ACADSA’s Winter Show +Sale

Hello Fibre people!

Just wanted to leave a brief reminder that the deadline to register for ACADSA’s Winter Show + Sale is coming up on Thursday, October 5th at 11:59 pm. To sign up, please fill out this online form:

The first meeting will also be on Thursday, October 5th from 1-1:30 pm (in room 371). This is the Inventory workshop which is mandatory for NEW Show + Sale participants. RETURNING students who need a refresher on Show + Sale procedures and filling out the inventory sheet are encouraged to attend as well, but it is not mandatory for them to do so.

ACADSA will also be hosting Market Collective co-founders Angela Dione and Angel Guerra, and New Craft Coalition co-founder and ACAD alumni Laura Sharp on Tuesday, October 10 at 4pm in the Lecture Theatre.

These lovely guest are coming to talk to us about selling artwork in a market environment. This is such a great opportunity for anyone who is interested in learning about selling their work once graduated from ACAD. It will be held in a panel format, so there will be plenty of opportunity for questions!!!

Thanks all,

If you have any questions regarding any of this information, please e-mail me at 

IKG Gallery – MFA Thesis Exhibition March 27 to 30

Know what an ACAD MFA thesis exhibition/examination looks like?
Neither do I, nor anyone else
.                                                       … because this is the very first one!

Come take a look, and attend any of the artist talks or even the thesis examination.
All are open to all-ACAD and the public, view though space is limited.


Sharon Hogg’s thesis exhibition is on for three busy days at the end of March at the Illingworth Kerr Gallery 2.


Contextural – An Awesome Summer Residency – Right Here!

After the semester ends and before the next one begins …

Or after the grad is over …..

Think about participating in the Contextural Fibre Arts Cooperative’s summer residency in the Fibre Studios at ACAD. No assignments, sick no deadlines …. Just the ones you make for yourselves.

Oh, malady except for the MARCH 31, 2017  deadline to apply. Sign up for just one month or all three months  – June July August 2017.

Contextural is an eclectic group of fibre artists, from many backgrounds, working together on their individual projects, over the summer in the ACAD studios.

All the details are at the link below:


Fibre Events


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

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



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 or

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 or


Ask First Pt. 1

On the 14th and 15th of October I had the most wonderful opportunity to attend a symposium at the University of Calgary called “Ask First: Creating a Campus Culture of Consent”. At this symposium I heard the research and experience of students and professionals all working towards the common goal of ending sexual violence.

A recurring point throughout was the need for early education on not only consent, phthisiatrician but also sexuality. In Canadian curricula, cheap ideas around consent are mentioned vastly less than ideas around abstinence. A question was asked to how we can expect our children to understand what is and is not consent when much of the time their own body parts are taboo. What we need is to teach affirmative sexuality before teaching affirmative consent. Affirmative sexuality means to have more comprehensive sexual education early on, teaching positive sexuality and sexual exploration. Now in no way does this mean we should be teaching children to be aggressively sexual at an early age, no, this means to teach them the difference between good touch and bad touch, and that it is okay to know their own bodies. The fact of the matter is that when I was growing up and my body was changing, nine times out of ten I had no idea what was going on and neither did my peers. Of course I was taught the basics, how my breasts would grow — but not about how it would hurt like hell when they did, how I would bleed at some point — but not how it was not just blood but also clots and tissue. The first time I experienced vaginal lubrication I was terrified because I had no idea what was going on. Affirmative sexuality means not separating classrooms by sex when we talk about menstruation.

A lot of people have no idea what rape is. The myth still perpetuates that the typical rapist is someone you don’t know, jumping out at you from a dark alleyway; this is not the truth. Statistically the majority of sexual violence is perpetrated by someone known to the victim — a friend, family member, acquaintance, coworker, etc. Many people believe that if you are in a conjugal relationship with someone that is you giving consent 100% of the time. The fact of the matter is that consent is an ongoing conversation. Some key points about consent:

  • Consent is freely given
  • Consent cannot be given past a certain point of intoxication
  • Consent is not consent if it is given under duress
  • Consent is not consent if it is given from feelings of guilt

There is, of course, some difficulty around obtaining comprehensive statistics around sexual violence. The main issue is that the majority of sexual violence crimes go unreported. Why exactly is it that the reporting rate is so low? Well there are multiple different tiers to this. Firstly, the victim may not understand what has gone on for days/weeks/months/years. I know for me I was always uncomfortable with certain events in my sex life but it took years for me to actually label them as sexual violence. The second issue is that if you do report you are committing to tell your story over and over and over again. Added to that, a victim then has to face a whole variety of reactions from the people they tell. There are two reactions to a victim which are either acceptance, care, belief and empathy or questioning, blaming the victim, disbelief and brushing off the incident. This last, in my experience, is the main reason why so few people report. A major change we need to make in our society is to shift the blame. Consistently victims — who either report to authorities or not — are asked what they were wearing, were they intoxicated, were they out late, did they know the people around them etc. This is ridiculous because rape is never the victim’s fault, though many people in our society believe that it is. Added to that if the rapist was a sexual partner of the victim then it is often brushed off because many seem to think that being in a relationship implies continuous consent, which it does not.

To be continued in Pt. 2!

~ Madison

Making Personal Work

Rael Lockwood. Dear Diary Series. Hand built ceramic plates. 2016.
A Letter to a Dress. Stitched silk and a wedding dress. 2016

I have really developed a stronger understanding of my work by examining textiles as a personal and cultural archive. Looking back on past works really established the emphasis I have on the personal aspects of making and how textiles and ceramics has helped that.

I would like to summarize my studio process and work this year a piece from my final paper this term about my work thus far.

“Cloth preserves values and traditions and provides us with connective experiences as we interact with cloth in our material world. My goal is to create lasting relationships with textiles that other people can relate to. I believe that there are traces of ourselves left in materials as we interact with; traces that change them into objects of meaning. I see those traces as hints of the hand that gives the work value. Meaning is established through the process, link social consideration, and personal reflection. Meaning is established through memories. Memories that would be mere ephemera if they did not embed, dare I say weave, themselves into our consciousness; into the cloth and textiles that we surround ourselves with. The textiles that protect us and guide us.”


A peak into the mind of Rael



If you could advise the 3rd year fiber majors what would you advise them about?

“Get involved with as many things as possible. There are so many opportunists to work with and collaborate with other creative people in this institution. You should cherish the opportunity while you still have it and be okay with being busy and tired all the time.”

If you could go back and do something different within the past 4 years of your graduate degree what would you do?

“I would have taken ceramics earlier on in my degree”


If someone is going to steal your art, side effects which art piece do you think they would steal ?

“ummmm I think they would .. probably steel my 30ft silk weaving because its nice. My sister already has her eye on it, she thinks it would be a good baby wrap”.



A quick tip about working with green lumber


I had not done much research about working with green lumber before picking up this log from UofC. Green lumber means that its still wet, this web its not too difficult to cut the wood when its wet however its not as smooth of a cut either. It dries very quickly and starts to crack so if you cant finish your project in one go, injection your going to want to consider a temporary sealing agent for your lumber. Your going to require something that is non toxic so you can sand off your sealer when you want to work on your wood again. Elmer’s glue is a great temporary or long term sealer. If you want a temporary seal your wood, water down the glue quite a bit and make sure your wood is clean and dust free. Apply a thin coat and let dry. This will keep the moisture in your wood and will be easy to sand off before you apply a finish to your wood. If you plan on drying your wood outside over the course of a season then do not water down your glue. Apply thick coats. If you accidentally apply a thick coat of glue on wood that you meant to temporarily seal, like I did, sanding is going to be a little bit a nightmare. However, its not impossible, the key is to keep switching your sandpaper as it gunk’s up with glue.



Simplifying Design

I have really refined my floral designs throughout stencil making. I find that stencil cutting allows me to design with clarity and intention. Sketching directly on the stencil paper pushes me to commit to a design and work through the whole stencil. After most of the key components are decided and cut, view I make additions free handed with the Exacto knife. The immediacy is challenging and rewarding.

This shows the steps of how I star from a cut stencil, capsule then paste onto linen, prostate then once the linen is dyed the paste is washed away to reveal the pattern/


Completed indigo dyed linen sewn into pillows, tea towels, and coasters for the home. As you can see I am a little obsessed with gradient dying. 


I am hoping to continue working on stenciling throughout the next phase of work I produce.


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'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.  😉

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.


Review: Women in Clothes

img_1852Summer vacation reading.

Last year in Barbara’s Fibre 300 Selvedge/Salvage course she assigned a couple readings from Women in Clothes by Shelia Heti, read Heidi Julavits, abortion Leanne Shapton and many many others. I loved what little we read and purchased the book very soon after. It was the book that I toted with me everywhere this summer and shared with anyone who would listen to me.

The book began as a survey with 50 questions aimed to challenge women to think about their personal style. Artists, activists, writers, and more answered the questions in their own way and style. Each page is a surprising gem of stories about women, why they wear what they wear, how it makes them think, feel and present themselves. Photos of personal collections such as striped shirts, glasses, gray sweatshirts, unworn necklaces or bobby pins. Photos of the contributors Mother’s before the daugher’s were born. Photocopies of women’s hands with their ring collections. Conversations about compliments, interviews, story telling, poetry and essays.

My favourite and most inspired discoveries were the sections providing only a word or two on a subject matter. The contributors would then tell a short story, sometimes a line or a paragraph elaborating. Words such as colour, strangers, shopping, protection, or worn to name a few.

My personal favourite, under the topic worn:

“I try not to dress in something that would be more important to me than having a good time. I wouldn’t want to stop doing something for fear that my outfit would get ruined or weird looking in the act of having fun.” -Annemieke Beemster Leverenz.

On reflecting on a cherished garment that was lost by a friend:

“I would have liked to participate in the item’s fate. At the very least I wanted to be the person who lost it.” – Elena Megalos

I savoured every page of this book and felt a severe loss when I closed the final page. It affected the way that I approached my closet and why and how I was adding things to it. Upon completion I felt little emotional attachment to my clothes that weren’t special and I had no problem donating the majority of it to friends, family and charities. Everything that stayed and has been added since must fulfill the identity of “Future Julie.” I consider what items would I pack on vacation, what makes me feel comfortable, happy, or put together (anything black, white, 5 sizes too big and at least double the price than I should be spending). Ultimately I started to think about who I wanted to be when I grew up (28 is still a teen in my eyes), what she wore and what those clothes said about her.

Throughout this book I discovered things that I also felt about specific garments but had not realized. It is by far the most thoughtful collection of writing on style and taste. It made me truly comprehend how clothes are so much more than what we put on our bodies.