Wednesday, April 7, 2010

Art + Quilt: Quilt Indy Group - Value Contrast

Here is another feature spotlighting the Quilt Indy Group. I love following the progress of these determined artists as they work their way through Art + Quilt.

Value is the poor unappreciated sister of color in the artists world. But truly - she does all the hard work. We enjoy playing with color so much that we often forget to pay attention to the contrast of values within those colors.

The exercise here is to create three similar compositions while studying the effects of value. Make one composition with highly contrasting values, one with all low values (darker colors) and one with all high values (lighter colors.) 


The mood and feel of Carol's three pieces are quite different 
simply because of her varying use of value in each piece. 


I love her addition of contrasting line directions here.





I love the way Laura has combined all of her studies into one composition.
It's a very effective study and a lovely piece of art.





This is an intriguing study. Pay attention to where the lights and darks are in Judy's drawing in comparison to the textile iteration. Photographing the works in black and white truly helps you to see where value has created focal points and paths for the eye to follow.







Mezzie's work is whimsical and fun with her overlapping transparency effects and her shapes escaping the edges of the frame. Again, the differing value contrasts create quite different feels even though the compositions are identical.




Mary Anne has created compositions with simple shapes very effectively. You don't have to get elaborate to study the elements of art. Again, she has done a great job of working with different values.





So. What have you learned from these lovely value studies? I'm delighted with them and with the fact that the group is taking the time to study and learn together. You can see that one doesn't need to make a masterpiece each time you pick up your cloth or sketchbook. Every time you learn something what you have created becomes valuable. Leave a comment and let them know what you think.

An Interview


Over at Alisa Burke's Blog you can read a very nice interview and learn something silly about me. My brother has offered pictures if you bribe him.

Monday, April 5, 2010

Artist Spotlight part 1: Alisa Burke

Happy April friends! What a lovely month. With the arrival of exuberant swaths of color to my local landscape I'd like to introduce you to an artist that is also exuberant in her use of color.


I've been following her blog for a little while now, have read her book (more on that next week) and am in love with her wild and whimsical take on the world. I know you'll enjoy her work as much as I do.




Lyric: We have something fun in common. My mother was a potter, as were your parents. My father taught high school art classes. What are some of your favorite memories of growing up with artists as parents. 



Alisa: Growing up my life was full of creativity. Because my parents were potters who were running a business from home, my brother and I always had access to crafts, supplies, projects, and an understanding and appreciation of art. Both my mom and dad incorporated creativity into everything we did- dressing up and hiking into the forest for tea parties, making and selling our own crafts, playing with clay and learning how to throw pots on a wheel, having the freedom and supplies to draw and paint whenever I wanted, letting us draw all over wall before they repainted the living room and so much more.  My own desire and love for drawing and art was nurtured at a very young age and while it seems many people find art later in life, I am grateful that my passion was recognized and supported throughout my entire life! 







L: Tell me about your transition to being a full-time artist.

Alisa: All I ever wanted was to be a full time artist and I really feel like I have been working toward that dream since high school. I knew declaring painting and printmaking as my major in college meant I probably would have to work a "normal" job while pursuing my art on the side and this is exactly what I have been doing since college.  I landed in a marketing position that enabled me to be creative but it still did not satisfy my craving to work for myself as an artist. I decided to get serious and I finally made a plan, set goals and with my husband's support began working as hard as I could to build a  creative business that could pay my share of the bills- just like my "normal job".  This process took me five years to get to a place where I could walk away from my job.  Honestly it was really difficult but I wanted it BAD and I never gave up and finally last spring I quit my job- truly one of the best days of my life! While things often don't live up to my expectations this transition has succeeded them.  I have never worked this hard but it is so rewarding to be doing what I love every day, challenging myself, making my own rules, setting my own goals and making art for a living.  Now I cannot imagine things going any other way- the long wait, the working by day and making art by night, the years of creating, learning and growing as an artist have all made this transition so worth it all. 




L: Why graffiti - and why turn your work into functional objects such as your very cool clutches? 


Alisa: Since college painting classes, I have always loved creating layers of color, texture and text. I used to create messy backgrounds and then paint my assignments on top of them. Because I am drawn to the concept of layers or messy paint, I think moving towards graffiti inspired techniques was a natural progression for me.  I have never been traditional with the things that I create and was always looking for unique ways to redefine my art. When I needed a purse for a wedding I cut up one of my canvas paintings and sewed it into a purse which sparked a whole new way of looking at canvas paintings.  




L: I find it interesting that your environment, the pictures you've posted of your home - white, clean, colorful yet your art is exuberantly messy.  My art tends to be very controlled while my environment is out of control messy.












A: This is such a great question!  My art is messy, colorful and wild, my studio is organized but every inch is covered in images, inspiration and art. At the end of the day I actually need a visual break from it all! Keeping our home decorated in lots of white, clean and organized helps me feel like I can relax and escape from my creative chaos. 








L: Do you have any fears or inhibitions about your art? How do you work through them? 


Alisa: Honestly, I would have to say that art might be the one and only area in my life that I am fearless about. I am REALLY cautious, hesitant and often fearful in my everyday life (typically about silly things) but when I paint and create, all my worries, my inhibitions and my fear melts away.  I have felt grounded and solid in my creative passions for so long (likely because my upbringing) that I have very few inhibitions making, selling and promoting my art. Even when I run into rejection, dead end opportunities and financial challenges, there is this peace and confidence in knowing that being an artist is who I am and nothing will ever change that.


Are you as delighted as I am with Alisa and her work? Next week I'll review her book and yes, I'll be having another giveaway at the end of the month so leave a comment for a chance to win.

Wednesday, March 31, 2010

Happy Spring

This time of year finds me with dirt under my fingernails. I can't help it. 



Maybe tomorrow I'll  go inside and sew. Maybe.


Only if I can open the windows wide.





I'll have to set a big vase of daffodils on the table first.

Friday, March 26, 2010

Showing Your Work: part 4 - organizing your entries

Now that you've chosen which kinds of shows to enter (quilt, art quilt, fine art) how do you keep track of it all? You've seen the list of shows that feature art quilts. You're pretty sure you know which ones appeal to you. Now what? Well there are myriad ways to get your act together - here is how I do it. I like to see the big picture with my lists - all the dates on one page. I'm very visual. Waaaay back when I wrote an article about the topic for Quilting Arts Magazine, called Where and How to Show Your Artwork. April/May 2007.





I kept a notebook back when I was in the swing of things. Front page and pack page had two lists, one with shows by entry dates as seen here. This one is printed right from the list on my website. The other described below.







First - make a list of shows you are thinking of entering in order of shipping deadlines Make sure you note entry dates and which are postmarked and which are "received by." Note any other pertinent entry info such as size requirements or expiration dates (my personal pet peeve!) I also noted prized money, commission fees, or anything out of the ordinary such as a live jury (in which you are required to send your actual quilt in for a second jury round.) Oh! Don't forget the virgin quilt rule!!! If any images of your piece filter out anywhere, blogs and your Aunt Martha's Picasa page included, you are OUT!


Second - choose which quilts might go to which shows and note them. The reason my first list if by shipping window is so I can make absolutely sure that shows don't overlap. It's a BIG no-no to enter a quilt in a show, have it accepted, then to withdraw it because it already got into an overlapping show.

Third - when a quilt is accepted into a show I put the shipping date on my calendar in big bold letters. My worst nightmare is to forget to ship a quilt. Funny story. As I was packing down one show I had curated I noticed that there was a quilt missing. As far as I knew, it had never arrived and somehow I had missed seeing that. Immediate panic. Had the quilt been lost in the mail for months? I took a big gulp and called the artist. She had completely forgotten about the show and hadn't sent it. I was SOOOOO relieved. At the same time, I had to laugh because that is so like something I might do.


Inside the notebook:
Entry forms.
  • Sleeve protecter for copies of entries I had sent out. I wrote big and bold on the top corner of the form the names of the quilts.
  • Sleeve protectors for accepted entries. I wrote (again) big and bold the shipping deadline and filed them in order.
  • Sleeve protector for entry forms of quilts that were currently out.
  • Sleeve protector for quilts that had come back in.
  • Page with all the vital stats for my quilts: date, size, price, insurance info.
  • Page for each quilt with a sow history and awards, yes - I also fear I'll enter the a quilt in the same show twice. I have a sieve for a brain.
  • Sleeve for appraisals and their copies.



Of course all of this information can be kept on your computer now. (Then again, when is the last time YOU backed everything up?) It's getting easier with digital entries and burning a CD or mailing off a jpg is much easier than sending slides.


Robbi Ecklow's article Use Calendars to Keep Track of Your Show Submissions in Quilting Arts Magazine  February/March 2010 brings things quite up to date. In it Robbi shows you how to use any calendaring program (she uses ical) to list the entry deadlines as well as shipping and show dates.