Fibre Content


No, no - that isn't a spelling error - that's the way we spell "fiber" here in Canada. ;)


In Search of the Bright Spots (c) Sharon Collins

And the reason I'm talking about how we spell "fiber" here in Canada, is because this weekend I went to fiber arts show called "Fibre Content" in the nearby city of Burlington.

I thought I'd show you some of my favourite pieces from the show. So in no particular order, here they are (starting with the one above, of course.)

Also, note to Pinners - I have saved each photo with the name of the original artist and the name of their work - if you pin these (which I prefer you don't) please include that information on your pin. Do NOT pin it as being my work.



Bedolina Threads (c) Maggie Vanderweit

This piece was quite large - approximately 50 x 35 -  a wholecloth piece.  The stitching was a copy of/inspired by a  petroglyph in Northern Italy but as I never read the catalogue until after the show (BSP is the opposite so we compare notes later); it reminded me somehow of a poem whispered into the palm of your hand - meaningful, incomprehensible in its entirety, mysterious, a bit magical.




 To Snowdonia (c) Jennie Wood

This piece was one of three entered by Jennie Wood, one of the women in my own  yet-to-be-named fiber art group, (the fiber arts group I'm part of);  however, she was exhibiting as a member of Connections Fibre Artists.  I particularly love this piece as it was quite a departure from her usual, more structured oeuvre: a meditation on the colours of Snowdonia in the UK.  I think it's very successful!




Ferrero Cameo (c) Leah Hughes

The show itself was juried by Joanne Greenberg, Iga Janik and Elizabeth King , and  was drawn from artists  in the following groups or associations:  SAQA Central Canada, Burlington Fibre Arts Guild, Grand Guild of Fibre Artists , Group Of Eight Fibre Artists and Connections Fibre Artists.

The majority of artists in the show seemed to be from SAQA Central Canada.



Harvest - Fields of Wheat (c) Catherine Timm

There were two things that were very apparent in this show. 

The first was - photography matters!  

For some time I have been thinking about getting professional photos done of (at least some) of my work - particularly around Written On The Body  - as even with my new, super duper fancy camera, I have still been unable to get a photo of it that shows it as it really is.


Homeless Love (c) Mary Pal

And when comparing the work in the high quality catalogue of the show that was provided with the work itself - there were some startling differences.  Some work looked far better in person than it did in the photos, some work looked far better in photos than it did in person, and in at least two cases, the photograph was SO unlike that original work that we failed to find the piece in the show. In one case, we actually did (finally) manage to find the piece but it was completely unrecognizable.

The problems were mostly colours - some VERY dramatic differences! - but in some cases, the artist either purposely or mistakenly photographed the piece in such a way as to highlight a specific feature, which made the work look completely different when you saw it in person.

Some of the big shows will suggest that you have your work professionally photographed as work that doesn't look like the photographs may not be accepted - and my gosh - there were at least ten pieces in the show that were in danger of that distinction!




Musing (c) Mary Pal
Speaking of photography - in the Mary Pal piece (Homeless Love) just above this one; the original piece had a beautiful cream border, which I cut off because a woman was studying it so intently and so long I finally took a picture with her standing in front of it.  The little bit of auburn on the lower right hand side is actually not part of Mary's work but rather, a bit of the woman's hair. :)



I Walk Alone (c) Michaela Fitzwilliams

The other thing that was really apparent, was the differing skill levels in finishing the pieces. (And I don't mean the one above.) There weren't many pieces that had binding, but of those that did, the skill level was quite obvious when you had them hanging side by side; similarly with facings and envelope closings (though there weren't many of those), and even more so in those that used commercial canvases around which the pieces had been wrapped.


detail - I Walk Alone (c) Michaela Fitzwilliams

This is a technique that I'm starting to use, and where the skill level or lack thereof was most apparent, was in the corners - and I must confess that mine looked very much like the ones that looked rather poor in comparison to the more professionally finished ones!

It made me realize that I really need to find someone from whom to take a class in how to do that - I'd hate for people to walk away from my piece saying "lovely work, too bad about the framing/binding/facing/corners"!

Incidentally, when BSP and I went to a fine art show recently, we noticed the same issue! 

Some work was framed and/or mounted so badly that it was really disconcerting, or a particular kind of frame was used throughout the body of work that didn't suit all of the work, or the worst sin of all as far as we were concerned: really cheap framing that sadly distracted and detracted from the work itself. Often, even if we really loved the work and would otherwise consider purchasing it - if the framing was cheaply done we wouldn't consider buying it if it wasn't something that could be easily dismantled. Invest in good framing and include it in the purchase price!

This stuff really matters - even in our world.



Poppy Cock (c) Leah Hughes

BSP and I both really liked this piece - despite the fact that such a profusion of colour and pattern is not to our usual taste either jointly or singly, we found this piece really charming and well balanced, and we loved it for its colour and pattern not despite it.



Rock, Paper, Scissors (c) Linda Kittmer

This was one of three pieces by a frequent commenter here on my blog, Linda Kittmer, who is part of Group of Eight Fibre Artists. I love all the bits in it, the colour palette, and the wonderful tactile look of the piece. I just wanted to pet it! (But I didn't. ;) )


When Will They Ever Learn (c) Dianne Gibson

In my opinion, this was the most interesting piece at the exhibit - although it was hidden away in a corner on the upper floor.  That may have been because of it's size (it's massive).   

It's a polemic against war - I guess it's unsurprising that I found the political piece the most interesting. *w*



detail When Will They Ever Learn (c) Dianne Gibson

And then my favourite piece of the day....



Childhood's End (c) Pat Hertzberg

Loved, loved, loved this piece - although I parsed it for meaning and was clueless it turned out (I thought it was about toxic waste/environmental pollution or drifts of red algae on the Yangtze River in China [which has become so polluted that the river dolphins have gone extinct and other creatures that live in it are on their way to being so.])

However, I was way off. lol  From the artist - "This piece addresses torn, faded and sometimes lost childhood dreams and nightmares. They are magnified and exposed with the convoluted trepidation we feel when faced with the mantel of adulthood."


The Remains of The Day (c) Judy Gingrich

And then just down the street, another fibre art show was happening at the Burlington Art Centre, called the Literary Arts Exhibition, put on by the Burlington Fibre Arts Guild - each piece was inspired by a work of literature.  My friend Judy Gingrich (also a member of our group   ) had the above piece juried into that - and took second place!

So that was the excitement this weekend.

How was YOUR weekend?
Kit 120

Kit Lang

15 comments:

  1. kit - these are wonderful. And your pics and commentary are really good (almost feel as though I was there!)

    I know what you mean by 'finishing'. My friend Rob says that 'a good picture deserves a good frame and a bad one needs one'. For my own work, which is more 'embroidery' than traditional quilting, I usually have them professionally framed.

    My friend Hilary Beattie (link from my own blog) has a wonderful way of presenting her work - using bought canvases which she mounts her quilts on. I have done a piece in a similar way - with mixed success. Steph Redfern has a different approach. I think part of our style is the final presentation. But you are right, a good class on 45 degree angles is a good way to start.

    Hilary

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  2. Hi Kit,
    Thanks for sharing the work. I can see why you were drawn to those particular pieces. I am surprised that Jenny Wood found such colour in Snowdonia. But then when we went up it was mist and fog. :)
    Interesting comment on the photograph side of things. I have always wondered how one could have a photo that didn't look like the quilt, but I guess from your experience some people manage to do it!

    I don't know how you feel about Pinterest altogether, but I found a blog which said Pinterest has a code you can put in your blog or website if you don't want Pinning.
    The link goes to a section on the Pinterest site. http://pinterest.com/about/help/# You scroll right to the bottom to a bit which says:
    What if I don't want images from my site to be pinned?
    Click it and it gives you a code to use. (your comment box doesn't like it to be pasted here.)
    I have done that on mine. Then I don't have to worry about it so much.
    Sandy in the UK

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  3. The way FIBRE should be spelled :) Thanks for a great review and look at this show--i wanted to enter but you had to be a member of SAQA and hand deliver to the organizer! LOVE the Vanderweit and the last 2 pieces.

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  4. Thank you for the Monday morning visual fest.....it brightened my day here were we have winds blowing about 50 MPH, snow showers and brrrrr cold temps......thanks to Hurricane Sandy!

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  5. Thanks for taking us with you to the exhibition - I enjoyed every second of my visit !! Wonderful, exciting pieces!

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  6. Anonymous29.10.12

    It looks like a wonderful show! I didn't realize you were in southern Ontario. I met Dianne Gibson at the unveiling of her textile piece called Continuum at the Regional Niagara Headquarters.
    Stay inspired!

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  7. Wow! Thanks for sharing! I've never been to an exhibit like this. What a wonderful thing! My favorite is the Harvest and the Cameo. I bet you have all sorts of ideas going through your brain right now :-). Very inspiring!

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  8. Thanks for sharing the show on your blog. You have chosen a couple of my pieces and I'm absolutely thrilled that you liked them. This was my first juried show, so I had no idea what to expect. I just loved the show and had a great time. I only wish that I had remembered my camera. At least I have the booklet.

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  9. Love what you picked and the framing on Childhoods End was brilliant.

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  10. Kit, thanks for a great post. I really enjoyed reading what you had to say, particularly about finishing/framing pieces. Very valid comments! I'm also honoured to have one of my pieces in your collection of favourites. Thanks!

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  11. Great post! I ENJOYED seeing the fiber pieces!

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  12. Sylvia Morgan1.11.12

    Thank you for a great selection of wonderful works. I was alerted to your blog by a fellow member of the cqgb Yahoo site in UK.
    Inspirational pieces, just what I need to start my day on All Saints Day (public holiday) here in Europe - Andorra.
    Sylvia Morgan

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  13. I really enjoyed this post--great photos with excellent detail! Thanks.

    Linda Seward
    London

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  14. I thoroughly enjoyed this post too, Kit. There is a lot to admire here.

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  15. Stunning pieces - what a great diversity of styles - looked at the pieces again and again as there was plenty to take when considering the artists starting points and contexts.

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