TAFA: The Textile and Fiber Art List

Showing posts with label Folk Art. Show all posts
Showing posts with label Folk Art. Show all posts

Wednesday, October 6, 2010

Invoking the Muse "with a little help from my friends"...



I just issued a challenge to the TAFA Team (TAFA's members selling on Etsy) to explore the theme of "Invoking the Muse" in blog posts, treasuries and in any other way they can think of.  As I chewed on what that meant for myself, I thought about two things:
  • The creative place is an altered one, the closest I experience as described by mystics who engage in prayer or meditation.
  • That altered state is often enhanced by our "friends": alcohol, caffeine, sugar, nicotine or other mood alterants.
Howard Finster came to my mind.  An outsider artist and preacher from Georgia, Howard Finster has passed on to the ultimate altered state, death.  But, his work continues on as a legacy.  I love how his pieces are sermons of his world view (not necessarily my own), but his story also captivated me a long time ago.  Finster was a revival preacher until one day, when he was fixing a bike (if I remember correctly), a splotch of oil on the ground looked like Elvis to him.  He saw that as a calling from God to become an artist.  Finster is often described as a "man of visions", not only because of his huge body of work (all supposedly numbered into the tens of thousands), but because he also had actual hallucinogenic encounters with Elvis, Marilyn, Kennedy and other icons of our pop mythology.

Why?  Maybe because he only slept four hours a night, added sugar to his coca-cola and drank chicory coffee all day and night.  He produced so much work that his wife laid down the law and allowed one piece in the house and the rest had to be outside.  That led to outdoor sculptures, the creation of Paradise Garden, and his growth into a tourist attraction, much to the chagrin of his neighbors.

In his book, "Howard Finster", JF Turner, addresses this question of altered states among artists.  He quotes Dr, Dean Edell, to whom he showed samples of Howard's work:

"If I knew nothing about this man and just looked at his art, I wouldn't be surprised to find that this person was a chain smoker and a coffee drinker.  Nicotine and caffeine have synergistic effects on the body and the mental state.  In one test where nicotine was given by injection and not identified, many of the subjects throught it was cocaine.  Nicotine is a very strong "upper" that has effects on the mind that are only now being unraveled...

... You don't have to look deep or hard in art history to find a relationship between artists, alcohol, and even chain-smoking.  This is the sense that people utilize to keep them going.  It would be hard to imagine somebody like Mr. Finster putting out his kind of energy in a consistent way without some pharmaceutical or spiritual help, and that in itself alters aesthetic expression.  Mr.  Finster is borderline, meaning only  that he experiences hallucinations.  By this definition, most of the world's great visionaries may have been psychotic.  I think that with high dosages of caffeine and nicotine, a borderline personality can be thrown into a visionary or hallucinogenic state."

Notice how the good doctor says "pharmaceutical or spiritual help" but does not explore the spiritual side of this formula.  Finster was driven by both.  He was deeply motivated by what he felt he needed to share with the world through his direct connection with God.  As his art was a sermon, so was his message to anyone who would listen.  Here's an example (feel free to roll your eyes...):





I know I have my mood alterants.  For me it is nicotine and wine.  I'm one of the last smokers that I know and hate it.  I've tried to quit so many times that it's become like Mark Twain's quote, "Giving up smoking is the easiest thing in the world.  I have done it thousands of times."  I've been seriously considering going the medicated route and am scared to death of messing with my chemical balance.  For, even with this horrible crutch, I am even tempered, wake up happy, and rarely feel any signs of depression.

But, even as I feed my muse its offerings of smoke and the red fruits, I believe that my creative spirit comes from a deeper place, from my own understanding of God's grace.  Whatever you may call God, for me it is a place of love, forgiveness, and meaning.  The world view I was taught as a child fits within that, but it also goes beyond any intellectual understanding of what faith may be.  My father once described faith to me as stepping out into darkness.  That image stuck with me because that really is what life feels like.  Decisions are made, chances taken, doors open and close, with no real knowledge of what the consequences will be down the road.  When I enter the creative mode, something physical happens where that darkness is lit up.  It's the only way I have been able to experience mysticism. 

If we, as artists, really can be diagnosed as psychotic, then what happens in a healthy world?  Does the drive disappear?  I don't think so.  The same energy is re-harnessed with a different drive.  Perhaps those of us who need some help from our "friends" are only doing so because our bodies are out of balance and we compensate in this way.  Something to chew on...

I was able to make my pilgrimage to Paradise Gardens many years ago.  Mr. Finster was still alive, but not well on the day that I was there.  His grandson had him sign some pieces that I bought there in the gift shop, but I did not meet him in person.  I walked around and let Howard's art fill me with joy.  What I know for sure is that we must all invoke our muses and allow them to speak loud and clear.  The world is full of angels.  Mr. Finster was one of them.



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Tuesday, February 10, 2009

Gee's Bend: Fiber Patterns Embedded in Memory

Annie Mae Young, Work-clothes quilt with center medallion of strips, 1976; denim, corduroy, synthetic blend; 108 by 76.5 inches.


Photo: Arthur Rothstein, Collection of the Library of Congress

The following videos offer a little window into the quilting community of Gee's Bend, Alabama:











The women refer to their quilts in two ways, the "fancy" quilts, which they thought were good enough to sell and the quilts they made for everyday use. When they were first discovered by the fiber art world, those utilitarian quilts, worn, faded and often neglected were the ones collectors coveted. The fancy quilts use patterns recognizable in mainstream quilting traditions while the everyday ones spring from individual inspiration and availability of materials. Here are some examples shown on the official Gee's Bend website:

Mary Lee Bendolph and Ruth P. Mosely Bricklayer


Lucy Witherspoon Housetop, 1985p


FiberArts Magazine also had a nice article with these images:
Jessie T. Pettway, Bars and string-pieced columns, 1950s;cotton; 95 by 76 inches.


This one was in the Austin Chronicle, but I couldn't find the info on it:

The quilts show a whole range of color choices, designs, and skill levels, but all have an organic feel to them that suggests a "design as you go" approach. They contrast sharply with traditional quilts where hand quilting skills are judged by number of stitches per square inch or where perfection is the goal. As described in the first video, many of these Alabama quilters will make a whole quilt out of what would normally be one block in a traditional quilt. Zooming into color and texture, they disassemble the pattern as if looking through a magnifying lens.

Most articles about Gee's Bend quilters make reference to parallels in the quilt designs to African textiles. Comparisons have also been made to abstract modern art. Do these women carry a subconscious memory of African patterns? Interviews with the women indicate that they do not have a large world view of what is available in the quilt world, but rather that the patterns simply appealed to their own inner sensibilities.

When I look at the quilts, I see some elements that can individually be found in many different traditions. As a group of textiles, they speak to a specific community bound by time and place which will not be replicated. Now that they have been "discovered", a certain loss of innocence is bound to happen, where function will be replaced by the desire to make saleable pieces or for recognition in the media. I don't know how this transformation will evolve over time, but change has been documented over and over again with individuals or communities who began humbly and then achieved international recognition. Will the women continue to allow spontaneity to dictate design? We cannot predict what will happen, but the African connection will surely present itself in a new way to these women who may carry those embedded patterns in their genes. Certainly, as they see others make the connections, they will also study themselves and their roots and perhaps make the connection even more pronounced. Most craft communities seem to end up with most of their members engaged in producing products for income generation. Then, a few of these blossom into something new, breaking boundaries and growing into the mentors, visionaries, and muses who will inspire the next generation.

We shall watch Gee's Bend and see how it evolves over the years. My gut tells me that we will continue to see objects of wonder grow out of this community, even as they evolve from the "naive" to the "expert".

Books on Gee's Bend available on Amazon:
(Click on the link below the image)





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Monday, September 29, 2008

The Gourd Patch Festival, Mayfield, Kentucky

Photos courtesy of Bob Davis

The days are still warm and pleasant here in Western Kentucky, but Summer has officially ended and signs of Fall and colder weather begin to manifest themselves. Leaves start to turn, night comes a bit quicker, that tell-tale chill in the morning... yep. The cold is on its way here.

With the change of season comes harvest and bountiful, beautiful pumpkins and gourds. A couple of my Paducah Fiber Artists friends and I took a trek to attend the Gourd Patch Festival in nearby Mayfield, Kentucky. What a wonder!


I've seen gourds before and plenty of pumpkins. But, I don't think I've seen so many varieties, such vibrant colors and all that texture!







We learned that the gourds are dried by leaving them on the vine, in the field, and the ones that survive the elements will make good gourds for craft use. I picked a few that I want to experiment using henna designs:


There was plenty to do at the festival as it featured gourd vendors, craft booths, a Gourd-mobile derby (!!!), food concessions, live music, a hay-bale maze, with the day ending in a ghost walk at a nearby cemetery (we didn't stay for that!).

Vendors definitely had a brisk business!

David Meeks from the Pumpkin Barn sells raw
gourds and these birdhouses he makes.



Paula Martin, of Nashville, Tennessee, looked around,
getting ideas for what she was going to make with the gourds she bought.

Many of the crafts were season oriented with Halloween, Fall and Christmas decorations in mind.



Others were quite lovely, appropriate for year round use.

Murray State University's Gourd Percussion Band tried really hard to make a commotion (they could have used some mikes...), but they were cute and darling.


My friend, Bob, posed for a portrait:

A great likeness in my opinion!


The Ice House Gallery (Yep! It really was an ice house way back when...) sheltered the masterpieces by gourd artists from all over the country.


It's amazing what different people came up with! Pigs, dragons, presidents, and intricate ornamental work revealed themselves through this gourd art.





At the back of the Ice House Gallery, there is a little shop and an art room for classes. I enjoyed speaking with one of the local artists (the guy who made the dragon).


We rushed out because we didn't want to miss the Gourd Mobile Derby. Our friend, Margaret had been volunteering inside, while her husband, Fred, also a gourd artist, got all the gourd cars ready for the big competition. For weeks before, kids prepared for this event by getting their spiffed up gourd cars ready. The base is from a kit, the same on all of them, but the top is up to the artist.

As you can see, some stayed close to traditional car designs, while others went wild with their imagination:


The cars are raced, three at a time on this special track. It was surprising to see which ones got the best umph!


We loaded up our pumpkins and gourds with ideas spinning around in our heads of what we might be able to create with these wonderful shapes! I'm sure there will be some tasty pies coming up in the next few weeks as well. Yum, yum!


The Exhibit at the Ice House Gallery continues through October 11. That's at the Mayfield/Graves County Art Guild, 120 North Eighth Street, Mayfield, KY 42066. If you are a gourd artist and would like to submit your work next year ($1,000 award!!!), you can contact Dana Heath at icehouse@wk.net, 270-247-6971. They accept work from all over the United States.

The Mayfield Gourd Patch Festival is sponsored by the City of Mayfield, the Mayfield Tourism Commission, and the Mayfield/Graves County Art Guild. See www.icehousearts.org for more information.

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Sunday, September 21, 2008

Sarah's Artwork and Her Traveling Muse: Australia, Mexico and Africa!

We have this little gadget on the front page of our Fiber Focus Group that pulls images from Flickr tagged "fiber art".  Last week this cute guy with a red face and wings popped up:

Merman by Sarah's Artwork

I quickly clicked on it as I wanted to know more about it.  I knew instantly that this was a piece that would be close to my heart.  And where there was one, there would probably be more.

I was right!  Merman led me to a treasure trove of wonderful work! I am especially attracted to work that is influenced by ethnic art, yet twisted into something new.  If you visit the Sarah's Artwork blog, you will find this to be true in this case. The blog is loaded with images of inspiration and how they become translated by Sarah into something new.  For example, take this piece from her series, My Tribe

Source of inspiration: Africa!

Other My Tribe pieces all recall Africa, although Sarah said that she is also inspired by the immigrants she sees in Melbourne, often wearing tribal tattoos or henna designs from their place of origin.

But, Merman, looked distinctly Mexican in flavor to me.  Hmmmm....  Sure enough, Sarah has been to Mexico and fell in love with it!

And, where does this well of creative juices spring from?  AUSTRALIA!!!!  It's A Small World After All started playing in my head...  Sorry.  It's all that childhood indoctrination...

Its A Small World (After All) - Disney

Sarah is prolific and diverse in her work.  The soft sculptures are heavily embellished and expressive.
Woman by Sarah's Artwork
King by Sarah's Artwork
She also draws, filling space intensely, creating wonderful environments of chaotic order:
.
The Embrace by Sarah's Artwork
Sometimes the sculptural and figurative become combined into the functional:

I have found that artists who fill their artwork with detail and texture, like Sarah, tend to also decorate or fill their work spaces in the same way.  This is true with her.  Sarah's former studio was an altar to life.  Walls, even the ceiling, celebrate the world, bringing cultures together into a collage of color and texture.

I contacted Sarah and told her how much I liked her work.  We exchanged several e-mails and she turned out to be as interesting in cyber-reality as her work.  I don't expect much when I contact people out of the blue like this.  Many never respond, people are busy, whatever...  but, Sarah was enthusiastic and shared quite a bit about what is going on with her.  She packed up her studio and is in the process of crossing the ocean to start a new phase in her life: Montana, USA!  She has friends there and eventually wants to make it back down to Mexico.  Montana is a long way from Kentucky, but it gets my hopes up that if we are at least in the same country, there is a tiny chance that we could meet someday.  

Meanwhile, visit Sarah at her blog, leave some comments here about how wonderful she is, and from us all, we wish you "Happy Travels, Sarah!"

Click on this short bio to see a larger image:


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