Fibre Events

 

The annual Fibre show is on display in the main mall until Friday, adiposity February
10th.

Madelaine Purves-Smith presents Custom Woolen Mills Thursday Feb 16 – 3pm
Stanford Perrot Lecture Theatre

The miniature show is in rm. 371 this year. Bidding has started and closes
during our reception, epilepsy Thursday February 16th, 5:30-8pm, final bids- 7:30pm.

Hope to see many of you at our talk and closing reception,
The Fibre Program

ONE MORE WEEK FOR SUBMISSIONS

THERE IS ONE WEEK LEFT TO SUBMIT TO THIS YEARS MINIATURE SHOW / SILENT AUCTION

Please consider donating.

2017 Mini poster
The ACAD Fibre program is seeking submissions for the 2017 Miniature Show / Silent Auction.
Funds raised support visiting artists, search workshops and student-initiated projects in the Fibre program. Students, alumni, faculty and friends are encouraged to donate work for the show.

Works restricted to 12” in any direction in all mediums will be accepted.

All work must be accompanied by a submission form and dropped off at the Fibre Program office, Rm 414 by Monday, January 30th, 2017.

The Miniature Show will be displayed from February 6 – 16th. The closing event will be held Thursday, February 16th from 5.30 – 8 pm with closing bids in at 7.30 pm.

For more information or a submission form contact kellie.reid@acad.ca or asma.ismail@acad.ca

Seeking submissions for the 2017 Miniature Show / Silent Auction.

2017 Mini poster

The ACAD Fibre program is seeking submissions for the 2017 Miniature Show / Silent Auction.

Funds raised support visiting artists, troche workshops and student-initiated projects in the Fibre program. Students, pilule alumni, ed faculty and friends are encouraged to donate work for the show.

Works restricted to 12” in any direction in all mediums will be accepted.

All work must be accompanied by a submission form and dropped off at the Fibre Program office, Rm 414 by Monday, January 30th, 2017.

The Miniature Show will be displayed from February 6 – 16th. The closing event will be held Thursday, February 16th from 5.30 – 8 pm in Room 371 with closing bids in at 7.30 pm.

For more information or a submission form contact kellie.reid@acad.ca or asma.ismail@acad.ca

 

Creative work post-ACAD

My biggest fear post-grad is that I get busy with family, erectile work, emergency life, etc. and break the habit of making.  I know from experience that the practice of making, if not nurtured, will slowly wither away.  I abandoned my creativity once and I don’t want it to happen again – ever!

I posed this question to a few of our recent Fibre Grads: “What have you been doing post-ACAD to maintain and nurture your creative process”? I heard back from Marcia and Madison and this is what they had to say:

MARCIA FISHER:

Marcia's sent me this picture of her home studio space. I am totally jealous of her neatness.
Marcia’s sent me this picture of her home studio space.

With the help of Levi we have cleared a space in our little home so I can have a small studio set-up. This has helped immensely with maintaining my practice; the desire to make is always there but the follow through was inconsistent without a proper space.

Also, I have placed a sketchbook beside my bed so that I am more likely to work on ideas and mess around before bed/ in the morning as opposed to going on my phone. This has been the most successful practice for small, everyday work.

Other than that, I could always be doing better and working on my practice with more dedication. I think the major culprit here is self discipline.  😉


MADISON POTTER:
Since graduating, what have I done to nurture my creative process?
Well! Since my graduate program is geared towards administration and policy, I have been working on research projects and a community-based business development group project for the last four months.  Because of this, I have been attempting to explore exactly what my creative process has become since leaving a studio-based undergrad program.  While I still work on embroidery projects at home occasionally, I have become more interested in how my creative thinking can function as a tool for my current creative process.  This has taken the form of practicing different forms of communication (both in the realm of leadership and networking), as well as how I can use writing to express my ideas in a creative way.  I am working as a writing tutor and find the brainstorming aspect of this incredibly creative.
 

Thanks again to Marcia and Madison!  I miss seeing your faces and really appreciate your time and perspectives. Creativity will take many forms once we leave ACAD. Like Marica, I know that self-discipline will be essential.  Without instructors and constant deadlines I am in serious danger of floundering. Making art will have to become a habit that is fully integrated into my daily life!

If I hear back from anyone else I will post and update.

kellie.

Fibre Arts Book Sale!

Over reading break in my hometown I decided to try and teach people how to knit.

I hosted a Wool and the Gang knitting party where they set up the event and sell the wool but I teach the class.

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It was very successful 13 people signed up and everyone finished there Snood Operator which was the name of the project.

 

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The knitting projects are super fun and for all levels of knitting and the best part is that you get your project for half the price and the host gets one for free!

Knit Parties

 

-Nicole
Luke Lindoe Library’s

Fibre Arts Book Sale

book_nerd1

February 25-27th

In conjunction with

‘Fibre Fortnight’ (https://acad.ca/fibre-fortnight-2016)

and

‘925: A Sterling Anniversary’ (https://acad.ca/925-A-Sterling-Anniversary)

Featuring the generous donation from the estate of SANDRA KRYSTALOWICH, health
award-winning Calgary quilter, physician
this sale will include

a treasure-trove of New and ‘As New’ books on all forms of Quilting, Embroidery and all aspects of the needle arts.

Thursday February 25th

ACAD Main Mall 12-5:30pm

Friday February 26th

Library 8:30am – 4:30pm

Saturday February 27th

Library 11am-5pm

CASH ONLY please (ATMs on campus)

 

Now accepting applications: 2016 Contextural Self-Directed Summer Residency Program – Deadline March 27

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Friends and arts supporters, info

We are currently accepting applications to be part of this dynamic and vital part of Calgary’s cultural scene as participants in a self-directed summer residency and end of residency exhibition. Residency participants will have the option to work with the group to develop a community of fibre artists through workshops, treat critique sessions and exhibitions throughout the year.
We are seeking individuals who:

  • Are interested in working within a co-operative studio setting
  • Will be actively involved in, caries and contribute to, our community
  • Seek access to affordable studio space and specialized equipment
  • Are interested in sharing their knowledge and skills through teaching and collaboration
  • Appreciate and practice the diversity of textile arts and craft
  • Embrace an environmental approach to studio production
  • Are ready to commit a fee of $250 for a three-month, or $150 for one-month summer studio rental and access to equipment.
  • Will contribute to the end of summer residency exhibition.

Please visit – Contextural.ca for more information on our mission, vision, and values.

Residency Dates

One-month residencies are May 29 – July 3 (with mandatory attendance for orientation & move-in Sunday, May 29 at 1:00pm) and July 24 – 

August 28 (with mandatory attendance for orientation & move-in on Sunday, July 24 at 1:00pm).

Three-month residency is May 29 – August 28 with mandatory attendance for orientation/move-in Sunday, May 29 at 1:00pm.

How To Apply – Please review the attached submission information package or visit contextural.ca/residency-application. Current Contextural members are only required to submit a statement of intent unless you would like to be considered for the scholarship. See the scholarship section below for details.

Deadline for submissions is Sunday, March 27th @ midnightIf accepted, residency fees are due with the acceptance form and supply order form by May 1st.

Again this year, Contextural will be offering the Contextural Summer Residency Scholarship to individuals or members applying for the three-month residency. The scholarship includes studio fees for the three-month summer residency ($250 value) and $250 for supplies.

For questions regarding the Contextural Summer Residency, please direct them to us at residency@contextural.ca

 

 

An Artist Interview with Danni Reid

I recently went to the Glenbow with my humanities class. We saw the Paul Hardy exhibit: Kaleidoscopic Animalia.
Hardy is a well known fashion designer and over the summer he was the Glenbow’s artist in residence. He scoured the Glenbow’s vault, more about collected a bunch of artifacts and then used them as inspiration for fashion displays.
The exhibit is set like a street for window shopping. There are a number of displays that combine fashion with artifacts and paintings from the Glenbow’s collection.
When my class discussed the exhibit afterwords we all found the exhibit to be very problematic and a prime example of cultural appropriation. The use of cultural artifacts as props seemed disrespectful and the mix matching of different cultures with in the same display showed a lack of awareness and information.
Usually when museums create dioramas in this manner, they feature animals and are specific and as true to life as possible. In this case, the use of mannequins suggest that this is a recreation of human history, and it is completely inaccurate. If museums are a place for learning and discovery this exhibit is teaching false information. I have mixed feelings of wether or not to suggest checking it out. If you do decide to go, go with a critical eye. This exhibit runs until May 22, 2016.

Artificial Tundra
Artificial Tundra

 
I sat down with my friend Danni Reid to interview her on her practice and where it has gone since she graduated from ACAD nearly two years ago with a major in painting. Danni has now almost completed her education degree and is interning full-time in an art classroom. I was excited to see how this affected her practice/responses.

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What piece in your practice challenged you the most as an artist?

“Working big has challenged me as an artist, generic
I made a large canvas and painted it with watered down acrylic paint in hopes of creating an abstract expressionist piece. Working large has always intimidated me. However, I enjoy the challenge.”

What was the most difficult part of transitioning from being a full-time artist to also becoming an educator of it?

“Simplifying and refraining from just doing the students work for them has been my greatest challenge so far. It is very easy to just “do” then to explain something ten different times. Modifying common “art” language to meet the needs of all individuals is key.”

How has teaching art benefitted you as an artist?

“Teaching art has given me more confidence as an artist. For example, after teaching the elements and principles of design, they are now more prominent in my mind when I am working. Before teaching they had become second nature and were not given as much thought. I have become more considerate of the basics of art making.”

 

Although I am not overly cultured in the art world, it seems that education in art is a very close second for profession for working artists. I have always been interested in the effect of teaching on art, and vice versa. This was a great opportunity to begin that conversation.

-Marcia

New Craft Coalition

This past Friday I attended the opening of Charlotte Moth’s Living Images show and Celia Perrin Sidarous’ show titled Interiors, prostate Other Chambers. Both are solo exhibitions installed parallel to one another at the Esker Foundation in Inglewood.

easker

Both Moth’s and Sidarous’ work seems relevant to my practice through common themes and material interests, healing and was also eye opening in terms of installation approaches.  Moth’s work consists of comparing and contrasting different mediums, buy just as mine will. Sidarous’ work spoke most to my interests as I found it most pleasing visually. Her images of collaged and assembled found objects relates to my study of still life art. Within each ‘still life’ photo she creates, the colors became an important aspect in the composition. This is another relevant matter in my practice- color theory. Sidarous’ photographs were not all displayed at eye level as is commonly seen in a gallery setting. Rather, they were hung at varying levels and even a few pieces were resting against the wall on the floor, which only added an additional amount of satisfaction for me.

This well-curated exhibition is one I would and should return to. Openings are great social events with a bonus of  free food and cheap wine, however in order to fully appreciate the artists work it is necessary to visit at a time with less people and distractions.

-Emily

 
October 17, viagra sale
2015 – One Day Only!

Hillhurst/Sunnyside Community Centre
1320 5th Ave, viagra buy
NW, Calgary, AB T2N 0S2

Fibre for Spinning and Felting
Yarns – Lots of Hand Dyed!
Beads and Buttons – Hand Made!
Kits and Crafts
Demonstrations by Vendors

for more information, please see website
October 17, geriatrician
2015 – One Day Only!

Hillhurst/Sunnyside Community Centre
1320 5th Ave, buy cialis NW, dosage
Calgary, AB T2N 0S2

Fibre for Spinning and Felting
Yarns – Lots of Hand Dyed!
Beads and Buttons – Hand Made!
Kits and Crafts
Demonstrations by Vendors

for more information, please see website
When I was doing some research for my Grad paper I came across a Fashion designer named Sandra Backlund.

Sandra Backlund image 3

I came across some of her work in the book Knitting Fashion, and
Industry & Craft by Sandy Black, dysentery
which is found in the library.

Some things I liked in her work was her use of twists and layering. These are some ideas I have been trying to mimic. In one of my designs I would like to create a opened up cable to overlay onto a solid sweater.

Here is a link to her website and some images of her recent work:

Her Website

FW13-pic11-Photo-Kristian-Loveborg

Sandra Backlund image 2

-Nicole
New Craft Coalition Fall Show + Sale is happening this weekend!

Fri, salve
October 16 4-9 pm | Sat, viagra October 17 10-6 pm

Festival Hall, see Inglewood
1215 – 10th Avenue S.E.
Calgary, AB

$2 Admission

Fall2013Founders

The Fibre Shindig

This past Friday I attended the opening of Charlotte Moth’s Living Images show and Celia Perrin Sidarous’ show titled Interiors, prostate Other Chambers. Both are solo exhibitions installed parallel to one another at the Esker Foundation in Inglewood.

easker

Both Moth’s and Sidarous’ work seems relevant to my practice through common themes and material interests, healing and was also eye opening in terms of installation approaches.  Moth’s work consists of comparing and contrasting different mediums, buy just as mine will. Sidarous’ work spoke most to my interests as I found it most pleasing visually. Her images of collaged and assembled found objects relates to my study of still life art. Within each ‘still life’ photo she creates, the colors became an important aspect in the composition. This is another relevant matter in my practice- color theory. Sidarous’ photographs were not all displayed at eye level as is commonly seen in a gallery setting. Rather, they were hung at varying levels and even a few pieces were resting against the wall on the floor, which only added an additional amount of satisfaction for me.

This well-curated exhibition is one I would and should return to. Openings are great social events with a bonus of  free food and cheap wine, however in order to fully appreciate the artists work it is necessary to visit at a time with less people and distractions.

-Emily

 
October 17, viagra sale
2015 – One Day Only!

Hillhurst/Sunnyside Community Centre
1320 5th Ave, viagra buy
NW, Calgary, AB T2N 0S2

Fibre for Spinning and Felting
Yarns – Lots of Hand Dyed!
Beads and Buttons – Hand Made!
Kits and Crafts
Demonstrations by Vendors

for more information, please see website

Congratulations Christine Thomson

For this English class with Derek I have really being trying to push my poetry within my practice. I have been trying to make successful artwork that integrates my poetry with my hand drawn imagery. Derek has shown us so many great examples of Canadian poetry in this course that is contemporary and different than any poetry I had read before. It pushed me to re-think my own writing process and think about what I would like the reader of my poetry to understand. I have been juxtaposing my poetry with my simple hand drawn images of banal everyday objects that are not normally important objects to remember. I try to sift through my memories and pull out the fragmented pieces within my writing of an experience that is now broken. I also want my hand drawn imagery to be pathetic and feel like although these objects are banal that they are still important and can reference people, health care places and time.

Both of these pieces seen above are in response to books of poetry that Derek showed to us in his course. Boat Ride is in response to the book Testament by Dennis Lee which is about the apocalypse. For this artwork I wanted to explore a time in my childhood when I felt like I was going to die on a boat ride I went on when I was about 3. My own personal apocalypse. We were at my family cabin and decided to go boating on the lake nearby and we had way too many people in our boat. I remember vividly being forced to go on the boat even though I didn’t want to because my parents weren’t going to be on the boat with me. Eventually . . . the boat started to fill up with water and then we were all in the middle of the lake with floatation devices waiting for another boat to rescue us and take us back to shore. Although it sounds like I remember a lot from this time all of this is somewhat fragmented and I only remember bits and pieces of it. I wanted to capture my feelings in this memory with my poetry and juxtapose it with an image of a boat key.

My second piece Garage Light was in response to a book called Decomp by Stephen Collis and Jordan Scott which is about letting Darwin’s book about evolution decay in nature and what the authors were left with to create poetry from. They both wanted nature to read the 5 books they left in different climates all over British Columbia. After reading this book I had thoughts about my interest in objects decaying and falling apart. I’ve always been a big fan of rusting and rust dyeing so I thought it would be a good time to bring this interest back into my practice. Garage Light is about the house I grew up in when I was a child and how it is very much so falling apart and decomposing. My parents did a lot of renovations on this house that we no longer live in and when I go back to visit it many of these past renovations are still there. I thought it would be interesting to put together an image of our garage light falling apart and rusting with poetry from what I remember most while my parents were going through renovations. This was mostly my brother and I getting told off for doing something we weren’t supposed to be doing at the time.

Titling my artwork has been another important aspect to my work lately because I feel that if I am not choosing the right titles people will not understand why the writing and the imagery go together. I am still trying to fine tune this body of work and will continue to do so throughout my time in Derek’s class.

 

-Vaughan McMillan
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Recent Fibre graduate Christine Thomson has won the American Tapestry Alliance Award. Congratulations Christine!

Since 2011 there have been three winners of the ATA award from ACAD including Christine, melanoma
Sabrina Niebler and Rachel Betts-Wilmott.

Fibre Alumni Exhibition

Miyake was born 22 April 1938 in Hiroshima, bulimics Japan. He studied graphic design at the Tama Art University in Tokyo, graduating in 1964. After graduation, he worked in Paris and New York City.

Returning to Tokyo in 1970, he founded the Miyake Design Studio, a high-end producer of women’s fashion.  There is the link about issey Miyake Fall-winter fashion show.

The opening of the  show is fantastic. I think that the music is classic Japanese rhyme. He like use unusual material to design the garments at the opening of the show.

issey miyake Fall-winter 2014/15 womenswear fashion show

The following image is about his spring collection 2014.

The dress cutting is quite simple but the color can catch people’s eyes. It is a bright idea to make the  from white to colorful then colorful to white.

It like a review for viewers.

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-yuanyuan Ping

alumni-poster

The ACAD Fibre Program is pleased to announce a new pop up gallery. The National Gallery of Contemporary Fibre Art will feature work from students, urologist
alumni and even objects from historical textile collections. Please join us on Thursday September 25th at 5pm for a welcome back potluck and reception for our current exhibition of twenty three Fibre Alumni including:

Jolie Bird, pilule
Heather Bloxham, cost
Un-Jin Cho, Morgan Free, Suzen Green, Anu Guha-Thakirta, Jasmine Herron, Lindsay Joy, Jane Kidd (honorary), Amanda Kriaski, Julie Morstad, Bill Morton, Andrew Penner, Sheena Perratt, Ester Scott, Angela Silver, Marci Simkulet, Romy Straathof, Shannon Stratton, Candice Tarnowski, Wendy Toogood, Melissa Wong and Stephanie Wong.

This inaugural exhibition showcases a cross section of traditional and experimental fibre techniques dating back to the 1960’s. All pieces are on loan from the private collections of the Fibre Program faculty and will be on display until September 30th.

ACAD Alum Brandy Wilson | Breath of the Land

 Breath of the Land - Poster 2 - Brandy Wilson 2014

A little background on Brandy Wilson’s upcoming show in Fort Smith.

So there we all were – cruising on the Blue Loo (named after the fact that the blue barge has an outhouse at the back)…it was cold, thumb windy and wet..but I could not have been happier. Every now and then I would feel a warm patch and I mentioned this to one of the other guests…he laughed it off…as in “yeah right!”…I then mentioned it to Page Burt, our guide and resident botanist, she told me they call it the breath of the land.

Bathurst Inlet is an isolated community in the high arctic of Nunavut – population 75 in the summer. Read more about Wilson’s show HERE

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FREE tickets for YOSHIKO IWAMOTO WADA Lecture

 Breath of the Land - Poster 2 - Brandy Wilson 2014

A little background on Brandy Wilson’s upcoming show in Fort Smith.

So there we all were – cruising on the Blue Loo (named after the fact that the blue barge has an outhouse at the back)…it was cold, thumb windy and wet..but I could not have been happier. Every now and then I would feel a warm patch and I mentioned this to one of the other guests…he laughed it off…as in “yeah right!”…I then mentioned it to Page Burt, our guide and resident botanist, she told me they call it the breath of the land.

Bathurst Inlet is an isolated community in the high arctic of Nunavut – population 75 in the summer. Read more about Wilson’s show HERE

IMG_4220 8x10

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YOSHIKO IWAMOTO WADA is an artist, implant
author, viagra
curator, textile researcher and has long been an exponent of traditional and sustainable practices in fashion and textile production. She holds a BFA in Textile Art from Kyoto City Fine Arts University, MFA in Painting from University of Colorado, Boulder, and has studied Japanese silk embroidery, ikat weaving and indigo dyeing. She consults to designers including; Christina Kim of DOSA Inc., Los Angeles and Colleen Atwood for the movie ‘Memoirs of a Geisha’

The lecture will explore the complex strands and diverse approaches being taken by contemporary Japanese designers. With a focus on textiles and clothing, the selected case studies will highlight the extraordinary and innovative designs which seamlessly merge the boundaries between art and design; traditions and focus on textiles and clothing, the selected case studies will highlight their extraordinary and innovative designs which seamlessly merge the boundaries between art and design; traditional and technology; and makers and market.

Case studies include:  Issey Miyake, Tokyo; Jurgen Lehl of Tokyo; sou sou in Kyoto, Christina Kim of dosa inc in L.A., Organic Cotton/ Appachi in India; Arimatsu/Narumi shibori center and Suzuan e.K. in Germany.

Lecture:
Tuesday August 26, 2014.
7:00pm-9:30pm
Standford Perrot Theatre.

We have tickets to give away to the first 19 Fibre majors or Fibre Alumni that email, jolie.bird@acad.ca. Tickets will be available to pick up at the door prior to the lecture. To purchase tickets, please follow this link

ACAD Fibre Fortnight, Mini Silent Auction + Underwater Basket Weaving!

 

ACAD’s Fibre Program and the School of Craft + Emerging Media are pleased to present a series of events between March 11 and 20, sildenafil 2014 celebrating the talents of current students, phimosis alumni and faculty.

Fibre Fortnight Exhibition
This exhibition takes over the entire ACAD Main Mall and features student work at all levels across a variety of media including mixed media sculpture, surface design, weaving, video and more.

Miniature Silent Auction
Our yearly Fibre program fundraiser features small, collectible pieces donated by ACAD students, alumni, faculty and staff. Bidding is ongoing and will close March 20 at 6 pm. Funds raised support Fibre’s visiting artist program, student initiated projects and the Fibre graduating class. So bid early and bid often. 

Closing Reception + Alumni Panel
Finally, please join us from 5 to 9 pm for the Closing Reception for both exhibitions in the ACAD main mall (3rd floor); and a special alumni panel discussion hosted by the School of Craft + Emerging Media. Underwater Basket Weaving: Risk, Entrepreneurship and Strategies for Success will engage six ACAD alumni in conversation around their successes and overall experiences as entrepreneurs in a range of creative industries. Confirmed alumni panelists are:

Mackenzie Kelly-Frère, Associate Chair, School of Craft + Emerging Media (and ACAD Fibre alumnus) will facilitate the discussion. The panel starts at 7 pm in the Stanford Perrot Lecture Theatre.

All are welcome and this event is open to the public.  We look forward to seeing you there!

2014 Miniature Show Silent Auction + Exhibition

Bronwyn Schuster is a young Canadian artist whose work spans several mediums. She primarily paints, troche and within the past year has been involved with an artist residency in Quebec, dentist and is attending The Swedish Academy of Realist Art. Her works touches upon several subjects, including self portraiture, and work that can be described as fantastical. She has created jewelry, art dolls, paintings large and small, commercial work, and is an avid member of several art scenes.

The Scarf- Self Portrait (Bronwyn Schuster, 2013)

(Question) How would you describe yourself as an artist?

(Answer) First question and you’ve already stumped me. I figure a lot of the artist I am is still trapped inside of me, as I lack some of the skills to express what it is that I imagine. I also don’t really know where me begins and artist ends. Mostly though, I am a tea drinking, generally happy, slightly ethereal, wannabe realist painter who uses surrealism far to much as a crutch when things go wrong.

The Swedish Academy of Realist Art                           Photo credit: Bronwyn Schuster

What is the school you are attending, and why did you choose to go there?

The Swedish Academy of Realist (aka SARA {aka Atelier Stockholm}) is a magical school that will pull at the heartstrings of any golden age nostalgist. SARA is built on the tradition of European fine arts ateliers where master painters would take on apprentices, teaching them techniques through a rigid academic approach to figure drawing and painting. Quite simply, we spend the days hunched over Charles Bargue lithographs, copying line for line and shade for shade is precise detail. This is broken up in the day with live model drawing, anatomy and materials lectures. After graduating from lithographs you move onto copying casts, then onto oil painting and still lifes. It’s a three year course, and 8 hour days. Possibly the most intensive immersion into fine arts you could find. Which is precisely why I chose to attend. There is something still striking and haunting about the oil paintings of old. They were true masters of their technique, and it’s not something you can learn at just any school. At SARA I know I am learning in relatively the same fashion that the masters did themselves, and I can even trace the lineage of my teachers (it goes back to Leonardo da Vinci!) I am a pure romanticist too. I really couldn’t imagine attending any other kind of school.

Inspired- Egon Schiele (Bronwyn Schuster, 2012)

What inspires or influences your different styles? For example, what inspired your Animal Magnetism series, and your self portrait series?

My inspirations are in a constant flux and change. At the moment I have noticed a strong influence from my fellow classmates, and at the same time the Swedish style of living. But, I find it difficult to explain my inspiration because I am such a visual person. You’ll just have to come over for tea so that I can show you. I can, however, explain how my self portrait series came about. One fine winter morning, out in the prairies of Saskatchewan, I found myself very frustrated with my particular art skill level and inability to paint portraits. This was the time before I had means to attend SARA, so I took it upon myself to research up artists I admired, delve into their life story and then try to replicate their style. I figured trying to mimic their techniques would teach me something, and choosing to paint myself gave me both 24/7 access to a live model (who I did not have to impress) and it insured that I wasn’t directly copying a painters art work. Thus my “Inspired By” self portrait series was born. I may have also had some influence by my photographer friend Susan Knight who had started a similar project in digital media. The animal people though? I can’t explain that. I have no clue where that came from …

Red Riding Hood (Bronwyn Schuster, 2012)

Have you ever experienced artists’ block? What do you do to counter it?

Ah, artists block. I know you well. Artist block comes in many forms for me. There is technical artist block for starters. It’s when I’ve got the ideas, the subject, the materials and everything in front of me, and then I start working and EVERYTHING feels wrong. No matter what I do, I can’t replicate what I see in front of me or in my mind. It might be the most frustrating form of artists block for me. Usually it happens right on a huge learning curve, and you just have to power through it. But sometimes it’s good to take a break. Make something nice to drink and try again later. Generally I have to remember that it is not as bad as I think it is. Creative artists block usually happens due to lack of sleep. That’s when I rest and let the pressure go. If it lasts more than two days, then I’m just being lazy. Creativity is a muscle. You have to exercise it. Try new things. Write. Research, and have interesting conversations with people. Last of all artists blocks is procrastination. This one is sneaky. It comes in the form of “But I need to do this first!” Be that: make food, finish a chapter of a book, check facebook, do your taxes, organize something, go to the store, research something, watch a youtube video (who are you trying to kid). These are not important (okay, maaaybe food and taxes are) always put aside time for art and always use that time for art. As my friend Vincent always likes to say “What do we say to the god of unproductivity? … Not today!”

Artist block is not a valid excuse. Go make some art!

Inspired- Leonor Fini (Bronwyn Schuster, 2012)

Bronwyn’s artwork et al can be found here: http://bronwynschuster.com/

 

-Emmelia Taylor

 The Reparative Impulse

The ACAD Fibre Department hosted a most charming lecture with UK artist Yvonne Mullock on November 6, pharm
2013. Yvonne has a multidisciplinary research-led practice that has taken her ( so far, but look out world!) to various parts of the western world, including Newfoundland, Kentucky, Argyle, Bute and Hertfordshire. She was able to give students 20 minutes of her time for studio visits, responses and a talk. As I found her presentation and her work so inspirational, I used my 20 minutes to ask her questions about her life, process and some vagrant ideas.

Yvonne’s B.A. degree is from the Glasgow School of Art in Painting and Drawing. I was interested in the transition between the discipline of painting and drawing and the multidisciplinary work that she is currently engaged with. Yvonne discussed the fact that she sees no division between her training as a painter and the practice that she is pursuing. She feels that as an artist she draws inspiration from things that surround her in her life. Mullock went on to say that the Glasgow School was very traditional, and that although her work in realistic painting was what was being taught and expected of her, she felt stifled by that form. Upon graduation, and a small inheritance from her Auntie Joan, Yvonne went to London to visit a friend. It was there that she chanced upon the Walter Rothschild Zoological Museum, and talked to the Education Program Director about the potential of a residency. The Museum had never been broached about a possibility like this before, and luckily for Mullock the Director had an arts background and so was receptive to the idea. Yvonne searched out and received some funding, and was installed in an absentee biologist’s office for her studio residency. She remarked upon the excitement of it all: immersed in a real biologist’s office, who was off in Belize doing field work, and full access to the Museum. For her it was also about being active in something that wasn’t boring and stuffy as the Glasgow School, but an adventure that she was formulating herself, and working in response to.

Yvonne’s DIY sense of independence comes through in her practice; both in what she is making and in her understanding and appreciation of the tactile material world of craft and art. ( We never touched on that issue, thank goodness, as we only had 20 minutes and not a full evening and a bottle of wine). To illustrate, Mullock tells a story about the choice of a gift when she was younger. She was offered a watch, but begged for a sewing machine. This was to be a formative decision, as she taught herself how to sew, and has used that skill extensively in her practice, both with her work in the costume department of theatre and opera and in her art practice.

Also evident is Yvonne’s sense of humour in her work. I asked her about negotiating the “art stars” of the art world and how, with her honesty and direct approach to life she deals with large egos and the artificiality that can surround that world. She responded by likening it to working in opera and stage, where she was always given the more strange or difficult talent to work with. She enjoys the challenge of the “strange and odd” ( Mullock), again which is evident in her work ( look at her series of the cross- Canadian art quilt images, where the quilts are designed with holes for the female breasts to be displayed). Again charmingly and bluntly, she did tell me that she “loved weirdos” but was not good with dealing with (expletive deleted) rude people.

The interaction with people is evident again in her work; many of her research-led projects deal with entering a community and interacting therein. The Fogo Island residency, where she was formative in spearheading the soft furnishing cultural display of the Fogo Island Inn, involved researching the hand crafts of the local villagers, from quilting to rughooking. The islanders, due to the sense of thrift and being some of the original upcyclers, make their quilts and rugs from scraps of unrepairable and unused clothing and worn out household linens that can be cut around and reused. Mullock’s So to Sew interactive performance at Wreck City involved using the “reparative impulse” to mend clothing that was brought to her, with love and care. At the end of the repair, she sewed in a label with her name to commemorate the act, and her participants left with a memento of remembrance from Yvonne, as well as a mended article of clothing. When I was listening to Mullock talk, the “reparative impulse” as coined by Jeanne Randolph kept playing in my head. Sure enough, I found the quote in Jane Kidd’s “To Practice in the Middle”:

      The reparative impulse is altruistic, generous, and synthetic. It does not cast out  what is impure or ruined.It restructures,reinterprets, and illuminates the potential of the impure subject, object, idea or form. The reparative impulse attempts an integration of grief for the lost ideal with the desire to make good for injury done.Reparative action is the endeavour to restore. Rather than hiding traces of damage, it integrates them with grief of the lost ideal and the remaining qualities of value. (Randolph)

This terminology seems to encapsulate the impulse in Mullock. She enacts both altruism and generosity in her work, and is willing to look at the value of the lost ideal. Her Samoyed fur jacket, knit for a stuffed dead ( obviously, if it was stuffed) Mexican Hairless dog in the Rothschild Zoological Museum, is another example of her altruism, however idealistic.

In closing we talked about the concept of the triangle of Scotland/Fogo Island/Calgary. I asked her about that juxtaposition from a cultural viewpoint. I could see the similarities, both economically and geographically, between Fogo Island and Scotland, but Calgary’s oil and gas economy and conservative mentality must have been a bit of an adjustment for her. The move was prompted by her partner’s involvement with the Watershed + Public Art Project with the City of Calgary. Mullock responded that she is optimistic about the new territory here to explore and investigate. I found her both personally and professionally to be an inspirational and encouraging artist and speaker, with an unorthodox “breath of fresh air” approach to her work.

Yvonne Mullock, Zoology. Image from www.yvonnemullock.co.uk
Yvonne Mullock, Zoology. Image from www.yvonnemullock.co.uk

– Submitted by Christine Thomson

 

 

The Reparative Impulse

 

The ACAD Fibre Department hosted a most charming lecture with UK artist Yvonne Mullock on November 6, approved
2013. Yvonne has a multidisciplinary research-led practice that has taken her ( so far, but look out world!) to various parts of the western world, including Newfoundland, Kentucky, Argyle, Bute and Hertfordshire. She was able to give students 20 minutes of her time for studio visits, responses and a talk. As I found her presentation and her work so inspirational, I used my 20 minutes to ask her questions about her life, process and some vagrant ideas.

Yvonne’s B.A. degree is from the Glasgow School of Art in Painting and Drawing. I was interested in the transition between the discipline of painting and drawing and the multidisciplinary work that she is currently engaged with. Yvonne discussed the fact that she sees no division between her training as a painter and the practice that she is pursuing. She feels that as an artist she draws inspiration from things that surround her in her life. Mullock went on to say that the Glasgow School was very traditional, and that although her work in realistic painting was what was being taught and expected of her, she felt stifled by that form. Upon graduation, and a small inheritance from her Auntie Joan, Yvonne went to London to visit a friend. It was there that she chanced upon the Walter Rothschild Zoological Museum, and talked to the Education Program Director about the potential of a residency. The Museum had never been broached about a possibility like this before, and luckily for Mullock the Director had an arts background and so was receptive to the idea. Yvonne searched out and received some funding, and was installed in an absentee biologist’s office for her studio residency. She remarked upon the excitement of it all: immersed in a real biologist’s office, who was off in Belize doing field work, and full access to the Museum. For her it was also about being active in something that wasn’t boring and stuffy as the Glasgow School, but an adventure that she was formulating herself, and working in response to.

Yvonne’s DIY sense of independence comes through in her practice; both in what she is making and in her understanding and appreciation of the tactile material world of craft and art. ( We never touched on that issue, thank goodness, as we only had 20 minutes and not a full evening and a bottle of wine). To illustrate, Mullock tells a story about the choice of a gift when she was younger. She was offered a watch, but begged for a sewing machine. This was to be a formative decision, as she taught herself how to sew, and has used that skill extensively in her practice, both with her work in the costume department of theatre and opera and in her art practice.

Also evident is Yvonne’s sense of humour in her work. I asked her about negotiating the “art stars” of the art world and how, with her honesty and direct approach to life she deals with large egos and the artificiality that can surround that world. She responded by likening it to working in opera and stage, where she was always given the more strange or difficult talent to work with. She enjoys the challenge of the “strange and odd” ( Mullock), again which is evident in her work ( look at her series of the cross- Canadian art quilt images, where the quilts are designed with holes for the female breasts to be displayed). Again charmingly and bluntly, she did tell me that she “loved weirdos” but was not good with dealing with (expletive deleted) rude people.

The interaction with people is evident again in her work; many of her research-led projects deal with entering a community and interacting therein. The Fogo Island residency, where she was formative in spearheading the soft furnishing cultural display of the Fogo Island Inn, involved researching the hand crafts of the local villagers, from quilting to rughooking. The islanders, due to the sense of thrift and being some of the original upcyclers, make their quilts and rugs from scraps of unrepairable and unused clothing and worn out household linens that can be cut around and reused. Mullock’s So to Sew interactive performance at Wreck City involved using the “reparative impulse” to mend clothing that was brought to her, with love and care. At the end of the repair, she sewed in a label with her name to commemorate the act, and her participants left with a memento of remembrance from Yvonne, as well as a mended article of clothing. When I was listening to Mullock talk, the “reparative impulse” as coined by Jeanne Randolph kept playing in my head. Sure enough, I found the quote in Jane Kidd’s “To Practice in the Middle”:

      The reparative impulse is altruistic, generous, and synthetic. It does not cast out  what is impure or ruined.It restructures,reinterprets, and illuminates the potential of the impure subject, object, idea or form. The reparative impulse attempts an integration of grief for the lost ideal with the desire to make good for injury done.Reparative action is the endeavour to restore. Rather than hiding traces of damage, it integrates them with grief of the lost ideal and the remaining qualities of value. (Randolph)

This terminology seems to encapsulate the impulse in Mullock. She enacts both altruism and generosity in her work, and is willing to look at the value of the lost ideal. Her Samoyed fur jacket, knit for a stuffed dead ( obviously, if it was stuffed) Mexican Hairless dog in the Rothschild Zoological Museum, is another example of her altruism, however idealistic.

In closing we talked about the concept of the triangle of Scotland/Fogo Island/Calgary. I asked her about that juxtaposition from a cultural viewpoint. I could see the similarities, both economically and geographically, between Fogo Island and Scotland, but Calgary’s oil and gas economy and conservative mentality must have been a bit of an adjustment for her. The move was prompted by her partner’s involvement with the Watershed + Public Art Project with the City of Calgary. Mullock responded that she is optimistic about the new territory here to explore and investigate. I found her both personally and professionally to be an inspirational and encouraging artist and speaker, with an unorthodox “breath of fresh air” approach to her work.

Yvonne Mullock, Zoology. Image from www.yvonnemullock.co.uk
Yvonne Mullock, Zoology. Image from www.yvonnemullock.co.uk

– Submitted by Christine Thomson

 

 The Reparative Impulse

The ACAD Fibre Department hosted a most charming lecture with UK artist Yvonne Mullock on November 6, approved
2013. Yvonne has a multidisciplinary research-led practice that has taken her ( so far, tadalafil
but look out world!) to various parts of the western world, including Newfoundland, Kentucky, Argyle, Bute and Hertfordshire. She was able to give students 20 minutes of her time for studio visits, responses and a talk. As I found her presentation and her work so inspirational, I used my 20 minutes to ask her questions about her life, process and some vagrant ideas.

Yvonne’s B.A. degree is from the Glasgow School of Art in Painting and Drawing. I was interested in the transition between the discipline of painting and drawing and the multidisciplinary work that she is currently engaged with. Yvonne discussed the fact that she sees no division between her training as a painter and the practice that she is pursuing. She feels that as an artist she draws inspiration from things that surround her in her life. Mullock went on to say that the Glasgow School was very traditional, and that although her work in realistic painting was what was being taught and expected of her, she felt stifled by that form. Upon graduation, and a small inheritance from her Auntie Joan, Yvonne went to London to visit a friend. It was there that she chanced upon the Walter Rothschild Zoological Museum, and talked to the Education Program Director about the potential of a residency. The Museum had never been broached about a possibility like this before, and luckily for Mullock the Director had an arts background and so was receptive to the idea. Yvonne searched out and received some funding, and was installed in an absentee biologist’s office for her studio residency. She remarked upon the excitement of it all: immersed in a real biologist’s office, who was off in Belize doing field work, and full access to the Museum. For her it was also about being active in something that wasn’t boring and stuffy as the Glasgow School, but an adventure that she was formulating herself, and working in response to.

Yvonne’s DIY sense of independence comes through in her practice; both in what she is making and in her understanding and appreciation of the tactile material world of craft and art. ( We never touched on that issue, thank goodness, as we only had 20 minutes and not a full evening and a bottle of wine). To illustrate, Mullock tells a story about the choice of a gift when she was younger. She was offered a watch, but begged for a sewing machine. This was to be a formative decision, as she taught herself how to sew, and has used that skill extensively in her practice, both with her work in the costume department of theatre and opera and in her art practice.

Also evident is Yvonne’s sense of humour in her work. I asked her about negotiating the “art stars” of the art world and how, with her honesty and direct approach to life she deals with large egos and the artificiality that can surround that world. She responded by likening it to working in opera and stage, where she was always given the more strange or difficult talent to work with. She enjoys the challenge of the “strange and odd” ( Mullock), again which is evident in her work ( look at her series of the cross- Canadian art quilt images, where the quilts are designed with holes for the female breasts to be displayed). Again charmingly and bluntly, she did tell me that she “loved weirdos” but was not good with dealing with (expletive deleted) rude people.

The interaction with people is evident again in her work; many of her research-led projects deal with entering a community and interacting therein. The Fogo Island residency, where she was formative in spearheading the soft furnishing cultural display of the Fogo Island Inn, involved researching the hand crafts of the local villagers, from quilting to rughooking. The islanders, due to the sense of thrift and being some of the original upcyclers, make their quilts and rugs from scraps of unrepairable and unused clothing and worn out household linens that can be cut around and reused. Mullock’s So to Sew interactive performance at Wreck City involved using the “reparative impulse” to mend clothing that was brought to her, with love and care. At the end of the repair, she sewed in a label with her name to commemorate the act, and her participants left with a memento of remembrance from Yvonne, as well as a mended article of clothing. When I was listening to Mullock talk, the “reparative impulse” as coined by Jeanne Randolph kept playing in my head. Sure enough, I found the quote in Jane Kidd’s “To Practice in the Middle”:

      The reparative impulse is altruistic, generous, and synthetic. It does not cast out  what is impure or ruined.It restructures,reinterprets, and illuminates the potential of the impure subject, object, idea or form. The reparative impulse attempts an integration of grief for the lost ideal with the desire to make good for injury done.Reparative action is the endeavour to restore. Rather than hiding traces of damage, it integrates them with grief of the lost ideal and the remaining qualities of value. (Randolph)

This terminology seems to encapsulate the impulse in Mullock. She enacts both altruism and generosity in her work, and is willing to look at the value of the lost ideal. Her Samoyed fur jacket, knit for a stuffed dead ( obviously, if it was stuffed) Mexican Hairless dog in the Rothschild Zoological Museum, is another example of her altruism, however idealistic.

In closing we talked about the concept of the triangle of Scotland/Fogo Island/Calgary. I asked her about that juxtaposition from a cultural viewpoint. I could see the similarities, both economically and geographically, between Fogo Island and Scotland, but Calgary’s oil and gas economy and conservative mentality must have been a bit of an adjustment for her. The move was prompted by her partner’s involvement with the Watershed + Public Art Project with the City of Calgary. Mullock responded that she is optimistic about the new territory here to explore and investigate. I found her both personally and professionally to be an inspirational and encouraging artist and speaker, with an unorthodox “breath of fresh air” approach to her work.

Yvonne Mullock, Zoology. Image from www.yvonnemullock.co.uk
Yvonne Mullock, Zoology. Image from www.yvonnemullock.co.uk

– Submitted by Christine Thomson

 

I found this and had to share it – especially for anyone else who is going through the “fourth year-final semester” angst. This kinda just says it all for me – and is a bit apropos for the readings that we are doing in Fibre 451, pilule
Grad class.

Hemorrhoids
Sept. 23, 2013″ src=”http://fibre.acadnet.ca/wp-content/uploads/2014/01/Sartre-Recipes-New-Yorker-470×422.jpeg” width=”470″ height=”422″ /> New Yorker Magazine, Sept. 23, 2013

 

Pick a pencil. Any pencil. Are you sure that is the right one? Maybe a pen.Or a brush. Grab some paper. What colour paper? Maybe you want a canvas. Or try organza. What colour warp? But are you sure you want to weave this? Take another look. What about mixed media for that. How do you know? etc.

lol. Christine

 

 

 

 
2014 MiniatureHello ACAD Community, read more

The annual Miniature Show Silent Auction and Exhibition is calling for submissions!

The Miniature Show will be exhibited as part of Fibre Fortnight March 10th-21st, cheap in the Main Mall. The silent auction will run until Thursday the 20th, physician
final bids at 6:30pm. All proceeds from the auction will be donated to Fibre Department for funding visiting artists and student enrichment.

Submitted artworks must be of 12”x12″x12″ or smaller, of any medium and subject matter. Artworks are accepted from all departments, students, faculty and alumni.

To submit work please email the title, medium, size, artist name, and a short description of any details by February 28th. All artwork can be delivered to the Fibre Department March 10th -14th.

Please email submissions to Natalie Lauchlan at natalie.lauchlan@acad.ca

Cheers,

The Fibre Department