December 2011

PAWPAW TREE   29X31"

Hello friends!

Whoa... I can't believe it's been so long since I last posted. So much happened I can't begin to cover it all, so let's go right to the topical stuff.

This post is going to be short because I just wanted to tell you one interesting thing. I am pleased to say I now have on hand not one but TWO original wall hangings from my 2002 Saving Paradise collection, recovered from an Estate Sale in the US. They are Ohio Buckeye and Pawpaw Tree, and they are in pristine condition. They are pictured here with titles and sizes, and they are both $1600, available directly from my studio. As always I can ship anywhere, and they are fully guaranteed.

I know there are a few of you out there who would want to know. So, if you are interested, do get in touch with me.

For more details about this series, go to: Saving Paradise Collection

OHIO BUCKEYE   27X32"

Long Beach, California: Here they come!

SPRING   18X36"

Hello everyone,

As I mentioned in my last post, four of my wall pieces will be on display at the Janome Sewing Machine booth during the International Quilt Festival , in Long Beach, CA from July 29-31, 2011.

SUMMER 18X36"

The theme for this year's exhibition is The Four Seasons, which is right up my alley!

AUTUMN  18X36"

So I hope some of you will have a chance to see the show, and drop by at the booth to see my babies. AND - they are for sale, each at $1500.

WINTER   18X36"

So now, you probably think I won't know what to do with myself. NOT!!!!  In true Roy style, I decided to put all this down time to good use.

So - my husband and I will be part of the Hamilton Open Gardens event at the end of June and start of July. This means our 'Work in Progress' gardens will be open for viewing, and our Studio will be open as well. Our dates and hours are Thursday, June 30 to Monday, July 4, from 10-5 pm each day. Of course, you are welcome any time by appointment too, so please contact me if you are in the area. We have lots of new work to show you! At the same time you can take advantage of the trip to visit other Open Gardens in the Hamilton area, hike to our beautiful Webster's Falls, drop by the Royal Botanical Gardens, or just mosey along King Street in our quaint village of Dundas, enjoying our many restaurants and shops.
Here's our Google location: Hillcrest Studio.

We look forward to seeing you!

Lorraine

ENCHANTED WOODS  30X10"

Embracing imperfection

 CAN SPRING BE FAR AWAY?

First, the News of the Day: I've been asked by the Janome sewing machine company to be the Featured Artist for their booth at the upcoming International Quilt Festival in Long Beach, California slated for July 28-31, 2011. The theme this year is The Four Seasons - right up my alley! I will post more about this exciting event as the date approaches, and will let you know what I decide: should I go in person this time? It seems that my work shows up in many of these Quilt extravaganzas, but the maker (me) never seems to follow. Let's just say, maybe it's time.

On Perfection/Imperfection:

Many many times, viewers of my work make the comment that I must be a perfectionist. While I know this comes from a good place with the best of intentions, I find it incredibly puzzling. Without even looking hard, I see dozens if not hundreds of flaws: threads hanging, yarns in less-than-ideal positions, colours and contrasts that don't work that well, stitching that could have been more in keeping with the lines.... not to mention lack of classic balance and ignoring the rules of design with predictable results. Just off the top of my head, I can think of all kinds of improvements to make in even the best of my pieces. 

But I can let that be, and I'm not shy about it - I might even say that in some cases I allow these imperfections to flourish. Below is an excerpt from an interview I did a few years ago with Dr Bernie Herman, in answer to his question about how I feel about imperfection in my work:

"I humbly believe my art is a microcosm of what is happening each day on this Earth – that each piece I make captures (in the best way I can) one moment in a continuum of moments. It is not perfect but it buillds on previous experience, and is a step to the next level. 

Just because one individual piece is not perfect does not mean it has less value. On the contrary, it has much to offer someone who is truly observing and searching – the mistakes, the inconsistencies, the omissions, the triumphs and failures – they are all there, plain to see. Each viewer enters it, contributes to it, and grows with it, in his own way. The viewer is a co-creator with the artist. This would not happen if the piece was perfect. The static state of Perfection is death for the soul.

Take the processes of Biology. A static grid could represent the orderly and mathematical process of cell division. But, during this process, even if everything proceeds as it should, surprises can happen at any point. How species adapt and evolve to deal with these surprises leads to their eventual wins and losses. Winners pass it on to the next generation. This is what drives evolution."

Nothing moves without change.You could even say imperfection is BUILT IN to the DNA of life. And this fleeting moment is what I look for in other artwork too, not only in my own. The works I admire most contain within them a welcome mat, a place where I can cozy up and ride along with the maker. It is not about answers, but about intriguing questions that spur my imagination and challenge my preconceived notions. 

So, no, I am absolutely NOT a perfectionist. Allowing and embracing imperfection and mistakes is how I evolve within my own work. This is what I want to pass on to viewers: I want to let them in, I want them to join me in my journey. I don't have all the answers, but I believe that together we can explore those exciting questions, combine our strengths, and grow along together.

Till next time.... Lorraine

February 2011

First, here's a link to a nice interview with me on the World of Threads Festival website. This International festival is a bi-yearly event that happens in Oakville, a town not far from where I live. I've been participating in it for years as an exhibitor, speaker, and juror. Each year it gets better. I am getting harder and harder to please with textiles, and yet last year's showing just blew me away!!! So if you are a textile artist I strongly recommend that you visit the event if you can, enter your work in Common Thread exhibition or keep an eye on what's happening there (even if you're from VERY far away).... I have a strong feeling that this year's festival is going to be a knockout.

Also, I will be teaching a 3-day workshop in London, Ontario this coming May, as part of the Gathering Threads conference organized by the Canadian Embroiderers' Guild. I suggest booking early for any of their events and workshops - they are filling up fast!

OK! Down to the day's discussion.

The Gathering Thread interview stirred up some great topics and got them buzzing around in my head. This is why I rarely turn down interviews, especially those that go beneath surface. First of all, it's flattering that someone, anyone, might be interested in what I've got to say. Heck, how often does THAT happen? And the other thing is, especially with the written ones, they cause me to really think about the reasons why I feel as I feel. Most of the time, space constraints don't allow me to put it all in the interview, so I'm going to make a list and do it here in my blog.

Why I love my technique

The most important quest for any artist is to find a medium that resonates with her vision, her abilities and her personality. I love my technique. I do.

And after a lot of thought, I believe this is why: from start to finish, there is a lot that 'just happens'. That is to say, chance plays an important role in the finished product. For example, although I have a huge, and I mean huge, collection of fabrics, I rarely have 'exactly' the right colour envisioned for the piece. Or it's there and can't be found, in spite of the relative order of my storage system.

So what's a girl to do? Go out and buy new materials each time? Not an option... the nearest fabric shop is a good 20 minutes' drive and in the heat of the creative moment I am not a good risk behind the wheel. SO - I make do. Yes, I make do with what I have. And this just happens to be the most important and salient and exciting part for me: the medium itself, the fabrics I have now, become part of a 'conversation'. I am no longer the dictator.

This way, my process begins to record where and how I am at the moment, with the materials I have, with the machines, studio and life that I've got. Me, and my life, not 'just me'. By pushing it just a bit further, by using scraps that are just lying around, cutting them in a random way, throwing them on instead of carefully placing them, sewing over them in unplanned patterns and lines, letting the raw edges fray, going for BOLD rather than FUSSY... I live in the moment, turn the ego off and experience a direct connection with the muse, no longer getting in my own way.

Letting go is exhilarating. It means accepting the risk of failure. It means overcoming obstacles in new ways. It means learning to live with and embracing imperfection. It's the ONLY way to exceed my own entrenched ideas. Plus, no problem worrying about running out of this or that. I KNOW nothing is going to impede my creative energy.

I think all life should be like that ... as in art, so in life. Or so I hope. As I explore this idea in my art practice, every day, I hope snippets of 'letting go' will drift into my daily life. In that way, art is definitely my teacher.

I know there are all kinds of great new products out there, glues and sprays and sparkly things, tools and machines and threads and storage options... There are all kinds of ways I might be able to 'improve' how I work, do it better, faster, quieter, bigger.... but I resist, for all the reasons above: those 'things' will find their way to me if they are meant to. Otherwise, I am fine, content and free of want.

That's all for now... It's winter, the most beautiful of seasons. Stay warm and we'll talk again soon.

JANUARY 2011

    Just lately I've been reading plenty of blogs, many of which are, at least to me, beyond inspiring. and beautifully written. They put me to shame! AND they are filled with all kinds of fascinating details. So where do I fit in? So far I'm not even updating by the month, let alone every day, and what to write about? My list of resolutions for this year was so long, I simply couldn't face adding "To blog, every single day, or at least often enough to keep on radar." Sadly, all I can do is my best, which is going to fall short of all expectations, including mine.

    Well, at least I can tell you a bit about what I've been up to for the last few weeks. Back in November a tall, beautiful couple approached me, having noted a photo of my work in the local newspaper a few years ago. (This happens a lot! The three year wait period is a standard joke around here lately.) They knew exactly what they wanted and where, and today my husband and I installed a triptych in their master suite. And I must say, it is gorgeous! Very few things are more satisfying than fulfilling a commission that ends up looking even better than anticipated.

     People often ask how it feels to do commissioned work. Many believe, sometimes rightly, that it must be uncomfortable and limiting for an artist to create on demand - particularly in cases where clients might wish to match their decor, or force her to deviate from her usual work. Well I'm here to say that in most cases, I've found the process fascinating and empowering. It's all in how you look at it. It's an opportunity to allow another person who may never have had the chance, to enjoy the power and joy of creation. My clients become active participants in the process, co-creators and collaborists. It's a different way of working but not one bit less satisfying. One of the side benefits is that, more often than not, I get to stretch my own limits and try out ideas I may never have explored before. Maybe because of this attitude, I am starting to draw new clients who want customized art - I have had more commissions in the past year than ever before.

Having said that, I can empathize with horror stories I've heard from artists who were required to bend over (ahem) way too much. I was once asked if I would make speaker covers featuring Marilyn Monroe and Elvis... true story! Never mind... it gave me something to write in this blog, so, not a complete loss after all, eh? 
Or, there are artists whose vision is entirely focused on a particular path that will not accommodate other views. Perfectly understandable... most of the artists I know don't like working on commission. As sensitive as artists can be, it is impossible to get inside a client's head and 'see' what they want to see. Mistakes are made all the time. One of the ways I deal with this fear is that I don't require clients to purchase the piece if it doesn't suit them. Now I KNOW that's something no one and I mean no one would ever recommend. But, doing it this way gives me peace of mind. I am then free to work on the piece to the best of my abilities, and finish it with my own aesthetic values at the fore. At least at that point I have satisfied myself. And although no client of mine has ever exercised that option, I am prepared to face the possibility with a calm spirit. For sure, if I love the work, it will eventually find a good home.

Well, there isn't much happening around Hillcrest Studio but Studio work. So far, my next registered event is a 3-day workshop that I will teach in London in May. You can get more details by checking Upcoming Events on this website.

So... till next time, hopefully sooner than later!

Lorraine