Fibre Fortnight is coming up next semester, approved so I thought I would share the work of Rowland Ricketts, our visiting artist this year.
Ricketts trained in Japan, learning how to farm and dye with indigo. His work uses traditional techniques and natural processes to create woven and dyed works of art. Ricketts also creates large installation pieces, working with the gallery space to create an environment for the viewer.
I am Ai, We are Ai – Warehouse Installation, Japan, 2012
Rickett’s artist statement begins beautifully with an explination of his process and feelings towards his materials. He states, “The smell of an indigo vat just as it begins fermenting and springs to life is one of ripeness; a moment of rich potentiality when, as a maker, I momentarily stand between the history of the materials and processes that helped me get the indigo thus far and the promise of all the works that the vat is still yet to realize.”
Past Present, Ohio, 2010
Red Aligned and Centered, Yellow
Rowland Ricketts will be showing his work at the Museum of Contemporary Craft in Portland, Oregon from January 29, 2016 until June 04, 2016. That means that if we go on our grad trip to Portland, a wide range of his work will be available for us to view.
While in Iceland I had the priviledge of visiting a local textile artist, viagra 100mg Ragnheidur Thorsdottir, order in her studio. Ragnheidur is currently working on a comprehensive book about traditional Icelandic weaving techniques, ailment something that currently doesn’t exist.
(the website is a work in progress as all her time has gone into writing the book so it doesn’t include a lot of current work as of July 2014)
This image is a piece she had laying on a table and, as with most things, it is so much better in person. The technique is a pile weave with uncombed rovings from Icelandic sheep, traditional method that Viking settlers used to create winter wear, specifically cloaks, I assume because it was more economical than using the hide. The pattern is actually a map of iceland, the light brown being land and the white represents the major glaciers. The most facsinting thing about this weaving is that Ragnheidur actually built a warp weighted loom to create a historically accurate weaving experience. At the bottom of the image you can the weights she used.
Land of sheep, old pile weave technique, 135 x 120 cm, 2012, Icelandic wool, woven on old warp weighted loom
I had already almost finished my project when I met Ragnheidur Thorsdottir, otherwise I would have tried out some of the techniques I saw in her studio. What I did was more organically inspired by the landscape of Iceland and I used undyed wool from Icelandic sheep, which along with knitting books and needles, can be purchased almost anywhere for a very reasonable price.
I took a lot of photographs of landscape while I was travelling around Iceland, with the intention of using them later in paintings, which I didn’t have the resources to finish at the textile centre. You can not be an artist in Iceland and not have the landscape influence the work you produce; it’s unyielding presence is impossible to avoid and it ended up influencing the pattern I created for my weaving.
I will be going more in depth about my experiences in Iceland and at Textílsetur Íslands on Monday at 1 in the slide room. See post below
The fist thing I had to learn was that wooden or platic bobbins don’t really exist here in Iceland, more likely due to the lack of wood historically , story they instead are made out of paper. It took a few to get used to winding them before I was doing it correctly as a few different problems can arise if wound wrong. The wooden and plastic bobbins are a little more forgiving.
what is nice about making bobbins out of paper is that you can wind as many as you want and they take up very little space. More thread can be put onto a paper bobbin than a wooden one as well.
Karen King (Aubusson House) will reclaim her garage by selling bulk yarn on cones — Paterna crewel 100% wool in hundreds of colours.
Great prices!! Cash Only.
Call 403-284-4048 for details
I arrived late yesterday to Blönduós where the Textile centre is and I will be staying here for the entire month of June to work on some weavings and hopefully learn something from some of the other artists staying here at the same time as myself.
I will be posting regularly to update everyone on my learning experience at the textile centre, illness
and pictures of my travels.
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.
From Thursday October 17 until Sunday October 20, geriatrician I was fortunate enough to attend the UAAC Conference in Banff. (UAAC is the acronym for Universities Art Association of Canada). Along with five other ACAD students and two MFA students from the University of Lethbridge, information pills we volunteered to assist with the mechanics of lectures (A.V. issues, infertility seating, lights, blinds – not arduous issues) and thus were able to sit in and partake of the conference.
The format of the sessions is interesting: each panel has a facilitator and a title that has been designed to encompass the papers. The papers are given by professors, Ph.D. candidates and individual scholars and artists. There are between three to four papers per session, and each session lasted an hour and a half. On the first day I clocked 16 lectures, plus the engaging keynote speaker ( Fred Wilson: The Silent Message of the Museum).
The papers were varied in their scope and direction. Three of the more personally interesting panels were titled: The Question of Making, chaired by ACAD’s Mireille Perron, Elisions: Mad Dogs and Englishmen Go Out in the Midday Sun, and Feminism within a globalizing art historical practice: Where are we now? Asgleaned from their titles, the subject matter and arguments presented were varied and complex. The richness of the language and the dialogue that some of these papers opened up was intense. After the third paper, I could actually “see” the format of the paper and the argument: the opening thesis, the argument, the examples that stated the argument, and then the more specific support brought in to strengthen and give weight to their argument. The presenters often referenced writers and thinkers that we are being brought into contact with through our readings at school. One of my more personally evocative lectures in the panel entitled ” Elisions” was a paper called ” Transformation of Remains” by Natalia Lebedinskaia, a Curator of Contemporary Art from Southwestern Manitoba. Her thesis was on the complex relationship between David McMillan’s photographs from the 30 km Exclusion Zone surrounding Chernobyl and his pictures of Pripyat, and the writer’s personal memory of the Soviet Union. Part of my ongoing interest is following McMillan’s photo documentation of the Zone, and I referenced one of his images for my Pripyat tapestry. It was interesting to follow the argument on the transformation of memory and remains through a lens of a former Soviet resident who was in Moscow at the time of the meltdown.
Within the panel of The Question of Making were such papers entitled: “Messing with Making and Meaning in Current Craft Media” by Prof. Ruth Chambers, and “Re-materializing the Labouring Body: Carey Young, Kelly Mark , Klara Liden” , an especially well written paper presented by Ph.D candidate Saelan Twerdy, Art History, McGill University. Chambers writes about re-skilling, referencing Stephen Horne, Polly Ullrich and David Pye ( thanks to Dr. Salahub for having these thinkers in our reading list and course outline for Craft History last year), and she proposes that “there is a specific strategy employed by some artists to undermine the influence commodity culture has on the meanings of material objects” (Chambers, from the Abstract )
There were artists and academics from the U.K., South Africa, The United States and all over Canada. It was much more intense and valuable than I have presented in this entry, but I wished to share this experience with other students as it is an opportunity to listen, write, present and explore new ideas in art history, contemporary art, and modes of thinking which I was not aware of before this conference. Although it is heavily weighted towards established academics and Ph.D candidates, one can also be accepted as an “independent scholar” to present. It is an invaluable experience for any serious student of art, whether historian, academic or maker, as it contextualizes what our participation within a more global framework of theory and practice.
The sign-up sheet for going on the Santa Fe trip in May is up on the Fibre Department bulletin board and there are only 14 spots left.
Still not sure if you want to join us? Here are some details about the trip to help make up your mind…
When: April 28th (school ends on the 27th) to May 6th give or take a day here or there (6 days plus travel) – depending on when we can book the workshops Where: Santa Fe, information pills Taos and Espanola Valley (all in northern New Mexico) How: Plane, remedy train and probably automobile (we are planning to drive through the Santa Fe Fibre Artist Trail) How much: $1, drug 200 + food and extra spending money**
Airfare – $700
Insurance – $50
Transportation while in Santa Fe – $15/day – $90 total
Workshop – $200
Hotel – $25/night based on 4 person occupancy – $200 total
Museum fees – $25
**these numbers are aproximate and may change depending on when we go and how many days we stay
Log on here to chose your favourite city to visit for our May Fibre Department student trip and sign up for volunteer/organizing positions for the trip.
But don’t wait too long – polls will only be open until midnight Sept. 20 and then it will be others who decide for you.
– Jon Bon Jovi (1990)
So while most of you will be too young to remember the lyrics to the song, check some of you may still be interested in going to Santa Fe on our department trip (living forever not withstanding).
Interesting facts about Santa Fe:
It takes your body a day or two to adapt to high altitude. Taking it easy and drinking extra water helps.
Santa Fe, buy more about the capital of New Mexico, viagra is the oldest capital city in the U.S. and the name means “Holy Faith” in Spanish.
Santa Fe has more than 225 restaurants, 250 art galleries, 70 jewelry shops, 13 museums and one world-famous opera.
Santa Fe averages 300 days of sunshine, 14 inches of rain and 17.5 inches of snow each year. (aka – we are almost guaranteed good weather)
For 2009 Santa Fe was ranked as the fifth most popular travel city in North America by the travel-savvy readers of Destination – Travel + Leisure magazine.
Santa Fe drive boasts the largest concentration of galleries in the United States, 40 in a few blocks as of 2006.
Including many smaller galleries. Santa Fe has many world-class museums. Many are located around the historic downtown Plaza or close by:
The question is… New York or Santa Fe? Where do you want to on a Fibre Department student trip next May?
Over the next couple of days, buy we’ll be posting links to websites that make arguments for both sides. Check them out, let them do battle in your mind and then click here to take survey and place your vote before September 30.