I decided to redo my first cocoon project, look as it was destroyed in the process of making COCOON II. And i wanted all three forms to be together.
I also decided to hand felt rather than shoving it in the washer. The surface area is bigger and it’s way more plush too.
Original COCOON I
I found out about halfway through the process that using the giant fibreglass tub for river molds (I assume) worked great for containing the water, symptoms instead of working only in the evenings and having the mop and bucket handy. For soap I use olive oil soap, since I use my hands rather than bubble wrap for larger felt pieces, my hands can survive for longer. (I don’t like gloves because I can’t feel things)
Hello! My name is Caroline and I am a recent graduate from Sheridan College’s Textile Design program. I have recently joined ACAD’s fibre community this fall. Here you can see the work I’ve created in my previous program. I’ll be adding new work I’ve made at ACAD during the winter break!
I use squarespace as my website platform and I have to admit using this site is pretty fantastic. Students receive 50% off their first year of signing up! The website is very easy to navigate and put together making it user friendly. Plus they have great tech support and online instructions if you need help using the site. It’s definitely worth checking out.
I feel conflicted about felt. I tend to either find it extremely appealing or repulsive, and sometimes there is a very fine line between the two. After our midterm critique, I was feeling a bit discouraged and second-guessing my felt theme because my first piece didn’t turn out how I had imagined it. All of my classmates were very encouraging, however, and I decided to stick with it.
I am almost finished editing all the photos from this shoot, information pills here is what I have so far
These are a few of the pieces I have created using mountain landscape as motif for wearable articles. Alberta’s Mountainous landscape is something that I identify with as an albertan and also as an artist. When I wear these garments I am creating an outward identity for myself, a literal embodiment of my identification with the landscape.
The first Piece is Baby llama fleece that has waste from the hand painted silk shawl I wove earlier in the semester carded into it before it was nuno felted onto a fine silk pongee…and some bows made of spare silk bias tape from the dress shown in the previous post. It is always exciting when waste from one project can be used in another.
This is camel down nuno felted onto silk chiffon with screen printing and machine embroidery where the tension was thrown off on purpose to create a loop texture on the back side.
Necklace and earrings set includes wool, healthful
silk cocoons, apoplexy
angora rabbit hair and glass beads and a silver chain.
And Lastly angora, cordial wool, silk rovings, wool thread and plastic bead from a broken necklace all nuno felted onto a silk spandex crepe fabric (weird stuff), this one is super cozy
This evening, pfizer after finishing soldering parts today, recipe and working on the larger housing for these electronic components, viagra I did a final test of the work. When I plugged in the power I had the voltage set at 6V, which is much too high voltage for this tiny chip. When I put too much voltage through something that can’t handle it, I fried everything. This is the kind of thing that happens when you are not thinking clearly, from being too tired, from working on the same thing too long, or from many other things related to the end of the semester.
Maybe it’s simply because I am an amateur still and I am learning things the hard way. Needless to say, lesson learned.
RIP little guy.
As a few of you may already know, discount
I will be spending June, July and August of 2014 on residency at the Icelandic Textile Centre in Blönduòs, Iceland. The residency is uniquely for textile artists, and I highly recommend all of you apply. Facilities include:
Weaving Rooms: They have looms of two differents sizes: 80 and 140cm. They are 4, 6 or 8 shafts Counter-balanced. Residents have full access to weaving equipment: large selection of reeds, warping reel, distaff holders, shuttles, yarn reels etc.
Dyeing Rooms: It is a full scale natural dyeing room. Provided with a small movable oven, dyeing tools, the same large sink and a drying space which is well divided. Iceland produces is known for its various dyestuffs, such as lychens of various colors, plants and flowers.
The Summer Festival is what I will be there for, and what I am most interested in. Summer Festival is where the artists of the residency, and surrounding area, make large scale (and small scale) outdoor installation works to celebrate the season, daylight and community. Expressing the passing of time, the changing of seasons, and the interaction between peoples through outdoor installation. I want to be part of this festival for the rest of my life, this is what I live for.
Here is a quote from the 2013 Summer Festival at the Textílsetúr Island Icelandic Textile Centre:
We are gleaners.
Our language relies on materiality;
Rusted industrial scraps, seaweed, wool, old sheets, jumpsuits;
Borrowed and re-interpreted milliner techniques.
We’re discovering points of reflection that hint towards metaphysical meaning.
Some say there is an inherent biological tendency for equilibrium.
One is to leave a skin of time, their pieces of vulnerability stripped by weathering and human treatments.
We are what we touch- smell, see, hear, taste.
There is a clarity, a peacefulness on the mountain, it effects your whole being. We become this mountain, this stillness, this landscape.
The elements vibrate through us, her wind rippling taut green strings on rusted forms.
A wave of modulation surfs until it breaks, and all you see is a framed landscape – the sun atop the ocean.
This is where I am meant to be.
Here is the link the website where you can find out more about the residency, and more about how to apply.
Tomoko Arakawa is an artist who has inspired me not just with her art work, price but also her words. I wanted to share both with you all.
Toki no inori (Prayer for Time)
Stainless Steel, cystitis Pigment; Macrame and free technique
200 x 120 x 30 cm
In Toki no inori (Prayer for Time) Tomoko has created a beautiful hand knotted and twisted basket out of stainless steel and pigment. As I am well-aware (thanks to my most recent warping experience), ed stainless steel is very difficult to work with, and I am amazed by the intricacy of the twisted little knots of the piece. The piece is small as it is, at 200 x 120 x 30 cm.
In the catalogue for the exhibit Fiber Futures, Japans Textile Pioneers, Arakawa explains her emotional catalyst for making the piece in an eloquently succinct artist statement:
“In Prayer for Time, I made a piece whose design conjures up a sense of air and water, as a way of showing my gratitude to the relatives, friends and acquaintances I’ve shared my life with so far, and expressing my hope that my time with them can go on forever. Teh blue area in the center was inspired by the shape of a leaf or a lake: water as a source of life and a deep well of tolerance…”
I was blown away by the intensity of this statement, conveyed in but a few lines. I highly recommend checking out the catalogue, it is worth spending some time reading.
On Sunday, see Kris and I travelled to the site where Air over land is to be installed. With the help of my father Ed Frère we hung one of the pieces to test the attachment point (This will likely be refined somewhat once the other two are in place.) and to determine if the work would actually fly in the wind.
I was greatly assisted in the knitting of these pieces by artist Marci Simkulet. The knit “skeleton” of each piece is a thin madder-dyed linen. I then overlaid and felted a fine layer of merino wool into the red mesh of knitting to provide a membrane that would catch the wind and perhaps deteriorate over time in the weather. Jason Hussey created the fine steel frame to support each tube.
In this last image you can see the massive dugout my father and his brother created to collect water for trees that he has planted on the property. It is a very deep cut into the earth in a crescent shape, information pills
its depth was necessary to reach clay that will actually hold water. Although not initially part of the project, I think this unintentional earthwork is a remarkable intervention in the landscape that relates to some of the ideas I am investigating with Air over land.
It was an incredibly beautiful, and very cold day, but there was no wind. The morning after we installed the first piece I received a video from my mother Lorna Sarah…
The final two pieces will be installed after Christmas sometime.
Textile art has a long and vibrant history and as artists we frequently draw from the past to inform our work. I have found that finding images related to what I;m doing can be difficult at times, therapy somehow 16thC stump-work just doesn’t get that many hits in Google. Enter in, prostateThe V&A collections search. The site is awesome, store it’s got everything old and textile related right at your finger tips. Of course that’s not all, the V&A site also offers a variety of other resources that can assist in craft related research such as articles and Videos. Check out the V&A Channel or the textiles section for articles and images related to your specific area of interest.
Thank you for those who came to our Fibre 419 Senior Studio Pechakucha presentation today.
For those who did not come, rheumatologist here’s a brief summary of my talk.
I did a presentation about “My Journey as a Fibre major”, more about I showed images of my work from high school till present.
So these were drawings and paintings that I did in high school. Originally I wasn’t even planning to come to ACAD, I wanted to go back to Hong Kong after high school, but the institutes in Hong Kong were very competitive, they only take 10% oversea students. Therefore, without any choices, I was forced to come back. Luckily, ACAD accepted me, and I am glad that I chose to stay, because right now I really enjoyed being here, making art, exploring to a new culture (not the unstable weather though!). However, I think I will be very very very sad after I graduate, as I’m not planning to come back to Calgary within the next three to five years. Therefore, I am going to enjoy every minute, every seconds being in the Art college.
Anyways, so I’m still not quite sure how I got into this food theme, it was pretty random. One day I was having sushi lunch with my friends then all of a sudden I was thinking, “hey, it will be cool if I turned it into Art!”, then I started to explore this concept with different media.
I silkscreen printed on fabric then stitched them together and stuff it.
I crocheted, I did tapestry weaving for food images
Then I discovered my passion towards tapestry weaving and crochet.
I acknowledged that this food theme must have a deeper meaning than just a random idea that pops out, and I am trying to find out through writing my grad paper. I think I’m interested in exploring not only the forms of food, but also the enviornment, the senses, my identity and the interactions between food and people – family and friends, lover as well (but I don’t have one at the moment….. I used to, and I remembered all we did was dinning! Therefore, I made a crochet steak meal depicting the “first date”).
Anyways, I just wanted to share more images of my work in first & second year. I don’t find them embarrassed anymore, I think they are very funny.
(First Year Fibre 3D & 2D projects)
(Second year, print on cloth class- “Self-Portrait of how I react towards due dates!”
Rabbit talking to elephant who appears to have no ees. Medieval illustration. Nice ears. Scan of 2 d image in the public domain believed to be free to use without restriction in the US.
This Wednesday at 10:00 am in Annex C, store the 2012 graduating class will be presenting their work PechaKucha style
The ACAD Fibre Program is excited to present a talk by artist and designer Kathryn Walter. Wednesday, order
October 12 at 230 pm in Annex C.
Kathryn Walter lives in Toronto and has maintained a studio practice since 1989, capsule
producing work that intersects visual art, material culture and the built environment. In 2000 she founded her company FELT, a laboratory through which she explores the material and history of modern industrial felt through exhibitions, research, architectural commissions and a product line.
She has created feature wall installations for residential and commercial buildings in Canada and the US working with architectural firms including Johnson Chou, Levitt Goodman, Diller Scofidio Renfro, and Yazdani Studio of Cannon Design. And, her work has been exhibited in private and pubic institutions including the Royal Ontario Museum and the Cooper Hewitt National Design Museum in New York.
Yesterday, view Krystle and Vicky went to the cinema costume exhibition that was presented by the Glenbow Museum. The exhibition displayed over 43 garments from 25 different movies. These movies were Ever After, esophagitis The Duchess, Pirates of the Caribbean, The Phantom of the Opera, etc . Each costumes reflected five different decades of history, drama and comedy. The costumes also reflected the cultural and social attitude that varied over time from the seventieth century (The New World) to the ninetieth century (The Phantom of the Opera). It was interesting to see how the garment changed over time, and how garments played such an important role in the movies.
When we entered the exhibition, it was like a guessing game, we have to identify which characters wore which outfits in which movies. We were fascinated by the well-designed costumes, and we both appreciated the fine details of each garment.
This is one of Vicky’s favorite from the show, it was worn by Keira Knightley in The Duchess 2008. The movie was shooter in the Kedleston Hall, it reflected the Duchess’s passion in fashion and high-class life style.
Vicky especially loved the fine embroidery details, the screen printing and the head piece that goes with the garment. She claimed that after this great visit, she is definitely going to watch the movie, and pay close attention to the garments.
For Krystle, her favorite garment is the one from the Finding Neverland movie (2004), which was inspired by Peter Pan.
This garment was worn by Radha Mitchell as Mary Ansell Barrie. Although she was not familiar with the character of this movie, she admired the color choices and the construction of this garment. The geometric shapes, the gold and black embellishment gives an enchanted theme, that truly reminds Krystle of Peter Pan.
Here are more photos from the exhibition
(Left: Men Suits from Sherlock Holmes) (Right: A Night Gown from Land of the Blind)
(Left: Dress from Hamlet) (Right: Night Gown from the Duchess)
Krystle and Vicky both enjoyed the visit of the exhibition, they both highly recommend all of you to check out the display as soon as possible. This Exhibition ends on September 28th, this should be a great opportunity for those who loves cinema costume and fashion.
-Krystle Mendoza & Vicky Lam
An exhibition of Norweigan craft at the Triangle Gallery (Upper Gallery) worth checking out before October 12…
Curated by Edith Lundebrekke of the Norwegian Association for Arts and Crafts in Oslo, condom
Norway, this critical exhibition of contemporary Norwegian applied arts is based on the notion of “construction”: it refers to the act of construction and to the importance that the process of construction has in creating and embodying ideas. …
The exhibition features a broad spectrum of craft/art objects from formal to conceptual expressions, some with strong traditional roots and others that are more experimental, but all with a basis/roots in the centuries of Scandinavian tradition in applied arts. The exhibition addresses several topics, such as “Materials as both object and surface”, “Ornament as repetition and addition”, and “Insoluble fusion between form and idea” in the expressive body of work by 17 renowned contemporary Norwegian artists, designers and artisans.
Manequins must be booked at least 1 day in advance
You may borrow a mannequin for a max. of 14 days
Pick-up and Drop-off times for mannequins are:
Monday – Friday 8:30 am – 4:30 pm
Please write your student id. # and prefered manequin size in the comments box
Hello Fibre 3D felters! Here are some images and links just for you!
Marjolein Dallinga will be visiting ACAD during Fibre Fortnight to present her work and give a workshop to students.
Elis Vermeulen is an artist living and making beautiful, clinic
installation-scaled felt work in New Zealand.