Sunday, October 19, 2014

Experiments in Minimalism

I just finished up a class in Minimalism/Reductive art. It is quite fascinating and much more difficult than it looks. You can find minimalism in all forms of art expression from traditional painting to contemporary film, video and music.

5 Red Squares by Liz Kettle

Minimalism began as a reaction to abstract expressionism. Basically a bunch of artists got together and wrote out the manifesto or rule book for Minimalism. These artists, Donald Judd, Dan Flavin and Sol LeWitt among others decided that they wanted to create an art movement that embraced an absence of expression and create art that was objective, non-referential, and kept the hand of the artist to an absolute minimum. 

The characteristics of Minimalism include:
1. Simplicity of form

2. use of monochromatic palette or primary colors
3. an emphasis on pure shape
4. removal of any appearance of composition
5. keeping true to the materials and often employing industrial materials or mass produced supplies rather than 'art' materials.

We had lots of great discussion in class if true Minimalist art is even possible to achieve. We all worked hard to question where the fine line was between abstract and minimalism. At what point was there that one thing too much. Everyone in the class produced great work from a variety of mediums including a couple videos. We all felt that the most difficult part was to create something minimalist while avoiding boring! 

If you would like to learn more there is a great abstract on Minimalism here.

I have a lot more ideas for exploring minimalism in stitch. Do you like it? Hate it? Want to try it? Let me know.

"A shape, a volume, a color, a surface is something itself. It shouldn't be concealed as part of a fairly different whole."
Donald Judd

Thursday, September 4, 2014

Small Wonders

Our Exhibit is ready to be seen! Please join us for the opening reception on Sunday, September 7th from 1 to 4PM at the Etui Fiber Art Gallery in Larchmont, NY.

Here's the official invitation:

Diminutive bugs and birds, petite scale, delicate details of line and stitch – all in tiny treasures on view at Etui Gallery during the month of September, 2014. Eight artists brought together by a love of fabric and stitch show off their varied approaches to mixed media textiles in this exhibit of small works. Layers of machine and hand stitching intimately render buildings and homes both in Natalya Aikens’ works, which incorporate recycled ephemera, and in Kristin La Flamme’s fabric collages. Benedicte Caneill’s work incorporates impeccably sewn pieces of her monoprinted fabrics to create dancing compositions of color and line. Jane Davila and Gloria Hansen turn their focus on small-scale flora and fauna with an eye to graphic simplicity and macro photography respectively. Carol Sloan, Liz Kettle, and Beryl Taylor round out the collection with tantalizing layers of intriguing fabrics, delicate paper, painted textures, wee stitches, and tiny details that draw the viewer in for a closer look.

Here are a few photos to entice you to come see them in person!
Front facing wall with art by Jane, Benedicte and Gloria
Small wonders by Kristin
Corner view with work by Gloria, Benedicte, Liz and Natalya
Gloria's butterflies
Benedicte and Liz's work
Main wall with work by Liz, Natalya, Carol, Beryl and Kristin
A restful spot with work by Kristin, Natalya and Carol

Monday, September 1, 2014

Beryl here, well it seems such a while since I posted last, been traveling !

At the moment I am doing some new work with stencils. I'm working with stenciling on sheers mainly silk organza which has been dyed,layering stencils on the top and spreading modeling paste with a spatula over the stencil and leaving to dry. When dry I either machine or hand stitch around image. These small pieces are part of a much larger piece which has yet to be assembled.

I'm traveling to Florence and Venice at the end of the month so I'm sure I'm come back with tons of photos and inspiration.

Monday, August 25, 2014


Portfolio Books

A picture is worth a thousand words, right? Smart phones and tablets have made it much easier for us fiber artists and art quilters to show people what it is that we create, rather than relying on imaginations that too quickly jump to underwater basket weaving and grandma's feed-sack quilts. I have photos of my work on my phone and am all too happy to pull up a picture when anyone shows any amount of curiosity. But my phone is small. So, I've taken to bringing along portfolio books whenever I think I might be in a situation where someone might want to see my work.

One of the best things about these books is that I can make one for each series of my work, or the different facets of my work. I don't have to worry about confusing my fabric collages with my bed quilts. I can choose to show one portfolio or the other, depending on the audience. My dad complained yesterday that he has to scroll through my blog to show his friends my work when they come to visit, so today I made a brag book that has all my recent work.

 Portfolio Books

There are many ways to create these books. I have a Mac computer and it's set so that all my photos download directly into iPhoto. So, I've found it very easy to choose one of iPhoto's project templates, plug in the photos, write descriptions, upload it all to Apple, and expect a shiny book to arrive at my door in about a week. Other online printers and photo services also have similar templates, or you can design your own solution from scratch. The books that I order from Apple are best in small quantities, but I really like the elegant template, quality printing and absolute ease of creation.

Last week I was in Oregon and attended a reception at a gallery where one of my Army Wife aprons  was part of a group show. I shared my Army Wife portfolio with the curator, and she asked if the gallery could keep the portfolio for the duration of the show. Of course! It will be a great ambassador for my series. I also showed two other portfolios at lunch during a quilt show in Portland as everyone sitting at our table was introducing themselves and describing what each of us does. Handy portfolios are now as much a part of my art business as my business cards are.

Saturday, August 16, 2014

The Art of Fine Craft

Liz here today. Anyone else wondering where the summer went? I wanted to sit in the sun this morning with my coffee and a good read so I picked up the June/July 2014 issue of American Craft. In it discovered a great article titled Hot Glue & Staples by Bruce Metcalf. He questions whether craftsmanship even matters to the contemporary art world. Mr Metcalf and I both agree that it should!

Mr. Metcalf gives us 4 standards to which we can look at art (our own or others) to help us determine which is art and which is not.

Al B thinking about the next step

The first is that good art demands careful thinking. Metcalf holds that clear, interesting ideas and a compelling concept are key to good art. Bad ideas abound and they result in bad art. "Good concepts require careful work. In other words, there is a craft to thinking, a way of thinking carefully, as opposed to being sloppy and stupid".

Second, 'The artist must know his field'. I see so many examples of failure in this arena in the mixed media world. Someone who knows her field is so often copied by those who don't know the materials, techniques and tools. They create something that on the surface is similar but doesn't have the soul of the first artist. Then they run out to teach it. This makes me crazy! The unwitting student doesn't get the real meat of the field and is left not knowing much more than how to copy. I won't get on my soapbox even though it is tempting...

The third standard is that 'the artist must be able to translate the idea into a visual experience'. Art is and always has been about communication. This is where the artist must continually circle back to the concept from the first standard and work through their knowledge of the second standard to determine how to express the essence of their idea. Does the form they envision communicate the idea clearly, uniquely, and in a compelling way?  I think this is often done intuitively as the artist goes through this dance back and forth through concept/idea and material constraints instinctively.

Fourth, 'the last component is exercising control over composition'. How do you arrange the elements of the idea, remove or add distractions to make something interesting without losing the concept or idea of the art? While the basic principals of design and composition may seem so old school, you can't make great art without understanding them.

 I agree with these 4 standards. I have never written down my process but it follows these 4 standards pretty closely. Generally I spend more time in the thinking stages because they guide the production stages. Of course the many years I spent learning my field and time spent studying in other fields to add in what is useful to me, help make the execution stage fairly straight forward and often relatively easy. Not that I don't struggle with parts and nothing ever gets birthed without going through an extended ugly stage!

What do you think of Mr Metcalf's 4 standards? Does it resonate or leave a sour taste in your mouth? Leave me a comment below.
You can read more about Bruce Metcalf and see his beautiful jewelry on his blog and website.

Sunday, July 20, 2014

Pushing Boundaries

Pushing Boundaries

I have just passed the one year anniversary of my move to a professional studio space so of course I am thinking about what has happened over the past year.

First of all, I absolutely love having my studio in a busy arts center. I do get interruptions occasionally but I also get amazing inspiration, support and encouragement. I have learned so much about art and the creative process by hanging out with a wide variety of artists including oil and acrylic painters, photographers, jewelers, potters and even a few knitters.

One of the biggest growth opportunities this last year is because Cottonwood Center for the Arts hosts themed exhibits 6-8 times a year. Each exhibit challenges me to learn more about art history and theory. I try to enter as many as possible and even though I don’t always get in the show I learn so much that it really doesn’t matter. I was more than thrilled to be accepted into the abstract and postmodern exhibits this spring.

This piece, Does it Matter? was accepted into the Postmodern show. I and many of the other artists at Cottonwood spent considerable time discussing exactly what is Postmodern art. It is still confusing but I was thrilled to have one of my pieces get in. Competition for these exhibits is pretty intense.  During the show I had quite a few great conversations with viewers about my piece and the question it asks. Great fun. I didn't have good photo lighting for this piece. The background is flat black like a chalkboard.

As you can see my work is changing! I still love collage but am moving away from it to a more abstract expression. I have been working very small; 4" square and 8" square but I just ordered a canvas that is 2' x 8' for a whole cloth piece I have been working on. Being part of a thriving art center has encouraged me to push at the boundaries of my textile art. I can't wait to see where I go next!

Friday, July 4, 2014


Have you heard of the artist named Swoon? She is not to be missed. Natalya here to tell you about Swoon's exhibit at the Brooklyn Museum. It was a spur of a moment visit, I only had my iPhone to take pictures with and I took a gazillion. No worries, it was painful, but I edited them down to just a few...

You do have until August 24th to go see this for yourself, but in case that doesn't fit into your summer schedule, here's a brief review and many links. Caledonia Dance Curry is quite an accomplished artist who started with traditional training (she attended my Alma Mater Pratt Institute), but after graduating was very discouraged with the gallery system and became a street artist. She has managed to fashion an amazing career from that start and is now an artist with exhibits all over the world. She known for her installations and this is her latest at the Brooklyn Museum.

I had never seen her installations before, just have heard about her and seen a bit about her in a documentary film Our City Dreams. Needless to say that I was completely overwhelmed by what I saw and I'm sure Kristin can confirm that my jaw was on the ground. The scale of this installation is immense and cannot be expressed in these photos. Do see the videos in the links above to get a sense of the scale.
plastic drop cloth (my heart fluttered). Swoon used the drop cloths that protected the walls during the installation in the installation.
gigantic tree draped in cloth and lacy cut outs for leaves is at the center and made for very dramatic shadows
cardboard tubes in a beehive like hut
a collage of larger than life prints of her beautiful drawings
delicate cut outs are draped on the floor where they curve and produce wonderful shadows
here are the tree roots, so you can see the fabric
more amazing drawings
two large handmade boats are part of the installation (made from scraps), but I was fascinated by the lace sails and the shadows they made
my kind of whimsical
this is a top portion of one of the boats
lacy cut outs cover many walls and backs of large figures
Hope you do get to see this exhibit, it's worth the trip! And happy Independence Day USA!