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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Thursday, April 15, 2010

Introducing Oshiwa Printing Blocks at the Paducah Quilt Show!

Handcarved textile stamps from Oshiwa, 
a carving group in Namibia.


Anita Brandt, founder of Oshiwa Designs, joined our Fiber Focus Group awhile back and approached me about using Rayela Art as the distributor for the textile stamps her carving group produces.  After several months of emailing back and forth, trying to figure out the logistics of such a partnership, we are almost ready to hit the market!  Last week, two huge boxes arrived at my doorstep loaded with the stamps.  Our first introduction to the public will be here in Paducah during the quilt show which starts next week.  If you are coming to Paducah, please visit the Rayela Art booth at 212 Broadway, housed in Antique Galleria.  Broadway is Paducah's main street, a short walk from the Quilt Museum and other downtown businesses.

The Oshiwa Namibia Team

Anita's team consists of a small group of talented carvers.  Each brings special skills and talents to the mix.  We will have more stories about each one in the future.  The stamps are their main focus, but they also have a booth in Namibia with other products they make including gorgeous picture frames, pillows and other crafts.  Distribution from Namibia to a larger market has been a major problem for Anita, so we are hoping that by working with Rayela Art, this problem will be solved.  At this point, we will start only with the stamps and later move on to the other possible products.

Oshiwa carved photo frame.


Maria sewing Oshiwa cusion covers.


Oshiwa cushion cover using stamped fabric.

The stamps are available as individual pieces as seen in the first photos or as sets.  We are still working out the pricing details.  Anita has been operating on a string budget with no salary for herself for years and years.  Is this a sustainable approach?  We need to be able to find a price point where they can meet their needs and which is affordable for the artists who will be our primary market.  

Oshiwa textile stamps sold as sets.



As sets, the stamps have jigsaw patterns that can be used to compliment each other.  All of the photos in this post show their distinctive African geometric patterns, but many also depict animals, both real and imaginary.  Some include the elephants, rhinos and snakes of Africa, while others are just funny creatures that are inside the carver's imagination.  Here are a couple of creature graphics that were created with the stamps:


Oshiwa creature designs using their textile stamps.



Oshiwa recently joined TAFA: The Textile and Fiber Art List and we will move into creating a greater online presence for the group once the Quilt Show is over.  We have a lot of work carved out for us: setting up a shop on Etsy, getting a blog going for the group, a facebook fan page, and so on.  Meanwhile, we could really use your feedback!  
  • What is your reaction to the designs?  (Too ethnic?  Too African?  Or, just drop dead gorgeous?!!)
  • Would you pay $2 per square inch for a stamp?
  • What would you use the stamps for? (fabric, paper or clay?)
  • What themes would interest you?
  • Would you prefer to buy individual stamps or sets?
Any feedback that you can give us will be extremely helpful as we plan out our next steps.  Paula Benjaminson has used the Oshiwa stamps in her workshops with great success.  Visit her blog to see examples of how contemporary fiber artists have incorporated these designs into their work.  And, be sure to leave some nice words for the carvers, as well.  Anita will pass your words on to them and an encouraging pat on the back is always a nice gesture!

For more information, visit Oshiwa.com.

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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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