The New Mending

For my Pechakucha I was inspired by Jonnet Middleton’s essay Mending which looks at the rise of modern day visible mending. Through mending we create a relationship between what we do within the garment and what the garment has endured through that activity.

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My favourite denim endured a disastrous accidental dryer incident which split high tension areas to shreds. Unable to completely conceal the repair I embraced the wear and tear for an obvious woven repair.

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While I compiled my presentation I realized that something that I valued and appreciated so greatly had little to no involvement within the production of my embroideries. As I approach the beginning of my next embroidery I have been taking mending elements such as darning and patches and into consideration.

Something that I’ve been feeling is missing from my work is a spontaneous, no rx responsive element. Mending in its truest form is extending the functional life of an object by repairing areas of wear. These repairs, when not made invisible, can feel like invasions across the cloth and create a sense of tension.

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My next series of smaller scale embroideries focuses on playing with exploratory mark making that interrupts the linear construction of the linen. The stitches are in favour of mending a cloth that doesn’t require mending but instead embraces the techniques and aesthetic elements of mending.

-julie

Interview

Last week I went to check out the library book sale that ACAD had going on and I found some goodies! The one I was most excited about was this “Kaleidoscope – New Quilts from an Old Favorite” book.

photo by Madison Appleton
photo by Madison Appleton

I have made a couple blankets in the past and have really enjoyed the process. Lately I have been thinking about learning how to quilt but what scares me is how precise and exact you have to be. The style of quilts that you traditionally see are very…well, more about traditional, ailment so it was nice to see the quilts in this book which are more brightly coloured and ‘funky’. This style of quilting interests me a lot more and fits more with my practice using crystals and the geometric shape. The use of colour in the quilts in this book inspire me to continue using such vibrant colours in my work.

 

~Madde~

An interview with Madde Appleton

Q. Did you always know you wanted to go into fibre when you came to ACAD?

“I had no idea! I tried out a lot of different areas in my first year, seek and even in my second year. But after my first year I definitely started to realize fibre was one of my favourites, and that interest has continued to grow ever since!”

Q. What do you like to focus on in your practice? (materials, techniques, concept?)

“I like to focus on the colours of my materials and the tactile nature they provide. I like my materials to be soft, often giving off the feeling of comfort and making one feel cozy. My materials are usually very colourful and bright. “

Q. What is one of your pieces (or series) that you are the most proud of?

“Something that I am most proud of would probably have to be a set of 2 handwoven bamboo scarves I made at the end of my third year. They were the product of trying something new: a new loom, new materials, new patterns, new techniques. I was super happy with how they turned out and by trying something new I fell in love with another material, bamboo, which I now will use in my weaving quite frequently!”

 

Thanks Madde!

 

-Nicole

Caroline Forde Designs

 

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.

You can view my website at carolinefordedesigns.com

You can check out Squarespace at squarespace.com

Happy Thursday!

Hours & Hours of Work

I have been using a new tool to keep track of the many threads that seems to fly forth from one article to the next as I journey down the rabbit hole. This tool is called Zotero. It was introduced to my class and I in Print 314 by our proffessor Laurel Johannesson. You can download Zotero for free at Zotero.org.

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Zotero works as either a stand alone app or as an add-on for your web browser. This app has been extremely helpful to me because while doing rearch it allows me to easily store, case
recall and catagorize citations for articles, malady
books, etc both found from electronic and paper form.

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You can make notes on each citation you make aswell create folders to put them in to better organize your thoughts. Also by clicking your desired citation then clicking either the URL or DOI it brings you back to the article for easy recall. The best feature to me in the ability to form a bibliography quickly and easily. This is done by selecting the citations you wish to include, then clicking Edit in the top bar followed by Copy Bibiliography.

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To enter you citation into Zotero click the small page icon found in the address bar.

I hope this helps everyone as much as it has me!

 

-Amy
I have been using a new tool to keep track of the many threads that seems to fly forth from one article to the next as I journey down the rabbit hole. This tool is called Zotero. It was introduced to my class and I in Print 314 by our proffessor Laurel Johannesson. You can download Zotero for free at Zotero.org.

Screen Shot 2015-10-19 at 4.32.38 PM

Zotero works as either a stand alone app or as an add-on for your web browser. This app has been extremely helpful to me because while doing rearch it allows me to easily store, patient recall and catagorize citations for articles, books, etc both found from electronic and paper form.

Screen Shot 2015-10-19 at 4.42.57 PM

You can make notes on each citation you make aswell create folders to put them in to better organize your thoughts. Also by clicking your desired citation then clicking either the URL or DOI it brings you back to the article for easy recall. The best feature to me in the ability to form a bibliography quickly and easily. This is done by selecting the citations you wish to include, then clicking Edit in the top bar followed by Copy Bibiliography.

Screen Shot 2015-10-19 at 4.59.54 PM

To enter you citation into Zotero click the small page icon found in the address bar.

I hope this helps everyone as much as it has me!

-Amy
 

A very inspiring designer of mine is Yokoo Gibran. She knits and crochets accessories. Seeing her work was one of the main reasons I decided to teach myself how to knit three years ago. I also enjoy following her Instagram she has a interesting way of placing and photographing objects.

Her Instagram

Cones & cones

Her Shop

pile of scarves

 

I came across a article about her and her job as a knit wear designer:

New York Times Article

 

The article is about having a successful craft business and how much you might make, population health
but also how busy you can get.

Yokoo Gibran had wrote:

“I have to wake up around 8, get coffee or tea, and knit for hours and hours and hours and hours, I’m like an old lady in a chair, catching up on podcasts, watching old Hitchcock shows. I will do it for 13 hours a day.”

And even after all those hours knitting, she is constantly sketching new designs or trading e-mail messages with 50 or more customers a day.

Sounds great but maybe not so great!

bag

-Nicole

Resignation Egg

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Day to day experiences, phthisiatrician
honesty, pill
and a little dash of humour are common ingredients throughout my practice. This piece was made in relation to my former waitressing job. After 3 years of service, my time there had come to an end. Here’s the recipe:

Ingredients:

1 fiery waitress

1 (new) cracked out manager

1 egotistical chef

Endless supply of chauvinistic remarks and behaviour

Plenty of needless changes

Sprinkle of animosity

Pinch of misery

Plenty of sleepless nights

Directions:

Mix all ingredients together and stir for weeks.

Bring to breaking point.

Result:

1 free bird : )

-Carly

 

My class with Derek Beaulieu

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, click 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

Mountain Garments

I am almost finished editing all the photos from this shoot, side effects here is what I have so far

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Bugaboo Shirt

 

Back of Bugaboos Shirt
Back of Bugaboos Shirt
Wasootch Ridge Dress
Wasootch Ridge Dress

 

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.

 

Karin Thorsteinsson

Textìlsetur Island Residency | My Summer 2014

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.

Dead little speaker, dead little chip, dead little microphone, dead little chip, dead little sensor. Massacre.
Dead little speaker, dead little chip, dead little microphone, dead little chip, dead little sensor. Massacre.

 

 
 

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.

2013 Summer Festival

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.

http://textilsetur.com/home-page/

-Natalie

Practice makes perfect-well, kinda.

Here’s a little bit of an introduction, abortion and some photos to follow what I have been working with.  I have been interested in working with the idea of making a cape/ capes for this senior studio class. My vision for this garment was to create a simplistic design construct of the cape, sildenafil and incorporate several rococo inspired detailing to the exterior of the cape. Playing with several design drafts and patterns, I finally designed and drafted out a pattern that suited my taste the best. I also took on the challenge of testing out several different techniques and detailing that I wanted to apply to the exterior of the capes. So far, this whole process has been practice, practice, practice. I’m pretty sure I made six different cape drafts before finding the best one and starting on the “good copy.” I’ve also tested out/ played with several detailed designs. Many of those turned out not so good. I have a photo of a few of the more handsome-er looking ones below. Unfortunately, I don’t think that I will be working with any of the machine stitched work, nor the appliqués as they seem to have a mind of their own. Guess it’s going to be hand embroidery for the win. Oh geez!

 

Test draft of the cape

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The good copy of the cape in a dupioni silk fabric  minus the arm holes(for now)- sorry for the different camera setting, the original lighting made the fabric really funky looking.

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Testing out hand controlled machine stitched embroidery

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Making hand controlled machine stitched appliqués

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Hand embroidery with a rayon thread. I’m thinking that I may just stick to hand embroidery. It seems to be the most controlled and more directed to what I am envisioning for the final piece.

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-Kristyn

 

The Flood & my new studio

We moved to Bowness on June 4th.  A couple of weeks later, it flooded.  I had just about finished setting up my studio.  It was looking beautiful.  I lost tools, fabric, and lots of UFO’s (UnFinished Objects).

The first picture is our house in the river on June 22nd.  The others are a few days later when we were allowed in.This is what my new studio looked like. The river took two large windows even though we had plywooded and sandbagged.

It’s been a long summer cleaning it up.

Margaret

 

Tracey Emin: My Life In A Column

Tracey Emin, purchase a female mixed media artist from England, troche is best known for her large installation work from her early career. Her work Everyone I Have Ever Slept With 1963-1995, hospital also known as “The Tent”, is arguably her most well-known work. Often misinterpreted as everyone she has ever had sex with, the work consists of a small blue, handmade tent, appliqued with 102 names of people Emin has slept with. First shown in 1995 in the South London Gallery, Everyone I Have Ever Slept With 1963-1995, became Emin’s breakout work, shocking viewers with her honesty. The cathartic nature of this work continues throughout her career. The tent itself was destroyed in a fire, along with many other contemporary artworks by Emin and others, in 2004.

Everyone I Have Ever Slept With 1963-1995 Tracey Emin. 1995. Mixed media.

In 1996, Tracey Emin lived in a locked room in the Galleri Andreas Brändström in Stockholm, for fourteen days. She could be viewed from the outside through a series of wide-angle lenses embedded in the walls. Naked and alone, Emin worked continuously making paintings, drawings, body prints, and paintings on objects. The contents of the room were photographed and collected, and now exist as an installation work, Exorcism of the Last Painting I Ever Made.

Tracey Emin is a personal idol of mine. I am drawn to her poetically brutal honesty, and her intensely personal subject matter. I admire her ability to make such intimately personal subject matter accessible and powerful to a broad audience. Her ability to remain interesting also intrigues me. Emin’s practice deals with her life and concepts so personal, as she describes ” they touch her” (BBC HARDtalk 2012). Naturally, as the subject matter is her life, it changes as she does. Though she continues to use similar subject matter, she addresses it in new ways. As she matures and gains new knowledge, perspective and understanding, her work matures in unison.

Installation view. She Lay Down Deep Beneath The Sea. Tracey Emin. Turner Gallery. 2012

Image from her 2012 exhibition, She Lay Down Deep Beneath The Sea, at the Turner Gallery in England. Addressing similar themes of heartbreak and loneliness, but from a mature, less brutal, perspective and representation.

From 2005 to 2009 Emin wrote  a weekly column for The Independent Newspaper in London. The column itself is like reading a private diary of her life, dealing with the themes behind her work, process, inspirations, and various exhibitions. It also touches her very private thoughts, exposing her feelings and her insecurities, while also voicing her profound observations of daily life. Every edition of Emin’s column has been compiled and published in a book, Tracey Emin: My Life in a Column.

Throughout this summer I have been reading her columns, gaining insight on daily life, and feeling like Tracey Emin is a personal friend of mine. Her life is both tragic and beautiful. Her every success has come from such incredible sacrifice. Even in her times of joy, success and celebration, it is all seen through the self-medicating/self-harming eyes of alcohol abuse. Each column flips from stories of joy, love, friendship, success and happiness, to those of heartbreak, betrayal, bitterness, loneliness and isolation. While reading her diary-like columns of her life so different than mine, I cannot help but find parallels.

Even at our saddest times – moments of anger – we mustn’t judge. We must always have the ability to see past the obvious. Maybe not question others, but look at ourselves. – Tracey Emin. 9 December 2005. The Independent.

Tracey Emin: My Life In A Column

Works Consulted

Emin, Tracey, interviewed. “Tracey Emin Coming Home.” Pres. Stephen Sackur. BBC HARDtalk. BBC: 29 May 2012. Television.

Emin, Tracey. Tracey Emin: My Life In A Column. New York: Rizzoli International Publications Inc., 2011. Print.

Saatchi Gallery, . “Tracey Emin Exhibited at the Saatchi Gallery.” Saatchi Gallery Artist Profiles. (2013): n. page. Web.

 

-Natalie