Examples of sketchbooks with ink studies |
Are there people in your life who always come through with excellent
input that continually helps you improve your work? What is it that
these people see that makes them so helpful?
In 2001, I came across the work of Nancy Crow.
As I looked at her large bold fabric compositions I realized that
sewing and quilting could be fine art. I was hooked! This was the kind
of work I wanted to do. I pulled an old sewing machine out of a cupboard
and began to teach myself how to sew.
Nancy
Crow pioneered moving the quilt from a traditional craft into an
evolving art form, in particular improvisation and freehand cutting. I
love her creative spirit and artistic insight. I have since endeavoured
to learn as much from her as I can. Below is a snippet from her artist
statement. I include it here as I find it is so powerful:
"When I work on a quilt, I put away all thoughts that are not helpful and channel my energies towards relaxing and becoming one with my fabrics. Since I work intuitively, this is absolutely important. I begin to see shapes in my head and think about how to cut them out of my huge palette of colors that I have hand-dyed in my basement dye studio. I love being inside my brain and pushing myself to think in ever more complex ways because I know the ideas are there for the taking. It's all about being focused and disciplined and making use of one's abilities. And about being alone, in solitude, so one can think and feel deeply without interruption. I have definitely grown far closer to myself rather than to others because I see my quilt making as my experience which has nothing to do with other people."
Do you have any concrete advice about how to do away with artist's block?
When
I need a quick creative fix, I will sketch with whatever is available.
For me, drawing helps me understand what surrounds me. I get to slow
down and look hard at some object as I attempt to sketch it and work in
into a composition. I keep several notebooks going, in almost every
room of my house. Pen and ink are favourites with acrylic paints and
collage (both fabric & paper) as runners up.
When
sketching, I see myself as being on a hunt - searching for shapes,
patterns and objects that move me. I may focus on sketching shadows,
shades, water movement, weather and music. Several small studies serve
as inspiration for larger stitched work. I have also taken up hand
stitching as a form of sketching, small studies can be done quickly -
postcard size (4x6") or less. Working with fabric can be expensive and
time consuming as an art form. These small studies help to keep my work
consistent and focused.
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| ink and paper collage |
Would you say that there is some particular thing that you are
channelling while you work? How would you describe that something?
Anything
is game for me when it comes to working with colour and composition. It
may begin with a news event, a trip, the river that I live on, or the
transport rigs that I routinely drive next to on the 401 Highway near my
home. Any of these have been major sources of creative energy in the
past; however, they are only departure points. They change and evolve as
I work, often causing me great anxiety in the process. My objective is
to produce stitched art that is motivated by metaphors for energy and
movement. The subjects that I wish to address are universal and can
suggest imagery evocative of nature, such as water, flowers, seeds and
on occasion, vegetables.
Are there any colors that give you particular trouble?
Colour is a passion of mine. I collect paint chips of all kind - have a big bin; and love sorting them into several combos. That is how I learn how colours will behave with each other.
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| Example of how a small thumbnail sketch (inset at top right) led to a large quilt top. This piece (working title: Big Red) measures roughly 36 x 48 and is not yet quilted. |
Are there any colors that give you particular trouble?
Colour is a passion of mine. I collect paint chips of all kind - have a big bin; and love sorting them into several combos. That is how I learn how colours will behave with each other.
 |
| paint on paper - complementary colour studies |
Is there a piece you'll (probably) never sell? What is it, and why is it going to be staying with you?
Yes, a whole-cloth quilt I made back in 2005, on the return from a trip to France to commemorate the 60th
anniversary of D Day. This quilt is about the brutal and shattering
effects of war. My uncle was 22 and the bombardier on an RAF Lancaster
when it was shot down over northern France in July 1944. The pilot
struggled to miss the town of Marcilly and the plane crashed into a
nearby beat field with the loss of all aboard. Witnesses said it burned
for 24 hours. The farmer who owns the field told me that even today,
he still ploughs up fuselage and armaments from the site.
For
the imagery I air-brushed fabric paint onto a canvas that had been
previously painted with an acrylic and pastel base. I made three
whole-cloth pieces in rapid succession and submitted them to Quilt
National that September. This piece was accepted.
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| Lancaster Series: Witness 54x59" whole cloth, painted, airbrushed, dry pastel, machine embroidered and quilted |
Do you ever find yourself anthropomorphizing the media you work with or a particular aspect of your process?
Wow
– that is a big word! I had to look it up. Do I attribute 'human
qualities' to the media I use? Such as my sewing machines, my dyed
fabric and thread stashes? You bet. They are my BFFs!
You live in Elizabethtown, Ontario. What opportunities exist locally for fiber artists?
We
have a very active Regional SAQA group here who meet regularly to
organize shows and learning events. I am in awe with the generosity and
sustained hard work of these SAQA organizers. This benefits us all as
there is so little else in this region!
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| Recent fabric collage workshop I delivered in Kingston, Ontario |
Do you have any extremely talented artist friends whose work you'd
like to plug here on the blog? They don't have to be fiber artists,
just super cool folks who could use a little blog love.
I would simply like to direct you to our regional SAQA Central blog: http://saqacentralcanada.blogspot.ca/
You will find an active list of very talented local art quilt members to the right of the HOME page.
Have you ever made a piece that ended up being so unsuccessful that
there was no way to salvage it? What do you think happened, and what
ended up being that piece's eventual fate?
I
keep a healthy stack of ‘less than spectacular’ pieced and stitched
efforts under my cutting table. Some of these are now beds for Lola, my
husky and beloved studio companion. But, more often, I have turned
these upside down, cropped and incorporated them into some very
interesting new mixed-media collages. Lessons learned? I no longer
throw these out or burn them – they are kept for future fabric
adventures…when the time is right.
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| Swept Up, 41x31", 2006, hand-dyed silks, fabric collage, machine quilted |
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| Swept Up, detail |
Thank you so much, Kit Vincent, for answering my questions so well! I hope everyone enjoyed the interview - I was particularly thrilled to see so many sketchbook images and process photos. Nothing enhances my experience of other artists' work more than seeing all the lovely behind-the-scenes moments that go into its creation!
