Sunday, November 13, 2016

Iceland Goes Through

fabric  scraps include 1930s matelasse bedspread, 1950s woven cotton upholstery, 1960s curtains, 1980's wool pants, silk

...or "The Art of Conversation", one of several textiles laid out while talking on the telephone with a friend.  In these works, the present moment is considered as much a material as the fabric; there is a natural interweaving of dialogues--internal and external, fabric and friends. 

During this particular conversation, a friend who is an avid soccer fan was telling me about the rise of Iceland, the Cinderella team in the Euro 2016 tournament.  As she recounted each win, she would say 

"...and so, Iceland goes through."  












Sunday, August 21, 2016

Hat Brim, Peine del Viento, Nicolas de Stael






































        28" x 28" textile made of various scraps, 1920s-present



































      
Point of departure-- black velvet C shape, the hat brim piece from a mid-nineties unfinished project








...thinking of Eduardo Chillada's sculpture, Peine del Viento (Comb of the Wind).



























painting by Nicolas de Stael

                                                                                                                                                     

Monday, July 18, 2016

The Red Shirt





































             



1970's cotton shirt, 2000s Gap chinos, various scraps on burlap

Lapstrake



























                                   Gap jeans c.2000, early 20th c velvet, 1970s velour pants, silk, wool, cheesecloth, burlap

Sunday, March 20, 2016

Tidepool

































































                                                                                                    1970's polyester disco jacket and men's polyester pants








































                         ........... inspired by this Clyfford Still painting: PH-241, 1949
which I saw recently on exhibit at the MFAH.
Photo credit: Clyfford Still Museum Denver via MFAH website 






























other scraps include my grandmother's 1960's dress and my mother's 1970's cotton velour pants








Friday, March 11, 2016

Materials and memory


Bird's nest pillow cover made with assorted scraps





























             Oriented strand board-- compressed layers of wood flakes






Apartment courtyard Milan, 1983


....looking at my work through the lens of my architectural experiences,
in the use of materials, and the memories of places I've lived.

Wednesday, October 7, 2015

"Blue" -- 1970's velour pants, silk scraps, and tea-dyed burlap
































































































































































































Wall hanging made from Clara's (aka Mom's) 1970's cotton velour pants, silk scraps, tea-dyed burlap, and various threads. Inscription labels on back made from 1960's cotton curtain lining. 




























               
                                       


...............................................................................................................for my friend, Julie Cohn  who designs and makes beautiful jewelry.......

































and loves....





Saturday, August 29, 2015

Adelina's Alley: take 1 and 2



























This screen shot from "Adelina", one of a trilogy of three short stories in Vittorio de Sica 's 1963 film "Yesterday, Today, and Tomorrow" [Ieri, Oggi, Domani] was the inspiration for the pillow design. The combination of neutral colors with bright colors and white, the patterns, the weave of the man's suit, and the architectural lines of the alley all play into the design.
























        A couple of the fabrics are even in sync with the time period of the film-- the woven beige cotton was the curtains from our 1960's patio home, the green plaid was my dad's shirt from the same time period.



























This is my dad in 1959 with my two oldest sisters here in central Texas.





The raw silk is cut from a tunic top my sister made for herself in the late 1980's- early 90's, a Claude Montana design.  The fabric is breaking down from age and it causes me pain to cut up her hard work, but once the material is backed with fusible inner facing it's usable again, so why not?




Framing 








Edge strips









Here are the edge strips trimmed from the pillow cover and sewn together to create a new textile.
The process of framing and trimming is self-generative.



Sunday, June 14, 2015

Monica Vitti's existential crisis and my grandfather's long johns - it's hot and cold in "The Red Desert".






The Girl on the Beach clip from "The Red Desert"




film



Monica Vitti in a still from Michelangelo Antonioni's film The Red Desert (Il Deserto Rosso), 1964.
The blocks of color, lines, and fabrics in this photo inspired the pillow design.








































































































































































materials





































           Fabrics used include my grandfather's woolen long johns-- ca. 1960 or earlier-- with his last name, Hermes, handwritten on waistband; 1970's corduroy Levis;  red cotton batik remnants from the lapel of   the poppy robe I designed and made . Other scraps include digital print silk I made into a scarf, an orange cotton print sample brought from India years ago by the husband of a friend of mine, 1980's curtain fabric from my sister, and red plaid silk upholstery sample.





process


















The random sizes and shapes of the scraps form the basis of the composition.








A few weeks ago I stitched together pieces of the Levis to make a pigment sheet with no idea how I would use it;  the irregular piecing and layers reminded me of Serge Poliakoff  's paintings, which I love:

























in progress 






























The first mock-up was a series of mostly vertical lines, much like the film photo.































The texture and color of Monica Vitti's sweater made me think to add in my grandfather's woolen long johns-- the triangular shape of the waistband shifted the composition, broke up the grid.
The manufacturer's label and my grandmother's handwriting inside were a surprise that begged to be exposed.









Hans Hofmann












































I was thinking of Hans Hoffman 's early to mid-1960's color block paintings, which he was doing at the same time Antonioni was making this film.  In the photo below, you can see how art of the period was influencing film set design, in the use of blocks of color, and even the attention to the paint-- the unevenness of the layers, and the texture of it peeling away from the surfaces.
























































Here's Tillycat doing her best Monica Vitti impersonation.



details